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miliosr

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About miliosr

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  • Birthday 06/16/1967

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    fan/balletgoer
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    Madison
  • State (US only)**, Country (Outside US only)**
    Wisconsin

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  1. That nothing new for him -- he does that periodically. In fact, if you follow his Instagram account regularly, you start noticing that there's a lot of repetition to it. The same stories and topics appear over and over again.
  2. I found out this weekend that John Karlen died on January 22nd at the age of 86. In the world of Dark Shadows, he will be remembered forever as Barnabas' cringing sidekick, Willie Loomis. Karlen also had great success in the 1980s playing Harvey Lacey (Harve!) on the detective show, Cagney&Lacey. (He also appeared in the legendary -- disastrous? - Broadway "run" of Tennessee Williams' play The Milk Train Doesn't Stop Here Anymore with Tallulah Bankhead [!] and Tab Hunter [!!]) I can't say I was surprised by the news as I saw a clip of him at the 50th anniversary Dark Shadows convention and he was very frail. He had to be helped on stage by David Selby and Jerry Lacy. What did surprise me was his actual age. I would have put him in his mid-70s but he was born in 1933. So he would have turned 34 the year he joined the cast of Dark Shadows.
  3. The Limon company will be performing rarely seen dances by Doris Humphrey at Jacob's Pillow this summer: "Their anniversary program begins with performances that correlate to the rare film of José Limón dancing solos from Humphrey’s iconic Lament for Ignacio Sánchez Mejías at Jacob’s Pillow in 1946." "The company also performs Doris Humphrey’s Air for G String—a grave, sculptural work set to Bach"
  4. The standoff continues although the dancers continue to rehearse for Giselle and the all-Balanchine program: https://www.nytimes.com/2020/01/13/arts/dance/paris-opera-ballet-strike.html
  5. I'll play (this will be very ABT-centric) . . . I would like to see a sustained recommitment to the Antony Tudor repertory including (but not limited) to Continuo, Dark Elegies, Dim Lustre, Gala Performance, Jardin aux Lilas, The Judgment of Paris, The Leaves Are Fading, Pillar of Fire, Undertow and -- above all others - the complete Tragedy of Romeo and Juliet. From repertory, I would like to see revivals of Frederick Ashton's Les Patineurs and Les Rendezvous, Eugene Loring's Billy the Kid (w/ Aran Bell in the lead). Harald Lander's Etudes, Jose Limon's The Moor's Pavane, Leonide Massine's Gaite Parisienne and (echoing a previous poster) Clark Tippet's Bruch Violin Concerto No. 1. Keep George Balanchine's Theme and Variations (which he created for ABT) and Symphonie Concertante (which was an important ABT revival in the 1980s) but ditch the rest of the Balanchine. ABT is not trained in Balanchine's method and style and the result is that they look foolish in comparison to the company across the Lincoln Center courtyard. Give Jerome Robbins' Fancy Free (especially) and Agnes de Mille's Rodeo rests for a while. Have Kevin McKenzie wean himself from jumping on whatever micro choreographic trend is happening at the moment. ABT just isn't that kind of company. (I freely admit this is a forlorn hope on my part.) According to Suzanne Farrell, Balanchine thought Maurice Bejart's version was the best version. Staging that at the New York City Ballet would certainly cause a lot of New York-based critics' heads to explode! There's always the Pina Bausch version:
  6. And her farewell is cancelled. The strike roils on . . .
  7. The Opera will be cutting it close as far as Abbagnato's retirement is concerned. Four of her scheduled performances have already been cancelled. "La Marseillaise" at The Opera Bastille today:
  8. The Halloween sequence is actually scarier than some of the movies in the Halloween franchise!
  9. It's not looking good at the moment. For the Raymonda run of shows, the company performed once and the next 10 shows were all cancelled.
  10. It's not looking good at the moment. For the Raymonda run of shows, the company performed once and the next 10 shows were all cancelled.
  11. One of the strengths of Meet Me in St. Louis is that M-G-M cast it from strength from its contract roster -- not just Garland, O'Brien and Drake but Mary Astor, Leon Ames, Lucille Bremer and Marjorie Main as well. The Halloween segment is justly celebrated but I always feel like it came out of an entirely different movie. As if M-G-M had scrapped a movie that wasn't working, salvaged the Halloween sequence and inserted it in Meet Me in St. Louis. And Tom Drake was from the Brooklyn part of St. Louis.
  12. We'll see how many shows of Le Parc and Raymonda the company actually performs given the strikes that have led to several cancellations already. https://www.france24.com/en/20191210-paris-opera-ballet-dancers-hang-up-shoes-in-pension-reform-protest
  13. One theory would be that the Trust has gotten too worldwide in trying to mount so many productions of Balanchine's work every year and quality has become uneven as a result. Another would be that too many company directors are programming Balanchine regardless of whether or not their companies have any stylistic or technical affinity for his work. And then there's this: https://www.washingtonpost.com/entertainment/theater_danc/who-really-controls-balanchines-ballets-the-dance-world-deserves-to-know/2019/03/28/3e8bca96-5017-11e9-af35-1fb9615010d7_story.html
  14. Maina Gielgud has taught the solo Squeaky Door (which Maurice Bejart created for and gave to her) to Maria Khoreva: Gielgud talks about this and other matters (including the lost art of epaulement and her exposure to Lester Horton's technique) here: http://www.balletposition.com/tag/squeaky-door
  15. The 1795 storyline is the beginning of the end for Vicky as a character. Vicky prior to and just after Barnabas' arrival still had a functioning brain. The clip I linked to above doesn't show it but there's additional dialogue after Barnabas finishes with the 'Josette Soliloquy. After an upset Carolyn flees the drawing room (with good reason given the content of Barnabas' story), Vicky begins peppering Barnabas with questions, particularly about his use of the word 'bloodless'. That is the Vicky I always liked -- the one who, early on, tended to be more perceptive than those around her. But the character of Vicky became more and more blanded out as the show became more and more supernatural; a fate which also plagued the characters of Carolyn Stoddard and Maggie Evans.
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