Jump to content


Senior Member
  • Content Count

  • Joined

  • Last visited

About miliosr

  • Rank
    Sapphire Circle
  • Birthday 06/16/1967

Registration Profile Information

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

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. I didn't see this anywhere else and there's so little activity in the Houston Ballet section of Ballet Alert: https://www.pointemagazine.com/linnar-looris-estonian-national-ballet-2638968156.html I had heard the news about Linnar Looris replacing Thomas Edur as the head of the Estonian National Ballet. But I hadn't heard that Jared Matthews would be joining him as Assistant Artistic Director,
  2. I reread Save Me the Waltz. I can't say that my reaction was any different on the second reading than it had been on the first. It doesn't get going until 'Alabama' (Zelda) starts taking ballet lessons and it doesn't really get going until she accepts the offer to dance in Naples. Just when the novel should take off in a flight of fancy about life in an Italian ballet troupe, it crashes back to earth and Alabama's dreary relationship with 'David' (Scott).
  3. I ordered my tickets for the Ashton Romeo and Juliet in March.
  4. Luke Schaufuss has announced via Instagram that he's joining Sarasota Ballet:
  5. The absence of even one Tudor work for ABT's Fall 2019 season left me curious as to what is going on with the Tudor Trust. I went over to the Trust's Web site and discovered that it is under construction: https://www.antonytudor.org/ More importantly, I discovered that Amanda McKerrow is now the Trustee for the Tudor repertory. Here is more detail regarding McKerrow's appointment: https://www.broadwayworld.com/article/Antony-Tudor-Ballet-Trust-Announces-New-Amanda-McKerrow-As-New-Trustee-20181210 This part was particularly tantalizing: "James Jordan, Ballet Master for nearly thirty years at Kansas City Ballet and now Sarasota Ballet, will become Director of Research in the ongoing effort to preserve Mr. Tudor's work. Presently, he is compiling rare and rediscovered materials for the reconstruction of The Tragedy of Romeo and Juliet, which has not been performed since 1976."
  6. Rereading Acocella's essay again, here is the part with which I'm in complete agreement: "When the Paul Taylor company, on its big tour, stops in New York this fall, it will perform dances not just by Taylor but also by Pam Tanowitz, Kyle Abraham, and Margie Gillis. All these pieces were commissioned by Taylor before he died, but what do any of them really have to do with him?' Having gone to see the Limon company semi-regularly since 2004, I have often wondered what the newly commissioned 'contemporary' works have to do with the Limon repertory, which is a very specific thing. Slapping the 'humanist' tag on the new works doesn't obviate the fact that Expressionistic old school modern dance (as represented by Limon) doesn't have much to do with anti-Expressionistic contemporary dance.
  7. I finished Ernest Hemingway's A Moveable Feast (the original Mary Hemingway edition) this weekend. Scott and Zelda Fitzgerald play a very prominent part in the book with no less than three chapters -- "Scott Fitzgerald," "Hawks Do Not Share," and "A Matter of Measurements" -- devoted to them. Hemingway's depiction of Zelda is definitely unflattering but then that may say more about Hemingway than it does about Zelda. It wasn't exactly courageous of Hemingway to write what he did about the Fitzgeralds when they were long gone and couldn't defend themselves. Nevertheless, an interesting lead-in to my rereading Save Me the Waltz this summer.
  8. I can't answer your specific question but the attached link gives a history of Nureyev's involvement with Songs of the Wayfarer: https://nycdancestuff.wordpress.com/2013/07/27/maurice-bejarts-songs-of-the-wayfarer-1971-2/ Apparently, after the deaths of Paolo Bortoluzzi, Jorge Donn and Nureyev (all of whom were closely associated with the piece), Maurice Bejart rarely consented to let it be performed while he was alive. I think Bejart's foundation has eased up a bit on this since his death as it is now performed somewhat regularly in Europe. Rehearsal footage with Bejart, Bortoluzzi and Nureyev:
  9. The Limon company's experience is a unique (and perhaps unreplicable) one because, at the founding in 1946, Doris Humphrey was the artistic director and not Jose Limon. She set the programs, created new works, taught company class and was the in-house editor for Limon's works. After her death, Limon was never able to find someone to help pick up the slack. (I'm not sure he wanted too, either.) For some time, I've wondered what's been going on with the Humphrey repertory at Limon. With the exception of her Passacaglia, which the Limon company performed at Paul Taylor's request at the start of his modern dance project, the company hasn't performed any works of hers in over a dozen years. Has the company had a falling out with her son, who owns the rights? Or has the company found that the works no longer resonate in performance? I'm of the opinion that the Limon company should be maintaining the Humphrey works in repertory just as much as the New York City Ballet maintains the Jerome Robbins works in its repertory. Why they aren't is a bit of a mystery to me.
  10. Joan Acocella has penned this: https://www.newyorker.com/magazine/2019/07/01/can-modern-dance-be-preserved The two glaring omissions in her essay are the Limon and Ailey companies, which have endured for 47 and 30 years respectively since the deaths of the founders. Both have found a way to keep going and to preserve the best dances of their founders in active repertory. A better essay would have pondered why this is so.
  11. If I'm reading the press release correctly -- no Antony Tudor. Two pieces by George Balanchine and nothing by Tudor.
  12. I recently bought some back issues of Dance Magazine from 1967. This interesting tidbit was in the 'News' section of the April issue: "Maurice Bejart announces he's staging a modern-dress version of Othello, starring Brigitte Bardot." Did this ever come to fruition???
  13. Rome Opera Ballet has announced its 2019-20 season and Zach Catazaro will be appearing in In the Night: https://www.operaroma.it/en/shows/serata-jerome-robbins/
  14. The timing may have been off for San Francisco Ballet to visit London given that the Royal Ballet's spring season has consisted of MacMillan's Romeo&Juliet, the triple bill of Fokine's Firebird, Ashton's A Month in the Country and Balanchine's Symphony in C, and the Margot Fonteyn centenary celebration. But then, as pherank noted, there may never be that "perfect moment".
  • Create New...