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Everything posted by miliosr

  1. 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"
  2. 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
  3. 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:
  4. And her farewell is cancelled. The strike roils on . . .
  5. 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:
  6. The Halloween sequence is actually scarier than some of the movies in the Halloween franchise!
  7. 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.
  8. 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.
  9. 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.
  10. 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
  11. 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
  12. 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
  13. 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.
  14. November 20th, 1967 was the first full episode set in 1795, which itself was the first of the show's multiple time travel storylines. (A séance held at Collinwood in 1967 hurls the governess, Vicky, back to the year 1795. a time when Barnabas was not yet a vampire, Josette was still alive , , , and a rather unusual maid servant named Angelique was about to arrive at the great estate.) https://darkshadows.fandom.com/wiki/366
  15. Premiere danseur Alessio Carbone has announced on Instagram that his last performance with the troupe will be on November 23rd. (He has reached the mandatory retirement age.) More surprisingly, his fellow Italian, the sujet Simon Valastro, wrote this on his Instagram account: "Rehearsal of Body and Soul by #crystalpite. I couldn't expect better memories for the last year of my career." I don't think he's 42 yet. Retiring early? https://www.instagram.com/p/B5FaA9MoO0r/
  16. Bolero (w/ Bolle), currently playing at La Scala:
  17. The cast members themselves have said that they were always amazed at how Frid's desperate search for the teleprompter during taping took on a different dimension when the shows actually aired. On the air, Frid forgetting his lines and looking for the teleprompter came across as Barnabas lost in melancholy reverie.
  18. I think she pioneered the 'clutch the throat' acting technique. Here's a sample of how moody Dark Shadows looked in black and white: I would direct people's attention to the 7:00-10:00 mark where Jonathan Frid (as Barnabas) recounts the death of Josette DuPres in 1795 to the governess Victoria Winters (Alexandra Moltke) and Carolyn Stoddard (Nancy Barrett) in what is now known in Dark Shadows fandom as the 'Josette Soliloquy'. What really adds to Frid's performance is the tremendous job the production staff did in lighting the entire scene. The set-up for Barnabas' speech is that there has been a power failure at Collinwood and the only things lighting the drawing room are candles, the fireplace and the flashes of lightning from the storm raging overhead. The lighting and sound effects work the crew did on this episode is worthy of anything Universal Pictures did with its horror movies of the 30s and 40s.
  19. Rizzoli has released a new book devoted to legendary M-G-M costume designer Adrian: https://www.amazon.com/Adrian-Lifetime-Movie-Glamour-Fashion/dp/0847860116/ref=sr_1_1?crid=JTS6KCJ2SAMU&keywords=adrian+hollywood+designer&qid=1573344653&s=books&sprefix=adrian+hollywood%2Caps%2C187&sr=1-1 This is the third book devoted to Adrian in the last 20 years. Lyons Press has also released a monograph anout legendary M-G-M art director Cedric Gibbons: https://www.amazon.com/MGM-Style-Cedric-Gibbons-Hollywood/dp/1493038575/ref=sr_1_1?crid=HINORJ1YJ948&keywords=cedric+gibbons&qid=1573344927&s=books&sprefix=cedric+%2Caps%2C171&sr=1-1
  20. Victor Ullate has announced that the company he founded 31 years ago is to close as it was no longer viable to continue. Ullate has been quoted as saying that despite alleged funding of one million euros from the Government of the Community of Madrid, he no longer has sufficient funds to pay for hotels when the company is on tour, or even food for his 25 professional dancers. Source: Dance Europe
  21. For the first round of each classification, there's an imposed variation. In the second round of each classification, each competitor gets to choose their own free variation.
  22. Fun fact: Nikolaus Tudorin, Thomas Docquir and Pablo Legasa all danced the Dancer in Brown's first variation from Dances at a Gathering, And they were all promoted! Otherwise, the results weren't terribly surprising in the men's competition. Simon Le Borgne was the lead in Alexander Ekman's Play and Thomas Docquir was highly cast in the company's most recent revival of Swan Lake. So the competition results just caught up to events.
  23. Antonio Conforti and Nikolaus Tudorin promoted to coryphees Florent Mélac, Simon Le Borgne and Thomas Docquir promoted to sujets
  24. From the competition program: The women's field: https://www.facebook.com/dansomanie/photos/a.383575178480097/1293924747445131/?type=3&theater The men's field: https://www.facebook.com/dansomanie/photos/a.383575178480097/1293925034111769/?type=3&theater By my count, there are 32 women competing and only 24 men. Is the competition less of a "thing" for the men than the women? (Only 5 men competing in the sujet-to premiere danseur classification. Did all the male sujets over 30 just say: "To Hell with it"?)
  25. The annual competition for promotion is this week. Hopefully, some of our French correspondents will report! Here are the number of positions in play: 1 - première danseuse/3 - sujets (f)/3 - coryphees (f) 2 - premiere danseurs/3 - sujets (m)/2 - coryphées (m)
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