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Anthony_NYC

Senior Member
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About Anthony_NYC

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    Bronze Circle

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    Fan, musician
  • City**
    United States

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  1. Are there any dancers in the cast we might know? I’ll watch it if so, even it’s bad.
  2. Not to make too much of it (I'm not sure how important it is), but there are a lot of "tells" that the production is not by New Yorkers. One of the oddest is that the videos show streets that are not even in Manhattan. There's one long tracking shot in the Bronx. Any New Yorker immediately senses it's not the Upper West Side already, not today, not in 1957, but then as the camera creeps along you see prominent signage--more than once!--showing it to be Gerard Avenue in the Bronx. The lettering could easily have been changed on the film, and one wonders why they didn't do so.
  3. Daniel Pollack-Pelzner has an interesting article on the show in The Atlantic. I think this is absolutely correct—it’s no accident that four gay, Jewish artists wrote a show about the tragedy of suppressed love and racial prejudice—and wish the author had expanded on this in more detail. I also Liked this comment from Sondheim:
  4. When it comes to water on stage, does anybody else remember Andriessen's “Writing to Vermeer” at the State Theater? Very striking, but I just couldn’t stop worrying about the singers’ vocal equipment.
  5. Now that there’s a bit of video out there for “America,” can anybody tell if it reflects the Gennaro/Robbins choreography? The PR for the movie still says that Peck is “reimagining” the original choreography, and I have no idea if that means he’s adapting it for Spielberg’s camera or replacing it all with his own steps.
  6. Oh goody, an adaptation of Carmen, what a fresh and original idea. I haven’t seen one of those since the last ice-skating competition I watched. Well, at least he isn’t using Bizet’s music.
  7. Ah, I hadn’t heard about the November engagement. Good news—thanks!
  8. The Paul Taylor company, which did not have it's usual season at City Center or the State Theater this month, is giving ten performance with the Orchestra of St. Luke's at Manhattan School of Music (122nd and Broadway) in June. https://www.oslmusic.org/series/osl-bach-festival/
  9. I agree. Let's hope that we start seeing regular columns on dance again.
  10. The "Valley of the Dolls" number is great camp. I like this one, too--not camp, but satire, with a terrific Dolores Gray who is the perfect vessel for Comden & Green's brand of humor. I like to remember Previn this way--an expert, game partner in funny, joyous team, where everybody seems miraculously on the same page in terms of tone. Even the crazy red costume plays its part. Does anybody know if Gene Kelly did the choreography, and if not, who was it?
  11. Not only that, but Hozier himself turned the song into an anti-homophobia anthem with his own video. Did Polunin just not realize any of this at the time, or has he changed? I agree he seems to need help. Sad case.
  12. Anyway, the problem with the show is still that Tony gets “Something’s Coming” and “Maria” at the beginning of the first act, but Maria never gets much of a musical personality of her own aside from prettiness.
  13. In think it was the sharp-tongued Arthur Laurents who said that. Sondheim relates the interesting information that the melody, in simpler form, originally was written for Candide, and John Latouche’s lyrics were one word per note: One Hand, One Heart. Your Hand, My Heart. Sondheim had to plead with Bernstein to let him add more syllables.
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