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Everything posted by Dale

  1. What about Eliot Feld's Variations on America? I haven't seen that ballet for a long time.
  2. I was working at my office building when it happened. I'm located in Jersey city, on the water with our windows litterly across the river from the World Trade Center. We all rushed to our windows and were still there when the second plane hit. It took our breath away. I can see the flames take over an entire floor on the North tower. Then the the 2nd tower dropped away. We all gasped and cried before we were evacuated. Smoke is (as you all can see on tv) everywhere. As I led some co-workers to my apartment, just a few blocks from the water with a clear view of the towers, we stopped on one corner where we saw the other tower collapse. I just can't believe it's gone. Everything is stopped around here and some of the wounded are being brought to Jersey City. It's surreal. I've always looked out at the towers whenever I've gone to work and now they're gone. We're going to give blood. [ 09-11-2001: Message edited by: Dale ]
  3. linsusanr, as I asked before, you might find a library to view the tape near you. I know that the Balanchine Foundation tapes were sent to several libraries around the world, not just the performance library in NY. Or a university such as UCLA. For example, when I was at Columbia, the library there had copies of different Dance in America and Live at Lincoln Center broadcasts that were not available at that time. So, conceivably there might be a library near you that might have a copy of this program. You should call around. Just found a link for the San Francisco Performing Arts Library: http://www.sfpalm.org/dance.html Special Libraries Association: http://www.sla.org/ And Dance Films Association. They are located in New York but have festivals and viewing sites around the world: http://www.dancefilmsassn.org/ UCLA library: http://www.library.ucla.edu/
  4. I read this book as well. It reads like bad fan fiction. First, I can "see" the research in the stories -- here Dance Magazine, there the book Ballerina (which we're discussing elsewhere on the board) etc... I'm not saying she plagiarized, but it does read rather clumsily if you had read the source material she used. In addition, the author is just wrong in many cases. I think the Washington Post review pointed out that she refers to Nilas Martins as "tall and elegant," which is not really true. While "elegant" is somewhat subjective, the author has him performing Bugaku, which I don't think he ever has and probably won't. There are other instances of misinformation as well. Add in her purple prose and it's a strange book.
  5. Well, that's understandable. I wouldn't go with a story based solely on unnamed sources, but I would take in the information and try to get confirmations that would go on the record. That could have been the case in the previous NY Times article -- the article appeared one-sided because the reporter could only get one side (the board members, who control the money) to go on record.
  6. DancerX -- I think the difference between you and the other posters you mentioned is that they have not come on to make serious allegations against someone. But if you know something that should come out, why not contact the New York Times arts section or Dance Magazine, Dance View/Ballet Alert, Ballet Review etc... ? You might get more satisfaction than just coming on the board and complaining that things are being swept under the rug. You needn't put your job in jeopardy if you make it clear to the writer that you want to be used as deep background -- off the record. Peggy -- Thanks for clearing the attendance question for me. I'm sure that includes the half-price tickets offered on the web site. Perhaps, you can further clarify the reports that various productions were cancelled, such as the new Sleeping Beauty. And wasn't ABT a partner in producing Kudelka's Firebird, along with Houston Ballet? [ 08-20-2001: Message edited by: Dale ]
  7. One dancer did go on the record with her displeasure with Kevin McKenzie -- Amanda McKerrow. In an interview with Time Out New York she said she didn't agree with the direction McKenzie was taking the company, but added she didn't want to go into it in print. On the ticket sales increase, I'm not sure whether people are counting the income made from the sales or the number of the tickets. Because, at least for the Met season, the prices went up considerably. So, they could conceivably make more money but sell less individual tickets. I'd also like to add support for Alexandra for wanting to keep this topic safe from a flame war. It's very easy to come on here, sign up under a tag or false name and hurl accusations, and then retreat into lurkdom. But it would really say something to come on under a real name and stand by your words. [ 08-17-2001: Message edited by: Dale ]
  8. I have this book. It came out in the early 80s and the writer [sarah Monte--I can't spell it off the top of my head, help here anyone ] also did one on famous ballet partnerships called "Pas de Deux." The main section did stop with Ashley but then it was followed with a small chapter on up-and-comers, including Leslie Browne (Alexandra don't choke), Kyra Nichols and N Pavlova. It's one of my favorite books. Nice pictures. Unfortunately, I bought my copy at a library sale and someone drew a mustache on my absolute favorite -- Suzanne Farrell!! If I were continueing the book I'd have put Nichols in the "ballerina" catagory and then add Darci Kistler to finish up the NYCB women. The book, written before the fall of the Soviet Union, really omits or came before many top Russian dancers, I add Kolpokova, Lopatkina, Nina A, Sylvie G, Viviana Durante and Darcey Bussell. Plus some of the French dancers whom recently retired -- Lourdes, Platel -- and Gueran. Maybe I'd add Kent, using what seems to be the book's criteria. And some Canadian dancers -- Evelyn Hart. I think Karen Kain is in the book, but if she's not I'd add her, as well as Patricia Barker. I'm sure I'm leaving out quite a bit.... (and, of course, misspelling a ton of names, sorry).
  9. I'd like to see a ballet based on Miss Cleo, the psychic who advertises on TV. [ 08-11-2001: Message edited by: Dale ]
  10. Try a performing arts library near you or a major university library. If you live near a top ballet school, somebody there might have a copy.
  11. And in the grand tradition of the Super Bowl, we can have a number to "Up with People" Who is after Nikki? The head coach? Instead of the dance of the priests, he could do a pas de quatre with his assistant coaches. For a bad new ballet, I nominate the "Susan Smith Story" Ben Stevenson can do it in the style of Anastasia by McMillian but he'll collaborate with David Parsons, who will do a "dance of the dead children" -- like the one he did for Pied Piper. It would be a great role for a top dramatic ballerina. Music by John Adams. [ 08-07-2001: Message edited by: Dale ] [ 08-07-2001: Message edited by: Dale ]
  12. I think the Texas La Bayadere could have a really good men's dance (a la Sparticus) taking place in the lockerroom with his teammates, clad of course in towels
  13. Didn't the Joffrey have a ballet about the Holocaust that was a collaboration between two choreographers? It came under fire because it was seen as being anti-semitic. I think I read about it in that book about the Joffrey Ballet. Anyone remember this?
  14. I think the Hayden book is from the 50s or 60s and geared more towards teens. I've seen the Verdy book at some used book stores but it's always cost around $75 so I had to pass.
  15. Adams, LeClerc, and Berosiva would make good subjects. I'd love a lengthy triple bio on the three "Baby Ballerinas" of de Basil's Ballet Russe de Monte Carlo, but I'd also take just one on Tamara Toumanova. It would be great, from her dramatic birth on a train as her parents fled Russia, to her life as a baby ballerina, Balanchine muse, aging ballet diva, movie star, her life in California... On the other hand, Irina Baranova is still alive, so a bio on her might be easier to put together. Speaking of live subjects, how about a current one on Melissa Hayden. Actually, I'd like a really good bio on Petipa. I only found one and it didn't look interesting.
  16. Ed, I don't know Spisto personally, and I won't comment on the gossip, but I do know that ABT had to cancell its new Sleeping Beauty because of a lack of funds and some other projects and tours. The company also was reported to have lost more money under his leadership than it did under Kaiser. I think there are a few differences in doing business or raising funds in Detroit and New York. I'm not bashing Detroit, but I understand that Spisto liked to do the dinner thing a lot, and dinners and treats cost a bit more in New York than they do in Michigan. And a lot more costs go into a ballet company than a symphony orchestra. Ex. Some music does not recquire payment, there are no costumes and scenery to buy and maintain, hair dressers, props, toe shoes, physical threrapists etc, choreographers to pay. I think maybe he expected the two jobs to be more similar and what would work in one would work in the other. They didn't as the books show.
  17. Most likely, Stiefel is going to be with ABT while they tour and is scheduled to dance with the company during its season at City Center, running from late October to the first week of November. January appears to be a free month, so maybe he'll be in England then.
  18. A lot of what everybody has said makes sense, and I also agree with Mary. It depends on how close it hits personally. I can go to a ballet company supported by Phillip Morris because I don't buy into the hype and I don't smoke cigerettes (although I love Triscuts). But if I found out my mother got Alzheimer's from her moisturizer or makeup, and the maker of those items was the main sponsor for a ballet company, I might think about not going. It's easy to think intellectually that Wagner operas did not kill the Jews during the Holocaust but I know survivers who can't hear German singing without thinking about the camps. I try to take these things on a case-by-case basis. I expect to see La Bayadere next week, not receive a religious conversion (who know, maybe they'll have a subliminal message played softly under the music ). Do ballet companies have this dilemma? Would NYCB or ABT ever turn down money from a convicted murderer? Or for a company that caused the death of millions of people? Or a cult leader? It would be interesting to find one that said no to tobacco companies.
  19. Oh, I'm so glad M.M. has had such a triumph in Cortege Hongrois. I'd love to see her do more of the "grand" roles, such as Diamonds, Symphony in C (1st or 2nd mvt), or Tchiak pas de deux. Then again, I'd like to just plain see her get cast, period.
  20. I second Diana L. It's been great to read how the company has been doing while out of Manhattan from all of you, including Manhattnik over there in the other section of the forum. I'm as green as Giannina having missed Monique Meunier in Cortege. I hope she will be healthy enough next winter to do the part down here.
  21. I wanted to clarify something in my above post. When I said that the real test would come when these dancers are put in classical roles, I did not mean it as a test to the dancers, but to the artistic directors and to a portion of the audience.
  22. I have to wonder at this quote in the story: "Nor is the Bolshoi about to bring in less swan-like dancers, like the "short and fat" New York ballerinas derided by a former director." What "short and fat" New York ballerinas are they talking about? I can't think of any. There have been a few full-figured ladies, but they've been tall, not short. Strange. And which former director could this be? Haven't New York ballerinas earned the bad rap of being too thin?
  23. In the book "I Remember Balanchine" somebody was quoted as saying Balanchine at one time expressed his desire to have a company with all black woman -- I believe the phrase "Nubian Princesses" was used. On another note -- I think Aesha Ash at NYCB is a wonderful dancer. I remember when she danced Rubies at the SAB workshop a few years ago, what a sensation. Currently, she's done a luxurious "Coffee," and a spirited Dance Hall girl in Western Symphony (4th movement). She's extremely proficiant technically and has wonderful stage presence. Also at NYCB -- Henry Seth is a beautiful partner, a true cavalier. He was a late fill-in for Jock Soto in Jazz a few seasons back and showed he can really dance. Craig Hall is somebody who the company appears to have high hopes. He was one of the leads in Christopher Wheeldon’s Scene de Ballet and Polyphonia. Of couse, I think the true test will be when these dancers do true classical roles. Ash already has in corps roles and demi-solist things, but Seth and Hall have not. Although, Hall was one of the cavaliers in the Rose Adagio. Away from NYCB, I'm a real fan of Alicia Graf and Caroline Rocher at DTH. It's too bad Graf does not appear to be back anytime soon due to a severe injury. Re: Misty Copeland. I also saw her in Swan Lake and thought she was just fine. She did some classical pas de deux in the ABT Studio Company performances and was given rave reviews.
  24. Howard Gillman, and in his death his foundation, has given a lot of money and support to the Arts. He has been generous with the White Oak project and has housed dancers. The New York City Ballet has received money and support from Irene Diamond and Ann Bass. I was very impressed when I read in Mary's interview with Duncan Cooper in Ballet Alert that Judy Peabody was kind enough to call him when he was injured and offered emotional support. Not a lot of donors do that sort of thing. And let's not forget Albert Villars, whose generosity will bring the Kirov to Washington D.C. for 10 straight years. He also is a big contributor to the Met Opera. [ 07-14-2001: Message edited by: Dale ]
  25. Howard Gillman, and in his death his foundation, has given a lot of money and support to the Arts. He has been generous with the White Oak project and has housed dancers. The New York City Ballet has received money and support from Irene Diamond and Ann Bass. I was very impressed when I read in Mary's interview with Duncan Cooper in Ballet Alert that Judy Peabody was kind enough to call him when he was injured and offered emotional support. Not a lot of donors do that sort of thing. And let's not forget Albert Villars, whose generosity will bring the Kirov to Washington D.C. for 10 straight years. He also is a big contributor to the Met Opera. [ 07-14-2001: Message edited by: Dale ]
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