Amy Reusch

Interesting. Thank you. I never seem to remember names. His brother in law was lighting director for PAB back in the 90s. The company may be in good hands. Wonder who will come next...

On the other hand, the new AD and ED can start together as a team... I hope the Board really stands behind whoever it is...

And now the excutive director as well... http://wfly.co/f7PTk

From The Horse's Mouth is celebrating the memory of Franklin at Pace University, NYC, May 30th- June 1st. With Jacques D’Amboise, Arthur Mitchell, Martine van Hamel, Marge Champion, Carmen de Lavallade, Xiomara Reyes, Jack Anderson, Bill Ausman, Arthur Aviles, John Canemaker, George Dorris, Hari Krishnan, Norton Owen, Nancy Reynolds, Gus Solomons jr, and more I so wish I could go hear this, but am already beyond committed elsewhere on those date. I hope some of us here here go and later share with us a few of the anecdotes. http://horsesmouth.org/?page_id=786

Has Stiefel done well by the Royal New Zealand ballet? Are they in better shape artistically and with audience support? I rather enjoyed watching their reality series the short while it was [bootleg?] available on the web... but access ended about the time Stefel took over. .. Why has he left after only three years? I would like the next director of ABT to be someone who considers it likely to be his/her life's work, not a gig. It would be great if it were someone with charisma to energize the board and the press, as well as the company members... Someone with a deep love for the classics and yet a desire to give the company's artists the chance to have new choreography made on them... And the bring up talent through the school to full bloom as stars... not just as a background to imported stars... Sure bring the world's best to dance with the company but alongside not always in front of the home cultivated talent.

Those sleeves look almost as full as the ones Royes is wearing in that video with Tallchief.

I don't understand why he is putting it on NYCB. It seems so far from their style, even with their long history of Danish men. Will they do Giselle in 2015/16? I do wish, however, that he might set it on SAB some year. Not that it is a work best for students but because it would be interesting for them to explore it. Any word on why?

I should just ask... But I have some memory of a coversation comparing the Merriam with the Academy with someone from the ballet and was surprised to learn the stage width was not that different... But maybe I am grossly misremembering...

And yet the company fostered Matthew Neenan... There was that Wheeldon Swan Lake... Also, the company worked its way through some treachorous financial times to a more stable status and founded a new school. He knew his predecessor's experience with the board and I suspect they favored a more conservative approach... Do you believe not being a choreographer narrowed his vision? Would he have worked up a different rep if he had the budget of the companies you feel he is following?

Something is up with that... I don't believe the dance space is unusually large... I would have thought 40 something... Hmmm...

Dancing, directing or curating a season?

It is subtle, I don't know that I can... But it seems a slight difference in articulation dynamics... Holding the weight, moementum from the back or core... It would be interesting to spend some time studying videos of the same repertoire by the top six US companies to see if it couod be nailed down like a linguist on accents, but I,m afraid time is short just now for me. I wonder that company class could be so different to produce a different look... It surprises me that there is a difference given how mobile everyone is these days... But of course artistic directors are not stamped from a mold. I wonder how different Miami Ballet will become from the company it was under Villella.

There were more good cuts than bad cuts... At least this was better framed than Wrecker's Ball. It seemed like once he got into the piece, the distracting cuts grew less (but I'm saying this without seeing Diamonds yet). After The Rain: I was happy to see something other than the Whelan pas de deux which is already easy enough to find on the internet. I thought the company looked good and was interested that although the dancers have all changed since I saw much of the comany (early '90s), they still had the same style... This was very much the PAB, not BB or SFB or PNB. Very subtle and hard to describe what makes each company look a little different even when performing the same repertoire. I thought surely a new generation would have a different look and yet they still have the same esprit the company had 20 years ago. It must be the influence of Roy Kaiser and his team of former PAB principals turned ballet masters & mistresses. I was interested to see the Sappington Calder piece having heard someone rave about the original. I thought the rehearsal footage did more to evoke the mobiles... This felt somehow rushed... Not that the dancers looked rushed in their technique but that the shapes didn't hang in the air long enough to allow ours eyes would linger on them as sculpture. I almost wished the dancers had stayed behind the music. I wonder if the tempo has speeded up a little since the premiere or whether the huge cultural emphasis on Calder at the time of the creation didn't seep more into the performers' consciousness, changing the way they interpreted the dynamics. It didn't seem that the choreograohy was dated as some said on this board about the live performance... more that it wasn't giving itself time to show the connection. I would like to see it again, slower, or more with the timing of Calders' mobiles than of partnering maneuvers. Very subtle change to request.

To my surprise the entire show seems to be up now...

Years and years of service... No wonder he waited for the 50th before stepping away. I remember his years dancing... Epitome of the modern dansuer noble... and also I remember his quiet support when he was directing... Philadelphia was lucky to have him.

Coincidentally the rumor mill is at work.

Same trouble with Safari on an old iPad... But it was so worth it. I only wish there were subtitles.

The Nutcracker clips were wonderful.. Well chosen and nicely cut together... I wonder at what time of year this was. Did they bring SAB children to Hamburg in December? Wouldn't that set be needed in NY at that time? Or was the Nutcracker run not as long in 1965?

Auguste Vestris was famous for multiple pirrouettes and pre-dated the Romantic period (if that dates from La Sylphide, not sure which genre's Romantic period you meant). Entry in Oxford http://oxfordindex.oup.com/view/10.1093/oi/authority.20110803115615107 "A short dancer, he possessed an extraordinary elevation and technical virtuosity that made him the most famous dancer in Europe. His rapid beats and multiple pirouettes were considered superhuman and they inspired improvements in technique throughout the dance world. In 1807, it is said, Napoleon refused to allow the dancer to leave Paris, saying: ‘Foreigners must come to Paris to see Vestris dance."

Beautifully done.. Wish it were subtitled!

https://vimeo.com/47761364

I remember when the Kirov returned to NY after their over long hiatus, they were given sufficient per diem to eat... I wish I remember the numbers but it was something ridiculous like $8... Luckily, there were many receptions so they had something to eat, but still... Sorry for asking the petty details, but remembering how an orchestra member of another Russian group fainted (hunger & exhaustion) and was hospitalized on one of those criss-cross the USA tours only a few years ago.

What does it mean that the dancers are now allowed Continental Breakfasts when on tour? That they are now allowed in their per diem some published cost of a continental beakfast in the area they are touring in? How much could the price of a cup of coffee and a roll be? They had to negotiate for that??