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Amy Reusch

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Everything posted by Amy Reusch

  1. And this worthy one: American Dance Guild: http://kck.st/N6p8ge I can't "quote" from the iPad interface, but below it the reason I find it worthy: Special features of the festival include: John Pennington (of Lewitzky and Horton lineage) will perform a newly reconstructed “Dances Before God “ of Harald Kreutzberg, the legendary German dancer whose performance galvanized both Jose Limon and Erick Hawkins (by their own reports) to pursue professional dancing; -- Molissa Fenley presents her duet “100 Vessels” to music of Phillip Glass; Joseph Mills presents his acclaimed “Circle Walker,” moving inside a spherical sculpture. And many, many more! Other featured choreographers include: Other participating artists include: Kyla Barkin, Peggy Choy, Shani Collins, Molissa Fenley, Betsy Fisher, Kaoru Ikeda, Andrew Jannetti, Allison Jones, Erin LaSala, Rebecca McArthur, Sarah Mettin, Joseph Mills, Rebecca Netti-Fiol, John Pennington, Dawn Robinson, Sasha Speilvogel/Labyrinth Dance, Jenny Showalter, Maxine Steinman, Laurie Taylor, Hee Ra Yoo, Kathy Wildberger, Tina Croll, Sue Bernard, Gloria McLean, Sarah Stackhouse, Nancy Zendora, Joan Gavaler, Mary Seidman, Joe Celi, Ellen Cornfield, Philein Wang, and Marta Renzi.
  2. I enjoy watching the progress of the fundraising for these projects..... and scanning through the ballet projects that have successfully been funded... It's nice to be able to contribute even at the $1-10 dollar level... affordable philanthropy for modest budgets! There is also this modest budget proposal : "$1812 for 1812" to raise funds to pay professional ballet dancers for an MFA project: http://kck.st/LMEjxD Ballet Next exceeded their goal earlier this Spring http://www.kickstarter.com/projects/1229228855/sponsor-new-choreography-from-leading-dance-artist?ref=search And this one isn't ballet but still very worthwhile: American Dance Guild http://kck.st/N6p8ge
  3. There is also this modestly budgeted project: "$1812 for 1812" http://kck.st/LMEjxD which is past the halfway point.
  4. There is more to dance than the pursuit of perfection. If these "not retired" dancers reprised old roles designed to show off acrobatic feats and perfect line, they would be guilty of making poor artistic decisions... But, there is more to dance than the pursuit of perfection.
  5. I guess they can't all be Frederick Franklin.
  6. There used to be talk in the old days about SAB rejecting students because their heads were "too big". I always thought it was silly, but I think I see how it makes us see Daniil Simkin as boyish... seems like just something to learn to work off of, but might mean trouble in stereotypic casting...
  7. This is terrible news... just when Copeland was poised on top of the world! I hope she recovers quickly.
  8. Balanchine changed his ballets over time. I am not defending this Firebird, but I don't think the criticism is apt.
  9. I wonder if some of the "undanceable" sections weren't suitable for staging special effects to. There were some nice special effects that I don't want to mention for spoiler reasons. I was disappointed with the choreography's musicality overall... And I am one of those who loved the bees in Waltz of the Flowers particularly because of the musicality of their choreography. There are good choreographic bits in here, they're just spread too far apart.
  10. I used to enjoy the dance quotes on MST3K. Tried searching for some and I can't [quickly] seem to find the episode, but here's one: Mystery Science Theater 3000 Servo as Announcer: "Cindy Williams is Twyla Tharp as Isadora Duncan in The Meredith Monk Story: A One-Woman Show!"
  11. Ilya, there were many crying Bravo, so do not feel too lonely.
  12. I think Nureyev, Nijinsky and Tharp have entered into the mainstream of our language... whether or not they'll remain is another guess... What will become of "Sonja Henie's Tutu!" now that the Car Guys are retiring?
  13. Anyone ele wondering "Petrushka?" during the wall scene?
  14. Ilya, the squeaky soles on the floor was only in the opening scenes, was it not? I wonder if they changed something mid performance
  15. If you go, be fairly warned, the second intermission is very long while they change the floor. I was on the Balcony and I'm with Ray and Abatt on this one. Hallberg had fun with hs character, and there some good moments, but not enough to fill more time than a commercial for this ballet. Choreography looked less musical than I think of Ratmansky as being, and generally spread a little thin. "Misty Copeland" is written all over the firebird part. Why were there so many firebirds? It almost felt like Ratmansky didn't have Osipova around during the making of the ballet and decided to give everyone in the corps who wanted it a chance at being firebird as well, and ended up singling out Misty because she was the best at it and building the piece off rehearsal time with her. I always hope for an opulent Firebird production, like a Faberge egg, or one evocative of those laquered boxes. This was like Tim Burton does Marvel Comics. It is hard to see faces from up in the nosebleeds, who was the lovely soloist in 13 Diversions with the silent pointe shoes? It was interesting what worked in Hallberg's Apollo. I don't think I've ever seen an Apollo with such beautiful line, but I wondered what Balanchine might have adjusted for him. Jacques d'Amboise has said it's hard for him to go see many ballets today because he sees the ghosts of other dancers in the movement. It is very easy to see d'Amboise and Martins in Apollo. (I wonder what parts Lifar left his mark in?). Hallberg's leg line was beautiful, silken, sublime. There some places where Apollo stands with his front foot in a half forced arch, and it looked kind of strange on Hallberg. I expect he will make a third iconic interpretation of this role, that all future dancers will then have to contend with, there were many strong points, but I found myself missing an expressiveness in the upper body, across the back and out into the arms in certain moments. I agree with the above posts about the musicality. There were times where I thought, "wait? That doesn't happen with the music?" Glad to hear it wasn't my imagination.
  16. Loved the early pirouette with petit battement...
  17. And here,,, with Grover!
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