Amy Reusch

What about Russian Seasons? Is there a story there? I have only seen clips (where musicality snd a slightly mischievous quality seemed dominate)?

I actually was wondering about that... The guys come to mind more for me in the little of Ratmansky's work that I've seen.

Did Ratmansky choose his Firebirds? Or was it negotiated with Kevin McKenzie? I am curious to see Misty Copeland as Firebird, but will probably only get to see one... and I want to see Osipova fly.

I was wondering if one needed a school or merely a home company? There was a Tudor ballerina type, I believe, and though he taught at Julliard, I'm not sure he brought women from there into ABT... Or am I wrong about that?

I think there is a concept of what made a Balanchine ballerina... though surely there was more than one type. Perhaps it was more that a particular ballerina was well suited to Balanchine's choreography than thre was any stereotype... Have Ratmansky & Wheeldon been around long enough yet that we can describe the sort of dancer that they tend to like to work with? Just curious what qualities they are bringing to the fore as these may well influence the future form ballet dancers take...

Twitter and Facebook serve us in a very different way than the forums do.

I'm sorry if I'm only saying the obvious, but Ballet.co will be very much missed. Their photo collection is one of the great internet resources. I always loved to see what productions in London looked like, as those companies do not visit these shores very often.

I lovd the Waltz of the Flowers when I saw it last year, and loved the Bees. I know others wanted something more traditional but I loved how the Bees made me hear the music as I had never heard it before.... And considering my age and how much we get bombarded with Nutcracker, that's really saying something...

Mark was a rare kind of balletomane... Knowing dance from the stage, the house, the studio, the published word and the cyberverse (well, after all, he was there even in the early nomenclature days of the internet)... Always trying to pass on the vibrancy of dance to others. He will be much missed by everyone. I first encountered on the NY Times dance chat (there was such a thing in the 90s) when I was complaining about a sudden turnover at Grand Rapids Ballet. Overnight he got the talent offered a new job at The Joffrey. He was an insider as much as a supporter. I was happy to find his name on several old programs passed to me recently and shipped them on to him. His list of Facebok friends read like a Who's Who of the dance world for good reason.

Why are Boards deciding to pull this lack of judgement? What makes them feel qualified in any way to decide artistic decisions? Artistic decisions should be made by committee? Has China been so successful with this artistic model that the US wants to follow it?

The internet will not be the same....

Thank you... i've always steered clear of The Cage because it looked "a bit much" in photos and synopsis. Because of your review, I will give it a try. The Concert is a wonderful old chestnut. Your summation makes me smile at the memory of it.

Yes, Jack, S-VHS is short for Super VHS, if you still want to know... Once upon a time, keeping track of formats was simple. I miss those days, but not the recording quality. Nothing was more frustrating than seeing a sharp image in the camera & monitor only to find smudgy images recorded and worse duplicated. But remember, there actually was a time when advertising touted "near VHS quality" for certain products! Analog had its strengths though, and the sound stayed synced for the most part.

I find some parts of it charming and very creative and others truly misguided... I would like to see more. We see almost no Jacobson here and I would like to know more about him. I believe there was going to be a presentation a few years ago, amd then the visas didn't come through... Wasn't it going to be Cojocaru performing? Anyone remember?

Fille mal Gardee?

When I think of how much great dancing I have seen on screen compared to the few performances I have seen in person (and not from good seats)... I couldn't wish for more than that some angel hear Kristin Sloan and pour funding into the administrative negotiations necessary to make NYCB digitally accessible. Yes, there are a lot of intricacies that make it too difficult to accomplish for a normal live performance targeted administration, but surely if another arm to the organization was underwritten and added, the benefit to the main company would quickly accrue. Of course, if they produce bad video, which is very easy to do, it might NOT inspire live performance support.

I didn't quite follow... Will it be NYCB production staff or Local 1 that operates it? And if it becomes a live broadcast how does that play into the entity doing the broadcast? Is WNET a union house? Must ask around.

:^D I don't think Tsiskaridze could ever be considered to be lacking in chutzpah!! Chutzpah is his specialty!!! (I'm agreeing with you, in case it seems otherwise)

I wouldn't mind seeing a fiery artistic director with passion at the Bolshoi... Seems the company's style would be in tune with this... A bureaucrat might be the worst type to direct a company like the Bolshoi.

To me it makes more sense than courting new choreographers... The old ones have more in common stylistically with each other, I believe, than they do with contemporary famous choreographers. Which is not to say Graham shouldn't do more to show choreographers continuing in the Graham tradition, but these would be lesser stars and harder to attract funding/audiences/media attention with....(?)

Perhaps it is time for him to direct a regional company... Having to handle orher peoples' issues in order to pull off a season can be very civilizing... ... On second thought... He's just cultivating his celebrity... Not a bad thing career-wise for a dancer his age... It will be harder and harder for his dancing to garner the same attention. He knows just what gets media attention (and good manners don't qualify). It's a given Hallberg would be attacked, an outsider entering a closed competitive institution. (Hallberg can't be the first star to ever be attacked at the Bolshoi, only the first American). Probably it is better that it is Tsiskaridze doing the attacking as it puts Hallberg in some stellar company.

I'm still suspicious about the new floor ... I wish someone would quote the dancers saying it is marvelously sprung...

All sounds like they've got a wonderful opportunity then in joining the other company, if it is offering more chances to dance before they are 30, original repertory, and touring freedom... maybe they'd be nuts not to go?

I wonder about the leather triangles. They are remeniscent of Bournonville style slippers. I wonder what the function was?

Wonderful... I am very excited then to see what new work he creates on these two stars. I wonder what it will be? Taking my words out of context changes their meaning. It was perfectly clear that I wasn't refering to the viability of the classics.