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Amy Reusch

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Everything posted by Amy Reusch

  1. Thanks for the heads up about the video clip! There was a great deal of video there... much more than just the flowers. I'm sure there was also video taken of the Nichols farewell, as someone toting a Sachtler tripod practically bumped into me leaving the theater... I suppose it could have been backstage footage, but I doubt it... whether the rest of us would have access to it, though, is another story. Maybe it will be at the NYPL Dance Division. Footnote: I just can't get used to "dead" people with fully pointed feet.
  2. I need to join the chorus about the photo... I actually came to this thread to find out what was going on that a dancer would expose that pose on stage and the NY Times would print it. I don't really think you can call that an arabesque penche. I don't know what it is, but it's certainly not an arabesque. Is this what competitions have come to?
  3. Too bad we can't have a duel about a pair of non-retiring ballerinas....
  4. I'd never been to a Farewell performance before, so I was quite struck by the Kyra Nichols farewell. It was so much more than just a performance... more a ritual of passage with more witnesses than most weddings (I hope!). The subject was even dressed in white. The whole house was filled with emotion that had little to do with the choreography, although that was beautifully danced. When in Der Rosenkavelier, Kyra was up there seemingly waltzing with her memories, it was as if the whole audience was up there with her. I remember the discussion on a pre-Ballet Alert board of Heather Watt's
  5. Does it perhaps have something to do with Nichols being older and retiring from a longer career while Ferri is only retiring from ABT and hasn't ruled out dancing for other companies? Does it have something to do with Nichols having been chosen by Balanchine himself? It's funny, but before the Farewell reviews, it almost seemed that Nichols was the one getting less attention... perhaps it was to even things out?
  6. Will his name be better box office when he returns to ballet as a result of the television exposure?
  7. The world will never be the same ! Much love to you and your precious bundle. All smiles, Amy.
  8. I agree... it is interesting... why is repetition a gimmick in some pieces and a meditation in others? Is it just a matter of overall structure of the piece? When does the fascination stale? Is it a mental resting point when it occurs as a motif? I have to confess I've never liked the little swans, perhaps more because of the head movements than anything else... and the fouettes, well.... if you like to count, I guess... but after the first 10 viewings, it's hard to stay hypnotized. Could someone suggest an individual repitition that holds up? (Aside from legitimate whirling dervishe
  9. As if there were a "y" in it, yes? "Sm-you-in", then... not "Sm-ew-in"?
  10. What is the proper pronunciation of "Smuin"? (embarassed by my lack of aural recollection)
  11. Prior to Joffrey's arrival, Hubbard Street was unquestionably Chicago's biggest dance company. I believe founding director Lou Conte had Joffrey roots. Did the two companies jockey for support, or have they moved in different directions enough that there is no overlap?
  12. My initial gut reaction was "This is going to be good for Dance!"
  13. I remember that master class... and his comment about them not turning on the heat for the children's classes! I do remember him talking about his childhood in the Danish system, but interestingly, he didn't talk much about the Bournonville technique, and I think I remember he didn't teach the class in the Bournonville style... I think I remember asking him what in the class would have represented Bournonville, and I think he responded that there was nothing... so... does that mean he's a convert to Balanchine? Is he in the wonderful position of being able to look back into the Bournonville
  14. Bell Labs engineers? I grew up in a town that was so full of Bell Labs engineers that AT&T used to sponsor block parties... My parents folkdanced with several retired engineers who claimed that there used to be weekly folkdancing in the Bell Labs cafeteria. The Bell Labs engineers I met were all educated cultured people... however, all the same, I wouldn't say dance was much supported locally in my corner of NJ while I was growing up... Perhaps it was as much because of the proximity to NYC (spend your arts dollars on the world class NYC rather than local start-up) as much as the conserv
  15. Nuturing a young choreographer like Matthew Neenan is leadership. If that means some of his pieces don't end up as good as his best work... well that could have been said of Balanchine too. Bringing in some world class rep is also leadership, even if ideally it's better to see that world class rep on the companies it originated on... it's still doing a service to the dancers [who grow by dancing it], the audience [who learn to see by watching it] and also the choreographer [whose ouevre becomes more familiar and ensconced] to mount the works in Philadelphia. Philadelphia is not NYC, Londo
  16. Some Roland Petit? Are we talking known works or commissions?
  17. I don't quite understand this... what are "piqué turns done with a wide stance"? How can you have a wide stance when you're on one leg? Did the reviewer perhaps mean chainé turns?
  18. Thanks! I'll keep my eyes open for Ivor Guest... I can't but imagine being director of the opera under Louis XVI must have involved acquaintances later deemed dangerous during the Terror... Someone should mine this for Hollywood!
  19. I was wondering... what happened to the ballet during the French revolution? Did it disband? Did it re-band? Who saved it? And, if Britain didn't have a royal ballet from the 18th century & 19th century... why not? Was it the religious issues? Did the 18th century royal family not have the same wealth to draw on as the Tsar & Louis? Was the lack of a unified German state the reason no large ballet company formed in Germany? What happened in Spain? How did countries without a historical government-subsidized performing arts company finally come to have one. Why do some coun
  20. Was this that small group that was maintained after the earlier school had been closed? I know ABT had a school before Baryshnikov took over. I also remember a college classmate who went on to study with ABT during Baryshnikov's tenure as AD after the old school had closed. I never quite found out what these classes were, but it seemed to be a small number of students who were invited to study with the company... perhaps filling in when larger casts were needed? What was the School of Classical Ballet? It was a little surprising how poorly Charlie Rose had been prepared for the interview
  21. Thank you drb! It was interesting to hear Baryshnikov talk about ABT being limited by not having a school, when it was he who closed down the school ABT had. I wonder what the thinking was... we need a school but better nothing than this? Or, if you're not going to put more money behind the school, we might as well abandon it? Was there ever much said about the closing that could be repeated here? Would one say he's come full circle... starting at school and finishing by starting a school?
  22. It might be interesting, though probably a diplomatic suicide mission... to not only mention the strengths of the various schools are but where the weaknesses tend to show up in the non-model dancers... Sometimes one sees the styles more clearly in the mediocre specimens than in the stars. Anyone ready to go down in flames?
  23. Just a footnote... Kirk Peterson originally choreographed "Mad Rush" for the Pennsylvania Ballet in the early 1990s.
  24. Do the powers-that-be at the Times think that natives have just seen too much NY dance to have a clear point of view any more? First Rockwell... now a Londoner? Is there anything to that notion?
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