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Amy Reusch

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Everything posted by Amy Reusch

  1. Well to me, it's more of interest because of the situation of the institution rather than because of any person involved. I believe there are some other dance institutions facing the same transition problem... At NYCB, there's a serious repertory legacy for both Balanchine and Robbins. Even with Mr. Martin's successes, he hasn't been in the same position as Balanchine or Robbins. (No one was worrying whether Balanchine was maintaining his predecessor's legacy.) The company was never intended to become a museum, but no one wants to lose or dull the jewels in it's repertory. The question is, how
  2. So he's premiering at Vail with a company of superstars whose commitments must preclude them becoming fulltime company members for him... which is why assumedly they don't reflect the dancers he'll be forming the company out of... But with dancers of that calliber lining up to tempt him, will he find a muse among his own dancers? And if not, if guest superstars are frequently to be featured, seems he might as well have stayed a resident choreographer? I'm still trying to figure out the dynamics of this one.
  3. It seems an excellent idea... and isn't an organization as big as NYCB capable of it? But what then would be the General Artistic Director's responsibility? Programming the season? Choosing & promoting the dancers? Would there be jostling between the assistant directors? But it does seem like good management.... rather than choosing someone well qualified in one of those fields and thereby perforce neglecting the others Would this General Artistic Director function rather like Roy Kaiser at the Pennsylvania Ballet? I don't believe he is choreographing or dedicated to upholding
  4. Moses Supposes Morphoses is Wrong? It's great he's getting his own company together. It must help the choreographer's muse to have his own company. (I imagine he'll still be available for commissions from the larger institutional companies). I wish him all luck in keeping his time mostly free from the business side of the venture... hopefully Lourdes Lopez will manage to make that work for him. I have often heard good things about her. Just possibly Christopher Wheeldon has lucked out.
  5. I don't know of other ballet's that use James Brown's music, but Pennsylvania Ballet premiered one in the 1990s by Doug Elkins that used a little... "Scrapple Divertissements" At the time, I remember Doug calling James Brown "King of the Non Sequitur", a thought I've enjoyed ever since.
  6. Is it possibly a mistake? Not actually what Martins wrote? Both words seem so out of place in their context. Their use is almost as if the blurb were written by someone for whom English was not the native language. Is it possible Martins was misquoted?
  7. While you're at it, also take a look at "Balanchine's Tchaikovsky: Conversations with Balanchine on his Life, Ballet and Music" by Solomon Volkov. It's not a definitive biography, but it's still well worth reading. (I wish whoever borrowed my copy would return it.)
  8. Thanks Mel, his name had escaped me. Very nice line on Semyonov in the photo. I find it interesting that Nijinsky danced a Satyr before Apres Midi d'un Faun. I was wondering too if, feminism or no, the imagery of the hounds & Acteon might not be just a little too threatening to some power figure out there. (I have no idea of who the politcal players of the time were, or if any of them were involved with female dancers). The part of Silenus sounds like a plum for a variety of casting possibilities, Mel.
  9. I was wondering who was cast as Endymion? If it had been that danseur who was the original Seigfried, perhaps it could have been an inside joke? How many danseurs danced to that age in Petipa's day?
  10. It does seem that a dancer playing Endymion who was perhaps most famous for his sleeping, would dance decorously.... Thanks rg. I do enjoy the pas de deux nonsensical though it may be. Rats... now I'm picturing Endymion sleeping somewhere onstage, hopefully not being trampled by barrel turning satyr...
  11. I believe this pas de deux has been discussed here before but I'm struggling with the search engine. Lots of interesting photos from rg but I can't find a discussion of the ballet. I'm very confused. Didn't Diana turn Acteon into a stag and set his own hounds on him when he discovered her bathing with her nymphs? I can't follow how this relationship ended up as a spectacular pas de deux... perhaps I can see Acteon's gravity defying leaps evoking a stag, but not his partnering of Diana... I realize a grand pas de deux is not expected to tell a story, but I'm still having trouble underst
  12. Okay... I was in NYC over the holiday weekend... and down in the subway I kept hearing the first three notes of "Somewhere there's a place for us" from West Side Story... I would hear it and just as I was beginning to wonder if it where some sort of arts installation in the subways, the cars would careen at a different speed and the melody would be broken... Have I lost it? Or has anyone else heard this? And has it been there since the beginning and Bernstein heard it as well? Curious & perhaps demented back in Connecticut, Amy
  13. rats.... it sounded like a very cool idea. Julliard should sponsor a joint centenary conference on the two and host college performances of the rep.
  14. Would it be out of character for The Joffrey to take on some Tudor? They used to pride themselves on some of the historic repetoire... Is this too different from The Green Table? (I haven't seen the company live in a very long time).
  15. I wish someone would pony up for Romeo & Juliet... I've heard so many good things about it... with several people preferring it to the more prevalent Prokofiev treatments. It's a one-act version, isn't it?
  16. I think Balanchine, and later the Balanchine Trust, was very generous about allowing companies to perform his work... and it pays off... look how many companies perform it and how healthy his legacy is as a result. Tharp was at one time very very expensive (perhaps she still is?) and outside of ABT & Hubbard Street, few did her work...but now suddenly it seems everyone is doing it... Did I read somewhere that her son is working to seed her work in more companies? Baryshnikov merited high respect when his project for NIPAD (National Iniative to Preserve American Dance) was to perform th
  17. I'm just wondering... There is so little (is there any?) Roland Petit in American ballet companies' repetoire. Anyone know why not? A decade or so ago, Pennsylvania Ballet was interested in obtaining some of his work, but apparently their interest came to naught. Do many companies outside of his own perform his work? I recently saw a video of Baryshnikov in Petit's Carmen and would like to see more... Am I allowed to ask this question, or is it too much a matter for conjecture? Roland Petit entry in Wikipedia Estelle Souche's page on Roland Petit mentions that he has left (retired?)
  18. Let's see... there was the elderly deaf couple arguing about their marriage, apparently oblivious to the production on the stage... there was the guy in the front row who stood up and started taking flash photos, and then picked a fight with the usher who tried to get him to stop... and then there was that guy snoring so loudly through Jean Erdman's performance, whom someone informed me naught could be done about as he was her husband, Joseph Campbell. But recently? beyond the usual kid stuff at Nutcracker (which I tolerate because Nut always seems like a mission to bring ballet to young chi
  19. Jack, Here's the info on the Bolender/Evans/Phlegmatic video: A link to the Balanchine Foundation's page: Foundation Video Archives A listing of archival libraries with Balanchine Foundation videos where it mentions Alas, I hunted for the tape in card catalog, and although there were several of the Foundation's tapes there, including several of Maria Tallchief's coaching, the Bolender one did not crop up. However, if you requested they get it, perhaps they would. If I remember correctly, the Foundation was trying to make the tapes available to non-circulating libraries at cost, so
  20. Just a footnote... Albert Evan's was coached in Phlegmatic by the late Todd Bolender who originated the part... whether he was using that coaching in the performance you saw, I wouldn't know.... I remember Bolender saying something about how different in style the part is now performed. But you might be interested -- having just seen him live -- to check out the video. I would imagine it's available somewhere in Chicagoland, though you will no doubt have to watch it on site.
  21. Yes, I suppose if a young choreographer in residence feels passionately about a particular musical composition making him want to create, he shouldn't be discouraged... but still, it's hard when we're talking about an existing recognized masterpiece in the company's rep. I wish (in that fantastic world where budgets are unlimited) that the company would mount the two in tandem... go one night to see Butler, the next night to see Neenan's vision of the same piece. Is it still called the Dance Collection? I seem to think they've changed the name to the Dance Division (which I find rather conf
  22. With all respect to Matt Neenan, (whose choreography I have not yet had the pleasure of seeing), I'm sorry to see PA Ballet letting the Butler Carmina out of their repertoire. They've had such a long relationship with the piece and do it so well. I suppose they have to do it every two years or so or lose the rights? Perhaps they think the audience is tired of it? Still they have such aesthetic ownership of it, and understanding that comes from years of presenting it.
  23. There are, of course, several archival recordings... You might be able to watch some version at a performing arts library...
  24. Isn't Butler's the only version that was choreographed during Orff's lifetime with his approval? The dynamic range used to make my sound assistant go insane... from stage whispers to bombast in split seconds...
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