Gina Ness

Hi Paul...Yes, I agree with you about Lew Christensen's Snow Scene choreography. I've danced the corps (the premiere of the 1967 O'Hearn production which is the best of Lew's two productions and which stayed in the rep until the late 80s when Helgi launched a new production that was a blend of Lew's, Willem's, and Helgi's choreography. Mr. Vilzak set the "Trepek" Russian dance) and the Snow Queen (1973-1985). Lew's "Waltz of the Flowers" beats, hands down, ANY choreography for the dance that I have ever seen. I think it is so sad that SFB doesn't perform his "Nutcracker" anymore. I really do love Tchaikovsky's score for "Snow". I, along with MakarovaFan, also LOVE the music where the tree grows at the beginning of the fight scene!

Lilac Fairy variation from "Sleeping Beauty"

Prayer solo from "Coppelia"

Snow Scene from "The Nutcracker" (I can't believe I'm listing this... :blush: I've danced one too many Nuts in my day!)

Finale or ending music of "The Firebird"

Opening dance of the Ballroom scene in "Romeo and Juliet"

Not "Giselle", but related...I remember when SFB in the late 70's danced "Concerto Barocco" before Ashton's "La Fille Mal Gardee" which at that time we danced in two acts. Boy, that seemed like a bit much to me! All the corps in Barocco were Lise's friends, and I was one of them. Actually, it was great to do all that dancing in one evening... I believe "Giselle" can stand on its own, and certainly "Fille", too! We only did that one season for "Fille"...

I just finished the book last night. I like the Potter books very much. I am, however, what you might call a Tolkien "freak". I have loved, read, and reread the trilogy since the late 60s. Rowlings draws from these books. Dumbledore and Gandalf are similar characters, and we all know what happened to Gandalf after his "death". He rose again from the dead to become the White Rider; he was the great master architect of the final overthrow of Sauron. Dumbledore plays the same role in relation to Voldemort. My guess is he will return in book seven...

Counting is a framework. Sometimes it is more necessary than other times if the music structure is complex (I'm thinking Stravinsky, for example). However, you get to the point after learning a ballet that you don't think so much about the counts anymore... you dance to the music.

And, the first buttons Damara was referring to read "S O B" and vertically down from these letters "Save Our Ballet". I still have one...

The son of Richard Thomas and Barbara Fallis (New York City Ballet and New York School of Ballet) is well-known actor, director, and producer Richard Thomas of "The Waltons" fame (John-Boy). He was the host for the presentation of Michael Smuin's "Romeo and Juliet" when it appeared on "Dance in America" in the late 70s.

I had this one on my mini-van for as long as it was readable: "The Artless Are In Charge Of Funding the Arts"...

That was interesting, vrsfanatic. Even if they are comparing pre-Vaganova Russian training to more "American" style, I remember a lot of bending (certainly not rigidly upright) in combinations from my teacher, Anatole Vilzak (Graduate of the Mariinsky and Russian star of the Diaghilev Ballet). Paul, I love the "snail" section in the second movement, too. I'm just getting a flash for the "mad" step! vrsfanatic...Is it that combination in the first movement (step front points with opposition upper body twist then backward hops in arabesque changing eventually to step back in fourth lunge)? I know I remember some combination being a "mad step" now and was trying to remember which one! Sorry if this is a silly question, all...My last rehearsal for Concerto Barocco was some twenty years ago!

Huge original Star Trek fan here, too...His character on the show was so unique and he played it so well. He will be missed by his family and his many fans...I saw a bumper sticker once that read, "Beam me up, Scotty. There's no sign of intelligent life down here." I searched high and low for that bumper sticker! I never found it...

I only remember the reference to the "chicken step" during Barocco rehearsals. I wish I could tell you, but I don't know or remember what the "trouble step" is. These references were usually just used as take-up points during rehearsals as in: "Let's take it from the chicken step." I wonder if the above references (trouble, lampshades, etc.) are all from Borocco or possibly from some other ballets, as well. Maybe someone else will tell us! I'd like to know what all of them are, too.

I had the opportunity to dance several Balanchine ballets when I danced for SFB during the 70s and 80s. One of my favorites to dance was Concerto Barocco. I danced both the corps (if you can call it that!) and second principal. I much preferred dancing the corps because they are on stage for the entire ballet. The "chicken step" is in the first movement when the corps does a combination that has a dip of the body, knee turned in and tucked up towards the chest, and arms raised behind like wings...It was such a completely satisfying ballet to perform. I loved the music and the intricacy of the choreography to the music. I remember thinking at the end of the ballet (the first time I performed it) that I had just danced a complex mathematical formula! I was quite proud of myself for getting through it considering we learned it in one week and performed it the next! (It premiered for us in Fairbanks, Alaska, fortunately....we worked on it, of course, much more before its premiere in San Francisco)

P.S. Rereading the initial post again...I noticed the comment about Petipa style being "upright" and the more modern American style having lots of "bending"...This is SO Lew Christensen, too! Up, down, up, down...I always thought in working with Lew that this was important to him, as well. Interesting....

That's a great deal. I paid almost $100 for my boxed set new... :rolleyes:

I learned the 3rd Act Aurora variation from Madame Ludmilla Shollar, who danced with Nijinsky and was trained in St. Petersburg. I wonder if the variations and choreography learned or recorded long ago isn't more likely to be closer to the original. I believe it probably is. Paul, as I learned it from Madame, Aurora "corkscrewed" her arms and hands in a very exaggerated fashion doing the little diagonal "on pointe" front develope walks. The sissone section was three arabesque sissones darting to croise (so changing direction very quickly) and one releve sous-sus in fifth position, arms fifth. (I know this is getting a bit technical, but I know quite a few of you will know what I'm talking about). One of my favorite variations I learned from Madame was from a now probably lost ballet "Le Pavillon d'Armide", one of Fokine's first works presented at the Marinsky Theatre. I remember every step of it. I wonder how many little bits of history are floating around in people's minds who have studied in their youth with these "living links" to the old Russian ballet...

Leigh and Hans are right-on, I think. I would add one more thing...musicality! For a dancer, his choreography fits the music so perfectly. I can't imagine any other choreography to the music of the ballets that he created.

Thanks, Estelle...I googled a bit out of curiosity, but didn't find as much as you did! I knew Shannon, as well. I was leaving SFB as Shannon was arriving. A very talented dancer and as sweet and nice a person as you would ever wish to meet. I'm happy to read that she had such a successful career after leaving SFB.

That's hilarious!

Hi Mme. Hermine! Thank you for researching Christopher Gable videos! I've seen photos of him as "Franz" and would love to see the Royal Ballet's "Coppelia". The rehearsals of "Romeo and Juliet" would be wonderful to see. It's good to know that there is a record of his dancing SOMEWHERE...You must have to live in New York to be able to access these videos...sigh...How does that work, anyway? It's been a long time since I've used public libraries, and technology is very different than just a few years ago. Thanks, again...

I never saw "Daphnis and Chloe", but I did see "The Invitation". Lynn Seymour was riveting in that role! Such a powerful actress...They both were remarkable actors as well as dancers! I know this is a bit off topic, but do you or does anyone out there know if there are any videos that exist of Christopher Gable? I know he made a movie (I seem to remember him with Twiggy?) But, I mean, any dancing videos hopefully from the time he was a star with the Royal Ballet...

Yes...Richard Cragun is a good addition to the list. Did you know that he is from Sacramento, California? dirac....Seeing Gable and Seymour live in Mac Millan's "Romeo and Juliet" was one of the most memorable performances I have EVER witnessed. No cast I have seen since quite compares to this remarkable pairing. They were the choreographer's inspiration; the ballet was created for them.

Thanks for that link! It was fun to see photos of the newly renovated Grove. You have to walk quite a way DOWN from street level to get to the performance area. I always loved dancing there because of all the beautiful eucalyptus trees and the wild nastursiums spilling everywhere down the hillsides. And, the occasional dog that would run across the stage (once, in the middle of "Serenade"!) Fun...Back when I was dancing there, we could always depend on the toilets in the backstage dressing rooms to overflow. I hope this has been part of their upgrade and renovation! I think it's too bad that SFB isn't dancing there this summer. It's the one chance for many San Franciscans who can't afford Opera House tickets to see their ballet company...

This post makes 51 votes for Manuel Legris! I wish I had seen him dance live...I've only seen him in video. Also, I can't help but mention Christopher Gable (MacMillan's "Romeo"). Boy, did I have a huge "crush" on him when I was a teenager...

Let's not forget the fabulous Zizi Jeanmaire!

Lew Christensen was a principal dancer and ballet master for American Ballet Caravan. Balanchine's "Apollon Musagete" (1937) was created for him. Lew also choreographed several ballets at this time. "Encounters" (1937) set to Mozart's "Haffner" Serenade; "Pocahontas" (1939) set to a commissioned score by Eliot Carter; and one of his signature ballets which is still performed today "Filling Station" (1939). "Filling Station" is considered the first all American ballet: American choreographer, dancers, based on an American theme, music (Virgil Thompson) and design. In 1941, he married Gisella Caccialanza (star of American Ballet), who was the god daughter and last protege of famed Italian ballet master, Enrico Cecchetti. The American Ballet Caravan was the joining together of Lew's "Ballet Caravan" (1936) and Balanchine's "American Ballet" (circa 1934). They joined forces for the tour in 1941, calling it "American Ballet Caravan", Lew appointed as Ballet Master. During this time, Lew also choreographed another of his signature works, "Jinx" (1942) set to music by Benjamin Britten. This work is still performed occasionally today.

I have that memory about Makarova and Dowell, too, dirac...but I couldn't remember where I heard or read about it.