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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    retired pro, now teaching
  • City**
    Chicago, IL
  1. Farrell has mentioned that her father also had hip replacement surgery and has stated that she believes hers was due to a genetic disposition.
  2. Alex Wong is back on the new season of So You Think You Can Dance
  3. Though I am sure you have heard this before, you are a very gifted dance photographer. Beautiful eye for proportion and capturing the moment
  4. I was at the last performance with Veronika Part as Odette and Gillian Murphy as Odile and Marcelo Gomes as Prince Siegfried. First, Gomes was fantastic; phrasing was superb and musical, making all the usual tricks like calligraphy in the air. His acting and command of the stage was also impressive (and this time around even more important, as he was the dramatic link between his two swans). There was no explanation of the casting change. Part was a beautiful Odette. I was a fan after last year's Lilac Fairy in the Sleeping Beauty and she didn't disappoint; beautiful line and articulation, especially in the legs and feet, but a little less so in the upper back and neck. Gillian Murphy is a dancer I'm ambivalent about. No doubt she has strength and can turn, but I do not find her dancing to have much nuance. I was also a bit distracted because I know she wears a pointe shoe that has a bit of controversy attached to it, so I was watching her feet probably more than I should have (and for the record, she used her feet well and the 'shoe' was really only noticable when she was standing flat and then it gives a bit of a 'flipper' effect). I found the production itself at times overly busy. I'm sure the corps/soloists appreciates that they dance quite a bit, but especially in the first act, but the stage can look cluttered. By the third act (and yes this was the second performance of the day), they looked worn out. The Czardas and Spanish Dance looked as if they were just going through the motions and seemed to be struggling with the conductor's tempos which were bright and musically correct. Not a 'Swan Lake' for the ages, but overall a good perfromance.
  5. Metal strip? The two nails? The staple? The shank, except in specially made shoes (usually for men), is made of leather or composition. I don't know if still available, but Schachtner's used to have an option for a steel shank...I danced with a girl who had those 'super banana feet' that used them.
  6. I can't believe that I am scheduled to be out of town teaching on those days
  7. Just a note: the new judging system (IJS: International Judging System) provides a significant 'bonus' for jump elements skated at the end of the program. This is where you see the 'fitness' (or lack )of the athlete come into play...
  8. Not wanting to comment on the pieces to be performed or the current administration, but to say, IMO, there is no excuse or justification for not including a Balanchine ballet in the opening program. What were they thinking?
  9. Seems I remember being taught that there are only 8 plots and all literature just vary on established themes Verbal language works for many, and depending on the language being used (often I have had a friend comment on how their 'native' language lacks a particular word or another comment that his language has many, depending on the particular situation...). Non-verbal languages: music, painting/sculpture, dance, etc. express what words often cannot... (That's why as hard as a dancer's life might be, it can't 'compare' with a dance critic's )
  10. Not a ballet company (though many members danced for ballet companies): Hubbard Street Dance Co. is a 52-week contract!
  11. Sorry to disagree, but I couldn't let this one pass: the length of one's Achilles tendon is only one factor in determining elevation and there are some very powerful jumpers with short tendons. This often gets misunderstood by students because teachers are always urging their students to 'get their heels down' and the ones with shorter tendons struggle with this, but that doesn't transfer over to smaller or weaker jumps
  12. The small paperback on pointework was a precursor to the larger, more inclusive volume. The pointework has been absorbed almost entirely into the 'technique'. Meant for teachers, pros and advanced dancers, she makes it clear that most of the details are not meant for dancers at the lower levels.
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