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YouOverThere

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About YouOverThere

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    (unsophisticated) fan
  • City**
    Arlington
  • State (US only)**, Country (Outside US only)**
    Virginia

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  1. The offer apparently applies to the remaining orchestra seats.
  2. I finally merited a notification from the Kennedy Center about a discount. They are advertising $35 for "select seats" for the Tuesday and Wednesday performances only and $49 for the Thursday and Friday The Sleeping Beauty performances. The code is 387536 for phone and in-person orders FOR TUESDAY AND WEDNESDAY - apparently all seats are $49 (or less) for Thursday and Friday. The online option isn't working, so I don't know which seats the discounts apply to or how much the seats cost without the discounts.
  3. It's certainly been a financial success, with 6 out of the 7 shows (all but the Thanksgiving show) being essentially sold out, and even the Thanksgiving show sold more than 90 percent of the seats (the stated capacity of the Opera House is 2364). I had Emily Carrico and Moises Martin as Marie and the Prince (they did 3 of the shows, as did Airi Igarashi and Vitor Luiz) and Jacob Bush as Drosselmeier. Given that I 1) only watched 1 performance and 2) didn't think that the choreography was in general all that challenging (though Carrico did some fairly complicated pointe work in the final pas de duex), I don't have an opinion on their abilities.
  4. You've left me curious as to what you considered to be surprising. The things that surprised me were all negative.
  5. The Atlanta Ballet furthered their Nutcracker sales by traveling to the Kennedy Center for 7 performances. I wasted $49 and 2 hours on their forgettable program. Lackluster choreography and an abysmal failure to make a coherent telling of the story shown through despite the computer graphics and cute props. No Sugar Plum Fairy. No Cavalier. No Snow Queen. No Snow King. No dolls. Essentially no dancing for the first 60 percent of the first act. A nutcracker prince who cowardly runs away and leaves "Marie" at the mercy of the mice, saved only because Drosselmeier decides to cause the mice to leave. But she still falls in love with him because, well, because it is necessary for the second act (the nutcracker prince finally kills the mouse king in the second act - without any help from Marie). Marie, the NP, and Drosselmeier disappear for most of the second act, leaving no reason for the rest of the act to take place.
  6. I recommend caution when dealing with the Shakespeare Theatre box office. On Wednesday, they told me that the only tickets left were at the most expensive price. I decided not to attend that performance because I didn't believe them based on what I had seen online, This morning, a friend who had bought a ticket at the cheapest price told me that there were lots of empty seats around where her seat was. On Thursday, the box office told me that they couldn't sell me a ticket because the performance was sold out. I was able to buy a ticket online. There were lots of empty seats near me, including 4 in the row that I was sitting in.
  7. This afternoon, a couple of dozen seats have become available for tonight's performance (they were probably being held so that there would be seats for people who also want tickets for the after-performance party).
  8. The casting for the Washington Ballet's season opening program NEXTsteps can be found here: https://www.washingtonballet.org/events/nextsteps/ (You will need to click on the "read more" option for each piece to get the casting). The show runs from Wednesday (10/23) through Sunday (10/27). It appears as if the Thursday performance is sold out; at least it isn't possible to purchase tickets online for that performance.
  9. I liked it better the second time (it seems like that's always the case). Knowing who the characters were ahead of time was helpful. And sitting downstairs instead of in the nosebleed seats definitely makes for much better viewing. But I still think that there is plenty of room for improvement (and slimming down - once again, by the time the wedding Grand Pas started my attention was drifting). The story just isn't compelling. It doesn't seem to have a message, other than perhaps if you come from a rich family everything will work out.
  10. I've been wondering if perhaps because the choreographer is also a dancer in the company if he tried too hard to squeeze in as much dancing for as many dancers as he could, with the result that the stage was too cluttered at times. The jail scene is a good example of what I thought was lacking in the work. We should have had sweaty palms worrying whether the heroes would find a way out or if they were destined for the gallows. I didn't feel at all tense or nervous. I will probably go again just to see if it seems better when viewed from the orchestra. I didn't think that the show was terrible, just that it wasn't up to the standards I expect from the elite companies.
  11. Alas, the Kennedy Center has forsaken me - I haven't received discount offers like this for several years. This is unfortunate, because Paquita did not impress when watched from the nosebleed seats. I think that Xiaoyi was right on. The production is quite long (and unfortunately was extended by unusually long intermissions), yet very little time was spent on the plot. I didn't ever see sparks flying between Paquita and Andres; they really didn't spend a lot of time together. I might have enjoyed the wedding Grand Pas, which didn't start until after 10:00, more if I wasn't worried about how late I would be getting home on a work night. Perhaps watching it from a little closer, where it would have been easier to figure out who was who, might have left me with a better impression.
  12. The Kennedy Center belatedly celebrated the 100th anniversary of Merce Cunningham's birth by presenting a completely forgettable performance of 2 of Cunningham's works. The dancing, such as it was, was performed by a company called Compagnie Centre National de Danse Contemporaine - Angers, whose AD, Robert Swinston, re-created the dances. The first work was titled Beach Birds. The object here apparently was mimic birds on a sandy beach. So the piece mainly consisted of dancers standing with the arms extended and occasionally hopping around. It might look cute to see birds hopping around, but having people do it just looked silly. The piece was set to "music" that was "composed" by John Cage. The "music" was only slightly more interesting than Cage's 4 Minutes, 33 Seconds, since the pianist actually did occasionally play a note (perhaps a couple of hundred notes over the course of 25 minutes). The second piece was titled BIPED. This one actually featured dancing and was accompanied by actual music, albeit droning ambient music. The creativity in this piece was limited to the staging, since it including a scrim in front on which light patterns and computer graphics were displayed. Unfortunately, the graphics didn't obscure the fact that the choreography was pretty basic and that there didn't seem to be a point to any of it other than to fill up time, and time it did fill up - dragging on and on for about 55 minutes.
  13. Composer Christopher Rouse passed away on Saturday, September 21, four weeks before the scheduled premiere of his 6th symphony. For those not familiar with him, he won both a Grammy and a Pullitzer, served in several capacities with major symphony orchestras (including the New York Philharmonic), and taught at several top music schools (including Julliard and Eastman). He had been one of my two favorite living composers. https://www.broadwayworld.com/bwwclassical/article/Composer-Christopher-Rouse-Dies-At-Age-70-20190921
  14. The Korean Cultural Center brought the Choe Contemporary Dance Company to the Kennedy Center. Fortunately, the Korean Cultural Center also footed the cost of the production so that tickets were free, because this production contained everything that I dislike about modern dance. There were 2 pieces in the performance: Chaos and Liar. Both were basically about nothing at all, consisting of a disconnected hodgepodge of ideas and lack of ideas and seeming to drag on endlessly without purpose or direction. There was way too much milling around, moving around R---E---A---L---L---Y S---L---O---W---L---Y, and, in the case of Chaos, rolling around face down on some sort of motorized skateboards (or something - I was too far back to see what they were actually rolling around the stage on). What little activity there was had a way too high proportion of gymnastic or martial arts derivation. Much of the "music" for Chaos consisted of a single note repeated over and over and over and over again. My accomplice, who in the past has defended modern dance when I've criticized it, declared that in the future she would only attend ballet.
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