LMCtech

Hey, did anyone go?

Okay, flip to a different locale. Alexandra already mentioned Oakland and SFB, but I'm going to elaborate because I sat thru both of these AD changes. First, San Francisco Ballet. When in the mid-80's an uproar started to arise about the quality of the ballets being presented by the city's only major professional company, the board made the decision to look for a new director who could commit more time to the company (Mr. Smuin was terribly overbooked with outside projects)and who could make them into a world class company. They found that person in Helgi Tomasson, who has done both of those things. The transition was not without bumps, with many audience members screaming about SFB becoming NYCB West. The screaming has mostly stopped. The die-hard Smuin fans can still go to see his works albeit with a smaller company in a smaller venue, and the other balletomanes have a world-famous company to watch in the Opera House. The one thing I do miss is the legacy of the Christensen brothers, which Smuin seemed to have more of a commitment to than Tomasson. The Oakland transition has been mostly positive. Oakland Ballet was woefullt in the hole, and I believe partially because the company did not reflect the diverse population of Oakland or its multi-cultural tastes. What does an African or Latino American care about the repertory of the Ballet Russe? The present more exotic and contemporary repertory is much more successful and has caused buzzing around the city that was never there before. The company is not out of the woods, but I think they are headed in the right direction. So the Boards decision to change artistic direction by hiring who they hired was also successful. And I don't miss their old rep at all.

I think all you male-type posters especially should write to Cosmo to tell them how whacked they are. That might actually get their attention more than us ladies writing them.

This is a great question. I ask myself this all the time. I think the attrition of choreographic works and dancers unfortunately inevitable when a new leader comes in. Is it bad? Sometimes. Is it good? Sometimes. It all depends on the situation and the company. I try to keep a level head about it. Mourn the loss, but welcome the future.

I've never thought of it that way. I like that. I alway liked hierarchies for ballet companies, but the democratic listing for modern companies. That may be a double standard, but considering the differences in the forms, it makes sense.

So what is the history of the Prix de Lausanne?

I think that the article brought up some excellent points, but I don't feel "Billboards" can be blamed for the Joffrey move to Chicago or their financial problems at the time. The point about us younguns not being brought up to go to the theater is true and untrue. Many of us were taught that going to a live performance was a part of adult life, but for most of my friends and acquaintances, it is too expensive.

"A Garden" by Mark Morris.

I find it interesting that we all talk about body image and the gross things done to conform to fashion like it is a new thing. A retrospective like this shows me that this isn't a new thing. We've been doing this to ourselves for centuries. You'd think we'd learn...

This is of course where a costume designer and builder will differ. I have always been more interested in the skill and talent it takes to make and design textile objects that serve a function than a painting which serves none. Part of that is because it is a genre that I understand because I work in it. I think beautifully crafted articles of clothing, be they ancient or off of last weeks runway show, ARE art, and deserve a place in the museums of the world. We are entering the oft debated realm of "art" vs. "craft". There is no resolution, I think. Some will agree with you, Michael, and some with me, and that is great ( I love a good debate). I only wish to be given the option of seeing great clothes in a formal non-retail setting. There is of course no arena for that here in SF and I so rarely get to New York. And that is why I'm jealous.

As someone who has worked in costume shops most of my professional life, viewing costumes in a basement is a familiar and usual experience. And I don't remember the installations being that bad when I used to go regularly as a college student. It does not surprise me that costumes would be an after thought as an art form. I struggle against that stereotype all the time.

Once again, I'm soooo jealous. I would love to see that exhibit. Maybe they'll do a book.

I'd like to thank all of you for your great reviews! It is impossible for me to get to NYCB at this time of year and all your observations made me feel like I had actually experienced the performance. Thanks a lot!

I have been watching all the American Masters programs. They have all been EXCELLENT. I'm sure this one will be no exception. And I'm glad they are doing more choreographers.

That's one of the things I like about Mark Morris' Hard Nut. Period costumes in Act I. Just not the period we generally think of.

Alexandra, I agree. If the balance changes the intention of the Rose Adagio, then it becomes vulgar. If the orchestra has to slow down because of the balance, it becomes vulgar. But the vulgarity probably doesn't diminish the heart-stopping excitement of an extremely long balance. I heard a fellow dancer call an Aurora a "show-off" for her balances. It made me giggle.

SFB uses advanced students in some corps roles such as Snow, Flowers, Party Parents, etc. There are roles for many children, which is typical. I understand NYCB does not use SAB advanced students at all to augment their corps.

The Kenneth MacMillan "Romeo & Juliet". Any cast, any company. I think the choreography is brilliant. And the music, too.

I saw both Maffre and Maynard do Carabosse and both were excellent. Maffre's was a very sexy Carabosse, which was an interesting wrinkle. Maynard's was classic, with a lot of power. The interesting thing was seeing Maffre do Lilac opposite Maynard's Carabosse after seeing her in the role the day before. I imagined all sorts of crazy insights. It was fun.

I liked her because she had an indescribale ethereal quality without being removed from her audience. And blazing technique. And she was unique (you always knew it was her).

Interesting concept. I think opera faces this challence sometimes too. I'm going to sit on the fence and say it depends on the ballet and probably the company. ABT has always seemed to run on a Star system. NYCB less so. It seems to work out for both of those companies. There are ballets that require a star to really carry it. Lets face it, Sleeping Beauty without a radiant Aurora is tedious. Same for Giselle. There are other ballets that need to be ensemble performances and if someone "sticks out" too much, the effect is ruined.

I've seen videos of the Royal with Fonteyn. Perfection. Live, I've seen NYCB (tempos were very problematic) and SFB (gorgeous sets and costumes, chorography weird in some places).

Fonteyn - The Magic of Dance series (anyone else remember this) Lucia Lacarra - SFBallet Joanna Berman Vanessa Zahorian Tina LeBlanc Darci Kistler I think that's it. Fonteyn was my favorite.

I saw this in SF when they performed it here. Although I enjoyed it, I found the two troups strangly separated and disjointed. The piece was the most effective when they integrated. I thought the BaAka were much more interesting than Lines, but that is probably because I haven't seen much like them before. I hated the costumes on the Lines dancers. What do space-age Jetsons costumes have to do with anything else that was on stage? But as I said. I really enjoyed this work. I left the theater energized.

Maybe all those Don Q girls are rolling tobacco intheir spare time like in Carmen.