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About Bill

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
  • City**
    Alexandria, VA
  1. I meant jaded as in "weary," not bored or cynical. Until the finale of the review, quoted above, the reviewer struck me as being at a bit of a low ebb. I mean, were the good old days really so much better? Maybe so, but he sounded so hopeless to me. He rallied at the end, absolutely (and expressed some hope, good for him).
  2. I remember seeing some hookah-puffing on Saturday evening, too. This was my first Bayadere. As I said in an e-mail to a friend -- another casual but interested ballet fan: "It was magical. The first two acts are a campy melodrama about an Indian temple dancer and unrequited love. The third act -- the Kingdom of the Shades -- is supposedly an opium dream but it seemed to me to be a proto-Balanchine piece - very abstract. Each act got stronger, which is so rare. This was first staged in 1877, and it must have blown away the audience way back then. The lead ballerina was much too thin b
  3. The Serenade shots are outstanding.
  4. Wonderful reviews...Ms. Farrell's company is such a treasure for D.C. and it's great that the company is attracting national interest.
  5. Did anyone attend the Balanchine/Bejart performances? I can't, this time around, and would love to hear about them.
  6. Episode 8, "Final Preparations," is now up on the R+J website, TragicLoveNYC.com. Paints a convincing picture of how the cast and Company feel before Opening Night. Looking forward to reading accounts and reviews as I remain in exile in Washington DC.
  7. "For never was a story of more woe Than this of Juliet and her Romeo. Exeunt"
  8. [ The TragicLoveNYC website does have a Q&A with Romeo Mr. Fairchild. And The Winger has a couple of casual Hyltin/Fairchild photos. As to whether there will be a video segment on R+J themselves, the suspense keeps building...
  9. I've been remiss in posting but saw the Friday March 2 performance of Dream at the Kennedy Center. This was part of DC's "Shakespeare in Washington" year-long celebration. I re-read the play before the perfomance (it's been a long time since 10th grade). I was amazed at how well Act 1 and the very end of Act 2 capture the plot and mood of the play -- if anything, the choral parts (the only spoken words in the ballet) were a distraction from the plotting. Renewed evidence of Mr. B's genius as a dance showman. Like the Bolshoi's Cinderella the previous week, I thought this was a male-domi
  10. In contrast to the Sarah Kaufman review, Jennifer Dunning blasted Cinderella (Friday Feb 23 performance) in the New York Times (posted in the Links thread). More evidence that this staging can safely be described as "controversial."
  11. How could I forget -- I agree with Rosa that the orchestra and conducting for Cinderella were beautiful. Indeed, her review captures the strengths of the production much better than the geopolitical Kaufman review in the Post. And I took the orange kick in Act II to be a bit of well-timed resourcefulness from the corps. Did anyone see the Friday performance?
  12. LOL -- he's guilty on both counts! (I actually liked the Ratmansky/Kirov Cinderella more than most)
  13. I went last night and sat in orchestra. My feelings on this Cinderella are between those of Natalia and ZB1 -- I enjoyed myself but to me this was very uneven. The plot device of having a male storyteller in place of the fairy godmother was jarring. The storyteller kept reminding me of the dissolute father in the Kirov Cinderella of a couple of years ago -- not a positive connection. I enjoyed Zakharova's dances with the wooden broom in Act I but the scene later in that Act when she dances with the living tea set and broom was odd, in part because of the cheesy costumes. The dances of th
  14. Ms. Nichols is slated for the Friday and Saturday evening performances -- suitable venues for the DC audience to wish her well...
  15. http://www.observer.com/20070122/20070122_...thelovebeat.asp A cute feature story in the New York Observer.
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