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Golden Gate

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    Fan, teacher, dancer, avid ballet attendee, supporter
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    denver, co

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  1. Truly sorry to see her go... would love to read reviews of the final performance, if anyone gets to see it. I applaud her incomparable career, and am thankful for all that she gave for all these years; this is sad , but certainly well deserved. Great job, and good luck!
  2. Hey Fandango! ...well, I know we're way past this, time-wise... but it's been busy. Here we go... for me personally, it's a combination of serious passion for theatre (this is definitely theatre meets ballet), an even deeper devotion to ballet, and I'm a big fan of the triumvirate that put this together (Michael Pink/Philip Feeney and Lez Brotherston), I love most of CB's dancers, and the story... ahhh the story. It is taken almost metaphorically verbatim from the novel by Bram Stoker. They stayed very true to the 'written word', when it was created. It is all about the experience... the combination of all of the above, finding oneself in the dark and drawn into the story, the performance, and the mystery. The dancing is somewhat muted, but as far as generalities go, it was never all about the dance; it's about a dramatic production, and dance is merely the vehicle by which it is presented... there is a thrill about it, an excitement in the struggle between good and evil. And then, for me personally... there is the dancing. Some of my favorite choreography on the stage is in this production. The pas de deux between Dracula and Jonathon Harker is extremely intense and very challenging. It borders on sensual, dark, forbidden, it's nucleus is an insatiable lust for life blood... and fear, and panic... and seduction - not a sexual seduction, but one much more imperative, the seduction of Jonathon's very soul- the seduction of good by evil, it's really an edge of your seat, breathless scene. The challenge is not in technique so much, although there are some tricky steps, and timing is of course, important... but rather in the execution of the drama and emotion. If it isn't danced precisely- if the dancers don't 'become' Dracula and Jonathon... it's totally lost. This company does a killer job with it. The other dance scene that I love from this show is - (...and please forgive this unusual perspective) the scene in which Renfield escapes his room at the hospital and goes to see Mina Harker. There is a brief and strange pas de deux between the two, the coolest part of which is that Renfield is barefoot and bound in a straight jacket. When danced at it's best (thank you tremendously Andrew Thompson) it is quite a sight to behold, to see Mina and Renfield dance together this way, it's tough enough doing a pas de deux with slippers and 4 limbs... but barefoot and tied? Yah... one of my favorites. I never saw a dancer interact more carefully with his partner and still pull off the act as when Andrew did this role. If one is watching closely and understands anything about dance and balance... the appreciation is immediate. I very much enjoy getting caught up in the whole experience, that's what makes it so great... the delicate combination of all of the aspects, and if any one of them was gone, or different, it wouldn't be even remotely as good as it is. However, for someone who doesn't like dark stories... no good. don't go. The enjoyment of a bit of the darker side is a prerequisite for this one. I think your preferences have a tendency to go toward the more romantic and tragic than this would offer - a true lover of classics and not contemporary so much, and my friend, I don't think you would like it... no matter how interesting I try to make it sound. We desperately need lovers of classics to keep them alive in the face of the gradual transition into more popular contemporary and modern dance... but maybe the classics aren't in quite as much danger of being lost as I fear... as long as there are little girls, there will be princess ballerinas. Amen.
  3. Does anyone know when these go on sale? I want to head out to see both of them. What a great opportunity! Can't be missed.
  4. So sad to hear this news... she is very good, one of my favorites. Thanks for posting this, Helene.
  5. -no, the last time it was done (04-05) it was recorded. I have the rehearsal CD - although for the life of me I can't figure out why, it's not really anything pleasant to listen to what with the knocking and screaming and everything - really it's just not the same without the count in your face. Just crawled up off the floor, fell off my chair laughing at that... VERY funny... I wonder if he'd appreciate that one. I certainly did. --I saw two shows, the second on Saturday night, it was not as good as Thursday (opening night)... everyone was a bit off, but still, I was glad to see it. CB did the usual 'costume contest' for the patrons and one of the couples; third place, excited the crowd into a frenzy when the gentleman got on his knee and asked his lady friend to marry him - and of course she said yes. What else could she say on stage at the opera house in front of 1400 people? This is the second proposal I've seen CB assist with - it's very nice. ...let's see what Gil does with Nutcracker.... not sure if they'll use Martin's choreography this year or not.
  6. They've done it again... and it's still as great as it ever was. Colorado Ballet's opening night for Dracula was great - everyone was excited, there was an electric tension in the air, and fog on the stage... and for the first time in a very long time, an orchestra playing the score - which improved the production immensely! It still gives me such a thrill. I've seen Dracula many times, but this was my favorite. John Henry Reid portrayed the evil Count Dracula, and even though it was his first time as the vampire... he did an excellent job. It is not, however, his first time as the bad guy in a "Michael Pink/Lez Brotherston/Philip Feeney" production. He danced as Frollo in every single one of last season's 'Hunchback of Notre Dame' shows for CB - and was very good at that. Wondering if he'll be typecast in the future as the bad guy everyone loves to hate... Maria Mosina was perfect as Mina Harker... as usual, and Chandra Kuykendall is my favorite Lucy. There are only 5 shows (there were 6 at one time, but the Sunday eve show was cancelled months ago), so don't miss it - especially since the music is the only live thing anywhere near the stage... ha ha ha... just kidding. Vampire joke. But definitely a must see - again.
  7. "Gil Boggs passed in front of me when I was walking to the lobby during intermission. I resisted the urge to yell "fore!"." You're killing me, that's so funny. It was the first time Maria and Igor made me cry in all the years I've watched them. It was a very powerful performance, and demanding... but my every expectation was surpassed. You're right about Igor maturing too... and Maria, as well. The last time I saw them do this ballet, they were not this good. All around, one of their best ever. They've come a long way... and it shows.
  8. Perhaps my last missive was a bit strongly worded... I agree Fandango, I too will continue to support it as much as I can, and I too wish to see it grow and become one of the best companies in the nation. Perhaps that will happen under Gil's direction. Thanks for the positive direction, I can get overly focused on situations sometimes Let's keep it going. Golden Gate
  9. Good point about not wishing for the demise of the company... no one wants that, but this company has been through some staggering blows that seem endless... perhaps it will have an opportunity to heal now - one would hope, for the dancers and for the benefit of the community. I just don't see that happening, however. The board is mostly made up of people who have money but not a passion for dance, or a good working knowledge of it (much to my chagrin) and they frequently make poor decisions, in my humble opinion. The executive staff running the company are partly well educated in dance and dance companies, but mostly oblivious to the patrons and remainder of the staff... which cannot be, as the patrons and donors are the backbone of the organization. It runs like an old machine with missing parts... somehow getting along but who knows for how long. Definitely broken. It makes me so very sad to see that and experience it on many levels. As for Jocelyn and Andrew, they are doing well and moving on with their lives - I wish them the very best in all their aspirations. Meelis Pakri and his wife Carol will be going to England to join the Royal Ballet in August... I also wish them every happiness and many blessingsWe will see where Gil tries to take this company in the coming season, but it doesn't look good from here. An aside to Kyle MacMillan about his article in the Sunday Denver Post... you complete fool; I can't believe you took the CB press release and just printed it - with the headline that Gil Boggs didn't have to let anyone go because they all resigned, that is just 100% false. Start doing your job and research a little bit. Labsan and Thompson were fired on June 6th, 2006 and that's it. At least Marc Shulgold of the Rocky Mountain News contacted them and interviewed them... and wrote it correctly; they were fired, and for no good reason. I highly recommend reading Shulgolds two articles on the subject. Even in the face of all of it, I will say go... support the dancers, experience the shows, let's do our best to try to keep the thing afloat, as much as can be done. Youoverthere... don't give up on them yet. Please... Golden Gate
  10. As if there weren't enough changes in this company over the last two years (+), things are still evolving... but who's to say in what direction. Jocelyn Labsan and Andrew Thompson have been fired from Colorado Ballet (see Marc Shulgolds article in the Rocky Mountain News, and both Marc and Kyle MacMillan (denver post) will be posting articles regarding this in their respective Sunday papers). Both Labsan and Thompson worked under previous Artistic Director Martin Fredmann for 18 years at CB. Jocelyn and Andrew both danced, and then Jocelyn became asst. AD and was a core essential of the company for the last several years; most importantly during this last year when Martin was fired in October, one week before the season opener Sleeping Beauty was done... (talk about atrocious timing). She stepped in immediately as Interim Artistic Director and saved the companies 'you know what', supported the dancers and staff, kept as many of the patrons in the audience as she could, and struggled with this unthinkably gigantic task all season long - without complaining at all. Her husband Andrew supported her, kept up with company classes and choreographing, both worked with such patience and strength - and both of them were let go without much more than a brief paragraph in the press release that was sent out two days ago. Thankfully the press took the release and put the spotlight where it should have been, on the departure of these two incredible people and 6 dancers, and put quite a bit less emphasis on the other changes occurring within the company, such as Arthur Espinoza being named General Manager, and some minor changes in staff/addition of dancers. Guess we shall see where this 'new ballet' company is headed, as the house is now cleaned and everything old has been made new.
  11. Oberon, I agree completely. I think that it's more 'production specific'... the rules change according to the show. This subject came up recently with Colorado Ballet's triple bill 'Choreographers Showcase'. The three productions were very well received by every audience that saw them; the first was Paul Taylors 'Company B', and the last was Twyla Tharp's 'Nine Sinatra Songs'... and during both of those the audience was whipped into a screaming pitch by the time the curtain fell - and had clapped and yelled continuously during, and the dancers loved it. However - the second piece was designed for CB by Jessica Lang (just stunning), but it was different... it's very unusual... dark and curious, very contemporary. The only music is live accompaniment (the piano was situated in front of the stage, just off to the side, under spotlight), and the mood is one of introspect... observance and silence. During this piece there was intermittant scattered applause that grew into thunderous applause and the dancers REALLY didn't like it, they said it was distracting and annoying because it ruined the mood. And it did, to a point. When the audience wasn't clapping, there was a definite pin drop silence and at the end a collective witholding of breath throughout until the final moment. I'd say that it depends on what production one is seeing as to whether or not it's appropriate, as there are so many different variations and styles on stage... I don't think it's a 'one size fits all' kind of question and answer - it can't be, with such a vast array of productions offered up in so many different places. Location has a big role in it, as does production - which usually determines the ilk of patron... there are different patrons for Cinderella than there are for Dracula... than there are for a triple bill... and each group is expecting different things from the talent onstage, and each group responds differently to their respective situation.
  12. Hi You! It's going to be interesting to see what Gil Boggs puts in for the third piece in Dance Creations - they just have the two choreographers right now, and it's a triple bill... so we'll see. It's going to be one not to miss with Darrell and Jessica though! Golden Gate
  13. I have been glued to this monitor for several minutes now... laughing, reminiscing, agreeing, disagreeing, taking notes and adding to the ever-growing 'oh I have to see that' list... as the worlds most hopeless romantic, however... I can't leave without adding my favs too - a good deal of which were already mentioned. ...in no particular order It happened one night Chocolat Bringing up baby Casablanca GWTW Bed of Roses Meet Joe Black (a double romance, two different guys same body) The Notebook The King and I (Kerr/Brenner, just kills me every single time) Anna and the King (Foster and CYF) A walk in the clouds (one of the top favs without question) Ghost Titanic Pretty Woman Sleepless in Seattle Breakfast at Tiffany's Roman Holiday Funny Face (notice the trend...) Brigadoon An American in Paris (another trend) The Mirror has two faces French Kiss Everafter Sabrina (both versions) Much ado about nothing Shakespeare in Love Phantom of the opera Midsummer nights dream Madame Butterfly Farewell my concubine Dr. Zhivago The Thornbirds (this one gets me SO frustrated; I yelled at the tv last time. huh.. ) The Far Pavilions... I better stop here, but I could go on, I think indefinitely. Thanks for the topic, and all the input, I have thoroughly enjoyed reading everyone's notes. Golden Gate
  14. ...ha ha ha... oops. Forgot to mention I am staying with a friend who danced at CB. No hotels. I will definitely do my best to take copious notes to report as soon as I am back! Golden Gate
  15. I'm heading off to London and Paris April 2nd; it'll be a nice trip (10 days), but I'm going specifically to see POB do Nureyev's La Bayadere... can't wait. Very excited! I will have to post details after I get back. The round trip airfare was $707.
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