SandyMcKean

I sympathize. I do think given the way this festival is being rolled out, it can be confusing (even to the long time PNB goer). Perhaps you are well aware of this, but just in case......first off the regular season runs from about Sept to June (with a long break in the holidays for the prime money maker Nutcracker). There are typically 5 or 6 programs in that season -- many of which will be composed of three or four 20-30 minute ballets (as opposed to one "full length"). Each of these season programs runs for 2 weeks. Now here's the confusing part. The "Festival" is in the middle of the season (toward the end of it actually), but not technically part of the season (subscribers don't get tickets to these performances for example). It gets really confusing because it is billed as a 3 week festival, but really the 1st two weeks are just a normal season program named the same as the festival "Celebrate Seattle Festival". Altho this season program features choreographers from Seattle (Morris, Stowell) it really has nothing in common with the more avant garde, almost experimental, programs (A, B, and C) of the "real" festival which is only a week long and follows directly after the normal 2 week season program run. Frankly, I think it was a mistake to name the normal season program the same of the festival. Too confusing.....(much like Microsoft's unfortunate naming of "Windows Explorer" and "Internet Explorer"). So go to the regular season program (Morris, Stowell) if you want "normal" ballet, but if you are interested in "what's new", "what's happening", "what's possible" (some of which might not be very good), go to the true festival during that one week. Better yet go to both. For instance, I myself will probably go at least twice to the regular program, and I already have tickets for all 3 of the festival week programs (and may well go to additional performances of those too depending on casting).

Well, life once again teaches me that I often have my head where the sun don't shine :-). Forget all that near-drivel of my previous post regarding La Sonnambula being a parody. I went to the performance again last nite and saw the ballet in a different light. First off, I went to the pre-performance lecture given by Doug Fullerton. I missed much of the lecture since I was unaware of the change in start time (the lectures are now 1 hour before the performance), but I did catch most of his remarks on La Sonnambula. Clearly, Doug's view of the ballet was as a serious attempt by Balanchine to place the essential elements of a "typical" story ballet into just 30 minutes. After the lecture I spoke to Doug about my initial reaction to the ballet last Friday. He said he had heard people say that before, and that although he could see reasons for thinking that, it was clear that Doug wasn't buying my theories. He brought up several excellent points. He said that when he looks at all the ballets Balanchine did both just before and just after La Sonnambula, he sees no indication that Balachine would have been in the mood to do a parody. Hmmmmmm......powerful argument I thought. I asked about the curious "back ache" element in the Harlequin's dance. He noted that the Harlequin's situation is humorous and uncertain from the moment he arrives on stage since he is seemingly "pushed" onto the stage by unknown and unseen "persons" at whom the Harlequin shakes his fist. So there is something "funny" going on with this jester from the very start. Hmmmmmmm......good point again. He felt that the Sleepwalker's mystical ability to step over the Poet even though she unaware of her surroundings, simply emphasized her unattainability. Hmmmmm.....again. So I watched La Sonnambula for the 2nd time with fresh eyes. This time the ballet did NOT seem to have that "parody" quality I imagined at my first viewing. It seemed now to have the sense of unity I found missing the first time. I still thought that the exotic dances were somewhat disingenuous, and still seemed to pop out of nowhere for no reason; and I still had a hard time accepting that the Poet and the Coquette would just sit patiently on a bench, with their passion on hold, while the exotics did their thing, but overall, I bought the story line this time. I'm going to have to do some research because it would be interesting to see what Balachine himself said about this quite unusual ballet. Polyphonia amazed me again. Lesley Rausch was cast this time instead of Louise Nadeau which pleased me to no end since I can never get enough of Lesley. I am hungry for more Wheeldon too. At the Q&A afterward a lady audience member made some eloquent observations: that for her the ballet, almost miraculously, retained the beauty of classical ballet while exploring the possibilities and excitement of modern dance for today's audiences. Bingo, I thought. I picked this performance to see Korbes in Lallone's role in Rassemblement. What a contrast. Carla was quick, powerful, and confident, where Arianna is flowing, dramatic, and "at one" with this very non-classical ballet. As big a fan as I have become of Carla, this will always be Arianna's role for me. Arianna translates this music and Duato's "down, low, grounded, emotional" choreography seamlessly. How lucky we have all been to have had Arianna for these 20 years! Kiyon Gaines did the "prisoner" role Thursday in place of Bold last Friday. Kiyon was terrific, tho I preferred the "Bold-unleashed" performance on Friday. I find it remarkable that Kiyon did the Harlequin in La Sonnambula, and the "prisoner" in Rassemblement in the same week. Such opposite roles, both so marvelously done. I give him high marks for both roles, but I thought his Harlequin was his best (interestingly in the Q&A Kiyon said he enjoyed the Harlequin perhaps better because he sees himself as a care-free, fun-loving, humorous, sometimes almost making-silly person, so he feels "at home" in such the Harlequin role). I'm anxious to see the ballet he choreographed for the festival next month. It's going to be fun watching this multi-talented young man in the coming years. Incidentally, he gave a fascinating explanation of why he named this new ballet eSchwa (but the "e" should be upside down). It had to do with the ballet being influenced by the Tango, but done with subtlety such that the ballet would not be about the Tango.

I went last Friday. I'm a bit tardy with these impressions, but here goes. I was sent into orbit. I loved all the Swan Lakes, but now with this program, I'm back to my roots. I'm a contemporary kind of guy. Hats off to Peter Boal for arranging this program. First, he blows me away with human movement I'd never imagined. I didn't know of Wheeldon until that night; now I can't get enough. Not since I saw my first Twila Tharp in the 70's have I had my concept of ballet so thoroughly re-arranged (well, OK, maybe Forsythe did it too). Then Rassemblement. Boal said in the Q&A afterwards that he built the program around this piece. Well done. To go from the future and pure creative intellect that was Polyphonia to as well grounded a statement of the human condition in all of its bitter reality that is Rassemblement was inspiring. All that was missing in this program was a statement by a Zen master. That came too. Who else but Balachine. I was as excited by this program as by any I can remember. Too bad NYC, we have Peter now. I can only hope he learns to love our weather and our natural landscapes. Once you love the Northwest, you are trapped. You can't escape. We were ready, but we probably didn't know. Maybe nobody knew, not even Boal; but it was a match made in heaven. I thought the pairing in Polyphonia was exquisite. The highlight for me was Bold/Korbes. In the past I've criticized Bold for his lack of expression and lack of connection to the audience (while praising his technique), I hereby give that up. Batkhurel was magnificent. I've never seen him this expressive. Someone's been working with him, or perhaps simply gave him a role where he had no choice. He was not only spot on technically (as always), but he created a human presence that spoke for all oppressed peoples everywhere. I want more. Call me selfish, but I want his perfection AND his being. I want him to share himself more.....as he did here. Bravo. His partner was Carla Korbes. She was masterful. She has the ego to dominate just as this role demands. I shouted after the 1st duet; how could I not. I am going back this Thursday to see how she handles Arianna's role in Rassemblement, but maybe that's just the excuse to see her again with Bold in this powerful, inventive, abstract piece. 15 years ago Arianna Lallone was the first dancer that ever had me see the person who danced instead of a idealized, aloof piece of dancing excellence. Her dancing launched me onto a new level where I could see dancers as individuals: each with their own style and strengths. I'll always be grateful to her for that. Rassemblement is one of those roles that simply belongs to her. Is there anyone, anywhere who is better suited to this role? I can't imagine. I want to see Carla do it, but even she -- the wonder that she is -- can't be what Arianna is in this ballet. How fitting to acknowledge Arianna's 20th year with this piece (Peter again). Like Helene, Rassemblement isn't necessarily one of my favorite ballets (I prefer Jardí Tancat), but as a vehicle for Arianna, I was thrilled. I have to say one other thing. I will admit it, I've never particularly liked Mara Vinson's dancing -- it seemed to lack zest. But WOW, she was terrific in this ballet. I was reminded of one of my previous favorites, and most sensual of all dancers ever at PNB: Julie Tobiason. Then came Mr B. How perfect I thought. Part way through I had my doubts. This wasn't Balachine. What is this La Sonnambula (which I had never before seen)? It seemed to lack the unity, purity, and cohesiveness of Balachine. OK, OK, so it's a story ballet, I told myself; but no, it played loose with the drama. Plot elements ended abruptly. Humor appeared out of nowhere. Was it a classic story ballet in the Russian tradition, or something else? I couldn't get behind it, UNTIL it hit me. Mr B, you clever son-of-a-gun. He was laughing. He was laughing at himself, and at all of ballet in 1946. Once I saw La Sonnambula as a parody, all fell into place. Now, I am no expert on ballet; I am no historian of ballet. I basically don't know what I am talking about, but I submit that Balachine meant La Sonnambula as a tip-of-the-hat to the classic tradition, but at the same time as a fun loving, exquisitely danced, satire of the limitations of that form. You are supposed to have exotic dancers in a ballet from that tradition; so I'll give you one or two (Lesley Rausch and James Moore, and the Pastorale) even tho they have no reason to be there, and come out of nowhere. You are supposed to have a male leaping and doing pyrotechnics; OK, I'll give you one except this time he will have back trouble. You are suppose to have magic and fairies; OK, but this time I'll make the Sleepwalker strange beyond credibility, and even have her poke fun as she steps over our hero while she is presumably unaware of her surroundings (Nadeau was perfect for this role; she looked like she weighed about 20 pounds and nearly floated off the stage -- and how does someone stay on point for that long??). He crammed a full length into 30 minutes by poking fun and INSISTING on having all the components no matter how impossible. Heck, I'll even have the ballerina carry our hero off into the candle light. How could you help but laugh? Mr B you did it to me again. What a wonderful evening. What wonderful dancers. What a wonderful director.

I went again last night to see Carla Korbes in her first actual performance as Odette/Odile at PNB. I "reviewed" the dress rehearsal with Carla from last week at the start of this thread so I won't say much this time except to take back my words "Altho I felt many of the dancers were dialed back just a bit in "rehearsal mode", not so with Carla......." Looking back on it, my opinion is that she was dialed back at the dress rehearsal. I don't mean this as a criticism -- just the opposite in fact. I thought her dancing at the rehearsal of this challenging part to be so good that clearly she was performing at her best. Well, I sold her short. She was positively brilliant last nite -- certainly surpassing that dress rehearsal performance. How wonderful it was for me to have gone in with very high expectations only to have them blown away. The only flaw these "not so well trained" eyes saw was a modest OOPS as she came out of the 32 fouettes. She executed the fouettes with power and confidence, but I guess she was so focused on the twirls that she neglected to realize that something had to shift in order to finish. I hope someone else who saw the performance last nite will post something. I will only add one more tidbit. When Odette leaves the stage at the very end of the ballet she does very few actual steps; however, that moment is the climax of the emotion of the story (IMO). I watched (via binoculars) Carla express that moment. She sent shivers down my spine.......and if the truth be known (from a somewhat macho guy), tears down my cheek. I was electrified. Other principals at PNB can dance as well perhaps, and can create character as well perhaps, but I doubt any other dancer at PNB could have created that moment like Carla did. I'm lucky enough to be going again tonite (performance #4 .....thanks H). I'll look to see how the master, Patricia Barker, handles that moment.

My regular subscription nite is the Friday after opening nite, so I was there last nite to see my beloved Pantastico. She remains my favorite "princess type". I think she plays the young innocent best, so I won't give her as high marks as I gave her in Sleeping Beauty (which were off the scale as far as I was concerned), but I did stand up with the rest of the audience in a standing ovation for her nearly flawless performance last nite. When I watch Noelani I get this strange image in my head. She is so smooth, so without "corners", that I imagine her dancing in some sort of magical liquid of the lightest possible viscosity -- her movements are slowed somehow, buoyed up somehow, made without the slightest jerk somehow by this magic fluid. I never tire of watching her. Part of that standing ovation -- a big part I imagine -- was for Le Yin. I think Siegfried a rather boring role (except the pyrotechnics of course). But Yin gave it substance. For the first time I cared about Siegfried. Yin gave Siegfried's almost silly concerns depth, subtlety, and nuisance. Casey Herd was powerful as always, but he could learn a thing or two about drama from his more senior principal comrade. I found Benjamin Griffiths convincing as the Jester......frankly, surprisingly so. He has to share that role with its master, Porretta, so even coming close is quite an achievement IMHO. I have only started noticing Griffiths lately; I will take notice more often. I must say something about Chalnessa Eames. Her dancing excites me. She managed not to be up-staged by Porretta in the Pas de Trois in the Act I -- no mean feat. She has power and directness that connects with the audience (ironically much in the same way that Porretta does). She looks like she is having the time of her life.....and as they say in basketball circles: she leaves it all on the court. I've saved the biggest compliment for last. I give it not to the superb dancing of the principals and soloists, but to those swans -- all 24 of them. Here we are living way out in the upper west corner of the country, far from the sophistication of the east, but what other ballet company, anywhere, can deliver up 24 swans of such talent and preciseness? They were a flock of swans of such synchronization that they might well be doing an aquacade (pun intended). The Pas de Quatre in Act II was perfection and brought the house down. Every time I see those 4 ladies with locked arms I marvel, but to see them do so with seeming effortlessness, with total confidence, last nite was inspiring. How can I be so lucky as to live in a part of the world that has a ballet company of this quality while allowing me access to superb ski slopes within 2 hours of the opera house -- not to mention getting a glimpse of a ferry gliding over the blueness of the sound while the sun sets behind the Olympics as I drive on the 99 viaduct to see our treasured PNB (OK....so I have to wait till May for that). I'm a happy man.

I went to the dress rehearsal last night. I felt like a desert islander finding a water hole. I had intended to go to the Nutcracker this year but somehow never made it.....so it had been a long drought (at least it felt that way to me ). Of course a rehearsal tends to lack the sparkle and power of a true performance, but I was thrilled to see Carla Korbes in what I assume is her first time in the starring role of a full length (certainly as a Principal of a major company). I had expected to see Nadeau since she is doing opening nite, but I guess the powers that be use the dress rehearsal to give whomever has not done it before the experience. I was disappointed on the one hand because I had already planned to see Korbes on 2/8.; but one millisecond later I was excited as hell as I realized I would be seeing Carla in her first time in this pivotal role before an audience. Her performance was exquisite. Altho I felt many of the dancers were dialed back just a bit in "rehearsal mode", not so with Carla (nor with Porretta as the Jester in my estimation). I'm not well enough versed in ballet to give particulars, but not only was her movements fluid and exact, but her sense of drama is remarkable. She was all that is pure and good as Odette, but equally seductive and wicked as Odile. Her looks to Siegfried in both roles carried amazingly clear emotion. Perhaps Carla could have been an equally great actress as she is a dancer. I was gratified to see Leslie Rausch everywhere. If there was the possibility of a soloist swan, she was there, not to mention the Pas de Trois. As I have waxed on before in this forum, she captivates me with her combination of power and gentle gracefulness. No one is as sexy and exotic as Arianna, so the Persian Girl riveted my male attention. One thing I got a kick out of was the circumstance of some of the audience being from a construction firm. Pete Boal welcomed members of the Sellen (??) Construction company, and a relatively large number of people cheered (so I suspect there were quite a few there). Well I soon realized that the 2 couples sitting in front of me were from Sellen. There was no program per se so at the 1st intermission they happened to ask me what the story was, and I formed that "construction" impression. I was interested in the men's reaction to such a powder puff story-ballet. One couple seemed unmoved, but the man of the other couple was fascinated. Forgive my stereotyping, but this guy was clearly a construction worker. When I spoke briefly with him afterward he was amazed he had enjoyed it so much. He and I spoke briefly about my finding a similarity between two of my loves: ballet and NBA basketball. His face lit up. I suggested he attend a program again of more modern ballets -- I thnk he'd have his mind blown. Anyway, I got a big kick out of thinking about all those construction workers last night seeing beauty and power where, perhaps, they never expected to find it. P.S. I stayed to the bitter end (last of the audience to leave I think) just to see what happens on stage after a rehearsal. I've been going to ballet for 40 years but never realized until last nite that ballet dancers remove those God awful point shoes just as soon as they can. Of course they do you say, but I had just never considered that. It was a kick to see all those ladies running around in bare feet carrying their shoes. Carla even winced as she came down the rough metal stairs to the orchestra seating area to hug her boyfriend. But clearly sharp metal under her bare feet was preferable to leaving those damned toe shoes on .

I just sent a PM regarding 2/9 (WOW, this board is slow, slow, slow today.)

Second week of casting for Swan Lake is now on the PNB website.

As Lesley Rausch's #1 fan (self proclaimed), I couldn't be more thrilled!

I happened to be there that nite too and heard him say that also (in fact, it was I who asked him that question ) Perhaps someone at PNB who reads this board can give me an update on Lesley. (Perhaps I'll just go to the 11/12 matinee.....that's the last possible day she is scheduled for -- besides Carrie Imler is dancing in that performance.)

From time to time, we all find a young dancer who somehow "grabs" us. For me that dancer is Lesley Rausch. She first stunned me in Paul Gibson's "The Piano Dance" a couple of years ago. I haven't been able to keep my eyes off her since. Does anyone know the status of her back injury? Will she be able to dance in any of the remaining All Premiere program at all? I went last Friday, and will go again this week, but I very much hope to see Lesley this time in "Dancing on the Front Porch of Heaven" (she was scheduled to dance last Fricay, but was not able to).

That link has a "spelling" error. Use this link for the exact page you are referring to: http://pnbblog.org/2006/10/10/first-entry.aspx Incidentally, that page is sort of a non-event (it is just the very first posting ever made). Perhaps a more useful page to go to is the overall blog "home" page: http://pnbblog.org

I remember some years ago at a post performance Q&A session where Francia and Casey Herd happened to be the speakers. At one point there was a slightly stiff interaction btwn them (if I remember right) where Francia spoke about Casey while he was present. She said something like: "Casey, you have a marvelous future. You could be one of the top dancers in the company, if you decide you want that." It was clear to me that she was encouraging him to stick with it, and I surmised that he was going thru a period of doubt. Clearly Francia had her usual good eye for talent. He's certainly become an inspiring dancer for me. I like his confident "guy's guy" presence (yes, I'm a guy). His performance in Kiss last year is still very much with me. (And BTW, I too think of him in "solo bits"......must be a Sandy-thing ) P.S. I can also remember years ago that, to my eye, Casey often looked awkward and somewhat "clunky". I always loved his power, but he somehow lacked grace I thought. That awkwardness is sure gone now.......you betcha!

I guess I don't buy this premise. I'm no expert, but when I "spot" someone in the corps that captures my imagination, and who I then start tracking over the years, the process I go thru is far more complex than this stmt can do justice. True, it may be "technical prowess" that first captures my eye, but equally important is that the reason I end up tracking them, and even becoming a fan, is what I guess here is being called "stage presence". I see the concern of this stmt as an illusion created perhaps by the simple fact that it is easier to distinguish, and therefore to discuss, technique than it is to distinguish presence -- in much the same way that it is easier to expound on the "correctness" of science, than it is to expound on the "correctness" of art.

No you don't, I enjoyed reading it just as it was. I drove thru Portland (right near the Ross Island Bridge as a matter of fact) this weekend. I only wish I had somehow managed to see this production. Your review has inspired me to get down there one of these days and see this company that is ".....all ours! So exciting!"

What a Year. What a Night. That's how Peter Boal's notes to the audience started out in the program for this special performance/party. He captured it perfectly in just these 6 words. There were standing ovations everywhere (and for once I didn't object in the least). The biggest was for Nicholas Ade who is retiring. He was pulled out of the corps to stand at the front edge of the stage by one of his fellow dancers in Rubies. The house erupted in applause and any one not yet standing stood. The shouts were deafening and wouldn't quit. Nicholas drank it all in with his usual grace. He was moved; we were moved. This was PNB saying goodbye to a retiring corps dancer. It doesn't get any better than that! The night went on and became magical. At the end of the 8th Encore performance, Boal came on stage and spoke directly to the audience. He was genuine; he was complete. I've seen Boal on several occasions speak to either the entire audience, or to a smaller group of the audience, but this was the 1st time I truly felt he OWNED his position and the contribution he has made. He stood there admist the standing ovation for the season he had just given us and GOT IT. He said nothing about himself but thanked the musicians, the dancers, the crew, the donors, and Kent and Francia for the incredible company they had built, and he thanked us the audience, for as he said, all of this would mean nothing without an audience who comes and appreciates. Then to thank the audience one more time, he announced there would be an unannounced 9th Encore; the lights dimmed. Somehow I knew it had to be Diamonds, and it was (from the Polanise on). A final standing ovation followed with all the members of the company on stage this time, including Ade's wife and new baby, and even company members from the wings who came out in their street clothes at the urging of Ariana Lallone. Yes. What a Year. What a Night. Here is the full text of Boal's program remarks: ------------------------------------ What a Year. What a Night. We have so much to be proud of from this past Season's performances. Tonight we invite you to join us as we shout "Bravo" and congratulate ourselves for a year of triumphs. Let's face it. This year could have been a disaster with that poor guy from New York with no experience replacing the tried and true and much-loved Kent Stowell and Francia Russell. Ten new works? Big gamble. Would our audience stay with us? What about our dancers, staff, and supporters? Well, as the Seattleite with one year under my belt, I want to say thank you. Thank you for showing up, subscribing, writing checks, and applauding. You have made this an amazing year. You put your trust in the new guy. You honored the accomplishments of the past by supporting the present. Tonight is your reward. We are also honoring one of our most valuable members of the Company on this occasion. Nicholas Ade retires tonight to assume a new role as the Principal of The Francia Russell Center. Nick is a role model for all of us. The energy and commitment he pours into every role is exemplary. Whether performing a principal role or the smallest corps de ballet role, Nick approaches his work with professionalism and enthusiasm. I suggested to Nick that he retire with a principal role in Emeralds. Nick diplomatically declined, choosing instead to retire in a corps de ballet role, shoulder to shoulder with friends and peers, a remarkable team player to the end. Though we welcome Nick to PNB School, we will miss his engaging stage presence and profound contribution to hundreds of performances over the past eleven years. How many new artistic directors bid farewell to only one dancer at the end their first year? All of our dancers have been offered contracts for next year and all have accepted. This fact speaks volumes about the atmosphere within our institution. I am honored by this quiet and powerful endorsement. As we bring the curtain down on my first year and look with excitement towards the next, it is reassuring to know that we are an institution without internal division - Artistic Director and Executive Director, staff, dancers, musicians, crew, board members, donors, subscribers, and patrons united as we look toward tomorrow's triumphs. Thank you all for an unforgettable year. ------------------------------------------

Sorry I wasn't very clear. What I meant is that I am dealing with sequential quotes not embedded quotes. There is some likelihood that someone (me for example ) will use more than 5 sequential quotes, but highly unlikely that someone would use more that 5 levels of embedded quotes. So adjusting the parameter to 10 won't break anything when folks use up to 10 sequential quotes, but as the warning msg states it MIGHT break someone's browser if there are 10 embedded quotes. Fortunately the last case is unlikely to ever happen. It makes sense to me that the same parameter is used for both; it's just a limit for quotes of any kind, period. So to allow 10 sequential quotes, you must also allow 10 embedded quotes. However, I think the danger of a problem is very low. Thanks again for making it 10. That should handle 99.999999% of the cases with negligible risk.

Thanks for the change Helene. I would think 10 quotes are enough even for someone talkative like me . BTW, I don't think the warning msg applies here. We are not talking about EMBEDDED quotes. These are sequential quotes. I can't imagine ANY browser having a problem with any number of sequential quotes. However, I can imagine embedded quotes (like Russian dolls) perhaps causing a problem. I suspect that when you set the parameter at 10 that WOULD allow someone to attempt a 10 level embedded post (not likely of course). So I suspect that's what the warning was trying to say. P.S. I am leaving soon on a trip with little if any access to the internet. I just got your longish PM. I likely won't be able to respond to it for several days. But I will respond eventually, at least with a "Got it".

I have searched this "About This Site" area and can't find an answer to this question. I noted today that while doing a lengthy and complex PM that all my quotes did not take. After much fooling around I determined that all of my syntax was completely correct but that there is apparently a 5 quote limit one can do in this forum. Is that so, and if so, why is that? Here is an example of what I'm talking about (note that if you edit out the 6th quote, suddenly the other 5 will show up):

Like Helene I saw Jewels 3 times. Unfortunately I have to leave town this week so I had to see them all bunched together altho I managed to see all 3 casts. The first was the dress rehearsal, the 2nd was Friday nite last week, the 3rd this last Sat Matinee. I am practically freaking out I'm having such a good time with PNB these days. It's always been a good company, great even (well for the last 10 years anyway in my estimation), but now with the injection of new spirit and the Weltanschauung that Peter Boal brings (not to mention his NY connections), as well as my feeling that the dancers themselves have upped their level to where they knew-not they could go, PBN is fully mature and a player on the world stage as perhaps they were always destined to be (thank you Francia and Kent for raising our baby so well). OK, OK, so I tend to get carried away. So be it. I might eventually feel confident enough around here to write a true review of what I see (2006-2007 season maybe?), but for now all I can seem to muster is some disjointed, but heart felt impressions: - Jewels is a magnificent ballet. I'd seen Rubies, but not Emeralds or Diamonds. I loved the French/American/Russian history lesson as told by, not a master, but by THE master. In some strange magical way it *IS* a coherent full length ballet while at the same time giving the variety and excitement of a mixed bill evening. - Oh, are we lucky in Seattle or what??????? What talent right down to the very back row of the corps. Corps members taking soloist/principal roles, and not only doing them well, but creating "presence". What a thrill to see Lindsi Dec play the "tall" girl in Rubies. She nailed it, or at least so close that there is no question about her future. She isn't quite up to Ariana yet, but she brings such playfulness and sexiness and whimsy that she creates character up there, not just fine dance. To be there for Carla Korbes debut in Diamonds will not be forgotten. She *IS* a principal whether or not the rumors of her soon-to-be promotion happens or not. She commands. - Then there is my Carrie Imler. I find her perfect. I wish she were a bit taller and thinner (I'll be so bold as to say I'll bet she does too), but my God what a magnificent Principal dancer. Is there ANYTHING she can't do brilliantly? For me she combines perfect technique with superb feeling and grace, and finally what really sets her apart in my mind is to those perfections she adds fabulous acting. No one in the company, for me, has all of these qualities like Carrie Imler. If I can see no one else, I want to see her. On Saturday I got what is for me a dream cast in Rubies: Neolani Pantasico, Olivier Wevers and Carrie Imler (as a not so tall "tall" girl"). I had seen Pantasico and Wevers on Friday nite too. That nite I was one of those Helene spoke of that stood shouting myself silly seeing Pantasico for the first time in that role. She has totally stolen my heart lately. I fall in love with her every time I see her now since Sleeping Beauty. Then you add Imler to that pair. WOW. I expect command from Imler, but to see at the same time, on the same stage, the command of stage presence and position that Pantasico delivered was a dream. My only problem was continually finding that my eyes would stick to Lesley Rausch in the corps. I predict big things for Lesley. One of these days she is going to push aside all of my other favorites. She has practically done that already. - The demi pairs (is that what you call them?) in Diamonds were so "there". I could have eliminated all the principal roles and still enjoyed Diamonds by just watching the demis. They took such pride in what they were doing. I think they also took your eye to the corps in Diamonds because the principals of Imler, Korbes, and Barker were so good, then so were these demi roles, surely the corps can't live up to that, can it? Oh yes, it can. The grand polonaise at the end built and built like some sort of elegant steam roller until I could hardly stand it any longer. Thank God we could all let go of that emotion with our shouts and cheers as the curtain fell. - I've left the men out....(OK, OK so it's the women that send me....they always have since that first girlfriend ). I'm running out of gas here, but just to say something. Jeffrey Stanton is still the most accurate and lyrical partner in the company for my money. He may be losing some of his athleticism but I have to applaud Boal for choosing Stanton to partner Korbes in her Diamonds debut. No one in the company could have done it better. As for the leaps and other pyrotechnics: that now belongs to Batkhurel Bold. He may have the expression of a robot, but for nailing the spectacular solo circumnavigation of the stage no one can touch him. And Wevers, what fluidity, what grace, what an understanding of modern movement.......is he made of rubber or what? I've only said a third of what I'd like, but I've worn myself out on this first attempt. (I can see one thing, this is best done the night of the performance or with coffee the very next morning ) -

Thanks Helene But given the quote below, that's probably the last time I try it. (I don't like censorship.)

I'm trying..... I'm certainly clogging this one up today :)

Frankly, I don't see "athletic" and "art" as a zero sum game. Perhaps ballet has become more athletic -- I'm not smart enough to know (tho I have been watching it for 40 years). But I don't think a dancer must somehow choose btwn the two. I think there is a place for both; they can even compliment each other. And frankly, I don't see how you can describe the sort of men's pyrotechnics I saw this week in Jewls as anything but artistic human movement with a large measure of athleticism involved. In fact, I will be so bold as to say that this was as true in Russia in 1890 as much as it is true today. (But remember I don't know what I'm talking about.....not at the level of the people around here anyway )

sandik, First, thank you for the informed education. I have no knowledge of these things. OTOH, don't misunderstand me. I was not discrediting Bellevue Community College's dance program by saying that BCC didn't have a "serious dance program". I have no idea what kind of dance program BCC has. It was only a rhetorical remark I made as a counterpoint to Helene's suggestion that the UW might not list Ballet as one of its official SPORTS simply because they happen to have a "serious dance program" (her words not mine) and so listed it else than a SPORT. I still don't think any college, with or without a dance program, would seriously list Ballet as one of its recognized sports programs. Of course, many colleges may put ballet in the Physcial Education dept (for all I know), but the point isn't how a college administers the program; the point is whether any communication occurs in the general public by calling Ballet a SPORT. To me such a claim is misleading given what the term SPORT means to the vast majority of people. Communication is better served in my judgment by pointing out the athleticism of ballet, and the physical rigors it demands, than thinking someone is going to "get the idea" by calling Ballet a SPORT. BTW, Helene, you asked how "Ballet competetions" fit if Ballet is not a sport. It occured to me this weekend, as I listened to a music performance, that pianists have competetions all the time (witness the famous Van Cliburn story); and I really can't see the cause of better communications being served by calling piano competetions a SPORT.

papeetepatrick, I completely agree. I had a very similar reaction as yours when I read Helene's comment below (which is the one I believe you were responding to): I didn't take the time to respond at the time, but I was glad you did (I may not agree with all you say, but I do find your ability to express yourself quite amazing.....so no more of that "I may not express it well" stuff ) I learn more here from Helene than from anyone. She is the only poster (so far) that I specifically read regardless of which forum that post is in (I tend to look only at the PNB forum). I normally agree with her analysis right down the line, but not in this case. I, like you, think it pointless to attempt to "rearrange the deck chairs" to assuage the low life that has the kind of bigoted, prejudical world view that would disrespect the men in ballet as "girlie men" worthy of scorn. Such folks get the ultimate punishment for their narrowness anyway.....they must forego the pleasure of watching these great athletes perform . I've gone to see Jewels 3 times this week as well as watching the Dallas/Phoenix basketball Western Conference playoffs (yes, all 6 games). As much as I admire the atheticism of Nowitzki or Nash, I admire what I saw this week by the men in Diamonds or Rubies more. I want no part in modifying the public's perception of ballet to make it more "acceptable" to such ignorant bigots who refuse to see what I plainly see by simply looking.