4mrdncr

In the March 17,2008 issue of Newsweek magazine, the "My Turn" essay is by ABT soloist Sascha Radetsky. There is an accompanying picture. I have also been informed that the article has been posted at thewinger.

Of course I agree with both Mel and GWTW: historically Jane hated Guildford, and Swinton played Edward II's queen for Jarman, not Elizabeth. I never said either film was historically accurate, just that I liked "Jane Grey"'s use of locations, subdued (except for wedding scene) costumes, & the chance to see the RSC alums in something other than the RSC. And both Jarman, and later even "Braveheart" (which had many more egregious E&O's and transposition of persons and dates) suggested that Edward III was NOT the son of Edward II. (Was it Mortimer, who was supposed to be his father, or am I getting my supposed usurpers/dates mixed up too?) I do remember Mr.Crisp as Elizabeth and of course the double pun that went through all our heads viewing him, but again, still wish someone would realize that Swinton at least looks more like Eliz.I than most others who have portrayed her. Henry VIII was a large man--we've all seen those two sets of armor in the Tower right?

Uh, hello, but I've danced in a several classical three act "Snow White" performances, both in Japan and America many years ago. I think Japan used Humperdink's music? In the States, we used Tchaikovsky's Sleeping Beauty, which of course has a similar story, but also transposed it slightly: e.g. forest animals variations were done to SB's Act 1 fairys' variations etc.. And the music for the dwarves also had the pinging of the triangle in the orchestra to remind me of the beginning of Disney's "High-Ho" in the mine etc.. It was a fun performance, and there are many times that I've listened or watched SB productions and remembered Snow White.

How interesting, one of my numerous degrees was in medieval-renaissance history with a necessary study of the Plantagenets thru the Tudors-Stuarts. But forgetting history and remembering the other degree in cinema-tv prod. (all so I could be a well-rounded Prod.-Dir. at PBS, in case I didn't get the chance to do dance films).... My favorite current actress to portray ElizabethI has never done so yet. Why do I prefer her? Because she is an identical twin of Elizabeth in nearly all the famous portraits bart found at the www.marileecody.com/gloriana/elizabeth site. And her lineage goes back nearly as far (or further?) than Elizabeth's herself, so maybe some ancient genes got mixed in somewhere? Who is it?--The latest Best Supporting Actress Oscar-winner: Tilda Swinton. Don't believe me? Look at the picture of her in Elizabethan period costume (albeit as a man) in the film (or pbk book cover) of "Orlando". I know Orlando is all about gender-bending, but I did think it was egregious casting not to cast Swinton as Elizabeth in the film. Other than that, I do prefer Glenda Jackson--but also agree six episodes does allow for greater depth in characterization. (I miss the late Robert Hardy in all his roles, and Robin Ellis' Poldark.) Still, no one has touched Jackson (or her scriptwriters) in conveying the fear/pressure/determination needed to write that "Tidal letter" and survive long enough to inherit. I like Cate Blanchette; but not really enamored with the films. Re: ELIZABETH: I did think the final image a good copy of coronation portrait, agree about apt portrayal of the paranoia of the time, and will never forget that first scene at the stake. But it was a very modern take on the time. I also was not sure the darkness of the scenes was intentional--candlelight was not the greatest illuminatorafter all, or was it a way to create subliminal tension in the audience? The second film had better staging-scenic design, but less tension, and bordered on the hagiographic & hystrionic at times. I thought the recent Showtime "Tudors" was 'trashy soap opera' with entirely innaccurate sets/costumes or motivation, but I guess okay to watch everyone chew the scenery. Though Rhys-Meyers' Henry reminded me too much of his "Gormanghast"(sp?) portrayal. I have seen almost all the other films/portraits mentioned above, except Bernhardt, and agree with most of the comments. RE: Anne Boleyn...Genevieve Bujold yes. Dorothy Tutin too old for part in BBC's Six Wives, but affecting. Yes, Vanessa Redgrave in that cameo. (I LOVE Man for All Seasons, for its direction, production, script, and acting.) No one has mentioned Helena Bonham Carter's Anne yet. Or HBC's 16 year old portrayal of Jane Grey for Trevor Nunn, which also took some liberties with history, but had some very accurate sets and costumes, and excellent (RSC) actors--Wood, Hordern, and oh yeah, Patrick Stewart? I agree about Portman & Johannson, too modern pouty coached to do characters justice. But at least someone is still making 'historical' films. As I said, an interesting thread with many enlightened interesting opinions.

If this is off-topic please ignore. Apologies to all. However... This entire thread is SO interesting to me. I am fascinated by how ballet in Japan has developed since I lived there many many years ago. But now I am a little confused...I started my professional career in Japan, I thought it was at Tokyo Ballet; at least that's what the my mother's old programs say--including their very fuzzy pictures of me. What company was it actually? This was a long while ago, but FYI: Yoko Morishita was in the company, Roy Tobias taught and I think was AD or Assistant AD too, one of my friend's name was Shimizu, and we did tour (I remember with RB, or London Festival too?)as well as the usual performances at Kosei Nenkin in Tokyo. (I remember ABT, Kirov, etc. all went to Ueno instead) Sometimes people said Tokyo Ballet Gekijo (what does that mean?) Sorry I'm so fuzzy, but I was still young, and all I did was dance, so consequently let my parents and the adults deal with the administration or business side of things. I remember having a very strong disciplined school, but my mother thought they were putting the girls on pointe too young and made me wait over a year till SHE thought my bones etc. were stronger. I also took three commuter trains daily to AND from the studios to my home every day. Thanks for any aging recollections or clarification.

No Carolina, the production at the MET was choreographed by Christopher Wheeldon and was quite different from Iancu's version for the Verona-Barcelona-Madrid production. For one thing, the dancers were fully clothed; wearing normal ballet costumes: tutus for the women etc., and Wheeldon integrated the corps more. The MET sets were the usual massive affairs; pseudo renaissance architecture, near actual size ship burning, not just a staircase like the Spanish version. If you do a search at the NY Times you should pull up the two articles/reviews they wrote about the MET version, with pictures of Corella & Giuliani performing. There is also a thread on BT about this, where I posted a review after seeing it opening night.

She supposedly invited the gold medal winner(s) of the 1994 Concourse to dinner afterwards. I do not know if she attended the entire Concourse or only congratulated the winners at the end. But yes, her interest in ballet seems to be longstanding.

Only shortly before my time. Alexander Godunov, now him I remember. God only help the company Boris supported! Yes, how right you are. I knew that "opera guy" would mix me up somehow. Should have remembered Sascha. At that time, though, we were all concerned about the two "Shuras" Danilova, and MB's daughter just born.

In several of the Boston Ballet R&J productions I 've seen over the last 15+ yrs, (there have been versions by 4 different choreographers before BB finally settled this year on Cranko's--hooray!), Romeo was shirtless in the bedroom scene/pdd, and put on a shirt & cloak when he left. Juliet kept her nightie on throughout the scene. BTW: The Spanish production of "La Gioconda" originally produced at Barcelona's Liceu with choreography by Georghe Iancu and contemporary staging by Pier Luigi Pizzi, which was notable for its principal dancers (Letizia Giuliani/Angel Corella) wearing not much other than gold paint, is now playing at Madrid's Teatro Real. And the reaction has been the same as previously--more ovations and accolades for the dancers and their exemplary technique (physiques?), than for the singers. There are pictures of both performances (the original 2005 in Barcelona, and this month's in Madrid) on the internet, but not sure I could post link.

And I will always cherish the program I have from a Kirov performance I saw in Tokyo that lists "M.Baryshnikov" as Benno. How much work, and dedication, and determination, and frustration, and hope, and living and learning went into his life from then till now. A truly happy birthday wish to him, from one who remembers his past, and looks forward to his future.

Ah, but what I posted both times on this thread could be applied generically to ALL (dancers or not) who have shown they are much more than 'a handsome face'. That is, "who" they are, is never as important as "how" they are, which was my point. And I do apologise to those who have asked, but until certain other issues are negotiated, I am not at liberty to say who it is, other than to acknowledge his proof of the above thesis and my gratitude.

After spending nearly two weeks observing in close proximity: onstage and off, in good times (with family, colleagues, and friends) and bad (after a somewhat serious injury which I was informed also causes a "bad mood"--if so, I never saw it), I can only agree with the opinion of many on this board, that looks and phenomenal technique (and he is famous for them as well) do not make a man. But as bart said, "manner, way of relating to others, [and] smile"; and I'll add: the thoughtfulness, care, and generousity of spirit I experienced. Merci, gracias, spessibo, domo arrigato, thank you.

Being in L.A. I used to see NUMEROUS movie stars attend ABT at all the venue's during the '80's: Music Center, Shrine, and then OCPAC. My favorite memories are of... Jessica Lange watching Baryshnikov from the aisle stairs in the cavernous balcony at Shrine (why no one found her a seat I don't know? Baryshnikov couldn't have sold out all 5600 could he?) Bumping into Martin Sheen and family in the entrance door (was it revolving?) at Shrine. Seeing Jackie Bissette trying to protect Alexandre Gudonov (sp?) from the crowds at the stage door at the Music Center. And much more recently at an ABT gala, Caroline Kennedy (of course), Isabella Rosselini, Lance Armstrong, and Robert De Niro whom I was pushed against by the crush of people, and after noting my shocked recognition, did murmer an apology. However... IMHO: Tendu32, if you need to show that celebrities come to ballets to gain support for it, I feel very sorry. I have never considered "stars" the arbiters of taste, (though their monetary support will mitigate that opinion somewhat), but rather, believe it is the general audiences who come night after night, or sell out large AND small houses across the nation (or world) who truly matter, because for them, the expense to attend is a much larger share of their limited resources.

Yes, sometimes programs are offered to PBS as individual programs purchased/distributed through APTVS--a sort of PBS subsidiary service for individual or very limited series.

Yes, many welcomes to Ballet Talk. I ,too, am from Massachusetts and have attended Boston Ballet for many years--though lately I've attended ABT more. I am very much looking forward to BB's season this coming year and would like to read your impressions since you have attended longer than I.

This is so unfortunate, as 'Chicago' proved with both singing and dancing: all the leads should have had both their singing and dancing dubbed even if we got weird filtered effects; I just can't forget Anne Reinking in 1977. They also let Melanie Griffith do it on B'way for awhile--desperate, I guess, but it's still running, although I don't think her gig had anything to do with it. Dubbing, as for Deborah Kerr by Marni Nixon, does sometimes work well. She was also very good, if not great, for Natalie Wood and Audrey Hepburn. Redgrave actually even needed to be dubbed when she was young, as in 'Camelot'. Mitzi Gaynor sang beautifully in 'South Pacific', but Rossano Brazzi was definitely worth bringing in Giorgio Tozzi's voice for; they were perfect, I thought. There are all sorts of examples, but the singing in 'Guys and Dolls' comes to mind as awful except for Sinatra. Sorry to disappoint, but both Redgrave AND Harris sang for themselves in "Camelot". Franco Nero was dubbed by Gene Merlino. Redgrave actually showed up at her interview with the producers/writer/director with an album of folksongs she had recorded at that time. They also changed some of the lyrics to accomodate her strong pacifist tendencies at the time. Personally, I think Harris sounds much better on the soundtrack album than in the film, (Alfred Newman's influence I suspect and his superb orchestrations), and more singing/less talk than Burton. (Of course who can ever forget Burton's voice?)

I had the opposite experience of minorities in the USA. I was the minority when I danced in Tokyo. I had very blonde hair when younger, and considering that everyone but the usual guest performers was either Asian generally or Japanese specifically, I usually stood out. This helped my career because I was more likely to get demi-soloist, or the occasional soloist role (I did A LOT of fairies, sylphs,etc.etc.), than be relegated to corps continually. I have heard since, that they are not so amenable to hiring dancers who don't "blend" as well. But during my 3 years there, the company administrators & instructors were v. kind, the older dancers friendly, and the younger dancers tolerant if not exactly friendly. Ballet directions were still in french, and my japanese language skills improved immensely every time I negotiated the 3 trains and Shinjuku to get to/from home. I'm not sure if my salary was more or less than anyone else as my parents did the negotiating, and I just signed where they told me to. RE: class schedules. I started age 4. Two years later classes were 3x/wk-60+ minutes each. By age nine 90mins class- 4-6 days/wk. Professionally: Two 90-min. classes back to back, M-F (with maybe an hour or two of rehearsal for whatever afterwards on alternating nights.), Sat. one 90+min class, and 4-6hrs rehearsal. Sundays off unless emergency. Of course when we were performing, that schedule changed somewhat.

Dear homesteadlite Thank you for your kind words to all of us who feel but cannot express. I am posting again to say that I too lost a brother, suddenly, and at the time there was an organization--which ironically was just promoted in a recent "Dear Abby" column--called "Compassionate Friends". It was originally created for parents who had lost a child in whatever manner, but there was a section for siblings as well. It was good to talk to people in a similar circumstance at the time. I hope they or others' concern may comfort you, your family, Julio and his family, and all touched by your sister. With deepest sympathy, 4mrdncr

I believe the documentary was made through ITVS--The Independent Television Service, which facilitates & distributes independent productions on PBS. The other PBS program (besides "American Masters") which could be airing it is "Independent Lens". Check you local listings because NOT all PBS stations are required to buy the national schedule, and so can put many programs when and where they choose. And now that it is Pledge season again, the schedule will be even more haphazard. As it is, I've already missed that Charlie Rose broadcast re: Nureyev because of this--despite watching CR nightly for weeks hoping to catch it.

Thank you for posting this so very sad (and shocking) news. Both dancers' families, and the greater ABT family, have my deepest condolences. I have many memories of Ms. Alexander, a lovely dancer AND a very good actress, whose presence enhanced many many ABT performances. (I, too, remember the lover in "The Dream", the partisan/young girl? in "Green Table", and Bathilde in "Giselle".) I will continue to remember her fondly. And of course hope that her husband and others injured recover. I am very sorry I cannot express what a truly feel any better.

For what it's worth, there is also a mime scene in McKenzie's version for ABT, broadcast & released on dvd by PBS. The basic points are there, and Siegfried's reactions to them makes it more intelligible--eg. O points to crown, S kneels (ie. she's royal too), and I do like the moment when S looks (doubtly? seeking reassurance?) at O, just before pledging his love; a very human reaction. I don't think this is the complete version, so maybe not suitable for teaching purposes, but it is understandable.

Here's hoping that the camera for that broadcast was better at capturing GREAT GALLOPING GOTTSCHALK than the one for the "ABT in SF" broadcast on PBS (now on dvd). But I would like to see LAF, and SYMPHONIE CONCERTANTE with that ABT in Japan cast; I remember well their performces in L.A.. I remember Ms. Massac too--"long, liquid, musical" was a good description , and think I have a pair of her signed pointe shoes, though don't remember exactly when or how I got them.

What a beautiful thing to say, and so true. When I had to stop dancing, there were years I could not see a live performance because I would just sit there and cry. Then I thought I had found a way to still dance (if not perform) through other endeavors, but they were only a substitute means to assuage that still deep need to express "my soul without using words" (to quote another.) So what do I see in a performance? The first thing is what I feel: muscle memory. I feel each movement I see; which is one reason why I can't stand turned-in dance sculptures: they make my muscles "cringe". I also tend to analyze technique to determine HOW or WHY a dancer is DIFFERENT (not better) than another--this can also encompass artistry. Then I try to see as many dancers as I can (time and budgets permitting) perform similar choreography or roles to have am even better comparison. Of course, current dancers are also competing with my memories of past greats in performance, rehearsal, class etc.etc. And I am far more particular (and critical) of choreography than of the dancer trying to perform it. Finally, I will go to see a particular dancer because of a "synchronicity": I understand the way they move, or express themselves so deeply (technically, emotionally, artisticly), because they somehow match that latent muscle memory inside me so that I move with them, and feel with them, even though I'm seated a hundred yards away in a high balcony. In short, I can admire the technique or expression of a dancer, and analyze and enjoy lighting/sets/costumes/staging also, but there have only been a few that made my soul sing that duet without words.

Ah but as a producer-director and former professional ballet dancer, (who's made several dance films: doc, short, performances) I studied Emile Ardolino's technique on DiA for years and thought often, long, and hard about creating all sorts of ballet films. And yes, being bold AND persuasive is important when pitching, as is that "generous angel" or enlightened co-producer. Personally I always thought Giselle would make a good suspensful/ghost story if it began with hints of something strange in the woods, nervous villagers, and a bored rebellious duke who goes thru the traditional plot arc of love, loss, and learning something (about himself? about life/death?)as a result. It's also easier to do on location than pirate ships or major Bollywood temples collapsing. (Miniatures, DFX, etc. still look v.fake to me; the more "stylized" approach with results similar to "The 300" or "Beowulf". is too scary to contemplate. RE: those "motion-capture" animation techniques Zemekis et.al. are using--wasn't Merce Cunningham doing this about 25 years ago?)

Two instances: 1) After travelling 4+ hours to LA to catch a Joffrey performance specifically of "Parade", they switched the program and substituted something else. It was also a night, they had a 'feedback form' inserted into the program. So I expressed both what I loved about the Joffrey, and how they had majorly disappointed me that night--I realized that an injury might have necessitated the change, but I questioned the depth of dancers etc. that could have prevented it. AND...the end result was I received a personal letter from the AD some weeks later acknowledging my points and trying to ameliorate my complaints. I was most surprised. 2) I dutifully filled one out with MUCH detail and suggestions, (but forgot to sign it), and then I dutifully inserted it into the collection box. Only after that did I discover, if you provided your contact info, you were also registered in a contest to receive two free tickets to the company's next performance. But however they receive the info, I do believe certain staff or even ADs of companies also peruse these threads for feedback on performances, dancers, and future repertoires. The most recent example I can think of is ABT's "Sleeping Beauty" where somehow the audience, critics, and online forums such as this, must have impacted enough for ABT to revise the choreography between the NYC-Met and LA-OCPAC performances I saw.