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And for those of us still waiting for the film to be shown within a 2-hr radius of our location...well, that's why there is PBS. And I for one, will be watching it.

Yes, it is sad when you don't own (or can't afford to buy) those hundreds of videos "mydiorella" posted excerpts from, and so no longer have a chance to view those performances, however.... As someone who has worked long and hard (months and years) to make a program(s) that were eventually released on dvds (or not yet) with little to no remuneration for it, I can understand why the copyright holders, or those who paid for the distribution/broadcast rights, might be a little upset and request the YT's or whoever do something about it.

Don't know why, but whenever I'm anxious or troubled about something, I always start humming the princess' waltz from Act III of Swan Lake. (but without all the stop-starts, fanfares and repetitions!)

Recently saw a program of WGBH's (PBS) "...Ruff Ruffman" children's educational series. (Kind of like a modern day "Zoom" or maybe "Electric Co." for all those old enough to remember such programs.) The animated "host" Ruff explores a theme/question/scientific theory by giving task(s) to the 4 live child-hosts of the program, who then do the actual investigations and receive points which are totalled at the home studio by Ruff. A prize is awarded to the winning child or team with the most points. The program I saw explored people's "fears" or "reluctance to do something". I came into the program a little late, so at first only saw the first segment where an arachnophobic girl went to the Tufts entomology lab, spoke to a scientist, saw some spiders in cages, and by the end of the program--rather surprisingly--helped the field team actually capture some wild ones in a grassy meadow. The other segment was a boy who was sent to the Jose Mateo (Classical--actually more neoclassical) Ballet Co. in Cambridge, MA. He did not have the shape for ballet, and I wasn't sure what his original 'problem' was that required him to attend, but he was attentive in class, asked pertinent questions--more technical than historical, learned additional choreography, and enthusiasticly performed in a short program at the end. Two JMCB company dancers demonstrated lifts during the class, (impressing everyone of course) and later performed with the 'corps' of amateurs including the game host. At the end of the program, the awarding of points between the spider and ballet teams was very close. (Points were also given for overcoming the original "fear") I think our ballet-boy won, but his prize was a stuffed spider toy which he thought was so cool--it looked like he had forgotten everything he'd learned at the ballet. But when Ruff requested, he danced the cast out of the studio. (I think to a waltz from SL) This wasn't a PBS Great Performance, or ABT principal dancer on Sesame St., but at least the effort was made to teach a young(er) (and male?) audience to explore/appreciate ballet. Interesting too that the program wasn't filmed at BB's studios, but instead at the very much smaller Jose Mateo studio--which is, architecturally, quite interesting (former church or 19th c. hall?)

Appropos of that, I saw them do Swan Lake a few years ago, and during Black Swan pdd, she balanced so long, they were getting severely behind the music, so Angel had to poke her (v.subtly of course) to come off pointe and continue the dance. My favorite memory of great balances was Jennifer Gelfand of Boston Ballet in Sleeping Beauty. She was also a prodigious turner.

Yes, this is great news. I agree, mostly because my vcr has been broken for a year now so I cannot watch my VHS copy any more. (Also sad because I can't watch the Makarova/Nagy "Swan Lake", or Makarova/Baryshnikov "Giselle" either.) I always hoped someone would release "Dancers" in a digital format so I could skip to the dance sequences and avoid the melodramatic acting etc. But as my computer is dying, streaming isn't really an option now, but in future?

I totally agree with Ray's and Mel's answer about who are the real repertory decision makers at a venue, and the required performance levels of the dancers, but I am puzzled by what prompted the original iczerman question... I lived almost 10 years in SoCal (my father for almost 40) and, while it may not be a major U.S. dance center due to the difficulties of forming and continuing a viable local classical company, many many major internationally renowned ballet companies do tour there--usually to either the Dorothy Chandler or OCPAC, but I've also seen performances at Shrine, Royce, and some smaller theaters. All these venues are used to dance companies and accomodate them accordingly. Southern California is NOT "podunk". In fact, at no time do I remember seeing a company so 'underperform' that it was noticeable. Most companies that tour to SoCal fill the theaters they perform at with enthusiastic audiences. ABT used to regularly fill Shrine (capacity 5600) in the Baryshnikov years and dance in that cavern and still project brilliantly to the rafters. In the other venues, mentioned above, they and others also have had no problem filling theaters. So, if the audiences are enthusiastic and appreciative, and the venues acceptable technically and also aesthetically, why would anyone perform at less than their best?!

I was there Fri. night, and agree totally with everything christine174 wrote. I actually thought everyone was a wee bit 'tired', though as noted, a "lively and enjoyable show" overall. Angel's decline in technique is troubling because I am not sure of the cause--there are probably a lot of contributing factors--but I also agree with christine174 that it was more in the details than overall, and therefore probably fixable. Afterwards, I did try to obliquely (and hopefully tactfully) warn him. But I did enjoy the performance and charisma onstage and won't soon forget the friendly competition and playful interaction & familiarity between the principals; Angel's beautiful attitude en dehors turns, his first pirouette set (10 turns! done v.fast and cleanly, unlike later), and v.long one-armed lift; and Paloma's answering incredibly long balance in arabesque and overall assured and comfortable technique. Or, of course, Stella Abrera, Marcelo Gomes, Sarah Lane, and corps for making me smile.

Thanks for posting re this performance. I had a ticket but couldn't make it after all. I've always wanted to see Agon, and can't remember if I ever got the chance on PBS; otherwise I wouldn't have seen it ever. (I know, shocking isn't it? Maybe the NYPL archive can rectify that.)

Very surprised Baryshnikov has never attended a gala before? Or just not appeared onstage before? He has attended previous ABT performances though, hasn't he? Thanks for the cogent remarks carbro about "Caught" you had a very legitimate complaint, and your observations were reasoned as always. Myself, I have always wondered if the warning about the use of a strobe was for epileptics or others prone to seizures, or other medical reasons? However, I think it's been fairly documented that age does affect eyes, especially after age 40+ ... eg. (1) aging eyes need more light to see, so at night or in darkened theaters, it's harder to see, and especially (2) it's harder for the eyes to adjust quickly to light vs. dark, which of course a strobe is the epitome of--(Also my problem driving at night with contact lenses whenever I encounter an idiot who doesn't lower their highbeams, I am literally blind until they pass and can only hope I'm still driving in a straight line.) Angel has known the choreography for this work at least 12 years and possibly longer. Very true.

When I was there in March, they said my Access card (I'm out of state too), was no longer being used and I had to get a new card--it appears to be a NYPL card with no picture!? I still do not understand why I had to do this, but nevetheless, I was still able to access the film/video archive and copy some articles I was researching. When I ran out of time, (the staff had lost my request, then spent 45 minutes to locate the books), a librarian offered to copy the article for me (but the copy machine was broken) and then mail it to me--which he ;later did (gratis.) :-) Yes, they can be short-staffed at times, or not always staffed by experienced persons, but at least the effort is made to be helpful. And because the archive is such a valuable resource, and the experienced staff are always knowledgeable and helpful, I am still VERY grateful and appreciative of all their efforts.

I was there too, though at a much higher elevation due to more limited finances this year. My impressions... (unfortunately, I lost my program after the show, so am working from BT postings above re: order--I remember most of the casting.) BIRTHDAY OFFERING: Having previously only seen excerpts on video, or stills, I was glad to see (some if not all) live. I'm sorry I've forgotten the context of the 'birthday' it was originally choreographed for, but I thoroughly enjoyed the choreography...I'm not going to comment on the individual steps, which were lovely, but more how the formation, placement, phrasing would focus attention on one aspect or another, and yet remain a harmonious whole in overall action through symetry or synchronous attention by 'corps' and principals. I especially enjoyed watching the sync in the promenades, (en tournant or not) with of course many reminiscences of Petipa; the contrast in elevation (I mean that literally) between foreground principal action and supporting 'corps' to enhance one or the other--particularly remember foreground couples kneeling (backs to audience) while background corps couples did arabesques on promenade (of course visible in much Balanchine too); the consistant "V" formation to focus attention on center couple (ID, MB) so they could move forward in jete, or do their own mini-pdd amidst the larger action. Also noted the original costuming design? Was it borrowed from RB or recreated? In this pared-down age, it was something to see so many patterns and layers, and the heavy weight of the tutus. BALLO PER SEI: I saw ABT II perform at Mt. Holyoke College earlier this year, and I think posted some of my thoughts, the choreography may be perfunctory but I rather liked it. It was danced by 3 couples in the basic contemporary variation on casual/practice clothes that seems to be the norm--I also liked the colors and lighting. The couples would mirror each other, or move in sync touching each diagonal, they consistently reminded me of a flock of birds both in movement and patterns. There was also a nice attention, if not committed interaction, between the individual partners that was probably part of the choreography. It was short, sweet, and harmless. (Sorry, but I hate it when galas drag out their entire school to perform--I want to see the company, not a recital.) SLEEPING BEAUTY- Rose Adagio: Was it me? Or was almost every pdd's pace this evening taken in super slow-mo? (Wish I knew whether it was choice of the conductor or dancer(s)) It made for some VERY distinctive phrasing. Michele Wiles was tentative in the beginning, but very distinct and concentrated in each movement (thinking too hard?) because of that slow pace. She also had a very soft (hope these are correct terms--) 'legato' and 'plastique'--so that, to me, it seemed more "flowy" between the steps; not something I usually expect from Aurora or this work. As she progressed, though, the confidence grew, and the phrasing became sharper so that as noted she "nailed" the last set of balances, and I finally felt like I was watching SB rather than a gala excerpt. I think Ms. Wiles would be good to see in the complete performance, and hope she grows more assured in the role--she has the technique, just needs to go for it. GISELLE-Act2 pdd Again, the music's pace was SO slow it was an "adagio" spelled out in large capital letter; but still beautiful to watch. I was aware Hallberg and Osipova had danced this previously in Russia, and had seen the limited clips on YT (probably gone now)--I've never seen Osipova live. I was wondering how ABT was going to excerpt the pdd in this gala. (Though I think I saw Nina's at a previous year's ABT gala?) I agree with all the superlatives regarding Mr Hallberg's dancing--he really is the epitome of the classic prince both in style and technique. I'm sure it also has to do with his physique--the height, long line, strong carriage, and great arches. His partnering was sure and concentrated, his solo with some interesting variations--but I did see the technique behind it, and sometimes wanted to forget that and just watch. Overall, I preferred Ms. Osipova en l'air. In the other areas of the pdd (en terre), the arms were soft, but often not rounded--I think a Russian failing to really think through (or acknowledge?) the original Romantic technique. She would seem sweet and attentive and 'float' towards her Albrecht, or during the pdd, but then the arms would sweep too wide or high, or the wrists break and sort of dissolve the effect. All the low lifts (yes poor DH's back!) were nicely done, but that super slow pace to me put them behind the phrase quite often, then they would catch up and I would sigh in relief. Her soubresauts, (sp?) sautes, jetes etc.etc. were OMG breathtaking, and I finally understood all those previous encomiums. I loved the longer skirt of her costume which enhanced everything she did. (On a personal note, Ms. Osipova, Mr. Hallberg and myself all share a birthday--so I may have paid more attention, and felt more warmth than usual.) AND MANY MANY CONGRATULATIONS to David Hallberg for winning the Benois. SWAN LAKE- Black Swan pdd I'm sorry, but Veronika Part was off her leg through most of this pdd. It was a major distraction, and I was glad Marcelo Gomes was there to save her--several times! I have long wanted to see her Odette,--twice I've had tickets, but casting changes or timing negated matters--so now I paid attention watching her Odile. Again, I thought the pace was slower than I'm used to. I thought generally she was okay, but not something I'd run out of my way to see in this pdd--(NOT a comment on an entire performance which I've yet to see). I didn't really see 'swan arms' or the sharpness of attack Gillian puts into this. I was too far away (and forgot my opera glasses) to see whether she was vampish, expressively acting, or not. Marcelo's partnering saved the day, and was appropriate to the role. I really wanted to see his variation--but we only got the pdd and coda. Ms. Part's fouettes were centered, and solid, but not spectacular. (I totally agree with McCauley's comments about repetitiveness of choreography and tricks, and did prefer Ms Murphy's rendition of fouettes even in the different context of DonQ.) I'm going to skip the next series, except to say that I agree with Macauley mostly re: THAIS--beautiful to listen to and watch, yes some difficulties in difficult choreography, but competent for now--and probably better with time; would love to see all casts of this--so please post those who can. (This gala was a great chance for me to catch up on Ashton since I probably can't attend a lot of perfs this year.) BRAHMS-HAYDEN: I've never seen this--(couldn't attend last fall at AVH). I was surprised how classical it was for Tharp, and much more restrained in her usual musical sly interpolations and choreographic mannerisms. Nice to see the corps and soloists though in something fast and lively. LA BAYADERE-SHADES: At first I was very glad I didn't have to film this version--the lighting was very dark--but it also made the shades arms/legs look transparent from where I was sitting--that was stunning. I thought their sync was very good--and definately vast improvement on the London performance I saw in '07 and Met '08. (Hooray Susan Jones?) AWAKENING PDD--I thought was rather flat. Is this the usual music used in the complete perf? I don't remember all those references to Nutcracker's score--which came first? Herrera and Stearns were competent, but I didn't see any interaction between them to place their roles in context; it was just two dancers moving through the steps. If this occurs when Aurora is woken, then I should have been giddy and excited, instead of just mildly interested and determined to concentrate on the choreography instead of the dancers. SLEEPING BEAUTY - Act3 pdd Yes, Reyes is paired with Cornejo much these days because of the height issue. She is a very competent dancer--and as others have said "reliable". (I am not put off by her petite physique--I've seen outstanding dancers do Aurora who were her height or less. If someone has the technique and artistry to dance a role I don't care what size/shape they are!!! The best Juliet I ever saw (other than Ferri of course) was two of her performances with Angel Corella 05 & 07; for once I believed this Juliet was a teenager who grew up very fast through the strength of her feelings.) Of course, I saw the slip on the first fishdive, maybe it was nerves or placement, things happen, but I wouldn't condemn the entire pdd for that. They both adjusted and moved forward. I saw Herman do SB with Sarah Lane at the OCPAC and they were fine then--and that was a debut by both! Herman Cornejo is a brilliant dancer, who is very dedicated and determined and can apply what he's learned. I'm VERY sure he will get stronger in his partnering. (Note: I miss Erica at ABT, but get to see her in Boston.) The difference in height between Angel and Herman is at most 4-6 inches; but Angel is good at adjusting to dancers very much taller than himself--eg. Tereshkina (still think their SL was gorgeous) and Somova at the Kirov in '08. LA DAME AUX CAMELIAS Bolle's height is a great advantage, and he is an able partner. He has gotten better as an actor over the years. I've seen many of the pdds from this ballet, but never the complete production. Given the context of the plot and Neumier's take on it, I don't have problems with the choreography of this particular pdd and it's purpose. If most of the dancing occurs in "flashback" then the beginning with Armand downstage in (saddened) contemplation is perfectly understandable--as is Marguerite's static solemn pose upstage. Also agree with poster above (FauxPas?) that the acrobatic lifts are consistent with this choreographer and echo Cranko--which was always my take on Cranko: often brilliant but often overly acrobatic. I SO missed Julie Kent last year. I adore her beautiful long lines, sensitive phrasing, and grace. I don't consider her as cold as Macauley does, but she does have a sort of contained quality that reminds me of those classic English balerinas of old. She probably enjoys being loose, funny, or crass when given the opportunity but I won't believe it. Maybe Ambonnay thought the choreography was suggestive in spots--but hey MacMillan certainly didn't avoid suggestion in his ballets, so why condemn others? If it's part of the plot and tastefully done--not always the case of course--then I don't have a major problem, and certainly didn't with this choreography. DON Q - Pdd Hey I thought Ethan's hair was as bright as Danil's, but I won't comment on it --what does that have to do with the dancing?! And of course, ethnicity should never interfere with casting when the technique and artistry is already present to perform a role--which this pair certainly have had for a very long time. I agree with everyone that it was good to finally see Ethan Stiefel able to perform at the expected level again--and add my well wishes to all that it continues. Gillian's fouettes were fun--her usual speed, attack, playfulness very much present in the quadruple multiples in the beginning and flashy fanwork (she has done this many times before). Not new to watch, but lots of fun--it woke me up again, and made me smile. (But yes Mr. Macauley repetitive to see more fouettes after all the previous renditions that night--though Gillian's were the most secure.) My ABT standard for gala versions of this, however, is still PH & AC on that PBS video from 1998. CAUGHT The music was way too loud--and I was in DC not in Orch or lower elevations. Blame the sound tech--probably a guy, (they can't hear as well as women), and probably trying to compensate for the large crowd--which absorbs sound, but still jarring to all of us who were lulled by a basicly flat evening of music. Ive seen this piece twice before--but not with Angel. I think he did it at an ABT gala some years ago; I know he did it once for a Parsons gala, and has since performed it in Spain several times. Everyone I've seen has varied the choreography slightly to suit their strengths. The beginning in the downspots reminded me of much of what makes Angel unique--surprise! but it's not his ability to turn; it's not the way he moves--others can do that, it's how. The latter portion under the strobe is more difficult and different. The DANCER controls the strobe; he jumps and clicks. So consider that dear audience/critics, and the quick timing between the jumps--sometimes almost crossing that huge stage very fast before leaping again. He once told me it seemed like he jumps over a 100 times--probably true. And that's why there are deliberate choreographed pauses centerstage under normal lighting--for our eyes possibly but more importantly to give the guy a break and let him catch his breath, even in the rafters I could see he needed that. But what I also noticed in those flashes was his amazing extension, the continuous and evenness of the height of the leaps in the circles, and the form. A strange present, after all the classicism before, but I appreciated the chance to see it. apologies for length. (I agree with leonid's assessment of reviews, and hope I haven't bored or annoyed anyone.)

Well since I live in Massachusetts, I used to see quite a lot of BB, but in the last couple years, it's actually been cheaper or the same price for me to travel twice as long, and go to NYC to see City Ballet or ABT! I'm sorry, but BB does not have rush or same-day discount tickets anymore unless you are a student or senior (and Srs. only get it on Saturday mats), and I'm neither now, so tickets are double what they are in NY. At NYCB I can get 4th Ring, or standing room at the Met and save $, so the travel expense evens out. However, I did go to the performance today --Sunday matinee--because I hadn't seen T&V live in 4-5 years, and I wanted to compare BB's 4T's to NYCB's which I saw last weekend. I REALLY wanted to see this BB program, and luckily no traffic jams or red lights impeded my progress from one end of the state to the other. THE FOUR TEMPERMENTS I thought BB, did a very credible job with "4 Temperments". The attack may not have been as sharp as City Ballet's, but it was technically cleaner than the performance I saw in NY--(except for one ankle bobble by Ms. Jensen in the Theme beginning, but she was able to continue and dance in T&V later so I'm hoping it was ok.) Both Cirio dancers were very good--Jeffrey Cirio in Melancholic, and especially Lia Cirio in Choleric; finally someone who not only got the steps right but the body language and understanding of phrasing too. I thought one quartet of women--sorry can't remember which variation (1 or 2?)--weren't in sync as much so the "crispness" of the choreography was kind of smudged, but otherwise the whole work was very well done. (PS. Until I went to see NYCB do this last week, I hadn't seen it in 25yrs, so I'm really glad that I actually remembered quite a lot of the choreography, and of course the music.) APOLLO (Y. Yanowsky, M. Hough, R. Ichikawa, M. Kuranaga) Boston Ballet does the version without the 'prologue--birth scene etc.', so I guess it's Mr.B's later revised version. (I thought BB used to do it, because I seem to remember seeing them do it before I saw ABT do it. But maybe I'm confused?) This ballet, which I've seen many more times by several different companies really struck me for a reason that had nothing to do with the dancing and choreography--it was body type. The BB dancers (at least at this matinee) were much more petite and compact, which made the choreography look totally different in its execution. In my mind's eye I kept seeing the longer lines, limbs, and more experience, of Suzanne Farrell and Julie Kent, so I had to keep reminding myself to watch the BB performance "holistically" and not as much individually; so I didn't keep seeing it 'in miniature'. (I certainly do NOT mean that in any derogatory way, the dancers were fine, just looked different--which is probably a good thing.) But overall I did think the phrasing and even extensions, hip rotations, and pointed or flexed feet weren't as 'sharp' as City Ballet and ABT do it. It's hard to describe, but overall the dancers seemed 'softer' in motion; not as 'pointed' in the phrasing; kind of blurred through the steps. It was clean technically, but not 'bright'. THEME & VARIATIONS (Erica Cornejo, Nelson Madrigal) Of all the costume color variations I've seen for this, I thought BB's were exquisite, subtle, sparkling without being distracting, and exemplifying that 'imperial age' that still exists in our fantasies or ancient memories. Oh, I was SO very happy to see Erica Cornejo! I've missed most of her performances this year: wrong timing, or unable to attend for business or $ reasons (see above). What a joy to see her sleek, tight footwork, airy jumps, and expressiveness in upper body. She shone in this like a bright crystal, spinning through it fleet and fluent. Nelson Madrigal was okay, but seemed rather tired to me. (Sorry not sure if it was simple weariness, age, or any past injuries or performance issues?) For a Cuban, I missed those strong perfect pirouettes I'm used to see his compatriots do (eg. Acosta, Carreno et.al.) and he drifted quite a lot in the double tours/pirouettes in his solo. I kind of wanted to see the younger BB dancers I saw do 4T's try it. (Sorry to Mr. Madrigal if it was just a bad day. I don't usually have any problems watching him.) Like most of what I saw today, his T&V was clean, but not brilliant. (I also had very strong memories of AC doing T&V, and the dble tours etc. he did in class which are visible in my doc trailer.) I thought the BB corps was good, in the first variations, and better at the end. The bourees, during the all-female enlace action were a little loud; I know we all need hard pointe shoes for this one, but it was a little distracting over the flutes. However, it was great watching Erica's control in arabesque and penche during this variation. Very glad I could make this BB performance. I'll try to catch the Kylian, but now BB's schedule is getting rather tight with the NY season. PS to bart: The 2010 tour to Spain will be the SECOND time Boston Ballet has toured there. They had so successful a tour--their first overseas in very many years--they are returning this year. ( I wonder if all the former ABT dancers in BB, will try to see their former colleagues in CBCL while they are there? Or vice versa.)

My very deepest sympathy to Vanessa Redgrave and ALL the Redgrave family. I have followed the careers of the acting members of the family since I was 7 years old, and have seen and remember many performances with wonder, affection, and awe. I also remember, Rachel Kempson's performances in "Elizabeth R" and "Jewel in the Crown", not big parts, and both in a large cast of top-notch actors, she was the still heart behind any action, and an image of greatness and graciousness; something I think inherited by many of her relatives. Peace to all, I've lived through similar in a similar short time period, and my heart and understanding is with them.

Interesting point Bart. I thought the crowd was very enthusiastic yesterday, and was most likely comprised largely of regular NYCB fans. In particular, Albert Evans received especially warm and loud applause since this is his last season. This indicates it was a very knowledgeable ballet crowd. In contrast, galas tend to be comprised largely of very wealthy people who want to be seen, and want to connect up with other rich, powerful people. I doubt many of them attend any ballet performances other than galas. I was one of those "enthusiastic" audiences on Sunday (5/2) and did notice Mr. Evans difficulties but was very glad I got to see him and all casts that day. I came (remember 8hr RT journey for me) specifically to see this program because... I'd never seen "Concerto Barocco"-- but as a seminal work of Mr.B's, AND danced to JSBach (a favorite), I had to see it. Since I don't know all the NYCB dancers as well, I'm glad for all the more knowledgeable comments/reviews of all BT'ers above. I hadn't seen "4T's" in 25 years--how sad is that?!--but still remembered small moments from 'way back then' despite no videos available; and, of course, the music, despite never hearing it played elsewhere. Now I see, BB is doing it this week with "Apollo" and "T&V"--(but it was actually cheaper for me to go to NYC than Boston!) Everyone has spoken of "Symphony in 3 Movements" so many times, I felt it my duty to attend and learn why. Definately a learning experience in itself, and to see how many other, more recent choreographers, have referenced it in their works! (Just an aside--but related to that recent thread about audience behaviors.... The women next to me I think had a combination of the plague, TB, whooping cough, H1N1, pneumonia/bronchitis etc.etc.etc. and NEVER stopped coughing--and we're talking deep chest---throughout. I'm only hoping the runny nose I have today is an allergy and not any of the above.)

Sorry, if this has been posted already elsewhere. But noticed today that casting is up for the ABT Gala, and I think a few added performances?

The first rule of journalism and documentary filming is that the filmmaker is never the story; you should not hear or see them. And if you are really diligent, you can avoid narration as well--as some 'famous' filmmakers have. However, many times this is ignored by major media if.... 1) The reporters/anchors are "stars" - a la the "60 Minutes" or other major news programs. (Just once, though, I wish someone would show how much the WRITERS/PRODUCERS of the stories actually do--not the 'stars', anchors, et.al. who are usually only good actors and copy readers.) 2) There is not enough actual documentary footage available to make a complete film so it is 'filled out' by inserting 're-enactments' or the film becomes a "MAKING OF..." project. Two examples come to mind: WGBH's "Death of a Princess" (this also became a Harvard Business School case study, which mentioned the controversies of its production, but not the fact that 'GBH didn't have enough footage to really do the story); and a recent POV doc about an Iraqi student who wanted to get into filmmaking, and the Americans and British producers who tried to help his career and give him a break from his wartorn country; but the problems of doing this were what the film actually was about. RE: Ms. Bass, I haven't seen her film yet, (hey, La Danse hasn't even played here yet!) so am not sure how egregious her presence is or not in the film. I do think her effort to help someone realize a dream/goal cannot be all bad. However, of the several dance films recently released, "vanity project(s)" is not far from the truth. There is also a MAJOR disconnect between the very well off, and the rest of us, when it comes to the difficulties of filmmaking or realizing our dreams--as I and everyone else have learned this past year. (eg. Main St. vs Wall St., Washington, or arts/media patronage.)

I saw a televised version of the stage play, I think on PBS, in the mid-'70's with Hal Holbrook as the narrator/stage manager, Robby Benson, and Glynnis O'Conner. It was essentially the "bare stage" production; they kept the original version of Act III(?) including the scene in the cemetary with the row of chairs, and Emily's return to her 12th birthday. Not sure how accurate this was to the play, but given the staging and network, I would think so. (It might even have been part of the that PBS series "American Playhouse" I posted about before?)

Yes! If I miss the 6:30 bus and 4hr ride home, I'm stranded in the City until the next morning's 4:30am bus--which doesn't always run. And after spending the $ for bus tickets and ballet tickets, I usually don't have extra for a hotel room, so it's either an all-nite cafe, or dozing in the PA. So yes there are times I have left before curtain calls were completed, and sometimes missed the end of a final act (VERY sorry to have to do that of course!)

Well since we're on the subject... These are my mother's experiences (probably a good thing I wasn't there): 1) At the Vatican, waiting in an endless line for the 'ladies' facilities, my mother gave up and went for the men's--which she managed to use, despite one very astonished Italian gentleman who exited a stall the same time she did. I've always wondered if she set a precedent or left an 'urban legend' for fellow tourists. 2) On a visit to the Sears (forgot its new name) Tower in Chicago, I'm not sure whether it was claustrophobia in the elevator or acrophobia at the view, or an incipient case of the flu, but when she got to the top floor and the elevator doors opened, there was an emergency stomach reaction so that the attendent/usher took one look at her face, grabbed her arm, and dragged her to to closest bathroom--the men's--exclaiming loudly to those within to prepare themselves because they were 'coming thru'. (Actually, mom didn't make it all the way and a potted plant suffered accordingly.) For myself: Not sure about the NYST/DHK, but at the MET it's all a matter of timing and what floor you can get to quickest. Was watching The Red Shoes the other day and the opening scene in the theatre, as the balletomanes are incensed by the music students; each tries to shush the other, and cheer on their personal favorite dancer/composer-musician instead. And then the music students walk out in the middle of the overture/first act pushing past the balletomanes, because a student had realised the music was appropriated without credit to its true author--himself, instead of his professor.

I saw Pavlovsk in February when ABT II came to Mt. Holyoke College. To me it seemed a cross between Pygmalian and a currently appropos subject, given the fact that wars and the feelings of those left behind haven't changed in thousands of years. It's a nice pdd, if a little overly sentimental. And yes, she was definately a promising dancer.

Speaking of new ABT headshots... FYI: There are new 'headshots' at Corella Ballet as well for nearly all of the dancers, but including Angel, Carmen, and Herman.

My story while filming at an outdoor stage... First I had to contend with the weather: it rained 4hrs before the performance, we squeegied and mopped the stage to damp-dry; it rained again 2hrs before the performance, so we did it all over again. Then the temp dropped to just above freezing so I had to "bearhug" the camera all night so it would keep recording. Then a latecomer comes running up the aisle and effectively blocks my shot of the 2nd adagio movement of "Clear". (I curse to myself, but then think I'll be able to get the shot tomorrow, and there's always editing)...But NO!!!... 2nd night--Again, it rained and hailed that afternoon, but luckily it was only freezing cold/damp that night. Then, "the talker" began a long dialogue during that quiet 2nd movement, until he was superceded in arrogance by ALL SIX USHERS who decided at that moment to cross directly (ie. 1ft) in front of my camera in their clicking high-heels while talking!!! They obliterated my shot, and ruined the soundtrack. You can hear my strangled screams if you listen hard. So...I flew 7500 miles, spent $$$ to travel and film this historic moment, and the headless, heedless, clueless, idiotas ruined the shot. My only consolation is that they only half coincided with the previous night's blocked shot, and maybe precise editing will let me salvage the piece. But I will never forget or forgive them.

Didn't they make a few movies of Edgar Allen Poe stories? Are there any characters (do protagonists/narrators count as the voice of the writer?) in those stories/films that might fit? (PS. I remember "Deathtrap" too, but it always reminded me of (the Olivier/Caine film) "Sleuth". But I loved the windmill set, and wondered if it was in the original play.)

I remember Fess Parker from his later series "Daniel Boone", and then the winery of course which I think was featured on a business series (maybe "Pinnacle" maybe not). I remember Robert Culp from "I Spy" and numerous guest appearances. Mr. Cosby lives in my area of the state. I wonder if he will say something? But most of all, I remember working with Peter Graves on "Discover". He was always gracious, friendly, and professional. On the days he would come in to record the narration, I would listen for his voice down the hall. Or when he was recording, just close my eyes and listen. He could be very subtle in what he chose to inflect or not, and took direction wonderfully. RIP to all.