vipa

I was also there, and sadly there were many empty seats. I enjoyed the Ratmansky piece, and think it might be a keeper. The cast danced well. I must say my eye always goes to Sarah Lane because of her beautiful port de bras and the wonderful openness of her upper body. Her partner Joseph Phillips won't be in the corps for long. I wish, however, that Ratmansky did not go with the cliche of the cutesy short person's pas de deux. Yes, play to their strengths of moving quickly (and these 2 did so without ever seeming rushed) but all that looking under the arm cute stuff is - well as I said - a cliche. One of Three - I can't comment upon it too much because my mind sort of wandered. It didn't seem to have much to do with the music. Other Dances - the opening duet - matching lines and musicality were glorious. The rest I felt lacking. These are world class dancers who are great, but I was disappointed in some ways. I felt that in Hallberg the "Russianisms" such as the head shaking and folk dance movements seemed plastered on. There was nothing organic or, to my way of thinking, fun about them. Murphy of course showed me steps that I didn't know were in the thing (I've seen it a few times before, including Makarova/Baryshnikov), but she too seemed to be missing a sense of fun. The lifts seemed lacking in the sense of abandon that the music asks for. There is a lift in which she is held sideways, and then drops to his arms and is turned around (a bad description, I hope you know what I mean). It was done well at every stage, but you saw every stage (lift, drop, turn) and so there was no sweep or sense of abandon, it looked cautious to me. Millepied - I don't think it's a keeper, but I think it shows he could make a keeper. Oddly, for me the pas was the weakest part (I say this because of the discussion of the Boylston/Millepied relationship). My husband told me that this was the section during which he watched the musicians. In the opening movement I liked the way Millepied explored and developed the theme of the angles he had the dancers make. He did this in movements and patterns. Of course the Simkin moments were very, very entertaining. Will this be a problem in casting? Can anyone else do it? Does his understudy have a slightly different version? I too enjoyed watching the dancers warm up, mark, practice between ballets. I wonder how the dancers felt. As a comment to my last question. My husband, who was with Dennis Wayne Dancers, said he loved the opportunity to be onstage before an audience before the actual performance (this was part of the D. Wayne thing)

I can't imagine Part as Giselle because she is too tall. I can't see Part as Giselle either. It's not a height thing. For me it's a rightness for a role. Part did not prove to be as a good Aurora as she was a Lilac Fairy. I'm still hoping for Lane/Simkin in some major partnership. Maybe Giselle is too much to hope for.

I have many musician friends who will complain now and then about conductors in "pick up" orchestras, and say that in desperation they sometimes all agree to take cues from the 1st violinist. Leadership is needed, it is usually the conductor. but if a work around is needed it is not "every person for themselves."

There seems to be at least one cast change. According to the NYTimes ad Salstein is instead of Phillips, in new Ratmansky - probably dancing with Lane. I was kind of looking forward to Phllips. Anyone else notice other changes?

Marga, I know you have history with Isabelle and are a fan. I agree that she is very talented. That said, to compare her with Suzanne and by implication Ben M. with Balanchine is a little far fetched. That said I hope Isabelle isn't suffering socially from being cast in a principal role, and I hope she does well. I just think the Suzanne comparison is really premature.

DeborahB: To be clear, what I meant by making the observation that Boylston and Gomes are the first team is to indicate that I don't understand what weight your prior indication that there is an alternate team should be accorded. Obviously, it's desirable to be on any team of a work like this. And it is obviously better to be on the first team than to have the same role on the second team, all other things being equal. Also to be clear, I'm not saying Bolyston is necessarily not deserving. Just observing that I personally find it difficult to believe, as cynical as I am, that her being Millepied's girlfriend is IRRELEVANT (ie has no relevance, not even a de minimis one) to her choice as first team ballerina. It should be noted that Bolyston might (?) not be the only one who is deserving. Nor is she necessarily the most deserving, however qualitative and subjective that assesment may be. Agreed, giving a deserving corps member an opportunity is wonderful. Being a deserving corps member who is in a relationship with a choreographer gives you an advantage over other deserving corps (or even soloist) dancers.

I think there might have been another discussion about this to link to, but I'm not sure. I saw Fonteyn live with Nureyev. It had moments that were glorious, but I suspect that this was never her best role. My all time favorite - Cynthia Gregory. To me she had all the elements to make it work. I don't want to make this a Part love/hate discussion, but for all her beautiful moments, her technical failings ruin it for me. That is just me, and I understand how others can disagree

So many good points are being made. I just want to ask again - Is this the best use of our international police efforts? To me this seems like a low priority case that will eat up time, money and news space. I really think it is not a good use of resources.

No bet -- good point.

This whole case raises many questions. Is this the best use of our international police efforts? This is a person who poses no threat to society, so aside from vengence what would be the point? Certainly not deterrence. According to what I've read, Polanski has had a home in Switzerland, and has resided there much of the year for quite some time, why go after him now? That said, since the victim forgave him long ago and has no interest in pursuing charges I believe in amnesty. Amnesty has become a word much disparaged recently in our country, but I love the word.

Matthew was a definite stand out in the corps of NYCB, and to be seriously considered by Twyla is a testament to his talent and abilities. I wish him the best of luck. Please keep us BTers up to date on his progress and whereabouts.

Seconded

Casting is up for Other Dances at Bard and at Avery. Casts are Part/Gomes and Murphy/Halberg.

Natalia Makarova is my answer to the question. Others loved her, critics praised her. I found her somewhat unmusical, technically lacking in many areas and a very self conscious & self important performer. I know people who would like to shoot me for this opinion

Respectfully disagree about Dying Swan. I think it quite strange that it is thrown into the program. I really don't want to see it with Part or anyone. On the other hand Part in Other Dances would be intriguing. I too wonder about Paloma, Gillian & Michelle. Are they not there? Why would Reyes be there and not the others? I hate the listing of a cast as "company." Couldn't they please say who is dancing even if it is 8 or 10 or 12 people. Looks like good opportunities for Boylston. Good for her. I have loved her in some things and found her not quite up to the task in others, but definitely a talented young lady - one to watch.

Interesting that Simkin isn't up there yet.

I just noticed that some casting is up at the ABT website for the October Bard performance.

The Bad Necessity: the unmentionable world of human waste and why it matters. By Rose George I know it sounds like an unreadable book in terms of the subject matter. It is readable, entertaining and thought provoking. That said who has some light fiction to recommend?

2 non-fiction books worth reading" Cheap The Bad Necessity Anyone read either of them?

Lovely clip, and Gladys was a treasure, bless her soul.

I agree with other posters about - Who the #$&% is Jackson Pollock? - I loved it. One of my favorites is Fog of War. I watched it again, upon the death of Robert McNamara. I think is should be required viewing for all in decision making positions when it comes to waging war. I'd strongly suggest - Genghis Blues. This is a film about a blind blues musician's journey to Tuva to compete in a national throat singing competition. Most people that I mention it to have never heard of it, but watch and love.

Absolutely! Ditto! Fonteyn, me too. I know this is a first love question, but I am a successive lover - after Fonteyn, Farrell most recently Cojocaru (who I've never seen live). Having potential new loves is one of the things that keeps a person going the ballet!!

I agree with with the first statement, particularly because the article said that the firings would save 1.2 million. That is less than two years of Martin's salary. I'm not commenting on Martins worth, just trying to highlight the relative numbers. It was a terrible, embarrassingly terrible idea to ask for advise for the dancers. These are young, talented imaginative people who will ultimately be fine. There are many other unemployed people I'm more concerned about. Because Martins didn't consult with the union to save jobs, my best guess is that he knew it was a good idea to cut costs and he took the opportunity to pare down the company. He got rid of dancers who he didn't find useful, he felt had grown stale and were going nowhere.

I just got the brochure in the mail. According to it, the following will be appearing: Herman Cornejo Marcelo Gomes David Hallberg Paloma Herrera Julie Kent Gillian Murphy Veronika Part Xiomara Reyes Michele Wiles Interesting for 2 reasons. Julie Kent is back (frankly I'm surprised) & only 3 principal male dancers, which could mean some nice opportunities for some soloist or corp members.

It was complicated because when she was good she was very, very good and when she was bad she was horrid. Some dancers one likes or dislikes, some dancers one likes in certain roles but with Kirkland, she could amaze and bring a role to new heights or make you want to leave the theater in despair.