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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.

How many week work does ABT provide? Looking at the calendar there are many blank weeks.

Kirkland was a very special ballerina. I saw her dance quite a bit at ABT. I agree that her Giselle was quite moving. I do remember the 2nd act. She was unworldly; she used her amazing lightness, elevation and speed to tremendous effect. I also loved her Don Q. I saw one Swan Lake (not so good). The Theme & Variations, that was on TV as part of the great performances series, has some unbelievable moments of phrasing & speed. She really out did Misha in that ballet (not surprising because she was bred to it). There is a youtube clip of a Coppelia variation that is surprisingly unmusical. Unfortunately I also saw some crazily bad performances, particularly with the Eglevsky Co. She was a unique talent with a lot to offer. My ballerina of choice, at ABT, was Cynthia Gregory, but I did see Kirkland in many roles.

The good news is, as I read today, that WNYC is buying WQXR. I expect the station to continue its classical music mission, but perhaps improve. Personally I've found the programing a bit boring and unadventurous, so this might be an improvement.

ABT ll did it probably in the mid to late 70's and it was popular in regional companies for a while around that time.

Thank you so much for this. I'm not familiar with Frank Hobi or Louis Ellyn, I'll have to look them up.

She was charming & beautiful. What a good thing for ballet; I wish it would happen more often.

I just read the "Girl With the Dragon Tattoo" which is on the list. I picked it up just browsing in the library. I loved it and preordered the second book in the trilogy "The Girl Who Played With Fire." A novel I recommend to everyone who asks - The Crimson Petal and the White. Anyone read it?

Maybe this coaching was part of the LEONORE ANNENBERG award that S. Lane & M. Copeland won. I read somewhere that Copeland was being coached by various people as part of the award. I assume Lane is also. If so what a great use of time & talent to have Ferri coach you in R&J. If not does anyone know how Lane is using the award?

I've only seen her Lilac Fairy on video but thought it one of the best I've seen. Even in the video she made me believe! Not corny - just what a fairy tale should be.!!

Wilhelm Burmann and Nancy Bielski teach at Steps, and I assume that that's where Ms. Flack took class with them. The classes at Steps have overlapping start times and several ballet classes are going at the same time, so in order to participate in both Willy Burmann's and Nancy Bielski's advanced classes, one has little choice but to take barre in one and center next door in the other. I think that's what was being referred to. She does mention that she also took private lessons with them. Steps daily schedule I'm sure you are right. It's just that my experience has been that most teachers conceive a ballet class as a whole, so I find the concept of doing one person's barre and another person's center as an odd choice.

Interestingly when Mr. B taught company class attendance could be sparse. Some dancers were regulars and others rarely attended. I don't know how that affected individuals. Eddy Villella didn't attend but Mr. B used him. Meryl Ashley attended and (in my opinion) benefited because she came to know what he wanted and gave it to him in class. Remember Ashley was a dancer who took a while to be promoted to principal. In other words I think it is hard to say how attending co class impacts any individual, but it offers opportunity to be seen outside of rehearsals, and to know what the AD is looking for. For me it was a little odd that Flack missed the end of one teacher's class to catch the end of another teacher's class. For me that is not the best way to study. The other perspective interesting to me is age. Flack must have been 16 (maybe 17) when she got into NYCB. She must have thought wow this is it, I've made it. She had injuries and had set backs, and came to know real life. Look back to when you were 16 or if you have kids, their perspective at 16. I can't imagine my kids (21 & 24) having the responsibility and maturity of being an "artist" in NYCB as teenagers. I do think Martins should have been honest at their meeting and said that he didn't really see her in any of those roles. He could have advised her to attend rehearsals if she wanted to show him. It is offensive that principal dancer money is being spend in Nilas Martins. Sorry for the rambling - just some thoughts

Thank you so much for the link, a short but interesting interview.

But if you walk away thinking about the absence of beauty in a dancer's foot, then the problem gets worse, don't you think...? Not for me. If I walk away thinking "what beautiful feet" or "what a lack of instep" the performance is a failure.

Wow I thought I was the only one who loved that moment so much! Re - good feet. I really don't like noticing feet as a separate thing. Good feet complete/enhance a line whether it is an arabesque line or a line in the air (during a jump), and there are essential elements of strength and flexibility. If I walk away from a performance thinking about the arch or beauty of a dancer's foot, I think there is a problem.

Maybe his absences from the stage are connected to his recent injury or illness (I don't know which). Steifel is a very honest and dancer who always puts out to the fullest.