Jacqueline

Thank you all for these wonderful reports.

Did anyone see Andrew Veyette's debut as Cavalier? It would be nice for us folks back home in Southern California who remember him dancing here with his brothers to know how it went!

Jacqueline

If Coco Chanel (and Karl Lagerfeld) had a ballet company, a common theme and look would run through pieces created over the years, and yet each piece would seem fresh, original and of its moment. Every step would drip with elegance and glamour, but never cross over the lines of taste.

dirac, I second that and remember fondly when he came to my hometown of Fort Worth Texas (in the seventies????) and electrified us all. Saw him a few times after that in NYC. I can only imagine what an unbelievable teacher and company leader he is, and send my wishes that he will be back in those roles very soon.

Well, not to veer too far off topic, but the Times has MANY interesting practices in terms of their wedding announcements. I have always been taken aback by the way they insist on publishing the bride and or groom's previous marital history, if any -- e.g. "the bride's previous marriage ended in divorce." Really, who cares and what does that have to do with the new and joyous occasion?

Monique Meunier is a beautiful and regal dancer and I hope she lands somewhere where she will be very much appreciated.

Saw her dance as a guest at a benefit performance here in Southern California in May with Nilas Martins. It was sublime. More, please!

I second your mantra, Tutumaker.

Saw them a few years ago at Royce Hall (in which Peter Boal guested in Apollo --aah!) Would love to see them come back (and this time I'll get better seats than the third row!)

I second the thanks, and especially welcome the news of Andrew Veyette's performance. He is our Southern California "native son" and danced at my daughters' ballet school along with his two brothers. Love to hear of his success!

It seems that only one of this year's Mae L. Wien award winners has become a NYCB apprentice. I'm a complete outsider, but I'm wondering if that is unusual. Does anyone know -- officially of course -- if any of the other MLW winners or other 2005 workshop participants have received offers elsewhere?

Thanks! This made my day :blush:

Bart, to answer your question - in general, it is the fusion of the music and the choreography!

However, I just got home from seeing Paloma Herrerra and Angel Corella perform "Blach Swan" and I may have changed my mind. Too many turns! But I still love the idea of playing the seductive temptress who is still elegant and unattainable!

Aurora, for the delicacy of the pointework.

Russian in Serenade for one particularly beautiful part when she travels the stage, landing in arabesque plie with arms and back curved and arched. It looks so beautfiul and fun to do ==sorry for the poor description!

Tchaikovsky Pas de Deux -- I just love the exuberance and the abandon and those fast passes!

For Balanchine ballets, Russian in Serenade, and Tchaikovsky Pas de Deux

For everything else, Black Swan pas de deux and Aurora.

Hey Lampwick, my daughter (not a professional) is rehearsing a corps part in Concerto Barocco. She's having an amazing experience, but her feet are killing her -- she's the one with the most hops on pointe!

Over the years, I have bought many autographed pairs for my dancing daughters, mostly at the NYCB gift shop. The first time I took them to see Nutcracker there, we got a pair of Dana Hanson's shoes, dyed gold for Marzipan! For only $5, they are a marvelous lasting souvenir. Each kid got one shoe from the pair. (Hey, a Shirley Temple at Tavern on the Green cost as much!)

Yes, I have noted that NYCB's shoes are much less expensive than ABT's. I did spring for a pair of Julie Kent's from an Onegin performance --- but I figure these purchases are ALL for a worthy cause.

There is also a lovely article in (April, I think) Vogue about Ms. Dvorovenko and her husband and the impending arrival of their child. Also a very nice quote from Kevin McKenzie on the positive effect that parenthood has on dancers and their dancing!

George B fan, I too am pleased to hear this! I think that positioning ballet as entertainment has been pretty much a "missed opportunity." In terms of drawing in fans in Los Angeles in particular, it is a smart move. Good for them. The day that the entertainment TV shows start covering ballet companies is still far off -- but I (as a public relations person) can dream can't I?

I agree with Dirac, Jeff Bridges should have had a shot. But look for more good stuff from him in 2005.

In my very humble and uninformed opinion, if Clint Eastwood was going to get nominated in acting for Million Dollar Baby, it should have been for supporting. That would have paved the way for either Giamatti or Bridges in the Best Actor category.

I haven't seen Ray yet, but I would bet on DiCaprio. The movie was overly long, however. Where are the editors?

Me, too. In fact, I am a little embarrassed that based on all the buzz, I gave this book as a gift without having read it myself first.

Socalgal, I'll be going on Sunday Oct. 3rd (12:30 p.m.) in OC and then Friday Oct 8th at 7:30 -- what great programs!

J

Also, the hair is down in the Elegie section of NYCB's "Serenade" And it amazes me how the "Waltz Girl" unpins hers without detection while she is lying on the stage. However, it is my understanding that "hair down" was not always the case. This was a subject of debate when my dd's pre-pro company (directed by Yvonne Mounsey) performed Serenade (under the tutelage of Colleen Neary) earlier this year as part of their Balanchine tribute. In Yvonne's day the hair was left up so that's the way they did it. Does anyone know when the taking down of hair in Serenade came into practice?

Ummm...John Kerry?

Well, kidding aside, how about Peter Martins back in the day?

Let's see...

Two Anita Brookner novels: Hotel du Lac and Rules of Engagement

Jane Austen Book Club

Sense and Sensibility

Story of an African Farm by Olive Schreiner (well, the first half of it.)

On the nightstand:

Me Talk Pretty One Day by David Sedaris

Balanchine biography by Bernard Taper

Bel Canto

...nothing too heavy

Got a seat, dead center in the Grand Tier -- thanks all!

I was there on Wednesday night (the 14th) and agree completely with Dufay and Justafan. I must say this is really my initiation to the works of Ashton so I am probably not qualified to comment. But it was a treat. I absolutely loved Scenes de Ballet -- the dancing by Cojocaru, yes -- but also the costumes and the overall look, that yellow and black tutu especially. The Divertissements were interesting -- with the highlight being Leanne Benjamin, so joyous in her dancing. The first one before that -- the Sleeping Beauty entr'acte -- left me a bit underwhelmed and I wondered what all the wild applause was for. I am not often in New York but when I have been have never seen an audience go so wild for every ballet. (Orange County is a different story!)

Thank you! I am seriously going to try to make this happen!

Best,

Jacqueline

I have just found out I'll be in New York on business from So Cal. on Wednesday and may be free in the evening (will have to play it by ear when I get there.) Can anyone advise me on the odds of getting a ticket to that evening's mixed bill as a "walk-up?" Do they sell returned tickets like they do at NYCB?

Thanks!

Jacqueline

Alexandra and Treefrog,

Thanks for your replies! You raise very good questions, Treefrog. After all, "historical fiction" could be considered a bit of an oxymoron! For this exercise, I'm just going to assume it means a story in which the characters' lives and the "plot" are impacted in some way by actual historical events -- no matter how accurately (or not) the author portrays them.

But the idea of broadening the category to include "ordinary people with ordinary lives" is fun -- "Bridget Jones' Diary" would have to count!