printscess

Played by men

Dances at a Gathering or The Goldberg Variations

Birth scene - yes

Farrell & d'Amboise, or Farrell & Martins?

with d'Amboise

Patricia McBride or Kay Mazzo

Peter Boal or Jock Soto

Herman Corejano or Angel Corella

Roberta Sue Ficker.

Edward Villella or Jacques d'Amboise?

Edward Villella, but then again, I am partial to shorter dancers.

I am already standing on line buying tickets. (My non-NY husband always says...not ON line...in line). Anyway, I am so there!!!! It is about time.

Balanchine disliked noisy shoes, so NYCB dancers are obsessed with (and outspoken about) making as little noise as possible. You won't hear much pointe shoe noise from the Royal Danish Ballet either, but I suspect that the idea is less novel to them considering the company's much longer history. :rolleyes:

This past winter season at NYCB, I was wondering who the herd was on stage. I had never heard such loud landings before. Hopefully with the new renovation of the State Theatre the problem will be solved. The funny thing is that I had never noticed the sound before.

I wonder if the powers that be at Lincoln Center will have the problems that we mortals have with renovations. I shudder to think about it having barely lived through my apartment renovation. And I wonder if the renovations will be finished on time for the NYC Opera fall season?

Hi David,

I am looking forward to reading your insights, comments, critiques. It should be very interesting. Are you still involved in ballet on any level?

Welcome aboard. We are a polite group with strong opinions (at times)!!!

The company has released a note from AD Peter Boal that Herd is leaving the company at the end of the season, and is going to the Dutch National company. He was a guest artist there last autumn, and has been 'asked back' for a permanent position.

This is the first time someone has left the company for another gig (as opposed to retirement) since Boal took over the directorship -- I don't know whether to read anything into that or not.

I wouldn't read into it. Dancers go to other companies for many reasons. Perhaps to dance different choreography, expand artistic possibilites or just wanting a change of scenery. The fact that dancers have not left in hords since Peter took (on their own or not) over speaks volumns for his management style and his artistic vision. What I find interesting are the NYCB dancers who are arriving...which doesn't surprise me.

Peggy,

So glad you enjoyed After the Rain. I don't know which chokes me up more, the music or the dancing. Nonetheless, both together are breathtakingly beautiful.

I love the look of the tutu and I feel it is very complimentary to dancers body and her movement. It marks such a clear separation of the legs from the upper body, but it doesn't destroy the line. There was an amazing exhibit of Tutus at the NY City Center some time ago and the detail and workmanship was stunning. It's a shame that the audience doesn't get to see the detail of some these garment.

I am curious who invented the tutu and what was driving force or idea behind it? Was it introduced for one ballet in particular? is there a "standard" diameter?

Is a tutu considered traditional or do more contemporary choreographers use them?

Sorry for all questions, but this is my ballet learning lab.

According to Wikipedia, the classic tutu was invented during the late 19th century. It comes from the word cucu which in French, means bottom, but was first used in Russia. It states that it was made at the same time as The Sleeping Beauty, Swan Lake and The Nutcracker.

I have found most of the replies to this thread judgmental in Sascha's column. Let's understand a few things: Newsweek caters to (mostly) middle America where the politics are (mostly) conservative. That is the target audience of Newsweek. And yes, for the unenlightened, they see male ballet dancers as gay. So what?? Big deal!! If he wants to state that he is straight that is his business, so everyone, please get off it.

Has anyone every thought that he is bulked-up and tatooed only because he likes that aesthetic and there is no underlining, hidden meaning that he does that to show the world that he is straight??

I have stated in past threads that although I live in NYC and my son went to SAB and went through the NYC public school system (where you would think that the majority of students are tolerant) his life was threatened for being a ballet dancer. During his darkest days, he would not give up dance because even at 9 yrs old, his soul knew that a dancer is who he was. Sascha's column would have been a big boost to my son years ago, so I am sure it is helping some boy who is dancing in some school who might even be questioning his sexuality just because he loves ballet!!!

I had a former friend ask me if I was afraid that my son would "become" gay for being a dancer my reply to her was to ask her if she was afraid because her son was a soccer player was she afraid that he would "become" gay. She looked at me like I had 2 heads. She just didn't get it.

My son has moved on from being a student to dancing with a company. He is 18, living on his own and living his dream. In this day in age, there are few of us out there who are living their dream.

Little Tomato: Thank you for your comments.

Wendy Whelan is not one of my favorite ballerinas. I find her cold. When she is dancing in story ballets, I find them hard to watch. However, in "After the Rain", she nails it. Of course Jock makes everyone look wonderful.

Mashinka,

I enjoyed your candor. Thanks for not holding back.

They do come to NY. I know that doesn't help you, living on the other coast!!!

I am sure I will log in on this question a number of times because I cannot remember all of them in one sitting.

The first that comes to mind is the pas between Jock Soto and Wendy Whelan in Chris Wheeldon's "After the Rain". It moves me to tears.

Christopher Stowell (AD of Oregon Ballet Theatre) choreographed a wonderful Midsummer Night's Dream this past fall season. The pas was beautiful and intimate. I felt as though I was seeing a private moment (but in a nice way) between 2 lovers. Did anyone else see his Midsummer?

Bart, Cristian and other Floridians:

As a regional company in the shadow of the mighty MCB, what does this mean to you? Did the local community not support this company? In general, how good are they? Are they too close in proximatey to MCB? What caliber are they? I can only imagine the worry and upset for all who are involved with the company. Jobs are getting scarce in the economic enviroment.

I did and wrote about it in danceviewtimes.

The production had such a sense of place and community, that even with all of Don Quixote's mishegas, it was palpable how a stranger coming through town, even for the briefest of visits, could leave a drop of feeling that touched the someone he left behind.

What a treat to read about Daniel as DQ. He is a wonderful teacher, talent choreographer and a fine friend.

Cristian,

Nicely done

.

Are they allowed to walk down the street? I have suffered numerous sprains (seven, I think), all except one while walking down the street or dashing across. The other I did incur on a ski trip -- while sitting on a toboggan. .

They are only allowed to jete across the street

Dancers who have agents are usually principals. If you are in the stratosphere of the ballet world, that would make sense.

Regarding pay scales and additional amounts per performances there are many variables. There is a big difference from union companies (NYCB, ABT to name just 2) and non- union (usually regional companies). ABT allows their principals to guest at other companies, other companies do not allow their dancers to dance with anyone else while they are under contract. Some companies do not allow their dancers to dance with another company that is within a 100 mile radius. (Even if a magazine wants to interview the dancer, it has to first be approved by the PR dept. regardless of the purpose for the interview.) But to negotiate a standard corp or soloist contract, I do not think an agent is required. I have no idea about a principal contract.

I know that in some companies, if you are a corps member and dance a soloist part, there is a hike in pay scale for the part. In other companies, if you dance, rehearse (company class is not included because that is optional) more than "X" amount of hours per week, you go on overtime. If you rehearse and or perform "X" amount a days in a row without a day off, regardless of the amount in rehearsal and performance, there is overtime. If you are on tour, that is a different can of worms. There is travel time, per diem, etc. There are so many variables. I am sure that very small companies with a tiny budget just pay for performances only.

Ballet dancers move horizontally from one company to another, for many reasons. Maybe there is no growth potential where they are. Many dancers take a "demotion" to move to another company. Seth Orza who was named soloist this summer at NYCB left and became a member for the corp with PNB. This is very common. Then they work their way up in the new company. Many times they take the demotion and they are promised a promotion for the upcoming season, or they wanted a new experience at a different company. I am not suggesting that that is why Seth left NYCB.

In terms of health and safety, there is usually a paragraph in the contract that will tell a dancer what they are absolutely not allowed to do such as ski, motorcycle, mountain climb, jump out of a plane (DUH), etc.

Thank you for the link. I enjoyed the article and the video. Esteban is the spitting image of his brother Issac.

But I suppose some dancers enjoy being a corps member with fewer demands.

In many companies, a member of the corps is dancing much more than a soloist or principal. In many ballets for example you may need 10 corps members, 2 soloists and 2 principals. Due to last minute injuries or scheduling conflicts, there are 2 or 3 casts to a ballet, so 30 corp members need to learn the rolls. May corps members learn soloist and principal roles in the same ballet. IMHO, the demands are greater on a corps member.

I've always thought Patricia McBride one of the most beautiful women ever to set foot on a ballet stage.

And she has the heart to match!!!

Have a bit to eat upstairs at Fairway. It is literally 1 door south of Steps.