cubanmiamiboy
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Posts posted by cubanmiamiboy
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On 7/28/2020 at 7:06 AM, California said:
I have a PhD in Arts and Media from the University of New South Wales and a BA in Sociology from Princeton University. My academic work focused on Hollywood romantic comedies; my doctoral thesis was about how the genre depicts gender, sex, and power.
How interesting....
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I truly hope a wave of cancel culture doesn't start for ballet companies...
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Didn't like the costumes at all.
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On 5/4/2020 at 5:19 AM, Roberta said:
As a result of searching for recent RDB telecasts that have been released as webstreAms due to the COVID-19 period, I discovered that the !981 Danish CoppeliA is now on YouTube:
What a delightful production! Thanks for the link, Roberta. Yes. Lots and lots of mine. Actually there's an entire mime scene during the whole of the Mazurka in act I, very much like Peter Martin's in his SL ballroom act, where a whole mime between the four characters happen while yet another Mazurka is danced in the background.
Also, the "War and Discord" music is used for Franz and his friends in the final act. 😀
Definitely a folk oriented production, with the wonderful Hungarian colors.
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On 4/2/2020 at 4:53 PM, pherank said:
As one commentator put it, "you need to work on your turnout and your insanity":
I keep coming back to this. I think it is GENIUS!! Love love love.🥰
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On 4/17/2020 at 9:04 AM, JuliaJ said:
In Kathryn Morgan's recent interview on Megan Fairchild's YouTube channel, she did explicitly say she was pulled out of Firebird because of her body
And that could probably be the end of her tenure down here. Lopez did pull her out of the role, but also offered it to her. Tbh, I saw Morgan as the Striptease girl and didn't see her ready yet , body wise. Maybe she won't ever be back to where she was before getting sick. Quite a shame. For some reason I thought she could do a triumphant big return as O/O in Ratmansky's upcoming SL.
The whole social media lacrimose post is a mistake, in my book, if she wants to keep trying to fit in a company. That will only scare AD's, and like it or not, the weight issue, even being a cruel, raw topic, comes with the job. On its non spoken description though...
Joy Womack is the poster child for such controversial online rantings.
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On 3/2/2020 at 8:02 PM, canbelto said:
Lourdes Lopez "liked" Kathryn's body positivity post on IG. So I think this isn't a doxxing of management.
That post, I suspect, was a catalyst. Morgan clearly said she wanted to dance the role and that she was pulled out of it. She never says that she understands the reasons why. She was definitely upset and she obviously felt she should had danced it. Lourdes liking the post is a mere "I hear you, and I acknowledge that you are frustrated". But that's it. The end result is the same. Morgan feels she should had been onstage for Firebird. Lourdes decided against it.
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On 4/15/2020 at 11:19 PM, Mousie29 said:
Last week Megan Fairchild did a 51 minute interview with Kathryn Morgan on her instagram. About 3/4 or 2/3 of the way through, Megan asked Kathryn about what her future hopes were (in an awkward way), regarding her "platform" and Kathryn answered that she would no longer be in Miami. Kathryn said she would like to be dancing somewhere, anywhere (paraphrased?) and that she really missed her youtube productions/fans.
I kind of guessed she would not last down here. Miami is rough.
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4 hours ago, volcanohunter said:
Well, there was that time Luke Jennings reviewed Tsiskaridze in La Bayadère.
"Both performances, however, were all but nullified by Nikolai Tsiskaridze's interpretation of Solor, their supposed lover. Heavily mascara-ed beneath a mauve turban, his hands flying to an imaginary string of pearls with every plot turn, he was the least plausible heterosexual hero I've ever seen. 'It's Shirley Bassey!' whispered my companion, as Tsiskaridze fluttered at Zakharova in sisterly exasperation. And it was."
Yeah....he was not too manly, tbh.
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3 hours ago, canbelto said:
I'm really curious how a company can dictate that its dancers look "more manly" off the clock. If Johnsey is not performing he has the right to look however manly or not manly he wants (whatever those terms mean).
Of course he has the right to dress as he wants offstage. Which is what he's doing right now.
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1 hour ago, nanushka said:
But what your comments here have been suggesting — and I think it's important to articulate it, and please tell me if I am incorrect in my summary — is that Johnsey offstage was too feminine, insufficiently butch, not manly enough, too womanish despite his biological maleness, to be a successful drag performer.
I remember Johnsey stating just that, or something along the lines. That the company wanted him-(and everyone else)- to look more manly. The whole thing, according to him, started when he opted to act/dress/look more feminine offstage. That the company has the right or not to make such rules is probably subject to endless debate. And a formal investigation took place into the matters. And it is finished by now.
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5 hours ago, nanushka said:
As far as who gets to set the boundaries of what it means to "dress and look like men offstage," I'm at a loss.
Is usually one's family who does, when we're little boys.
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2 hours ago, nanushka said:
What is the aspect of their "mission" that he couldn't "stick to"? What are the "wishes and desires" that management had "no obligation accommodate"? (Genuine questions.)
Johnsey was clear about it. The Trocks want to be known as a troupe of men in drag. Men dancing on pointe. Men satirizing ballet-( and showing how proficient they can be on pointe if wanted). They want men who dress and look like men offstage vs their comical onstage "female" alter egos.
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59 minutes ago, nanushka said:
I was responding to your earlier post, where you seemed (to me) to be expressing doubt that some "whole concept" was "pure satire":
I apologize if I misconstrued your tone or intent. Now I'm not sure what you meant.
Apologies accepted 🥰. Of course I was just talking about the "whole concept" of the Trocks troupe and their approach to the art form. About gender fluidity and such I wouldn't even try to discuss, as it is quite a Pandora's box and much of a complex, personal perception that is certainly not of general consensus.
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3 hours ago, nanushka said:
Gender certainly can and has been the object of satire at times (including by the Trocks), but I don't see or hear anything that suggests Johnsey's gender identity — in either life or art — is or ever has been "pure satire," no.
Nanushka... I didn't go that deep in my reflection. I merely stated that I perceived every single performance of Les Trocks as a ballet satire. That they can do fouettes and pirouettes on pointe with excellence..? No doubt. But I haven't seen one performance of theirs that hasn't ultimately shown a comical approach to the art form.
Johnson filling up a female position on the ENB is a total different thing.
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56 minutes ago, Helene said:
The Trocks were never about pure satire.
I see...
I got their gig wrong then, I suppose...
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On 4/8/2020 at 3:12 AM, sandik said:
That's part of what the Trocks are about.
Oh...I see. The whole concept as a pure satire. Gotcha.😀
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Many thanks for the link! I am always very intrigued by Tudor's repertoire. It seems quite uneasy to approach if not done the right way, which I have the feeling has been the main reason for its absence from ballet companies. "Jardin aux Lilas" seems to be the more friendly one. Take for instance, "The Judgement of Paris". I first saw the clip. Was confused as to what was I looking at. I even though for a moment the three "goddesses" were men in drag. The occasional laugh from the audience sort of guides you to ...what...a comic piece...? Then I stop and browse the net into the ballet. It seems the essence of it should be looked more into the tragedy of human decency decay and broken morals. There's no happy ending here. The costumer falls pray into the assaulting, unscrupulous hands of everyone else around.
Was the clip succesful at such...?
Not sure.
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11 hours ago, dirac said:
RIP to a dedicated patron of the arts. Ms. Bass did as well as a nice Vassar girl of her day could by the social rules then obtaining, marrying into Texas oil money that wisely diversified into the entertainment business, and was later the beneficiary of the fattest divorce settlement Texas had seen to that time.
Her house and garden:
Wow...that part of her ups and downs with NYCB is quite intense. So interesting to see that Villella is brought into the article as a the example of how things ought to be done between board and AD, given that he would end up embodying the same exact issue years later, the tumultuous affair ending with his exit-( opposite case of Martins').
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Another SL staging faithful to the 1895 libretto. David Blair's for ABT, 1976 with Makarova and Nagy.
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1 hour ago, rhys said:
Both the Bolshoi and the Royal Ballet showed La Bayadere in the last ballet cinema season, and though I'd seen both productions before and had vaguely preferred the Makarova production for offering a resolution, this time I actually thought the truncated Bolshoi version was more satisfying, in a manner of speaking.
It ends in the Kingdom of the Shades, not with the pas de deux, but with Solor seeing a final vision of Nikiya and fainting away.
This time It seemed to me as if Solor had died, in a psychic if not a physical sense.
I think like volcanohunter I didn't think Solor deserved the apotheosis in the original/restored version, so this felt right - a beautiful dream of reconciliation and forgiveness, then catharsis for us not in their reunion, but in his death.I can't wait to see a R&J where the friar comes to the tomb, gives both lovers an antidote and marries them when they wake up, all of it with supplementary music by Khachaturian. They deserve it, damnit...
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Some "Je ne de quois" thing that Includes, but is not limited to, face, gaze, neck, center and stillness.
My pick. Dame Alicia Markova.
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7 hours ago, Helene said:
If it ends with Kingdom of the Shades, or even the pas de deux, that's a pretty good opium dream.
If it ends with the Kingdom of the Shades, what we have is the Soviet truncated "version" with a very alive Solor. La Bayadere ends with the temple destruction. And Solor is dead.
Kathryn Morgan
in Miami City Ballet
Posted
Miami is tough as a city. It takes a while to get used to it. Many never do. And the company is a very enclosed one. Super small and super closed. This dancers are like a little Rat Pack. And when there's someone who doesn't quite really fit, it's very noticeable from their social media platforms. I believe that was the case with Messmer and also somehow with Morgan too. The whole idea of calling anything Miami "home" is an enormous task that many never conquer. I'm still a work in progress after 21 years, and I sort of smelled Morgan wouldn't adapt that easy. I know Eddie never did either.