Neryssa

FYI: One can easily find Barbara Bocher's work address in the epilogue of her book.

atm711: Bocher lives in Santa Barbara, doesn't she? I think you could find her address from the NYC Ballet Alumni office - if she has been updating her address with them. I love reading about this period of the New York City Ballet. Bocher finally reveals how she escaped from the locked bathroom during that infamous performance of Symphony in C during one of the NYC Ballet tours in Europe.

I think it is a pathetic and archaic notion to think that a choreographer or artist in general must be a screaming maniac in order to choreograph, paint or compose. Robbins abused his authority; it is as simple as that. It should not have mattered that Bocher was young, sheltered or not able to tough it out. I think it's sad that many people still think Robbins' behavior was acceptable or justifiable in the name of his art.

Are you saying that some dancers liked his screaming and expletives? Bocher is referring to verbal abuse and harassment. I think Balanchine more than proved that dancers could be challenged with gentle, calm instruction.

I finished the book over the holidays. It was poorly written, I agree - or rather, it was not well edited - if at all. I agree that Bocher has a right to be angry about the horrible way Robbins treated her but she is also bitter that Balanchine did not ask Robbins to change his behavior. In the final part of her book Bocher criticizes Balanchine's ballets as being soulless which I thought was unfair. She also writes some questionable things about how Balanchine treated Maria Tallchief when he was obsessed with Tanaquil Le Clercq. I don't know, I wasn't there but did Balanchine humiliate Tallchief during the early-mid-1950s? Did he not continue to choreograph works for her after their annulment (such as Scotch Symphony?). A strange book. Bocher obviously has regrets about not continuing her career and seems to blame Robbins and Balanchine for not allowing her to fulfill her potential as a dancer.

Which piece is this? I like Act III: Pas Classique Hongrois That's it, Neryssa. My post was a poor description of the clapping variation. On relistening to the music, I see that "balalaika" is wrong, too. The melody haunts, but also carries false memories in this case.I love the tune, which immediately evokes the choreography when I think of it. What do you mean by "false memories?" I also wonder why Balanchine choreographed it for Maria Tallchief the way he did in Pas de Dix. If I remember correctly Tallchief wrote about expressive port de bras similar to the ones in Firebird. However, when I watch the Russian versions today (beginning with Pas Classique Hongrois), it begins with a développé which is lovely... I still prefer what Balanchine choreographed for the coda (Act III). Forgive my clunky writing.

Which piece is this? I like Act III: Pas Classique Hongrois

I had no idea and was really, really, really, delighted to learn that "histrionic personality disorder" is an actual medical condition. I even googled it after reading this post and it's in the DSM! However, I am somewhat hesitant to tell my (not at all histrionic, indeed rather stoic) partner. lol, Drew. I have a couple of psychologists in my family...although it wasn't fair to use the term describing Allison. Why is Adam Sklute going to New York when there is a prominent ballet department at the University of Utah? I guess that's a stupid question but how do directors recruit dancers? Does it depend upon the director? I can understand why dancers want to go to New York but where was he in New York specifically? I guess one doesn't want to do their PhD where they did their MA, one needs variety, cross pollination/talent and diversity, etc.?

lol, Helene. I adore Beckanne Sisk. She really has an engaging personality and unusual composure for a 19 year old - for any age, really. She has a bright future. If you google DeBona she claims that she has a Pittsburgh attitude. I wish she would drop it but then CW30 wouldn't have a show, would they? Based on the 5 seconds they showed, I thought Allison looked radiant in "Emeralds." Not sulking is a good look for her.

I was disappointed when rock music was inserted [and the classical music removed] when Beckanne Sisk danced in Paquita. I don't care about Allison and Rex So a principal [Christiana] will be having a nervous breakdown next week...?

It comes across that way. However, as with all reality shows, one wonders how much of it is sincere and how much is 'staging' for the cameras. Good point. But none of it sits well with me even if it is staged. I like mystery in my favorite dancers and ballets. Yet I continue to watch this show.

Joy was so special. I was the recipient of her (and Conrad's) incredible hospitality (and wonderful cooking) for a number of years. My heart goes out to Conrad. Fortunately, he has the most wonderful children (and grandchildren).

I agree about Allison. The show wasted too much time on her friendship and relationship troubles. Doesn't Allison seem a tad disrespectful to the conductor? Does she have histrionic personality disorder or what? Beckanne Sisk seems more composed and refined at age 19. And I really love her dancing.

I think this is overly optimistic, but wish it were true, particularly about Salt Lake City. I wouldn't blame the NYC press entirely, though: Alastair Macaulay has made it a point of traveling to see many American companies and writing about them for the Times, often with appreciation, and while Leigh Witchel writes about NY dance events for the Post, he writes in many other publications, like Ballet Review, about companies to which he's traveled to see. But so much nonsense is written about SLC and the Mormons and Americans are not particularly educated about their states. I've lived and traveled abroad and have met more Japanese citizens who are better educated about Utah history than the average American. Anyway, I am guilty in some ways. Over ten years ago I was asked by the late Francis Mason to contribute the occasional review about Ballet West for BR but I was not interested at the time. Not that I would make a good critic. BTW, who is coaching Ballet West's dancers for Jewels? Anybody know?

I think your "out-in-the-sticks" comment is unfortunate since I think that attitude (which you rightly oppose) is a bit outdated. It may have been true 15-20 years ago but from the Winter Olympics to Sundance it is not as if nothing of cultural or athletic importance happens here. I lived in New York and Chicago and I considered the latter city quite provincial when it came to ballet and environmental awareness compared to Salt Lake (and I am not a native Utahn). Maybe some New Yorkers (& some press members) still think that way but not everybody thinks this way especially these days.

That's not true even if you are only referring to clips of Le Clercq: There was a longish clip of Le Clercq in Western Symphony unless you omit the seconds when Jacques d'Amboise is dancing his solos without Le Clercq. What about the other ballets profiled in that program?

Let's hope this is one of the rare NYCB documentaries in which rigidities over permissions, rights and pay-offs are resolved.A friend who taught a master class of students in the capital of a southern state asked those participating how many had heard of Balanchine. Only two responded "yes." Let's hope that Le Clercq and her incredible story -- conveyed through images not usually available to filmmakers -- will help change that. Didn't they release footage for the American Masters documentary on Balanchine? What about the Jerome Robbins' archive? Also, Le Clercq left an archive. There is not a lot of footage available of her dancing, is there? There was a nice profile about her on the American Masters' program on Robbins. She really deserves a documentary. I really don't understand the rights/permissions issues but if Nancy Reynolds is involved then I am hopeful.

More good news as I noticed that the co-producer is Ric Burns - brother of Ken Burns

I've read good reviews about her documentary (HBO?) The Loving Story: http://lovingfilm.com/about-the-film/

I love the IMDB entry -- Jerome Robbins and George Balanchine are listed as "stars!" Isn't it wonderful? I am sure that this documentary will include archival material and great photographs!

Just when I thought things had quieted down with the novel - a film?: http://www.tannyfilm.com/ At least it will be a documentary, supposedly and Martin Scorsese is an advisor: http://www.imdb.com/title/tt2381319/ P.S. Nancy Reynolds is a consultant, hurray! N.

That was substantial rehearsal time being shown on the show?! My, I do have high expectations! Thank you Natalia for the information about Elena Kunikova. I enjoyed watching and listening to her. Actually, SLC has a large gay community for a city of its size; it is just underground. The company only has one male gay dancer? - that wasn't always the case either.

I watched it tonight for the first time and I cannot count how many times I cringed. From what I've seen I wonder if BW is up to Jewels. I live in Park City so it is fairly easy for me to attend. Now I'm having 2nd thoughts.

An unfortunate term but Suzanne Farrell was not a sophisticate (unlike Le Clercq) until she studied with Balanchine and later lived in Europe for several years. There are many cringe-worthy moments in the novel's preview but I am still waiting for the book via interlibrary loan.

Thanks so much, Helene.