gemnerd

Jan and Dr. A -- I am so sorry to hear that Bill has passed. I took classes at Gene's studio on Vine and later when he moved to Santa Monica Blvd (and again for a very short time above a church on Wilshire Blvd.). As a dance writer, I know that the time I spent with Gene influenced not only my approach to dance, but my approach to living. Dr. A -- when did you work for Gene? I have memories of one of the few men pianists who played the most glorious Bach pieces. Was that you?

Although it appears they are not commercially available, I was able to see the Romeo and Juliet at the New York Library for the Performing Arts in Lincoln Center. It was free and you don't have to have any kind of membership. I wanted to see it as I thought my memory of the live performance had been enhanced by time. It wasn't. It was one of the best R&Js from a dramatic perspective (and you get to see Evelyn Cisneros play a street prostitute -- very fun).

Another spiritual issue that should be considered in Giselle -- the nature and necessity of forgiveness. Myrtha and the Wilis are unforgiving of their transgressors; therefore, they are doomed to hang out in the forest forever. Albrecht isn't the only one being saved here. Giselle saves herself from an eternity of forest dwelling through her final act of forgiveness. Contrary to the opinion of the reviewer at the Arizona Republic, Giselle has lasted because it's overriding mythology and spirituality has touched audiences since the ballet's creation, not just because artistic directors have weird and misguided notions of what should be performed. Same with Swan Lake, for that matter. (Swan's notwithstanding, most people, men especially, are terrified of doing the wrong thing and the consequences of the action.)

Hi -- I just wanted to say how much I appreciated Alexandra Tomalonis' analysis of the role of the dance critic. As a former dancer and current dance critic, it always disturbs me when reviewers take such a negative approach to a performance, even while praising the dancers (“the actors were good, but the play was crap”). Though Nilsen explained his point of view thoroughly, it told me more about him and his prejudices than it did about the dance in question. Especially in markets that don’t have established audiences for the performing arts, it should be considered the reviewer’s job to tell something about a dance work — the plot, the context, why it’s important. Also, without resorting to blatant boosterism, if the local dance critic wants performances to review in the future, the audience needs to be cultivated and grown, or the critic will be without a gig. My town (Las Vegas) is experiencing this type of growth in the community’s (non-Strip) performing arts. Although not at the level of dance found in San Francisco or New York, our local dance companies are using creative methods (like NBT's recent partnering with Cirque du Soleil dancers) to introduce new audiences to the art form. And our local stuff is getting better. Nevada Ballet Theatre is in its 36th year and has come a long way from being a part-time gig for dancers performing in feather shows on the Las Vegas Strip. I passed the article on to my editor at the Weekly as he is one of the few that does have a mission to educate the readers. I thought he would enjoy knowing that others feel as he does.