Juliet

I have done a cursory search online for this information, but I recall reading in Rumer Godden's excellent book, A Tale of the Tales, that he composed and arranged popular tunes contemporary with Potter's life--there may be a listing on the CD or film, or in the book, but mine are all packed away due to a major relocation. When they surface, I'll check for you... I believe that he composed as well as served as a proficient and prolific arranger...for quick reference, the following might serve: http://www.answers.com/topic/john-lanchbery Hope this gives you a starting point for further research!

No excuse for no pantie. Or trunks. End of discussion. Bad design. I don't blame GK a bit. "Any excuse why any tutu would not cover the wearer's rear at least to the leg-line?" If the tutu was not built for the dancer, it's entirely possible that it won't fit properly--ride up, droop, give wedgies, etc. All rear ends are not the same and all wardrobe departments don't have the time or resources to correct fit on every dancer for costumes that are worn by many. In a custom tutu, no, there's no excuse. Kirkland's Giselle costume was wonderful--I shamelessly used it as a model when I designed a production some time ago. There are varieties of tulle, different weights, and layers of a fine/silk will give the thistledown quality which we hope will be echoed in the dancing.

Farrell is doing ALL Balanchine that week. Come to 'what used to be the dead zone, but is improving'...... Bad sign is right, Dale.....

Well, she's certainly around and about, so why don't you write to her c/o School of American Ballet, 70 Lincoln Center Plaza, NY, NY 10023-6594. Or you could check with the NYCB Press office, of course.

I wonder if it is a re-release of that set that came out as single CDs some time ago--The Art of the Prima Ballerina, Grand Pas de Deux and Ballet Gala. They were Bonynge recordings....

I wonder: where did that style originate? And why? Don't wait for my answer--it's R-rated! My favourite description is a Q-Tip twirling around with a dinner plate..... Or the flying saucer-school of uptilted tutus..... Seriously, there are many descriptions of tutus online.....different ballets call for different styles, and different companies have their own "look" which sometimes changes over the years...... Very sketchily, in a nutshell, for classical tutus: Softer, large, almost-bell shaped tutus are used in historical reconstructions of late 19th-early 20th c. ballets (Maryinsky Sleeping Beauty) or to mimic the look of same but with a more contemporary feel (ABT Ballet Imperial corps costumes.) English: "classical" shape, but not tacked together really tightly and angled somewhat more softly toward the leg...the tutu moves somewhat with the dancer... Karinska/NYCB/"Balanchine: shorter skirt, more movement and less stiffness, sometimes fewer layers, tacked more loosely... "Russian"--wider plate (size of the skirt diameter), usually tacked more tightly, sometimes enough so it resembles a pancake, higher cut leg. These are gross generalizations, but it is a complicated topic, and everyone finds their own look that they prefer.....

Try this link: http://www.nypl.org/research/lpa/lpa.html The website for NY Public Library is very informative. The NY Library for the Performing Arts is located at Lincoln Center, to the right rear of the Metropolitan Opera House. It is open to the public. You might want to check the website for more information on borrowing, access, etc. Some public library systems do lend AV materials through interlibrary loan.

This is huge news for Royal Ballet. Cope has had such a strong presence for years...... I'm happy to hear that he will still be around to set ballets, coach and pass on his knowledge and experience. He will be very much missed.....

I looked at this title on suncoast.com and it is indeed Malakhov in Spectre de la Rose (in which he is used to be wonderful--I hope this film was made a while ago.) I don't recognize the woman from the photo, but I don't like the off-shoulder costume. (I know, I am quibbling.) I did a search under "all" for the term 'ballet' and got a lot more than three entries--have fun searching!

She can do it. She pulled Don Q together in 4 weeks of rehearsal and one at KenCen. This woman is highly organized!!! I agree that there might be something else on the program...we can hope!

But accurate.

I still watch it too! My children loved it when they were young, as well---I also think Lanchbery did a marvellous job with the music.....And thank you for reminding me about Brenda Last--I thought she was superb, but was too lazy to go downstairs, get my book, and look up her name. If you love this ballet, I highly recommend the book. I got mine on eBay.

Yes, thank you so very much! It is good news to hear that the company's reception is so enthusiastic and we appreciate your reports!

Great reviews! Thank you for letting me share in it---I'm happy that the dancing was good and the overall feeling relaxed--- Hope the audience all buy tickets next season!

I am rarely speechless, PetipaFan, but you have silenced me! Ah well, disparity in taste is what makes us interesting, I suppose..... Carbro, you are too funny!! But in *my* fairy tale, we all applaud the beauty and taste of the giver.....and our individual Fairies as well! If fairies are offended, Things Might Happen.... Natalia, I completely agree with your points. Rather than redesigning NYCB's Beauty, how about another company's--say, ABT?

Yes, he was always highly individual! On the recently released DVD of Cinderella with Fonteyn, the Sisters are danced by Kenneth Macmillan and Ashton. It is worth the price of the film for their portrayals alone---interestingly changed from the later one with Helpmann and Ashton. Although many people do not care for it, I find the Tales a charming ballet. Although I have seen it live, I think that it was much better as a film. It is readily (and inexpensively) available on DVD. Some wonderful dancing, from Wayne Sleep (Nutkin), Alexander Grant (Pigling Bland), Michael Coleman (Jeremy Fisher) and a host of other great characterizations under all the animal trappings (Lesley Collier/Hunca Munca smashing a concrete ham is quite wonderful!) Costumes are extraordinary. A companion book, (by Rumer Godden, no less,) called a Tale of the Tales is great fun---sometimes available on eBay, or through libraries. Fun for the summertime!

I don't care for the Martins' choreography, but at this stage in my life (having seen so much of his work that progresses from medicre to dreadful) I am grateful that it retained some semblance of Petipa and Balanchine..... The Fairy variations done as a suite do not work because the pause is choreographically and dramatically necessary between each one. A gift is being presented--one needs to reflect on it's particular qualities, not speed on to the next one before it's completely unwrapped.

Martins is unlikely to replace his with another choreographer's. I find it one of his better efforts. Patricia Zipprodt did the costumes and they are lovely---colours, fabrics, movement, etc. She was a gifted costumer and these are outstanding. It is a gorgeous production, and I am happy whenever they put it in the programming.

I started a new topic thread. With apologies to PetipaFan, whose post I saw belatedly....

I am well aware of BA's hesitancy in publishing gossip and the stated policy. Ansanelli's departure from NYCB is well past the realm of gossip at this point. As her name is no longer on the current company website, it is published information. Her performance at SPAC last Friday night in Harlequinade in front of several thousand people was obviously something different. All around me in the audience and the intervals people were talking about it being her last performance with the company. (I don't mean isolated comments, I mean LOTS of people. It was a very well-attended performance.) She blew kisses to the audience and Moredock (the conductor) in her final variation. She was crying at the curtain calls. The bouquets were special. The entire company applauded her afterward onstage. Her departure may be temporary, and it ill behooves us to speculate on the reasons. They are her own and no one else's business. I very much hope that she will return to NYCB at some point. The press office, when contacted on Saturday, had no comment and there was no acknowledgement by Mr. Martins at the performance. I look forward to seeing her name on the company roster in future.

Well, it's very long overdue!!!!!! I am glad that she is finally being recognized for herr hard work and artistry.....congratulations to her and I am happy that it happened in New York so we could share it.

"Is anyone else shocked at the lack of background & fact checking this indicates in the NYTimes first dance critic?" No.

So, everyone buy tickets (they are considerably less costly than some other companies'...) and we can see..... Bejart's R & J pdd was done some years ago by Ms. Farrell's company. On the occasions I saw, it, I did not care for it. The dancing was fine, the choreography I found jarring in some parts (Juliet bent over backward in imitation of a card table....). Perhaps I will change my tune, but at least I can look forward to Movements and Rite of Spring, which I have not seen. I would definitely say that Bejart's muse is the male dancer, rather than the female.

Why not call them and ask them? You can explain a little of your background, age, height, etc and get an idea of what's what..... that's really the easiest thiing--they might have made some changes to the production and this way you can get an accurate idea. Best of luck! Juliet

Quick notes--summer is the busiest time for me at work and reading and the garden win out over using my brain.... So just some highlights..... Thursday's night of repertory started out with Ashley Bouder giving a marvellously thought out and realized performance of Ballo della Regina. No, she's not Merrill Ashley, so let's dispose of the nostalgia right away, but she didn't cheat, she wove the steps into dance and her arms were quite lovely. Sterling Hyltin and AnaSophia Scheller were the new wave....Edge and Riggins were the other demis and they were pretty, but flat. Yvonne Borree was relatively secure with Jared Angle as her Romeo, but my impression of them was of a careful pairing; his was a watchful and cherishing suitor, rather than someone who was carried away by passion.....he *couldn't* be carried away, she might have splintered. She is a lovely dancer in some things (Duo Concertant) but ecstatic romance is not her metier. As one of the best partners on stage anywhere, he will have a chancee to develop the role with someone with a little more oomph, I hope. On Saturday afternoon, another story entirely......Janie Taylor and Tyler Angle were superb. This is rather workmanlike choreography, but they made it appear a masterpiece. These were exceedingly detailed interpretations by two highly intelligent dancers and, unlike the previous couple, they had the freedom with each other to express and explore.....I was absolutely thrilled to see such sensitivity to the music and each other. The minor glitches were minor, rather negligible, even; I do hope that City Ballet's costume shop gets some repair work done so other Romeos don't have to dance with the sole half off their boot.....that must have been rather unnerviing! I was happy to see Sylve in Midsummer with her expansive movement (just because certain senior dancers can't/don't do them any more doesn't mean that high extensions are a Bad Thing....) and generous characterization. Her pdd with Bottom was sketched rather broadly, but her whole interpretation was broad, which is fine. Not my favourite, but fine....... (The less said about Tom Gold's performance the better.......he looks irritated and petulant all the time and I really dislike him in this. Years ago, he was a marvelous Puck, but I have never seen a satisfactory performance of his Oberon. I'm trying to dwell on highlights, so will not mention the Scherzo, about which I am certain he was mortified.) Brahms Schoenberg brough an exquisite, strong Ellen Bar front and center for the first movement. This is a great role for her and she is better every time I see her in it. Ringer and Fayette were wonderfully expressive and dramatic in their second movement....I was very happy to see their very touching and tender rapport in this before he leaves. Borree did third movement, which is very, very bad miscasting......but another GRAND moment was provided by Andy Veyette in his debut here. He was a little stiff, but this is a killer variation and his jumps were beautiful, clean and articulated. Strong, strong, strong. I'm very happy to see someone new move into this role and aquit themselves so well. It was a most enjoyable weekend, despite the mosquitoes and rain. Poured on Saturday for the matinee,,,,,and yes, I think the weather had an impact on the crowds.....It rained all day on Friday and Saturday. But everyone I spoke to in town was so happy to have NYCB back; the feeling was very, very upbeat.