BW

It's always so interesting to me to read the remarks of others who attended the same performance as I did. I second and third Leigh's remarks about Alexandra Ansanelli. She sold me on being a sweet, young, insouciant 16 year old who was thrilled with life. I absolutely loved her in this role and had never seen her in a "tutu ballet" before. Who else can I say that I thought was exceptional? Joaquin De Luz, without a doubt - his dancing was like quicksilver and he thoroughly embodied the Bluebird's spirit as well. However, unlike the other posters, I did not feel he and Miss Fairchild were well suited as partners at all. I am sure she is an fine dancer, and although I did not see her save the night(s) last summer at SPAC, and heard she was great in Coppelia recently, she just didn't have the physique for this role, to me, and seemed to be in real contrast to De Luz. I hate to say this but I found her a disappointment in this role. As for Aurora's Prince - I couldn't help but think that Joaquin De Luz might be better suited to her. Nilas Martin looked the part in the sense of "princely bearing" but that's where it ended for me. During The Wedding scene, of all The Jewels, I have to say that Carrie Lee Riggins' really had the energy and "brilliance" last night. Naturally the two cats were entertaining, as were the gymnastic court jesters, and of course Little Red Riding Hood fairly stole that part of the show. That's my take on last night's performance - and I want to add that I thought the scenery was done really well. I don't know if those scrims (is that the right word) were new or not, but they looked great...and the growing vines, which I do remember, were pretty good too...though I think everyone had to chuckle a bit as The Prince hacked his way through them.

I knew that book/story sounded familiar! Here is a link to NPR and a piece by Terri Gross on Fresh Air Azar Nafisi. B)

I have a very good friend who always finishes every book she starts - no matter what. I'm not of that tribe. If I start a book and really can't get into it after a good hard try and/or even putting it aside for another and then going back only to find it's still "no go" - then I shut the book and leave it under my bed for a few months in hopes that, if it hasn't been eaten by dustmites, it eventually finds its way to the used book department of a library nearby. How about you all? Does guilt drive you forward, even if you're bored to tears? If the prose sticks in your craw, do you persevere? And better yet - what do you do if a friend gives you a book that they just loved but you can't stand it or it puts you to sleep? :yawn:

vagansmom, have you read Carol Shield's Unless speaking of "loss"? I'm reading it now - though I'm not smitten by it, so far. balletmom2, I've never read any of those Mitford books, but they do seem as though they'd be charming and make me want to put on my cardigan and have a nice pot of tea! Not a bad thing, I might add.

I'll be glad to give you my take on it after tomorrow night. Looking forward to the evening.

rplaut, glad to hear someone in the know had as good a reaction to this piece as I did. B)

In case you missed this piece by NPR’s Sarah Fishko during her program on 2/12 The Fishko Files you can catch it now: Ballet Movies Although she is talking about ballet movies in general and The Company specifically, it is really more of a brief – but seemingly accurate glimpse into the ballet dancer’s life – there are brief comments by Wendy Whelan Victor Barbee, James Fayette and Jennifer Ringer - as well as excerpts from several movies past and present.

Well, I'm not a regular up there however I've attended performances in the last two years at Symphony Space and gotten spots on side streets right nearby with narry a hint of a problem - airbags and even Xenons now! I suppose if you park on the street you take your chances - but I always do my best to find a spot before parting with $20 or so for a lot. Must be my Scottish ancestry. :grinning:

Thanks carbo! :huepfen:

Try parking on Riverside Drive - it's free if you can find a spot.

Aha. Thank you Farrell Fan.

When Alexandra posted She made an important point - a Young Person with disposable income!If you fall into that category, or would like to , make sure you let them know. Have any of you noticed any activity related to this issue at the New York State Theater? One would think it would be the ideal place to get some NYCB grass roots growing.

On to more benign methods - I think Alexandra's on to something with the "rotting city" approach. But first - what do politicians love most? Photo ops? Happy people with them in photo ops? Happy children in photo ops? Performing arts companies need to create their own band of brothers and sisters and bite the bullet by working together as a force. If some of the more well funded could part with a bit more money to allow the less well off to take part, it could work. First, there has to be a meeting of minds and besides a meeting place (and maybe some simple food and drink) which I have no doubt someone at Lincoln Center could supply, there wouldn't have to be much money spent. After this it gets tough - they all have to work together with a common goal, that of getting the public at large interested in the arts in a big, fat photo op kind of way. Sorry for the New York slant on my fantasy but it's all I know. All these larger arts companies have their programs for school kids - if they pooled their resources and did something really fun and colorful in the summer and made sure the politicians were there - well, it could be a start. (We'll leave Cheney at that undisclosed golf course under the watchful eye of Major Johnson. ) Politicians want votes, votes and more votes. P.S. If you want to see some activism in real life - keep your eyes on the SPAC drops NYCB! thread!

Amy, what is your $50 ticket for? The event is free. Or is that the parking ticket you plan on getting?

Sorry vagansmom - I must have missed the activity on this thread after carbo's comments. Basically, they gave the history of the company (though I do not think they ever mentioned Moses Pendleton) and showed clips and stills of the men at Dartmouth. The founders were interviewed as to why they got into dance (was it partly girls? the need for a credits?) and then there was a bit of an overview of more current works. At one point they did have Leslie Stahl in their studio and actually gave her a bit of a "ride" as an example of a dance movement - if my lapsing memory is serving me well! I wish the piece could have been longer, but it was a nice change to have it at all.

I'm looking forward to Ansanelli's Aurora on Wednesday night. I don't suppose Farrell Fan, that you'll be there will you?

Many thanks for those addresses, rkoretzky! We need a "power to the people" raised fist icon right about now. I sincerely hope everyone who cares will write.

Quick - check it out. Leslie Stahl is interviewing the troupe. B)

Early Experiences with George Balanchine: Dance faculty member Barbara Sandonato interviews her former teacher Loren London (dancer in the original cast of George Balanchine's Serenade) and Barbara Weisberger (Founder and Artistic Director of the Pennsylvania Ballet) about their early associations with Balanchine. Julius S. Held Lecture Hall, 304 Barnard Hall. Free & open to the public Barnard Performance and Events Calendar

Very, very sad. I am so sorry. I have only been up to Saratoga once, two summers ago, but that one time was one of the most beautiful evenings of ballet that my husband and I have ever experienced. We will go this year and it's my bet that the attendance rate will climb even higher. I wonder if Saratoga has calculated the loss of revenue from the students and families at NYSSSA's ballet program or perhaps that just isn't enough money for their coffers to remain true to the higher calling they once had? Amen to Alexandra's suggestion of a blitz upon them!

Although I wish I could have chosen the more independent "other" - I chose "possibly" because as much as I hate to admit it , I have decided against going to a certain performance due to more than one "bad" review. For example, the reviews I read about Eifman's ballet at City Center last winter - I forget the name now - but after reading the reviews I just couldn't bring myself to spend the time or the money. But who knows - maybe I would have enjoyed it... :rolleyes:

I cast my chad for the "possibly" candidate...and for all the reasons with the caveats others have posted. I'm with you on Alexandra, Hans. It does make a huge difference who the critic is and how they write. P.S. I like your reasoning Alexandra about writing about what you really do like.

perky, now that's scary - but awfully funny, too. :sweating:

To add to your comments lampwick, the telemarketers who won't take "No, I can't afford to this year" or some such explanation but who insist on calling back night after night ad nauseum. Thank the phone company for caller ID, but even with that my ire does mount.

"Back in the USSR" Boris Eifman's tribute to the Beatles? "Street Choir" a new Stroman ballet/singing tribute to Van the Man Morrison, rather than the too obvious "Moon Dance"? - oops, Van is not dead thankfully, he's in Ireland, I think. (I like this as much as I like the "Which dead Russian composer are you?" thread.)