mimsyb

Probably option two. She seemed to be the lead female in the film more than support. (if you don't ultimately count Redmayne). Probably a case of a of a more probable win as Supporting Actress than in the already crowded Lead Actress field. She was very good whatever category one wishes to put her into.

I had the same experience. I could make equal exchange (which I did), but was not permitted to "add on" singles as has always been done in the past. What a disappointment. I left pretty mad, because like you it now means an additional trip down to the BO. What a pain. The BO person I had said this was an ABT decision, not the Met's and that the Met fought not to have this policy, as it means longer lines next Sunday (more chaos) and it also means that money didn't come into the BO for tickets purchased. What a dumb policy. It alienates us as subscription holders. So, I didn't put anything additional on my credit card on Sunday, but I also took another look at what I had intended to buy and decided perhaps I could do without those dates. Not a very smart move on ABT's part. Another reason to dislike their ticket policies. BOOOO!!!

I have such an odd list. But seeing these ballets when I was young opened my eyes to the extraordinary possibilities of dance. I loved the great classics, but these ballets stand out in my mind. In no particular order: Picnic at Tintagel The Combat Facade Wedding Bouquet Serenade

Yes, Big surprise. Happy for both. Just a wild thought. What are the odds that Sarah Lane might jump ship for Foggy Bottom?

Yes. I think Hoven is due for a push upward. He's made much progress in recent months. Plus, he's a good "mid-height" choice for more leading roles.

I'm not a huge Lane fan (although she could carry Lise). And Gorak just isn't much of an actor.....yet. But now that you mention Forster, I'd like to see him dance Alain (he IS a good actor) and see Scott paired with Skylar Brandt for the Lise/Colas roles. Also, hoping that Roman Zhurbin gets a crack at Alain. But obviously, Craig will do Alain and probably over act it! MO

OK. So I'm disappointed that Whiteside has inherited the Lendorf Colas performances. Why not someone like Aaron Scott for that role? I think he would be quite splendid. MO

It's not always about height and matching the sizes of dancers.

Yes, I thought that also. A bit "chunky" perhaps. And stylistically he seemed out of sorts with others on stage. Still, for me anyway, it was a lot better to see him dancing Balanchine than in that dreadful "American in Paris".

Didn't he know about the hierarchy of the Paris Opera going in? One would assume he did. Maybe just too many apple carts were upset. Change comes slowly and with finesse. Doubtful Mr. Millepied had either the time or the finesse! He denied this in his interview, but perhaps the current political situation (vis a vis terrorism, etc.) wasn't to Miss Portman's liking when it came to living in Paris. Add this into a messy situation at the Opera and maybe it was decided it was best to leave. And for what it's worth, I would agree about not possibly bringing him to NYCB when Martins eventually retires . My vote would go to Woetzel.

Proving yet again the sublime genius of Balanchine.

One of the very greats. RIP

Crass. Not only does it diminish the dancers who are dancing the leads, but it points up how ignorant an audience might be about the ballet. ABT seems to be saying "let's milk this promotion as far as we can" (or dare)

I agree. Unlike many here I found the film a bit of a drudge. And not really very interesting film making. Some of the camera work was pretty amateur - ish, and the amount of information left unsaid was astounding. To not have mentioned the dancers Filin did bring to the Bolshoi, and as someone mentioned not to include more of Dmitrichenko's background, or even the on going roil between Filin and Tskiskardze put Filin in a negative view. I would also have loved to have seen more footage of Filin actually working with the dancers in a rehearsal. To see the process more. Everyone seems to arrive fully formed and then turned loose to do as they please. The film just seemed to be a slight wash of the entire situation and I found little of interest here, either as a source of information or even as a "stand alone film". Not very compelling.

There was an article in the Times today. (Saturday). I was struck by a photo of Maria Alexandrova rehearsing in a studio at the Bolshoi. The floor seemed to be a "marley" that was simply taped down (with a few bubbles here and there), as opposed to a permanent flooring that one sees at say, NYCB or SFB, etc. For a theater that's just gone through a multi million dollar renovation, one would think that a first class flooring could have been installed.

I have a copy of this film. Very hard to find, but worth seeking out. This was always a big favorite of mine when I was younger. I never understood why it wasn't made into a musical for Broadway. Wonderful story.

Thanks for the historical information about the extended fingers and the golden thimbles in Chinese culture. Personally, I never found it to be "incorrect" to dance the variation with the extended fingers. It is a fantasy after all.

Couldn't watch BORING!! And besides, George Sanders and the "Falcon" was on Turner Classic Films. Now THAT I can stay up for.

Also, not quite the same, but a novel called Pyotr Ilyich by Adin Dalton is a good read about "you know who". For the young reader there are the two novels by Regina Woody: "Student Dancer" and "Ballet in the Barn" Possibly these are out of print.

Mark Rylance. He could play anyone!

The City and all it's people and all of France are in my thoughts.

Not sure they are a "package", but I like them together quite a lot. She has energy and zip in her dancing, they look good together and he seems to partner her with ease. As far as Lane is concerned, she seemed to melt into the wallpaper an awful lot these past few weeks. She has technique and she always comes off very nicely, very pretty. But for me she always has that "poor little match girl" expression on her face. There's never a sense of suspense or danger in her dancing. I saw her do "Green Table" and thought, "OK, she's pretty good in this type of ballet.". Then I saw Skylar Brandt dance the same role the following night,and I promptly forgot anything about Sarah. Skylar's musical sense is sensational and she always swings for the fences. Both Skylar and Cassandra Trennary seem to be the ones to watch for the near future. And also Shevchenko. All three ladies have a certain "something " about their dancing and performance that sets them apart from the others. Sarah is too predictable for my taste. The other three offer a challenge to "come watch me dance" every time I see them. I hate to say this, but Lane seems to be cut from yesterday's cloth. Somehow she doesn't seem to be on the same level as the other three mentioned. I'm still waiting for her to come into her own, but it would appear that time is moving on and in another direction.

Yet all three performances I attended (last Thursday, Friday and again last night) seemed very well sold. I was surprised that the Orch. was nearly full, as were the rings. Even 4th ring . Last night had Misty dancing twice, but the other nights were not necessarily a" Copeland Night". I agree however that the repetition of "Green Table" (which I like very much) and "Company B" (which I prefer in Paul Taylor's company version) was a bit of over kill. Other things might have been presented. I guess Tudor doesn't necessarily sell, but "Leaves Are Fading" would have been a nice addition this Season. It gives many dancers a chance to dance. Possibly with so many firsts ("Monotones", After You" and "After Effect", "Valse Fantasie") it was easier to do older rep more times.

Well, at least it's not the Kabuki Theater in Japan, where it is not uncommon to see Bento boxes unwrapped and eaten during the performance. I think it's entirely appropriate to mention it to an usher. You may or may not get a response. Both the Met and the State Theater are pretty good about regulating the "no food" issue. Sadly today far too many people come to the theater and behave as if it's their own home, where anything goes. (including putting their feet up on the seats!). I come down on the side of immersing myself in the entire experience of whatever it is that I'm watching. I suppose if one is bold enough and clear enough in one's aversion to another's eating during a performance, then it's also entirely appropriate to say something to the offending person. If, for instance, you are watching "Swan Lake" you might say something like, "I don't think they had wrapped candy in the Prince's Court." Or, "I hope you intend to take that noisy wrapper with you when you leave the lakeside." Or, "You must not have received the memo in your program that Odette is particularly adverse to noisy candy wrappers" Or, "Don't make me ask Rothbart to come up here to this seat and ask for your half sucked candy!" Be creative!

Yes, me too for both Mr. B and for Twyla. My heart just beats differently for much of Taylor and with his current usage of the orchestra for many of his works now when he performs in NYC, some of his works take on new and exciting life. We are so very lucky to be in NYC and have the pleasure of seeing so much wonderful dance.