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abatt

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Everything posted by abatt

  1. Not sure if anyone mentioned it previously, but there's additional casting info for the first week of performances: third role in Pilla and the two women characters in Fancy Free. Added: Ugh. Just noticed they have switched Abrera's dates for Sylphides, and put Boylston in her place. The opening week casting shuffles are getting very annoying. Was so looking forward to seeing Abrera on opening night in Les Sylphides.
  2. I saw Craig Hall as Apollo. It was too long ago for me to recall whether I liked it. In any event, the Dancers Choice program casting is not indicative of what Martins will do. It's the dancers who are in charge of the Dancers Choice casting. If Martins had ever intended to cast Hall, he would have done it already, I believe.
  3. DeLuz and Laracey were both scheduled for DC and then replaced in the casting sheets for the DC tour. Don't know why.
  4. New York's tabloid theater writer believes that American in Paris will definitely be nominated for best new musical: http://nypost.com/2015/04/15/an-american-in-paris-looks-strongest-in-tony-race/
  5. I assumed we would never see Somogyi on stage again. Also happy for Scheller that's she's finally back. I'm also wondering about Finlay. He got injured on the next to last day of the winter seaosn during R&J, and the fact that he was not on the DC tour and is not cast in one of his signature roles leads me to worry. added: Bet you that Russell Janzen will be second cast of Apollo with a tall girl cast of muses. Hope my prediction is correct. Janzen seems perfect for the role.
  6. Here are some Red Carpet photos from opening night, including photos of R. Fairchild, M. Fairchild and Tiler Peck (not to mention Dame Helen Mirren!). http://www.playbill.com/news/article/broadway-is-trs-chic-for-an-american-in-paris-opening-check-out-the-red-carpet-best-dressed-list-346643
  7. Wheeldon will give a talk in NYC at Symphony Space on Apr 27. See below CHRISTOPHER WHEELDON IN CONVERSATION WITH RITA MORENO "FROM BALLET TO BROADWAY" Monday April 27, 7:00 Symphony Space, Peter Jay Sharp Theatre, 2537 Broadway (at 95th Street) Admission: $15 Tickets: symphonyspace.org or at the Symphony Space box office. by phone: (212) 864-5400. (Premium tickets at $150 available at www.wordsondance.org also include a post-program private reception with Christopher Wheeldon and Rita Moreno. Honorary hosts of the reception are Wendy Whelan and John Lithgow.) Words on Dance in association with Symphony Space, is proud to present an evening with CHRISTOPHER WHEELDON, featuring the internationally acclaimed choreographer and director in rarely seen television and film clips and a live conversation conducted by the Academy/Tony/ Emmy/Grammy Award–winning actress/singer/dancer RITA MORENO, April 27, 7:00 PM at Symphony Space, 95th Street and Broadway. The conversation takes place after the highly successful opening, Sunday April 12, of the Broadway musical An American in Paris, directed and choreographed by Mr. Wheeldon. Clips representing the work of both Mr. Wheeldon and Ms. Moreno (and a look at the Broadway production of An American in Paris, starring Robert Fairchild and Leanne Cope and based on the Oscar-winning 1951 film), will be shown. In his Words on Dance conversation, Mr. Wheeldon will talk about his extraordinary career, including his memories of training at The Royal Ballet School beginning at the age of 11 and dancing with The Royal Ballet. He arrived at New York City Ballet in 1993, and was a company member before becoming the company’s first artist in residence and first resident choreographer. In 2001 his Polyphonia, set to piano compositions by Ligeti and premiered by New York City Ballet, helped solidify his place in ballet history. Anna Kisselgoff of The New York Times pronounced the work “astonishingly fresh … rich and spare at the same time, familiar in tone but inventively unpredictable.” For the past decade and a half Wheeldon has worked extensively on both sides of the Atlantic, choreographing such acclaimed works as Liturgy, After the Rain, Fool’s Paradise, Carousel (A Dance),The Nightingale and the Rose, The Sleeping Beauty, Cinderella, Aeternum, Alice’s Adventures in Wonderland and A Winter’s Tale. The latter, a 2014 adaptation of the Shakespeare play with a score by Wheeldon’s frequent collaborator Joby Talbot, was hailed as a “triumph” by the London Telegraph and “one of the most fully achieved story ballets to be staged at Covent Garden in years” by The Guardian. In February 2015 A Winter’s Tale was screened in more than 400 movie theaters across the U.S. as part of the HD series of the Royal Opera House, Covent Garden. Christopher Wheeldon was born in the town of Yeovil in Somerset, England, trained at The Royal Ballet School, and joined The Royal Ballet in 1991. He joined New York City Ballet in 1993 and was promoted to Soloist in 1998. He served as NYCB’s first-ever Artist in Residence for the 2000/01 season and was named NYCB’s first Resident Choreographer in July 2001. In 2007, Wheeldon founded Morphoses/The Wheeldon Company and was appointed an Associate Artist for Sadler’s Wells Theatre in London. Chris has created works for New York City Ballet, American Ballet Theatre, The Royal Ballet, San Francisco Ballet, Boston Ballet, Dutch National Ballet, the Royal Swedish Ballet, Morphoses/The Wheeldon Company, Pennsylvania Ballet and Bolshoi Ballet. His works are in the repertory of all the world’s leading companies and he is Artistic Associate for The Royal Ballet, Covent Garden. Outside the ballet world, he has choreographed Dance of the Hours for the Metropolitan Opera’s production of Ponchielli’s La Gioconda (2006) and worked with Richard Eyre on his production of Carmen (2012). He also choreographed ballet sequences for the feature film Center Stage (2000) and was the choreographer for Sweet Smell of Success on Broadway (2002). In 2012 he collaborated on the closing ceremony of the London Olympic Games, watched by 23.2 million people worldwide. In 2014 Chris directed and choreographed the musical An American in Paris which premiered in Paris in December 2014 at the Théâtre du Châtelet. The Broadway production is scheduled to begin previews at the Palace Theatre March 13 and open on April 12. He will choreograph a new adaptation of The Nutcracker for Chicago’s Joffrey Ballet that will premiere in December 2016. Wheeldon's awards include the Martin E. Segal Award from Lincoln Center; the American Choreography Award; a Dance Magazine Award; and an Olivier Award and the London Critic’s Circle Award for best new ballet for Polyphonia. In 2013 his production of Cinderella won the Benois de la Danse, and he received an Olivier Award for Aeternum and the 2014 Leonid Massine Prize for choreography for A Winter’s Tale. HeadShotB_Wheeldon.jpg R ita Moreno belongs to an elite group of performers who have won the grand slam of the industry's most prestigious awards: the Oscar, the Emmy, the Tony and the Grammy. Her Oscar win came in 1962 as Anita in the film version of West Side Story for which she also won a Golden Globe. The Tony was for her 1975 comedic triumph as Googie Gomez in Broadway’s The Ritz. The Grammy was awarded for her 1972 performance on The Electric Company Album, based on the long-running children's television series. She won two Emmys―the first for a 1977 variety appearance on The Muppet Show and the following year for a dramatic turn on The Rockford Files. Moreno was born Rosa Dolores Alverio in Humacao, Puerto Rico. At age 5, she moved with her mother to New York and soon after began taking dance lessons. She made her Broadway debut at 13 in Skydrift, starring Eli Wallach. Her film credits include Singin’ in the Rain, The King and I, The Night of the Following Day, Marlowe, Popi, Carnal Knowledge, The Ritz, The Four Seasons, I Like it Like That, Angus, Slums of Beverly Hills, Blue Moon, Piñero, and Casa de los Babys. She received a Tony nomination for her role in The National Health in 1974. Other Broadway credits include The Sign in Sidney Brustein’s Window, Gantry, Last of the Red Hot Lovers, Wally’s Café, and the female version of The Odd Couple. Her West End stage credits include She Loves Me and Sunset Boulevard. Her television work includes The Electric Company, 9 to 5, B.L. Stryker, Cosby Mystery Series, Cane, Oz, and Happily Divorced, and she was nominated for three Emmys for voicing the title character on the animated series Where on Earth Is Carmen Sandiego? Moreno has a star on the Hollywood Walk of Fame and received the 2013 Screen Actors Guild Life Achievement Award. Rita Moreno: A Memoir , published by Celebra Books in 2013, was a New York Times bestseller. This is Ms. Moreno’s second appearance with Words on Dance. In 2008 she participated in a WOD tribute to Jerome Robbins. Ritamoreno.jpg WORDS ON DANCE, founded in San Francisco in 1994 by Deborah Kaufman, is a 2012 Izzie Award honoree for sustained achievement, continuing a commitment to present the most celebrated dance artists of our generation and engage them with live audiences. Words on Dance conversations and screenings perpetuate the momentum of documenting dance and keeping the art form at the forefront of the current generation. This is the fourth NYC presentation of the California-based organization. The previous three events, held at the Paley Center for Media, featured a conversation with Maria Tallchief, conducted by Evelyn Cisneros (on tape), a live conversation with Eliot Feld hosted by Cynthia Gregory, and a live conversation with Edward Villella hosted by Crista Villella. Christopher Wheeldon in Conversation: From Ballet to Broadway , is sponsored by SUE AND MICHAEL STEINBERG. Words on Dance is supported in part by THE JEROME ROBBINS FOUNDATION, THE JOHN AND LISA PRITZKER FAMILY FUND , BARBARA HORGAN, and ROBERT AND SHARON YOERG. www.wordsondance.org
  8. Sometimes people on the phone give you a hard time, but dealing directly with someone in person might yield a different result. If you want to maike an exchange, next time you are at Lincoln Center bring the tickets to the box office window and see what they say. It's worth a shot. The worst they can do is say no. Personally speaking, I used to sit in side boxes in the Parterre or Grand Tier, but I just found too many problems with those seats. Either my view was obstructed or, when I had a good first row seat in a good box, the other people in the box were so intent on getting a better view that I felt like they were practically seated in my lap. Ruined my experience and I vowed never to sit in the boxes for ballet again. It's one thing to have someone practically in my lap or up in my face on the subway. It's completely another matter for that to occur at a ballet performance where I'm paying good money and looking for an enjoyable experience. As for the TBA TBA Bayadere, I wouldn't be surprised if they just had Kochetkova and Cornejo fill in, giving them 2 shows instead of their scheduled one. However, Seo as Gamzatti would be too tall for Cornejo to partner. I just hope they announce the change as soon as possible so I can exchange my tickets accordingly.
  9. I think Copeland has definitely created a cult of personality. The professional reviews have been very telling. There's also one in today's NY Times, if anyone is interested. I doubt that the Copeland fan base would return to see other dancers. They are there in the audience to see her and her alone. Other groups engage in similar behavior: Russian audience members who only go to see Russian lead dancers. Persoanl anecdote: Last season I was at a performance where Misty was Gamzatti. There was a mother with two young girls seated near me. Before the show, the mother reminded the kids that they were seeing Misty, the girl who wrote that book about her bad family life and her struggle to make it in ballet. They were there because of Misty's personal background, as told through her book and appearances. They were not there due to a general interest in ABT or to see anyone else. Cult of personality.
  10. Sidwich, apparently you didn't see Fun Home. I believe that Michael Cerveris from that show will be nominated. I saw the show off-Broadway over a year ago. Fun Home will also likely be nominated for best musical.
  11. The lack of tights for the ladies seems to be a regular occurrence now in modern works. Justin Peck's Rodeo, several Wheeldon works.
  12. Have no idea if it was for comic effect. I didn't find it comical. I found it alarming insofar as exposing the dancers to injury for no apparent reason.
  13. Yes, there are several instances where a dancer makes a loud thud while falling to the ground. It's intentional. I thought they softened some of the hard landings in subsequent performances of the Ratmansky work.
  14. I think R. Fairchild definitely has a good chance of getting a nomination for best actor in a musical. The reviews have strongly praised him.
  15. Looks like it's a hit. Wheeldon seems to be the frontrunner for the Tony for best choreography. Based on the reviews, seems likely that the show will garner numerous Tony award nominations.
  16. I don't think Team Misty regards the hype as unfortunate in any way. Glad to hear that Brooklyn, who I've seen dance only once, had such a successful debut.
  17. The casting switcheroo games have begun. They have moved the Lane-Cornejo T&V from Wed May 13 to Tues May 12. The Semionova Stearns T7V has been moved from Tues May 12 to Wed May 13.
  18. Just realized that the casting was updated and DeLuz is not on the tour (replaced by Garcia in Symphony in C). I hope DeLuz is not injuried.
  19. Yes, I have issues with the male costumes, not the costumes for the ladies. The men's costumes have too much distracting decoration at the neckline, and I also don't like that puffy upper arm sleeve design. Glad you enjoyed the All Mr. B show.
  20. Did you like the costumes for Symphony in C. They are relatively new (approx 2 years old)..
  21. I'm surprised that she got such positive reviews for her SL in London. She excels in other roles, but I thought she needed a lot of work in SL.
  22. Is that the cast with Kimin Kim? So looking forward to seeing him too.
  23. I'm not sure that the prohibition on alterations extends beyond the choreography. It's the choreography that is copyrighted.
  24. MCB will tour in the US next season, including stops in NYC and Chicago. http://artsbeat.blogs.nytimes.com/2015/04/03/miami-city-ballet-gets-funding-for-tour-and-midsummer/?ref=arts
  25. At last year's YAGP gala, Bouder did an excerpt of La Sylphide with Chudin (Bolshoi). No surprise that she's learned the full role for the NYCB production. I'll bet she gets first cast, too.
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