innopac Posted December 27, 2007 Share Posted December 27, 2007 A friend has asked me to post this... Watching Jonathan Cope in the Prince of the Pagodas, I wonder how he plays both the Prince and the Salamander the costumes are so different, even the tights, and the changes are so quick. Does anyone have an idea? Link to comment
rg Posted December 27, 2007 Share Posted December 27, 2007 not sure for certain, i haven't seen the ballet on stage much nor on video of late, but isn't some of this accomplished by use of a 'double/stand-in'? Link to comment
innopac Posted December 27, 2007 Author Share Posted December 27, 2007 Unfortunately, there are no credits given for the salamander, no mention at all, even in the rolling credits at the end. Would that usually be the case if there was a stand-in? Link to comment
rg Posted December 27, 2007 Share Posted December 27, 2007 i can't recall any case in which the use of a double to keep the action moving in the case of too little time for the actual dancer/character to change where the 'double' dancer was given name credit. productions that show a cinderella changed back to her rags at midnight are known, and none that i know of name the 'second dancer' involved. baryshnikov's DON Q uses a 'double' dancer in the guise of kirtri at the end of act 2, as she leaves her gypsy wagon wrapped in a shawl, b/c the ballerina dancing kitri has no time to change from the tutu and tiara she wears for the dream scene. ABT's current SLEEPING BEAUTY has more than one, if mem. serves., dancer dressed as the cloaked carabosse as she supposedly dashes repeatedly through the climax of act 1. Link to comment
carbro Posted December 27, 2007 Share Posted December 27, 2007 And don't forget the always uncredited weeping Odette who appears after the Black Swan pdd. Link to comment
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