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ABT To Unveil New Sleeping Beauty For 75th Anniversary


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I've worked with notation (primarily Labanotation) for years, and I'm just thrilled to see people really mining the Stepanov materials. I've liked a great deal of what I've seen of Ratmansky's choreography, and look forward to seeing more, but this commitment to the historic record really warms my heart.

The historic record at a dropping off point from the years the notations were made and as much supplemental information in them and from other sources about the way different things were changed.

Had Balanchine lobbed the beginning and end off of "Apollo" after the 1920's, we might only have photos and review descriptions of the work, instead of several filmed versions and enough people who've staged and dance the longer version to have passed it on (and continue to stage the alternate version). Then there is the issue of style, as the notated steps are fit to bodies that look quite different than today's dancers and their current strengths. Sigh.

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I've worked with notation (primarily Labanotation) for years, and I'm just thrilled to see people really mining the Stepanov materials. I've liked a great deal of what I've seen of Ratmansky's choreography, and look forward to seeing more, but this commitment to the historic record really warms my heart.

The historic record at a dropping off point from the years the notations were made and as much supplemental information in them and from other sources about the way different things were changed.

Had Balanchine lobbed the beginning and end off of "Apollo" after the 1920's, we might only have photos and review descriptions of the work, instead of several filmed versions and enough people who've staged and dance the longer version to have passed it on (and continue to stage the alternate version). Then there is the issue of style, as the notated steps are fit to bodies that look quite different than today's dancers and their current strengths. Sigh.

Oh, don't sigh -- these are the juicy topics!

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Wasn't the Lilac Fairy in the Mariinsky reconstruction in a long dress, like Carabosse, in some acts, but in a long tutu in the others?

Yes in the reconstruction, just like in the original 1890 production, the Lilac Fairy wore a long dress in Acts 1, 2 and 3, but she wore a tutu in the prologue. Her costume in Act 2 resembled Athena, the Goddess of Wisdom, which is very appropriate for the Lilac Fairy - she's the Fairy of Wisdom.

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In Ratmansky's Don Quixote, Mercedes dances on pointe and in a standard tutu in the first act, and then switches to character shoes and a longer skirt in the last act. That seems like a common practice for Petipa.

Just to clarify, was Mercedes the Street Dancer in Petipa's 5 act staging of Don Quixote? Forgive me for the stupidity of the question, but I'm still a little confused regarding some things about Don Quixote! LOL!!!!

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I am sorry to see that so many tickets for the Segerstrom run remain unsold. Am I correct in thinking that Balcony seats are not on sale for the weeknight performances? We ballet nuts may be dying to see the production, but filling 3,000 seats in the Southland is a tall order. Hoping great reviews will give the box office a boost.

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I am sorry to see that so many tickets for the Segerstrom run remain unsold. Am I correct in thinking that Balcony seats are not on sale for the weeknight performances? We ballet nuts may be dying to see the production, but filling 3,000 seats in the Southland is a tall order. Hoping great reviews will give the box office a boost.

The balcony (the highest level, ex-Tier 3) hasn't been put on sale for dance performances all this season, I think. So there's only three levels open (orchestra, orchestra terrace, and loge--or whatever they recently renamed them). I am a bit surprised given the article that says 60 local dance students are performing in the production--I thought that would certainly fill the seats.

It's one of those sad, self-fulfilling prophecies: you reduce the dance offerings because the "whole house" doesn't sell out, and then people don't want to come to your reduced offerings because they aren't seeing enough dance to get properly excited about it (and the crappy Ardani productions have certainly put off a lot of casual viewers, I'm sure).

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The balcony (the highest level, ex-Tier 3) hasn't been put on sale for dance performances all this season, I think.

In that case I'll take it as a positive sign that Balcony tickets were put on sale for the weekend performances and that they have just been made available for Friday evening.

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Actually, I was thinking the dates of these programs might have the opposite effect- ballet fatigue from too many performances programmed during the same time period. I'm not sure how much of the KC audience is made up of subscribers and local residents, but I think people may prefer to have their ballet performances more spread out over the course of the year. Also surprised that the KC has shoved so many of the ballet companies into slots in the dead of winter. I know DC winters may not be as brutal as other cities in the Northeast, but still...

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I think you're right about the locals. My impression about buying single tickets to the KC (because I live 2,000 miles away) is that subscribers make up the lion's share of the audience. I'll go online the morning single tickets become available to members and find that much of the house is already sold to subscribers. But as a ballet tourist I know that I'm unlikely to travel unless there's a very attractive confluence of events.

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Probably not. I don't think ABT or La Scala's ballet company has ever done such a thing. La Scala's opening night is usually streamed, but with geographical restrictions, and that's always an opera.

Ah right, thank you. I would really like to see this new Sleeping Beauty, but the only problem is that I live in London and I can't afford to go to the US. :(

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