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37 minutes ago, fondoffouettes said:

The high sheen of the fabric only makes it worse. I quite like the tan pants, though. In the old video with Sean Lavery, they are flared at the bottom, but they must have updated the cut at some point.

I also think the scrim is somewhat problematic. I appreciate the sense of atmosphere it creates, but I think the pattern painted on it is simply too busy. The pattern is less pronounced on the bottom half of the scrim, but it is still present enough to be distracting (to me at least). And the more pronounced design at the top is kind of tacky. Why not just use a plain scrim? 

Interestingly, Nancy Reynolds notes in Repertory in Review, "The scrim was abandoned after the first performance; it is now clear that all four episodes take place in the same ballroom" (p. 272).

A description by Goldner on the preceding page makes it clear that the scrim referenced is the same one used today: "We see the dancers behind a scrim, a scrim suggesting whirlpools of water, no less."

Arlene Croce writes the following in a February 1971 piece (collected in Afterimages, pp.304-307):


The prologue is set on a darkened stage behind a scrim on which a vast spiral is painted. As the music begins, we seem to move into the cone of the spiral, which vanishes as a faint light comes up on the architectural outlines of a palace setting. When the first movement (the Elégie) is over, the floor of the stage dissolves in blue and reappears for the Valse Mélancolique together with columns and arches more distinctly seen. It is still about midnight. After this, again there is a blue-out, and with the Scherzo we are in a great hall. The moonlight streams in. At the final notes of the Scherzo, the scrim is raised, the lights come up brightly, and behind the back wall of this ballet, which also flies upward, we find another ballet — Theme and Variations, with the dancers all drawn up in ranks, ready to begin — and another set, a ballroom painted honey and gold and cream and plum.


The conception is so striking and, what is more unusual for a company whose record in matters of production is generally poor, so strikingly well realized (by Ronald Bates, who did the lighting, and Nicolas Benois — the son of Alexandre — who did the scenery) that the dances of the first three scenes all but evaporate in the memory like the gradually clearing mists they seem to represent. ... Benois's costumes for these scenes are romantic loungewear for the girls and bellbottoms for the boys, and, like the formal classical costumes for the finale, they are not very distinguished.

So at some point the scrim was reinstated. I remember reading another Croce reference (can't find it now) to its being brought back.

Edited by nanushka

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20 minutes ago, nanushka said:

So at some point the scrim was replaced — not too long after, apparently, for Arlene Croce writes the following in a February 1971 review (collected in Afterimages, pp.304-307):

Arlene Croce's description of the scrim makes me wonder if it's best appreciated from a distance, with the lighting softening its effect. 

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On 5/18/2019 at 6:37 PM, cobweb said:

Report on the matinee. Ramasar returned in the 4th movement of Brahms Schoenberg Quartet. It was great to see him back on the stage, and I was heartened by the warm, enthusiastic response he got from the audience. He looked great in that Hungarian outfit, with the white puffy shirt and ribbons flying everywhere, and he and Mearns danced up a storm. Glad he's back. 


On 5/18/2019 at 9:01 PM, NYCgirl said:

I agree, and am beyond glad he is back. The reaction of the audience both before and after was wonderful! The way he danced, and partnered Mearns was exactly what the audience has been missing, in my opinion. Sara Mearns was smiling, electric,  and looked like she was enjoying every second of dancing with him. I thought all of the principal dancers in Brahms were quite beautiful as well, especially Lauren Lovette in the second movement. While Lydia Wellington wasn't as impactful as Emily Kikta, I thought she made a great debut as well.

I agree!  I saw Ramasar in the 4th movement on Sunday, and the audience greeted him with the same joyful enthusiasm as they did on Saturday.  Wonderful performance and great to have him back!

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