ASDP – Day 1!

Still not knowing what to do about travel I decided to try to T it on day 1. Coworker suggested I leave work at a time I considered unnecessarily early to make sure I didn’t have to rush (see the pesky bus schedule referenced last post… per Google maps I’d either get to the studio over an hour ahead of time or would barely make it… tough choice; she voted for getting there an hour early). I got to my T stop just as a train was pulling in. So far, so good! Got off at the prescribed stop. Didn’t know where I was supposed to go, but followed a random guy which turned out to be the right way, and found the bus stop. Okay, this is going well! Then I pulled up the where’s-my-bus app and…. bus was nowhere near me.

Well… I thought maybe I’d explore some of Newton’s scenic countryside and walk up to the next bus stop. Get a little warm up in on my travels! Yeah! I figured the bus would be along before I got too far.

So I walked. And walked. Walked some more. Each time I came to a bus stop I checked to see where the bus was and it never seemed to get anywhere near where I was. After about 2.3 miles (literally) the bus caught up to me… at the stop where I would have disembarked! Rawr. Did I mention that it was like 80% humidity and I was wearing business attire and flip-flops for this trek? Yeah, okay, walking was my choice. It was my own lack of patience and inability to stand still that resulted in that long walk. But still. Grrrrrr.

I got to the nondescript building Google maps said was the studio. Um… are you sure, Google? Then I saw a door with the BBS name on it instructing people to enter at the side door. I peeked around the side to see… NO DOORS. But I saw a parking lot behind the building and a couple ladies were walking across it who looked like potential ASDP-ers so kept walking along the side until I found the main entry tucked behind. Walked in and was faced with four people behind the counter. None of whom seemed to notice my presence. I’m sure I looked a bit of a sight by that point, but seriously, hello! Finally one looked at me, asked my name, handed me a name tag and gave me directions to the locker room and the studio I needed to go to.

Relieved that I had made it there with a few minutes to spare, I quickly changed into tights/leo (a gross task when already sweaty), pulled on a tee shirt, pinned on my name tag and grabbed some slippers, a skirt, and some jazz pants (wasn’t sure what the plan was, so wanted to make sure all bases were covered).

First up was the “enrichment” session. This was an add-on to the main program and takes place in the hour before the regular session. I wanted to get all I could out of the experience, plus I would’ve just spent that hour killing time after work otherwise, so it was worth the extra fee. They said that the enrichment would feature classes in modern and Pilates, but said nothing about which was when.

There was a crowd of students outside our assigned studio on the floor, so I sat near them and waited. A teacher came out of the studio and said, “Oh, I was wondering where the students were! Come on in!” So we file in and see a few yoga mats on the floor. A few of us tried to figure out whether we had a choice between classes, or what the story was. Someone said that this session was a combination of the intermediate and advanced students and we were doing Pilates today while the beginners and elementary students did Modern next door. Oh. Okay. Now that that mystery has been solved comes the realization that none of us had mats because we didn’t know we needed mats. Thankfully BBS had some for us to use, so back out to the hallway we go to gather mats. We get ourselves arranged and the teacher introduces herself. Stott Pilates is her specialty. She asks if there’s anyone in the room who has never taken Pilates before. The lone guy raised his hand. She assures him he’ll be fine and off we go. I found the directions a bit confusing at times. It’s been quite some time since I took any sort of Pilates and I don’t think it was Stott method (I don’t know the differences among the methods). But I followed along as best I could and I was relieved to find out that I could still do everything for the most part. It actually felt really good to get into all those core muscles. Might have to seek out a Pilates class once this is over.

Once our hour was up we collected our mats and returned them to their cabinet and went to the studio next door where all the students were gathered for a welcome meeting. We sat down and Christopher Hird, BBS’s Head of Adult Programming, welcomed us and introduced some of the faculty we’d be working with. He went over the rough plan for the two weeks: technique class each day followed by a class where we would learn rep/variations — except a couple “workshop” days to work on things that adults have asked to focus on in the past, e.g. pirouettes. There would also be two special lectures, one being a talk about the history of BB and another with a PT. We’d also have a Q&A session with two BB principals. There would be some other faculty coming in to teach us at various points. And at the end of the two weeks we would get to do a little presentation (NOT a performance, they assured us). Oh, and there was an opportunity for a few students to go see a company class and tour the Boston studios next Thursday during the day. Limited seats, first come, first serve. I really really wanted to be able to do that, but it’s a day that I have a meeting at work that would probably conflict with the times. Sad face.

After that they chatted a bit about levels (if, after the first class, you felt you were in the wrong one or if the instructor felt that you were in the wrong one you’d be able to switch) and some other administrative stuff. Then they gave us the opportunity to share our stories if we wanted to. There was a wide range of students from adult beginners to those who have danced since they were toddlers. While only a few people spoke I looked around the room and saw a lot of different ages, body types, clothing choices. Not many guys, but there were a few. It was nice to feel like this really was a place where anyone could feel welcome.

With that we were sent off to our respective studios. The intermediates ended up staying in the same studio, so we didn’t have far to travel. And it is a deliciously large studio! I think I counted around 24 students in our class and there was room for plenty more if they appeared. Christopher Hird was our instructor for the day. Since the meeting had taken up a good chunk of time, barre ended up taking up most of our time with a brief adage at the end. I really liked the combinations. The combinations weren’t boring, but they also weren’t so absurdly complex that I couldn’t keep technique in mind. I think everyone got some sort of individual correction and after each side there were corrections.

My correction was simple, but kind of mind-blowing, too: move my hand forward on the barre and stand a smidge closer. It sounds silly, but it really changed my ability to feel square. Hmph. Lots of good group corrections to incorporate, too. Like how our working leg generally wants to bend a bit during arabesque penchée.

In general I felt pretty good during this class. Balances felt REALLY good. Could be a new environment, or a moon phase, or maybe that Pilates class beforehand.

After our class broke the advanced students came in with their teacher, Christopher Anderson, for the last hour. It was kind of a workshop, kind of just a continuation of class. We spent about half the time on pirouettes followed by allegro. Alas, I did not discover the secret to pirouettes, but we did do some good exercises that I will have to try to remember. I realized that I rarely think about my back in pirouettes… that might help me to stay square. And I rarely bother to spot. Which isn’t such a huge deal when doing singles. But makes it difficult to do more than that! Then we moved on to jumping. I love jumping. I learned that exercises should always progress “two feet to one feet.” Hahaha. Two footed jumps should always be practiced before moving to one footed jumps. And you should always do a medium allegro (I feel like there’s a more appropriate word than “medium,” but can’t think of what it is) in between petit and grand. Doesn’t help if you’re in a class where the teacher doesn’t choose to follow that, but I’ll file that knowledge away in case I ever teach again. My major embarrassment in this section came during an across the floor where I starting thinking about some detail of the combination halfway through a pas de chat and totally blanked on what I was supposed to be doing and ended up doing what I can only refer to as a “pas de blah.” The teacher came up to me to tell me how to do a pas de chat and I was like… yeah… I know… I, uh… my brain… uh… yeah. Mortifying.

Ah well. Class over. Then to try to get home. My less-than-wise decision was to walk to the closest public transit that my T pass worked on which was a mile and a half away. After the walk, a bus ride, and two train rides and my commuter bus, it was well past midnight by the time I got home. Needless to say I decided that I will NOT be using public transport to get there ever again. Traffic and parking costs be damned, I’m driving for the next two weeks!

A bit sore today, but excited to go back for evening #2! Very glad I finally decided to do this!

ASDP – The lead-up

The Boston Ballet School Adult Summer Dance Program (hereafter referred to as “BBS-ASDP” or just “ASDP” or, hell, just “it”) is here!

And not without a whoooooole lot of trepidation on my part. I didn’t know where I was going, what I should plan for, whether I’d be in over my head or bored.

Let’s go in reverse order there… Levels: on the website they list four different levels one could register for — Beginner, Elementary, Intermediate, and Advanced. Beginner and Elementary sounded too basic. And Advanced sounded like it was essentially pre-pro/former-pro which I am so not! Therefore Intermediate seemed to be my slot.

But a couple weeks after registering I went to a random adult open class in Cambridge with a friend of mine. She saw some people she knew from when she had done ASDP a few years ago and was asking them if they were doing it and this whole discussion about levels came up with one person saying that she had always enrolled in the Advanced level, but since the description this year sounded like it wouldn’t be appropriate (see the “pre-pro/former-pro” thing above) she e-mailed the school to ask whether she should still enroll in that section and they said, sure, it would be appropriate for a student who had taken ballet for a long time. I mentioned that I had signed up for Intermediate and the woman was all, “Oh, you’d totally be fine in Advanced.” I didn’t know what to do about that, if anything.

Then, as for what I should plan for… well, there’s a brief “what to expect when you’re ASDPing” on the website, but it’s a bit loosey-goosey, like, “Oh, you know, some ballet technique and rep, and sometimes some Pilates, and some modern, and some lectures, maybe, and some other stuff, TBD!” Ooookay. I mean, that’s fine, I don’t need a minute-by-minute breakdown of the entire two weeks. But I expected some sort of, “Yay, rah-rah, BBS-ASDP is starting soon, welcome, here’s what you need to know” e-mail. I got nothing beyond the confirmation they sent right after I signed up in May. I actually e-mailed them last week to find out whether I was out of compliance on some element of registration and all I got back was a “Nope, you’re all set!” Now, I’m not terribly type A, but… sometimes a girl needs a little hand-holding. Just a smidge. Do I need to get there early, bring anything special, prepare an interpretive dance on the plight of three-toed sloths in the rainforests? Anything?

And then getting where I was going… ugh. ASDP is being held at one of the suburban studios instead of the main studio in Boston proper, but it’s a suburb that’s considered part of the Metro Boston area, so silly me thought, “Hey, the T goes there, no prob!” Their website was all, “Take this trolley branch (conveniently the branch that goes past my work) to this stop, then take the X bus to Y stop, et voila!” Cool. But further investigation showed that the bus one needs to catch is a leprechaun… good luck catching one! It comes mayyyyybe every 45 minutes. Not even. And promptly stops running altogether around 7:30pm. Did I mention the program runs until 9pm each night? And the suggestions for public transit to get back into Boston proper (where I needed to go to pick up my commuter bus) involved commuter rails or expensive bus routes that my T pass does not cover. But driving into the city is a royal PITA. What to do, what to dooooooo?!?!?!

Do you see why I was a teensy bit anxious about this?

But, hey, once you get past the first day most the uncertainty goes away and I can just enjoy. Sooo… on to ASDP!

(To avoid tl;dr syndrome, I’m saving the actual activities of day 1 for another post!)

The Misty Buzz

So, the whole Misty Copeland Under Armour ad has been everywhere lately. Even people I didn’t think were into ballet are posting it on their Facebook feed and it’s all over the news lately.

If you’ve — somehow — missed it, here you go:

Let me start by saying that there are a lot of great things about this ad.

I love anything that puts ballet into the media.

I love that it shows the true athleticism required to be an elite dancer. It’s not just flapping one’s arms about and looking pretty… you need to have incredible strength to make it look that easy. So kudos to UA for showing that.

It bucks the unhealthy waif myth about ballerinas.

And, it has a kick-ass reminder to stay strong and keep working hard for what you want.

But… I have some issues with the ad campaign, or at least some of the press it’s generated.

For one thing, I’ve seen a lot about how this shows that ballet is a sport. Ballet is NOT a sport, it is an art. Yes, it is an art that requires a great deal of athleticism. But it is not a sport. Sure, it is reduced to sport in some areas. We try to grade dancers on technical abilities and artistic merit. But so much of what makes ballet great is the unspoken communication between performer and viewer. And that can be a very personal thing.

I mean, I love hockey. And yeah, it can get me very emotional at times. But much of the emotion is related to whether a goal was scored or a save was made. As a spectator and fan I don’t really care if a goal was pretty or not, if a save was a case of x-ray vision or pure, dumb luck. It’s the end result.

In ballet there’s so much more to see. I’ve gone to ballets where my companion and I saw the exact same show and had two very different interpretations and reactions to what we saw. There is no final score. The end result is up for debate.

So, sorry, opiners, Misty Copeland is an athletic artist, not a sportswoman.

Then, the voice-over. Is this a letter that Misty received? Or is this something Under Armour made up for a good story? Because from what I’ve read of Misty, she never even really danced until she was 13 and was encouraged to pursue it even though her family had doubts. She had such pure, raw talent that the ballet teachers who saw her pushed to do it, far from the discouraging tone of the words in the voice-over. Maybe this is a real letter, but it just doesn’t jibe with what I’ve read of her story. I want to know more about that…

And then there’s something else… I guess maybe the fact that this is so focused on this feeling of rebellion. That, yeah, Misty might not be the image that pops into someone’s head when they think of a generic ballerina, but she had grit, strength, and a don’t-tell-me-no attitude that propelled her to the elite ranks. I’m sure all of that is true. It’s just… there are a lot of plucky, gritty, strong, determined dancers that don’t make it. And the message of this ad seems to be, well, clearly they just didn’t want it enough. The reality is sometimes you do all you can and things don’t work out the way you wanted. And sometimes you end up in a dream position without even knowing that’s where you wanted to be.

I’m not quite sure what point I’m trying to make here. It’s just, I see all these people (mostly people who know zip-zero-nada about dance) being all, “Ooh, this is so awesome, so inspiring!!!” and I’m like, yeah, it’s cool, but…

Something about it just doesn’t quite ring true to me, and I can’t put my finger on what that is.

Anyway, all that aside, the big burning question I have out of this ad campaign is… when is Under Armour going to get into the leotard business? Because, seriously? I sweat like nobody’s business in class and I could use some of that awesome wicking technology in my leos so I don’t look like I just I’ve been to the swimming pool instead of ballet class.

Ballet @ Home: First Finis Jhung DVD Review!

Argh, slacking again!

I have so many topics I’ve been meaning to blog about: our studio’s annual show, an open adult ballet class I took in Cambridge, my review of a new pair of ballet slippers, and news of an upcoming giveaway (yayyyyy, free stuff!).

Hopefully I’ll get around to all of that.

But today I’m going to do a DVD review for all you living room ballerinas and danceurs out there!

I had heard of Finis Jhung from one of my dance teachers who has taken his workshops in the past. She enjoys using some of his music in class (which I affectionately refer to as “the creepy circus music,” but that’s another story!) and spoke very highly of his teaching methods. I’d love to go to NYC and take one of his classes in person, but since I haven’t been able to do that I figured putting a couple of his DVDs into my Netflix queue was the next best thing.

Coincidentally the first one, “Level 1: Barrework for Beginners,” arrived just as summer session at the studio was starting. Yesterday was day 3 of said session. The 4.5 hours of dance over the two days prior following a good three weeks off was telling on me! So… I wasn’t TOO disappointed when my commute got me home a tiny bit too late to make it to ballet. But… since I had this DVD at home I figured I’d give it a try to make up for my missing class.

Now, I’m not a huge fan of DIY ballet. I think the best place to learn is in a studio with a proper floor, mirrors, space, etc., with a qualified teacher. But I understand that’s not always available to everyone and that not all “beginner” classes cater to true beginners and that some people just want to have an adjunct way to practice at home. If any of those categories include you, I highly recommend this DVD.

It’s 90 minutes long, so about the length of a regular ballet class, but it is, essentially, all-barre. If you’re new to ballet or just looking to get back to basics (or, like me, have very limited non-carpeted space in which to practice) this fits the bill perfectly.

It’s divided into 16 (?) exercises. Each exercise is named so you can see the words written out. Finis introduces each exercise and explains not only what the combination is, but why it’s important to dancers, and mistakes to watch out for. Then his assistant, Jennifer, joins him to demonstrate the exercise full-out while he talks her through it and makes corrections.

Jennifer clearly knows her way around a dance studio, but I found her to be a lovely demonstrator. She’s good, but not pro-perfect. Strong, but not a twig. Okay, I actually just Googled her and it looks like she is a professional modern dancer. Obviously has a ballet background, but it’s not her main thing.

The exercises start at the very basic-basic level with what he calls “Number One” which is basically learning proper posture. He references it throughout the DVD to remind the home dancer to maintain that posture through all the exercises. He then introduces turn-out with an exercise that teaches the dancer how to find his/her own natural turn-out and does a basic exercise incorporating that movement with some pliés and rélevés. Then he gets more into the plié concept in kind of a non-traditional way by using a super-wide second. From there it moves into more traditional barre elements of battements tendus, dégagés, port de bras, fondus, and grand battements.

Everything is very slow and methodical, but if you’re an absolute beginner the speed is just right. Don’t worry, if you’re doing everything properly you will work up a bit of a sweat. Finis emphasizes good technique throughout, reminding you to test your balance by letting go of your barre, seeing if you can lift your heel a bit to make sure your weight is placed properly, checking in a mirror to make sure you are maintaining a square center, keeping abs engaged, breathing, shoulders down, etc. He offers tips for correction that are pretty universal and understandable.

Now, of course, I’m not a beginner, so I guess I’m not the best person to tell you whether this is truly accessible to an absolute beginner. But having taught an absolute beginner class I felt that the elements were just about right. If I were still teaching I’d definitely incorporate many of his ideas. If you happen to be a teacher this would be a helpful DVD to have in your library!

As a more advanced dancer, I still felt like I still got a lot out of this. It gave me new ways to think about certain concepts and ideas to take into the studio to correct some bad habits or fix some of the things I find challenging.

So overall, while nothing beats a real class, this DVD comes remarkably close.

Pros: Clear instruction, good demonstration, nice explanations, and helpful corrections. Introduces steps in a way that isn’t overwhelming, but still gets an absolute beginner through most of what would be included in a basic barre.

Cons: The “scenery” isn’t terribly attractive and it kind of looks like it was filmed on a ’90s era camcorder (I think the copyright date is 2002, so it is a teensy bit dated). Depending on your “home studio” set-up, it may be difficult to find a space where you can set up a “barre” and see yourself in the mirror. And speaking of the barre, it would be really helpful if you had a real barre, which most people don’t.

Stay tuned for a review of Level 2: Barrework for Advanced Beginners!

You’re never too old to stop learning about dance

Even if you’re an icon in the business!

This video of Carmen de Lavallade has been making the rounds lately:

I love where she talks about struggling with not being able to do part of a dance the way she wanted to because her legs just didn’t work the same way anymore… both how she realized that, hey, it’s a solo, so no one is going to know if you change it, but also that by changing it she learned something more about the piece.

Just goes to show that no matter the challenges we encounter in the dance studio, whether 3 or 83, there’s always something to learn and a new way to grow.

If you find this interesting you should seek out the DVD “Carmen & Geoffrey,” a documentary about de Lavallade and her husband. They are both tremendous artists and a very cool couple!

Emeralds, Rubies, and Diamonds…

But why no sapphires?!?!

Why did you shun my most favorite of jewels, Mr. B? I think it would have rounded out the piece quite nicely, no?

*sigh*

As you have probably guessed, I finally saw George Balanchine’s iconic “Jewels” (1967). Boston Ballet wrapped up their 2013-2014, 50th anniversary season with it, and in doing so served to fill in a major hole in my ballet education!

The build-up to the show was nearly on par with the Nutcracker. Lia Cirio leaping in her “Rubies” costume has been plastered all over taxis and buses and such in Boston for months now. Meanwhile, “Pricked” was pretty much not advertised at all. Curious decision on their part.

My ballet companion for the evening and I got into town early enough to catch the pre-curtain talk. I was surprised to see so many people in attendance. Usually there is only a large handful of people in the audience, but there was probably twice the typical number for this one. The curtain was open giving us a sneak peak of the “Emeralds” backdrop, a cool, pale green backdrop with large green jewels pasted on it in an intricate design. The wings were draped in white. Very elegant feel, even if it gave me the impression more of peridots (a stone I am well-acquainted with, being an August baby!) than emeralds. The other thing we noticed was that there almost appeared to be a large stain in the middle of the backdrop, like the guy in charge of creating the backdrop spilled his beer while pasting stones on it or something. I’m guessing it was probably more likely the shadow of the “Rubies” backdrop behind it, but it was kind of distracting and shabby-looking.

Shannon Parsley, BB’s ballet master, led three BB dancers onstage to the chairs lined up across the front. These dancers represented a cross-section of the company and included Erica Cornejo, Principal; John Lam, Soloist; and Paul Craig, Corps de Ballet. Ms. Parsley gave a brief(ish) recap of the season for anyone who had been asleep for the past six months. I wanted her to wrap this part up a bit more quickly. Honestly, the people who are going to show up for the pre-curtain talk are most likely going to be the avid fans who already have a clue what the company is up to and don’t need the monotonous summary of where they’ve been and what they’ve done. But… this probably is standard protocol for these things, so I tried to sit attentively and not fidget.

They then moved to the dancers who each talked about one of the pieces: Cornejo discussed “Emeralds,” Lam “Rubies,” and Craig “Diamonds.” Probably the most poignant part was when Cornejo, who danced in “Jewels” the last time BB presented it (in 2009, I think?) discussed that this is one of her first major ballets after returning to the stage post-baby. She dances the role of the “walking ballerina” in “Emeralds,” which is a role of someone who has lost her love, very emotional, but that becoming a mother has given her additional emotional fuel. She teared up on stage talking about it! Lam talked a bit about the energy required for the jazzier “Rubies” and Craig discussed the Imperial Russian feel that “Diamonds” demands.

After a few questions we were dismissed and went to indulge in overpriced cheap cabernet sauvignon and pretzel twists. Dinner of champions!

Then it was back to the theatre to our assigned seats to settle in for “Emeralds.” Ashley Ellis and Yury Yanowsky were the… happy couple (?), while Lia Cirio was the “walking ballerina” with Lasha Khozashvili was her partner. I haven’t really formed much of an opinion of Yanowsky before, other than the fact that I thought he bore a passing resemblance to Grégory Fitoussi (I’ve been thoroughly sucked into the world of Mr. Selfridge and the character of Henri Leclair, with his broody eyes and heart-melting smirk, may have been a small part of that obsession… I am completely at a loss now that the season is over!). But I love that Yanowsky is one of the few dancers who started with the company in the ’90s. In fact, he’s surpassed two decades with BB. That alone makes me fond of him. In such a youth-obsessed world, he’s showing the poise and elegance that an experienced dancer brings to the stage with no signs of disintegrating technique. Ellis looked radiant paired with him.

Lia Cirio seemed to lose herself in this one, which I liked… in some ways. “Emeralds” seems to have a rather refined feel to it, with the exception of this one couple that seems to wander through as if lost. Cirio threw herself into the role with abandon, but at times it felt like it was teetering on the edge of losing complete control. I suppose that’s the line one tries to balance on and she managed to keep from crashing over on the wrong side of the line.

And then the pas de trois. The casting was terrific and I’ve decided I really like that Isaac Akiba kid. Doesn’t hurt that he’s a home-grown dancer from BBS. He’s got a youthful look to him that lent itself nicely to the playful feel of the pas de trois, but behind that exterior is a very solid technique. I expect he’ll be growing through the ranks in the coming years.

After intermission, in which I supported the local economy by purchasing a Jewels tee (it was 3/4 sleeved and boatneck, trés cute!) and we made the rounds of the audience to find the other people we knew, we were treated to the jazzy “Rubies” set to music by Stravinsky. I guess this was supposed to be a bit of a tribute to Broadway, though perhaps Bernstein might have been a better composer?

So maybe a minute into the piece we hear this clacking. At first ballet companion and I thought that maybe the dancers had REALLY rosined up their shoes and were sticking to the marley… but then we realized that it was their costumes! The gigantic red stones on the skirts clacked together as they moved and made a tremendously distracting racket. Has it always been that way? Does it drive the dancers bananas to have to wear those? I know it would annoy the heck out of me!

Aside from that, I did like the energy in this one. I tend to like very active dancing with lots of jumps and non-traditional movements. Jeffrey Cirio and Misa Kuranaga were the central couple on the day I was there and, of course, I love them… though somehow I didn’t feel that this piece highlighted their chemistry and talents as well as other roles I’ve seen them in. Hmph.

After second intermission came — duh — “Diamonds” set to music by Tchaikovsky for the Imperial Russia experience. This one was impressive for the sheer number of dancers that are featured. Kathleen Breen Combes and Alejandro Virelles were the lead couple and can I tell you… I have a crush on Alejandro’s feet. My ballet companion had told me in advance to look out for them, but I don’t think I could have missed them. Ugh… makes a girl totes jeals. What a line! Breen Combes was absolutely lovely… until the very end. She is somehow both down-to-earth and totally elegant at the same time. She shows a level of maturity and grace that is lovely to watch. But something happened in the last few minutes. Not sure if she injured herself or if her shoe died a spectacular death, but I could tell she was struggling at the end. I feel so bad when I see that happen to dancers, especially lovely ones like her! I would guess, though, that if I were not a balletophile I probably would not have noticed. She kept going, masking any fumbles quite well. I did notice that the dancers were wearing white pointe shoes in this one, and I wondered if that contributed to the problem. Unlike the boatloads of pink shoes that the dancers can rifle through to find the right ones, I’m guessing there are only a few pairs of shoes in white, so the dancers might end up with something they consider less than ideal… just a theory on that one! I actually found the shoes distracting… might have liked them more if they were wearing white tights, as well, but I found it just interrupted the lines.

So, that was “Jewels.” Like most masterworks, I would need to see it a few times to truly absorb what all was going on and cement my opinion of the piece. As of now, “Serenade” is in no danger of being dethroned as my favorite Balanchine piece, but there were elements of this that I really appreciated. One thing I love in nearly all of Mr. B’s pieces is how he set steps to the music. Like many dancers, I have a tendency of choreographing dances in my head when I hear music, and it can be challenging when being choreographed ON and feeling that what you’re being asked to do doesn’t match with the music. Mr. B’s choreography matches what I hear in the music… so I feel some sort of bond with him over that, I guess!

And finally I’ll leave you with BB’s videos. First up is corps member Roddy Doble giving his thoughts on the pieces:

And now some snippets of the performances! This features the same cast I saw, but not sure if it’s from the same show or not.

Happy Early Birthday… to ME!

Eeeeeeeekkkkkk!!!!

I did it.

I just ordered my own birthday present.

Keep in mind that my birthday is three months away still.

But.

Yeah.

So…

Ever since I found out that there are summer intensive programs for non-kids I’ve been dying to do one.

Sun King is my dream program because, seriously, how cool is that? A week full of ballet, pointe, pilates, modern, repertoire, partnering, etc. Even in big metropolitan areas it’s hard to find that sort of training geared towards people outside the pre-pro crowd. But that doesn’t mean that we don’t want to be able to experience that stuff, at least once!

Well, I don’t think I can swing Sun King financially quite yet, but…

There’s this.

Which I’ve been thinking about for a while.

While I was at the Boston Opera House before “Jewels” this past weekend (post to come on that!) I spied a table of BBS brochures including one for the ASDP.

I picked one up and since then it’s been staring at me from my kitchen counter, challenging me to make a decision already. I knew that by procrastinating I was effectively making the decision of “no” and I wasn’t sure I’d be happy about that unless I had a well thought-out reason why I shouldn’t.

The reasons I put it off before don’t hold this year. Our ballet company isn’t doing a summer ballet, so I wouldn’t be missing any key rehearsals or performances. I wouldn’t have to take time off work since it’s a few miles down the road from my office and takes place in the evenings. And one of my friends did it in the past and said it was good, and supposedly they’ve revamped the program for this summer to be even better.

And… just… why not?

Are there more reasonable things to do with my money?

Probably.

Will this make for some rather long days during those two weeks?

I can only imagine.

But would I regret it if this turned out to be the one time I got to do this and talked myself out of it?

Hells, yeah.

So… if you’re looking for me some evening in the beginning of August, you can find me wrapping up this year of my life at BBS.

Once more I say:

Eeeeeeekkkkk!!!