Bittersweet (Dancers and Divas #2)

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This pas deux was performed with sophistication and restraint by Romany Pajdak and Calvin Richardson in complicated adagio choreography. The male duet was danced with physicality by Joseph Sissens and Calvin Richardson, which was contrasted by the more emotional and atmospheric duet danced by Sarah Lamb and Marcelino Sambe. Wayne McGregor was represented by excerpts from two of his dance works. One of which was one of the duets from Obsidian Tear, a co-production of the Royal Ballet and the Boston Ballet, and choreographed to music composed by Esa-Pekka Salonen.

Obsidian Tear is a work for an all male cast and this particular duet is combative and survival oriented with Joseph Sissens dancing in red as the outcast, and Calvin Richardson protecting his community and tribe. The duet was a great athletic display which was ably danced by these two dancers. The second McGregor excerpt was from Qualia, a work he created in In this piece McGregor is channeling William Forsythe blending with a modern dance vocabulary and as danced by Sarah Lamb and Edward Watson this excerpt highlighted the athletic strengths of the dancers.

This performance presented an appetizer of what the Royal Ballet might dance here in New York if the full company was able to make the trip from London, and also a teaser for what is yet to come in the other three different programs that will be danced during the Joyce Theater Ballet Festival.

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And for nothing else it is worth seeing this particular program just to see these magnificent dancers from the Royal Ballet. Petipa was the most influential choreographer of the 19th century and whose influence is still felt today into the 21st century. Petipa arrived in Russia at 29 years of age to pursue his career as a dancer and in signed a contract to be a premiere danseur and mime with the Imperial Theatre now known as the Mariinsky Ballet in St. Petipa spent 63 years of his life in Russia and after an immensely successful career he died in Petipa served four emperors, was chief ballet master for 41 years, created more than 50 ballets and restaged 19 other ballets, and created choreography for 37 operas.

He guided, what is now known as the Mariinsky Ballet to establish its worldwide reputation. It is ironic that Petipa was not so well-known in his time because his works were not being acquired by ballet companies in Western Europe whereas foreign choreographers and their ballets were welcomed by Russian ballet companies. Also Petipa seldom travelled abroad so his fame was somewhat clouded during his most creative period in Russia.

The art of the ballet in Russia and interest in supporting this art form may have had its roots as far back as the early 18th century. Noted in this biography was the custom to recruit ballet dancers and balletmasters from the ranks of serfs on vast Russian estates where theatres had been established. In her book Meisner describes in detail the burgeoning world of ballet in the 19th century and its interconnections with ballet companies all over Europe. Most interesting was the examination of how at the end of the 19th century there was an invasion of Italian dancers and choreographers into Russia, which resulted in Russian dancers wanting to study with Italian teachers.

Petipa survived the torment of Vladimir Teliakovsky an artistic bureaucrat at the Imperial Theatre — but who arranged a life contract for Petipa with the blessing of the Russian Emperor. In spite of a life contract Petipa was reduced to supervising the rehearsals of his older ballets rather than creating new ballets, and died in the midst of the changes in Russia to come with the beginnings of political revoluations and the rise of the Diaghilev Ballets Russes in Western Europe.

Westside Theatre. August 3, In the 21st century meeting and dating has evolved into a science. Online dating sites have taken the place of other methods of trying to find Mr. Right or Ms. Instead of creating an honest profile, she created a fake profile, Tracy Loves Cats, and was besieged with messages of all kinds — she then created 38 fake profiles and compiled those messages into a theatrical form with her collaborators Bob Ladewig and Frank Caeti, which was the kernel that was expanded into this current two-act comedy with music.

Lorin Lattarro, as director, has fashioned the distinct aspects of the stereotypes that are included in this play and the musical numbers that are performed — and in some instances incorporates the profile requirements expressed by audience members. This makes for a spontaneous theatrical experience.

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The material was placed in the able hands of the excellent and versatile cast of Chris Alvarado, Kaitlyn Black, Jillian Gottlieb, Jonathan Gregg, Eric Lockley, and Megan Sikora who are the story-tellers who unmask the stereotypes found in online dating and take the fun journey in discovering whether online dating will actually lead one to Mr. In the course of the journey DateMe: An OK Cupid Experiment is a reflection of its time, and offers some hope for its audience that perhaps all will end well. Still Here — Elaine Stritch.

Born in and leaving us in , Elaine Stritch had a career on the stage, in movies, and on television that stretched through the latter half of the 20th century and into the early part of the 21st century. From Detroit and then pursuing her career in New York, she made major contributions to theatrical history. Goodrich — which enabled the Stritch family to survive several economic crises and wound up in even more improved circumstances.

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She moved to New York in to pursue a career in show business where she participated in drama classes with well known contemporaries in New York and was to able to take advantage of a few outstanding opportunities. Stritch also regretted not having been chosen to play Mama Rose in Gypsy, the title role in Mame and Mrs. Lovett in Sweeney Todd — and also missed out on being cast as Dolly in one of the original national tours of Hello, Dolly!.

There was also a significant sojourn in London where she met her husband John Bay and she appeared in the London production of Company and in several plays. But returned to the States and was able to re-start her career. Through her career she did appear in films — some successful and notable, and some not — as well as guest appearances in television shows.

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But it was her contributions to the theatre that are her most important contributions to our cultural history. It is so unfortunate that Stritch was plagued by a chronic problem with alcohol during her life which probably resulted in her losing many of the roles she had coveted. Beekman Theatre. July 29, Expertly directed by Sam Mendes, The Lehman Trilogy is presented as three different plays describing the origins of the Lehman Family, which established the financial services and investment firm, Lehman Brothers.

The Lehman Trilogy is an epic play incorporating the many details of how this financial calamity occurred, and tracing the prospects for this catastrophe through the experiences and eyes of the founders of Lehman Brothers. A 3-actor cast portrays the original Lehman brothers, Henry Lehman Simon Russell Beale , Emanuel Lehman Ben Miles , and Mayer Lehman Adam Godley who found this business, as well as portraying their children and grandchildren as they trace their family history in parallel with the history of their family business.

The story begins in when the Lehman brothers — German immigrants-- join forces in Montgomery, Alabama developing a dry goods business which also includes a cotton trading business and expands into commodities trading. The Lehman brothers enlarge their commodities business and open an office in New York City — further expanding their business into financial services, investing in promising new industries and stock trading. In the end family members were no longer involved in the business, and what followed were power struggles among the new leadership and mergers with other corporations.

But they survived by relocating their business to New York while also trying to revive the Southern economy — persuading businesses to invest in that part of the world. However the mission of Lehman Brothers as a business evolved and greater risks were taken to make money, increase power and dominate, in the course of seeking their own vision of immortality. As portrayed in The Lehman Trilogy when Lehman Brothers as a business was lost there was a great deal of collateral damage and the ghosts of the past were there to remind the current generation that their excesses could be lethal.

The performances by Simon Russell Beale, Ben Miles, and Adam Godley are expert and inspiring — and they capture all of the many characters that they portray from one generation to the next. Their performances are individual tour de forces, but they also collaborated as an amazing dramatic ensemble.

Enhancing this incredible story was the glass cube set design by Es Devlin — rotating glass box with furnishings of a contemporary office and video projections created by Luke Halls which change the landscape and serve as the background of the stories being told in this ambitious play. In The Lehman Trilogy, the actors and the creative team have collaborated to visually and verbally explain how it all happened.

Barnett was born in the state of Washington into modest circumstances. He enrolled in tap-dancing classes in his early youth performing in the small town his family lived in but felt he was destined to be a fashion designer. After his military service in the Navy, Barnett pursued his ballet studies with Bronislava Nijinska in California and what followed was a tour with the Original Ballet Russe. In his book Barnett describes the dissension among the management and artistic leaders of the Original Ballet Russe and the origins of the Original Ballet Russe.

But in his words Barnett emphasized the important influence that the Original Ballet Russe had in terms of developing ballet audiences in the United States and the education of future ballet dancers when members of the Original Ballet Russe settled in different parts of the United States and established ballet schools. He was immediately sent to work with Robbins in a new ballet. In those chapters Barnett describes the early days of the New York City Ballet — including the small but enthusiastic audiences — and the ballets he created roles in and those roles he stepped into.

It was of interest in terms of how such fights erupt during moments of stress during a rehearsal period for a ballet and what set of skills are necessary to diplomatically find mutual respect and continue an artistic collaboration. But certainly among the issues that were stressful and tense for Barnett was the revelation of Tanaquil LeClercq being diagnosed with polio which threatened her life and also possibly the existence of the New York City Ballet.

Also stressful was the decision for Barnett and his wife, Ginger, to take positions with the Atlanta Civic Ballet as dancers and as directors in training and then being appointed as artistic director of that organization in until his departure from what became the Atlanta Ballet in Barnett admitted to the fast learning curve he had to cope with as he was at various times a dancer, director and stager works for the company — all roles offering special challenges — especially when you are trying to do all of these jobs at once. The lucky breaks, difficulties in funding, taking advantage of opportunities that present themselves.

Her concerns were that George Balanchine, as artistic leader of the New York City Ballet, wanted to take the regional ballet companies in the United States under his wing by offering his ballets, costumes, and Ford Foundation financial support.

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In his autobiography On Stage At the Ballet, Barnett is definitely introspective and has had the opportunity to look back on his career involving himself in all aspects of the ballet world. For any dancer who is considering the prospect of taking on the job of an artistic director of ballet company this is a must read. July 27, For its third offering of this season Encores! During its journey Road Show had undergone revisions and after a London production in and other regional theatre productions, Road Show has found its way back to New York — for a second time.

I had not seen Road Show in its previous incarnations and in this concert version produced by Encores! Off-Center there was the opportunity to see this musical with a fresh perspective. Road Show depicts the Mizners as they stumble through several decades of fraudulent deals and swindles meant to make short-term gains. And taking dramatic license, as the brothers are only reconciled after death. However the story effectively focuses on how these brothers squandered their talents and how the relationship between the Mizner brothers evolves from bad to worse — emphasizing the theme in Road Show that when thinking about the American Dream it is the journey not the destination.

The Encores! Off-Center series because it deserved to be heard and seen. Off Center Presents Promenade. July 11, With a book and lyrics by Maria Irene Fornes and music by Al Carmines, Promenade has rarely been performed and has been described as an experimental musical that is not presented in a linear form. The focus of this musical is on two prisoners, known as and played by James T.

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Lane and Kent Overshown who escape from prison to be pursued by a prison guard — who exchanges sex for favors. Besides being pursued by the prison guard, the two prisoners have their adventures including mingling with a group of wealthy socialites and snobs, to be joined in their misadventures by a disgruntled maid, a soldier who has ambiguous feelings about facing death on a battle field but complains about his terrible hamburger, and then off to the home of the Mayor where this odd collection of characters are forced into entertaining the Mayor and are ultimately sent to jail.

Promenade is structured like a vaudeville encompassing wonderful and witty musical gems which reveal much about the characters who are singing them. Promenade is a musical not only with a message but with many messages. Promenade is an intriguing piece of musical theatre that is worth another look! Royal Danish Ballet at the Joyce Theater.

July 9, From July , The Joyce Theater Foundation is presenting a themed program, The Bournonville Legacy, featuring current members, and a former member of the Royal Danish Ballet, the company most associated with this historic style of dance and choreography. Auguste Bournonville stands as a giant of 19th century ballet preserving the French style of dance in Copenhagen for the Royal Danish Ballet. He was a renaissance man not only as a teacher and choreographer but also a writer and painter, and his travels provided him with the stories that he adapted for his ballets.

However there was room for fairy tales and legends that were portrayed in Bournonville ballets such as La Sylphide and A Folk Tale.

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