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  1. They are a combination of backups, director's/camera operators' rehearsal, and, in the case of future DVD releases, alternative footage to cover for things going haywire. The livestream-to-DVD releases are actually livestream-intercut-with-the-other-filming-to-DVD releases.
  2. The very Freudian version that Mikhail Baryshnikov staged for American Ballet Theater in the late 1970s also eliminates the SPF and her Cavalier, with Clara and the Nutcracker taking over. This was the first Nutcracker I saw, so for some time having a SPF looked odd, not vice-versa!
  3. Well, given the amount of time they spend shooting dressing-room hoops on Instagram, perhaps there's a basketball pas de deux to be made. A sequel to the "Jockey Dance"?
  4. I appreciate McNally (and Campbell, I believe? I just tuned in) not talking over the class.
  5. I've found that searching by either ballet company or DVD production company will bring up good results, although it's much more of a chore.
  6. I've found that US showings aren't necessarily indicated until sometime closer to the actual airdate. Live showings of the ballets in the USA, as opposed to the operas, appear to be pretty much defunct. My region has been getting delayed showings two to three months after the original relay.
  7. This struck me as pragmatism more than anything else, much like Steven McRae making a point of getting a degree in Business Management (which Campbell said in his Dance Europe interview that he's also doing), Elizabeth Harrod earning nutritionist qualifications, Eric Underwood and various other dancers developing modeling and clothing design sidelines, and so forth.
  8. Mimi

    Alice in Wonderland insight

    McRae described the process as Wheeldon coming up with the sounds, while he provided the steps to match them. Sissens, I thought, already had a much better-defined sense of characterization than Richardson, although the latter's tap technique was cleaner. It's hard to tell what will travel over from a rehearsal, though. Incidentally, Campbell mentioned on his Instagram feed that he's no longer dancing this role.
  9. They're shown in a mix of chains and independents. Our major local indie, for example, picked up the opera broadcasts after the chain dropped them. The indie actually promotes the operas, whereas the chain did zip.
  10. Our city lost all the RB transmissions for just this reason. There were no promotions of any sort for the RB, so you had to already know that they existed. The tickets were inexpensive, but without ads, nobody came to the theatre. I have vague hopes that the local art-house cinema may have picked up the ballet season to go along with the operas, but I suspect not.
  11. Dancers like Akane Takada have explained that they were informed about promotions during their individual season-end conferences with the AD.
  12. Wait, Hayward and Campbell are still dancing Clara and the Nutcracker? The Knave casting for Alice is interesting--I had thought it would be Ball and/or Clarke appearing, not Ball, Campbell, and Sambe.
  13. He presented the Giselle Insight last year, although that one wasn't streamed.
  14. I see I got some predictions correct: Alice, Elite Syncopations, Giselle, Manon. Admittedly, I expected either Giselle or Manon, not both, and not quite so much in the way of Elite Syncopations. Or of Swan Lake, for that matter. More surprised by the lack of Forsythe, if only because they were staging him this year--hasn't it been forever since RB did In the Middle?--and by no Les Patineurs.
  15. This point comes across frequently in biographies of choreographers-turned-directors. Agnes de Mille, Gower Champion, and Jerome Robbins, for example, not only expected actors to obey orders like the dancers, but also to move precisely as directed. The actors, meanwhile, expected far more control over their physicality. Something had to give--usually the chastened director-choreographer!