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  1. The New York Public Library (www.nypl.org) holds the magazine; you may be able to get them to photocopy or scan the article for you.
  2. For additional, day-of-performance theater, go to the TKTS booth in Times Square (lines can be long, but they will move incredibly fast, so don't be put off; be sure that you know what you want to see by the time you reach the window). Do not, however, eat at restaurants in Times Square, as they will be $$$$$. The last time I was at the Koch I wound up eating dinner at P. J. Clarke's nearby. Spend some time at the Metropolitan Museum of Art and/or MOMA. Or, for a very different view of things, the Tenement Museum, which covers immigration history. If you don't mind trekking out to Washington Heights, there's also the Cloisters. In May, the weather should have improved enough to take a stroll through Central Park. If you like buying books, go to the Strand, near Union Square. I often nip over to Max Brenner (all things chocolate) afterwards.
  3. The RB may have considered Mercutio appropriate for a principal at some point, but not in the several years I've been following them--unlike, say, American Ballet Theater, which almost always has a principal or two dancing Mercutio whenever it does the Macmillan R&J.
  4. We Americans are indeed notorious for standing Os. There has been a standing O at nearly every live theater performance I have attended since the mid-1980s, and when there wasn't one, things were dire. I recall a fine UK character actor on tour over here many years ago who responded to the standing O with very visible bafflement!
  5. But you can! Even on a Mac. It requires some more financial outlay, like an external Blu-Ray drive and a program capable of reading the disc, but it's completely doable.
  6. I've only seen it on video, so I can't judge its effect in the theater. On the positive side, the choreography for the Creature, including his PDD with Victor and William, is strong throughout, and the production design is high quality. The Creature spends a lot of time invading characters' personal space in all sorts of unsettling ways, which compensates for Steven McRae's inability to loom over anyone. On the neutral side, the ballet is much more engaged with the novel's cinematic adaptations than with the novel itself, sometimes to the extent of undercutting the novel's assessment of Victor's character. And on the negative side, there's a fair amount of choreography that is either derivative, like the pseudo-Macmillan barroom scene, or unintentionally funny, like the "let's kill off the entirety of the remaining cast" moment at the end. I also felt that the only motivation for Clerval's dancing at the ball was Scarlett suddenly remembering that he had cast Alexander Campbell in the role.
  7. 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.
  8. 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!
  9. 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"?
  10. I appreciate McNally (and Campbell, I believe? I just tuned in) not talking over the class.
  11. 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.
  12. 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.
  13. 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.
  14. 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.
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