Jump to content

Ivy Lin

Members
  • Posts

    334
  • Joined

  • Last visited

Reputation

534 Excellent

Recent Profile Visitors

2,324 profile views
  1. I once walked out of a performance of Wheeldon's Cinderella. Think it was San Francisco Ballet. The performance was just so middling and low-energy I was falling asleep. I had to leave in between Millenium Approaches and Perestroika because I had a horrible flu and knew that sitting in a crowded theater with a fever was not going to work. I did go see Perestroika a few weeks later after I recovered.
  2. Sylvie spoke about not liking being filmed. It's a shame she has such a small video legacy but it was her choice.
  3. I think the private coaching is the most insidious part of "pay to play." There is no overt pressure to "pay" as theoretically a company should be providing the coaching for dancers. However, at least at ABT it's well-known that most dancers pay private coaches to rehearse them for roles. The coaching is very expensive. Also an intimidation factor as some principals post videos of their coaching sessions, to maybe send a message to other dancers.
  4. I think he looks like Prince Joffrey.
  5. I guess I disagree about the Nutcracker wigs because they seem irrelevant. Like in Sleeping Beauty I get that the powdered wigs are supposed to evoke the French nobility. But Nutcracker's second act is a fantasy and there's nothing dictating that the SPF and Cavalier have to wear frosted blond wigs. Moving to a more natural look seems like a small tweak that reflects the diversity of today's company.
  6. I think it's a huge issue at ABT. In other companies I'm not sure, but at ABT (which is a major company), dancers talk openly about how they'll pay for private coaching for a role before it's even cast, so they can say "I was already coached and know the role." It really is awful how it ends up being people essentially paying to learn roles.
  7. I'll add that many European dancers also do not look good in those wigs. Some white people have very dark hair and eyebrows and don't look good with a blond wig.
  8. Yes but by having such Euro-centric wigs ism't the message that the only "right" dancers for these roles are white and of European heritage?
  9. Delicate topic but the insistence on the blond wigs for Titania and Nutcracker is also very Euro-centric. For instance, would Francesca Hayward look good in a frosted blond wig? Marcelino Sambe?
  10. At American Ballet Theatre the "pay for private coaching" thing is openly talked about amongst the dancers. As is the parity between dancers who can pay for the expensive private coaching and the dancers who can't. As I said, this sort of thing is very insidious because on the surface there's nothing shady happening, but in reality it means that a dancer from a poorer family might not be able to get proper coaching before her big debut.
  11. I was actually very disappointed in Nunez and Muntigarov in the Sleeping Beauty pas de deux. I didn't feel like they had the sharpness they usually have in this piece. Their fishdives were very slow.
  12. The promotions that I know of where the parents were also donors had plenty of talent and deserved to be promoted. It's just that they also had parents who donated sums of money. The other kind of "pay for play" is more insidious: many companies do not provide private coaching for a big role debut so dancers have to hire coaches to help them. The private coaching sessions cost a lot of money and not everyone can afford it.
  13. Yeah it is. As I said, it's not officially "pay to play." But parent's donations (as well as the ability to pull in a corporate or private sponsor) are considered important for promotions in American companies. It differs by company but it's a thing.
  14. Another thing is that I read Petipa's biography and they talk about dancers sending him large, expensive gifts for roles. Mathilde Kschessinskaya even called him out for this publicly. I don't know if this still exists formally but I know that in many companies parents' donations are considered super-important for promotion.
  15. NYCB does have year long contracts for dancers but not (I believe) for apprentices.
×
×
  • Create New...