JOEY DANCING

Chimo found an old disc of video from 2006. Here is a link that I hope works of Joey during ballet session. He is wearing the garnet Gamecocks outfit. The quality is not the greatest, but still I love it.If I can figure out how to save the video another way, I will add it to this post.

https://drive.google.com/file/d/17Dc-HA_Tqv23Z8e6VZzfBXU1HvlfRJGW/view

A DIFFERENT LIFECHANCE (THOUGH MUCH THE SAME)

Courtesy of Brooklyn Mack and his mother, as well as the facilitation of my coworker Katherine, Chimo and I happily attended the 2015 Lifechance, a celebration of dance, Mack, and the Columbia Classical Ballet, in which the Finlay scholars benefited as well. By a fortunate quirk of luck we were down on the ground floor and had wonderful seats and sight lines. Not only that, but I was able to park closer than I have ever been able to and we had just enjoyed a great dinner at Little Pig. Lucretia generously took time away from her son and friends to come over and chat with us after the show, which was special (no doubt people were wondering how we rated). Renata showed up and I got a hug; hadn't seen her in a while. Got to say hello to Myra. Missed out on seeing Zoltan, who is one of the few remaining dancers that I know personally. And afterwards the boy and I got sorbet/gelato in Five Points. A very nice night of entertainment indeed.

But it was a rather unusual Lifechance, with a small spate of irregularities. Before seating was announced I got a little doused when a Koger Center high-pressure waterpipe burst in the men's room. The sound people had troubles with their system (it was funny to hear someone yelling, "What's going on!"). Three dancers stumbled, a somewhat high rate for such a skilled group, though I know it happens sometimes. In fact, I am amazed it doesn't happen more often, as the physical demands of this art are incredible. I really felt sorry for them, though they all recovered as gracefully as possible. The corps only danced one selection (not counting the finale); there were fewer presentations, a total of seven; and we regretfully only got to see Brooklyn do his signature piece from Le Corsaire. If it were humanly possible, I suspect the crowd would wish to see him in every number. There was a recurring clothing malfunction that mightily entertained Chimo. Even Lee Lumpkin, although she was in attendance, didn't grace the opening as she so often has, welcoming the crowd and thanking supporters. I should say here that it is a great thing that the local hospitality tax provides money for the arts. There was, however, this faint feeling of familiarity, of downsizing, or maybe laziness. In fact, unless my memory is completely failing me, many performances seemed to be reprises. Perhaps it is difficult to offer new stuff in events such as this, especially during the strenuous regular season, and it is not unusual for dancers simply to do what they know best and have practiced the most. Still, alas. . . .

Nonetheless, the dancing was wonderful, as always, showcasing our great local company and dancers from elsewhere (Boston, Charlotte, Washington), many of whom are regulars on this stage at this event. The corps presented Etudes by Frederic Chapin, a beautiful but not too daring offering that frequent attendees will remember. The men in the corps seemed much shorter than in the past, not unexpectedly when there are so many Asian dancers, but they did a pretty good job. I loved the long lines of South Korean dancer Sehyun Jin, the delicate Sakura Oka from Japan; both lead Japanese male dancers were good, I thought. Many countries besides the United States were represented, including Canada, Hong Kong, and Hungary. Sadly I don't think there were any Brazilians or Russians. The only other performance in the first half was Tamas Krizsa and Mika Onuki's Last Days. Despite being forced to hold their opening pose for quite a while, they delivered their wonderful modernist piece. Though I like classical material, I also enjoy seeing modern stuff as well.

I think my favorite dance of the evening was Last Lost Chance, a beautiful, athletic, modern duet featuring Anna Gerberich and Pete Leo Walker. Krizsa and Onuki took a second turn, doing Together Apart (which I think I have seen before), and it was very nice. The always lovely Lia Cirio performed the White Swan Pas De Deux, and I seemed to concentrate on her delicate and distinct head and facial positions, as well as her hands. Delightful. She was partnered with Lasha Khozashvili. Ji Young Chi and Jeffery Cirio danced Flames of Paris. Finally, along with Ashley Ellis, Brooklyn took the stage for his adoring fans, displaying his athleticism and skill. Always a pleasure. He has been so generous to this community and we love him. This is a great annual event that deserves continued support.

LIFECHANCE 2014

It seemed to have warmed up a bit as the boys and I walked out of the Koger Center on Saturday night, no doubt a result of the hot dancing that went on inside as the Columbia Classical Ballet presented its annual Lifechance performance, this year supporting the Ray Tanner Foundation. What a smooth, delightful selection of dances. I was left wanting more---especially of Brooklyn Mack, our local dancing treasure, who enthralled his audience, as always. Not only did he participate in the larger group dances, but his short interpretive dance (I guess it is called) was beautiful as well. Columbia loves Brooklyn and you can feel the crowd buzz when he steps on to the stage. I don’t know most of the new dancers in this year’s rather large company, though there are a few old favorites such as Zoltan Boros, Sasha Vykhrest, and Matthew Waters. The company seems to have a decidedly Asian representation, with dancers from China, Japan, and Korea. The ballerinas were beautiful and lovely to watch, and the men were great too. There was a tall dancers who very much reminded me of Akari Manabe, who I much miss seeing dance, as well as many of the former dancers (who have now scattered all over the globe).

Some of last night’s dances were extremely nice. I really liked the fluidity of Tamas Krizsa and Maki Onuki’s “Together Apart.” Although Lasha Khozashvili looked too skinny to pull it off, he showed great strength and agility lifting and then moving the beautiful Lia Cirio (who has been a regular at Lifechance over the last few years), so she seemed to be floating, in “Giselle.” I especially enjoyed the modern piece (choreographed by Simone Cuttino), with the men barechested and wearing dark flowing skirts, and the crowd seemed to really enjoy it too. If I had any criticism it would have been nice to have a few different backdrops.

After admission there was a cute short featuring CCB dancers, not listed on the program I don’t think, featuring six in a comedy skit of gender-bending. Joey looked at me and said, “You wouldn’t get me out there doing that one.” But the crowd enjoyed it. In another dance, I think it was Kota Fujishima and Sakura Oka, they seemed like two tiny delicate flowers floating in “Flames of Paris.”

Overall, I really loved all the dances and the evening moved along at a brisk and pleasing pace. Been coming for years, often at the generosity of Brooklyn’s mom. I couldn’t see how many people were in attendance, but it looked like a pretty good crowd. I was surprised to find Coach Tanner standing by himself unmolested in the lobby and I thought I would get in a quick handshake, and we ended up chatting for probably ten to fifteen minutes, until his wife Karen joined us and others began coming up. They are really nice nice people. We talked about ballet (I think this may have been his first), Gamecock coaching and basketball, and a few other things. I was honored to have met him. Everyone knows what he means to USC sports, and also his charitable contribution to local children and homeless.

DANCING

I still wish he were dancing.

JOE DANCER

They had high hopes for my boy in ballet, said he had natural balance and nice moves. But peer pressure in junior high got him out of it, even though he loved being on stage. I hope he finds his way back, but if not, it was a great experience and development for him.

ENTERTAINMENT LOSSES

Today two giants in their fields passed yesterday and today. Extremely funny improv comedian and actor Jonathan Winters died. He almost always cracked me up, even when some of his jokes went right over my head. He inspired many younger comics, especially Robin Williams, and his characters were wonderful. And the world of dance lost a beautiful ballerina, the amazing Maria Tallchief of Oklahoma, probably the most famous Native American (Osage) dancer, who appeared with the New York City Ballet and was married to Balanchine.

THIS IS BALLET

I seldom stray too far from the Columbia Classical Ballet fold when attending local dance (maybe an occasional City Ballet), but tonight I took the boys to see the Carolina Ballet's This Is Ballet , a 25th-anniversary celebration of civic dance in Columbia. Founded by the late Ann Brodie (and other dance professionals) the company provides training and opportunity to young, pre-professional level dancers and amateurs seeking a venue to continue expanding their skills for the love of dance. The Carolina Ballet has started many dancers onto professional careers, as well as spawned two professional companies in the area. Although there were many levels of experience and talent on display tonight, the overall performance was very solid and entertaining. Probably the most fun dance was "A Young Person's Guide to the Orchestra" which featured many younger girls and boys in the company, giving them a chance to really shine and get experience on the stage in front of a large and appreciative audience. I wish my son had been able to dance in something similar when he was involved in ballet, a reward for hours of hard work. Too often outside of "The Nutcracker" he had the slimmest parts (not unexpected in a professional company), but I think it would have helped keep him on stage. Who really cares if their steps were at times out of line or a pose faltered? They were out there enjoying dance, and that is what really mattered. And they really did a good job. I loved the tiniest dancer. . .so adorable. Younger members also shone in "Jewels" and "Le Carnival." I liked Yhosvany Rodriguez in "Le Spectre de la Rose," despite one mislanding, performed alongside artistic director Mimi Worrell. A crowd favorite was "Spring Waters" danced by Cooper Rust and Caleb Roberts. Also well received was Act I of "Giselle," by Mallory Jones and Patrick Van Buren. The final effort was "Hosanna," a very nice, flowing piece choreographed by alum Jeff Lander in honor of Brodie. The first dance, "The Kingdom of the Shades" from LaBayadere, was probably my least favorite, partly because it was hard not to judge it against the performance given by the CCB earlier this season, but because I think it is one of the more boring (albeit pretty) pieces. We really could do without the march on (especially when so many of the dancers are not as strong or sure as the professionals). The rest of the dance after the first section is very nice. I applaud all that the Carolina Ballet does to inspire young dancer and for its outreach to the community. We need, and benefit, from every opportunity to have any of the arts practiced and presented to the public. It is the first time I have ever been in the Township Theater, newly refurbished and spacious. It was fun to listen to Joey critique some of the dancers, and I know in my heart he would have sparkled alongside them. I wish the Carolina Ballet another successful twenty-five and more.

LIFECHANCE 2013

Was it me, or did this year's Lifechance, the charity event put on by Radenko Pavlovich and the Columbia Classical Ballet seem a bit shorter, a little rushed, than it has in the past? Even so, the performance tonight brought back to Columbia its favorite star, Brooklyn Mack, some regulars such as Lia & Jeffrey Cirio, and a host of dancers who provided both traditional and cutting-edge modern work. The crowd was quite big, it seems, and everyone was well entertained, and I think it shows the growing support for ballet in the city and state. And for me a special treat, because my friend Renata from Brazil, showed up and I always like seeing her. I hope she can bring Waldilei with her next time (I really miss them).

The night opened, as it usually does, with a work performed by the entire CCB. Dressed all in white, they danced "Etudes," a delightful piece that let everyone shine a bit. I especially liked Nana Yamatani. I may have the name wrong, but I also liked very much the dancing of Yukihiro Tamura. Some of the ones I know from the past---Edward, Lauren, Zoltan, Matthew, Sasha, and Christopher danced, and I even noticed that Nations has been promoted. Eight dancers later performed "Pulse," which was crisp and nicely done, kind of favoring a 40's dance hall, the women dressed in red.

Brooklyn, who just about everyone really comes to see, and coming off rave reviews and a neck load of medals from recent international competitions, did three pieces: a traditional turn with the lovely, talented Ayano Kimuro in "Grand Pas Classique;" a nice piece, titled "On the Way," which oddly enough I saw one of the Japanese dancers do about a month ago, and very well, and Brooklyn brought to his performance the strength and power we are familiar with (I was later told that this work is often used in competitions); and a piece he choreographed, "Lost in Time," an athletic, vibrant, energetic dance that wowed the crowd.

Lia Cirio and Sabi Varga presentes "Polyphonia Pas de Deux," parts one and two, a modern selection that emphasized their strength and precision, somewhat gymnastic in style, a bit dark, and the music a bit jarring. But they did a wonderful job. Maki Onuki and Tamas Krizsa also took two turns, the "La Ofrenda," which in style was similar to "Polyphonia, and a piece from "Giselle." Misa Kuranaga and Jeffrey Cirio finished the night with "Don Quixote."

Thanks to Lucretia for getting us tickets, and to Katherine for facilitating. It was a lovely night, and the boys and I had a great time, as usual. Soon enough, CCB may have to perform Lifechance on two nights!

FIRST THURSDAY: JANUARY 2013

Approaching the downtown area usually dedicated to the monthly arts festival that is First Night in Columbia, all I saw was quiet and dampness, and worried that organizers had canceled the event. But lights were on at Tapps (the bedrock facility for the event) and inside dancers of the Columbia Classical Ballet were preparing to perform. And they delivered a nice program of short dances, featuring an interesting mix of traditional and modern, to the appreciative, cozy crowd. It was nice to see these young artists up close. I am sure women in the audience were especially delighted with the "Magic Mike" orientation of the Japanese male dancers. Sasha and Lauren were just about the only dancers I knew from the older company, and they performed well in the more traditional opening piece (featuring two pairs). Unfortunately, Zoltan was nowhere to be seen. One Japanese male dancer wearing a long skirt did a really interesting modern piece that was beautiful; he was followed by a peppy Japanese ballerina doing a quirky and delightful piece. The only drawback was the uncooperative cd player; you'd think they would have a better sound system there. But the dancers carried on nevertheless. I wish I knew this young company as well as I did their immediate predecessors, but I think they are a wonderful and beautiful company. The Korean (I think) ballerina who dances is striking and precise, but would love to see her smile a little more (that was one thing I loved about Akari dancing, she just seemed to enjoy every minute out there). I am glad the CCB got to showcase some of their talent and hope there is a good turnout for the upcoming LIFECHANCE (26 January). This event was like a small tasty appetizer, whetting our appetite for the coming attractions. It was also nice to chat with Radenko and Myra for a little bit. I would like to see more dance as part of future First Night events, maybe setting up a larger outside stage (perhaps right on the street) where less-constrained dances can be offered.

There wasn't too much new art, and fewer venues were showing off stuff, which was sad. I did like some photography on display. My friend Fred showed up. The crowds were sparse, especially in comparison to last month, but I hope that does not discourage the artists or sponsors. We need more events like this and we definitely need to support the arts.

LA BAYADERE

Last night patrons of the arts were gifted with the Indian-themed ballet La Bayadere (or, if you followed the first act, also to be forever known as La Bayaderriere. Of course, I am being "cheeky," as there was a lot of posterior flashing going on), performed by the excellent company of the Columbia Classical Ballet. And although I jest, this was really a wonderfully lavish and colorful ballet performed by a talented group of dancers, many new to our state. Radenko Pavlovich is a master at attracting superior international talent, mixing it with young local dancers, and topping it off with the vibrant athletic power of our most-popular star, Brooklyn Mack (freshly awarded several gold medals in world competitions this past summer). I owe the opportunity to see this ballet (the first time) to Brooklyn's mother Lucretia (via Katherine Macedon). Thanks.

Columbia often waits with baited breath for Brooklyn to take the stage and wow us with his soaring leaps and captivating presence, but this time we got him for the entire length of the production (which is truly a great pleasure), as he became Solor, bedecked in white and sparkles. Anyone who follows ballet locally is aware of his growing international fame and primary position with the Washington Ballet. He danced wonderfully, as he always does, and it was a great performance. I enjoy watching him dance and look forward to every time he is here.

As great as Brooklyn is, he was accompanied by a sterling group of dancers. While there have been many additions to the CCB company, with a large contingent coming from Asian locales (especially Japan), there are many wonderful holdovers from past years, too. My friend Zoltan Boros was great as the High Brahmin, though it was more an acting than dancing role. Wonderful costume! Five-year professional Oleksandr Vykhrest danced in several roles, principally as the slave Ali, and bravely, I must add. The tall, lithe, Lauren Frere, who has been with us since 2008, had several lead roles. A host of second and third year performers added to the show, including Edward Persondek, Maggie Hegarty, Matthew Waters, David Greenberg, and Nations Wilkes-Davis.

[Somehow the printed program insert seemed to have messed up the names of some dancers with their roles, so if I missattribute, please forgive me, because many faces were unfamiliar.] The new dancers were lovely and wonderful to watch. Nana Yamatani was impressive and excellent as Nikiya, and she was delightful in her pairing with Brooklyn. Also spectacular was Tamako Miyazaki as Gamzatti. I really adore the Japanese ballerinas. Yukihiro Tamura may have stolen the show with his golden turn as the Bronze Idol (I really hope this is attributed correctly, because he seemed to float in his dance). Tae Seok Kim was very good also. There were quite a few new dancers in the corps, and I especially liked their Shade dance.

My favorite part of the show was act III, with wild dancing and lots of activity. I thought the costumes were very nice overall and the scenery generally pretty good. There wasn't as much humor as in some of the productions, and no swordplay (odd, isn't there always swordplay?) I really enjoyed the dancing and pageantry. A good night. We are lucky to have this group.

BALLET

OK, I just don't understand why more men don't love ballet. I don't know who gets credit for this photo, though I lifted it from a FB ballet news source, but it is lovely. Yes, even old, overweight ogres can have an ocular moment.

BALLET-ALICE IN WONDERLAND

Obviously, only a handful of ballet companies have the deep pockets to stage extravagant new productions, and when they carry it off the result is both spectacular and riveting. Such is the case with the Royal Ballet's presentation of Alice's Adventures in Wonderland: Ballet in Two Acts (2011) [available on dvd], with a full orchestra and new score. The ballet is a feast for the eyes, with awesome sets, exciting video projections, humorous turns, and stunning costumes. The special effects took nontraditional routes, and are smoothly incorporated into the overall beauty of the show. Cudos must go to Lauren Cuthbertson, who is on stage almost every second as Alice, is wonderful and pert. Edward Watson is great as the White Rabbit. I loved that the Mad Hatter was a tap dancer. The Cheshire cat, performed by black-clad dancers holding various parts of the feline against a ebon background, is a delight for the eyes. The set designers created many interesting scenes, especially the Butcher Shop and Pool Scene (with a wonderful collection of animal dancers). Loved the unique tutus for the dancing cards. I recommend highly this show to anyone who likes lavish staging in ballet, because they will truly enjoy it, especially if they have children.

LE CORSAIRE "THE PIRATES"

Last night Columbia, South Carolina was invaded by Pirates (who knew the Congaree was deep enough!), but instead of stealing booty, they delivered a sparkling treasure to the ballet-going public. Indeed, Radenko Pavlovich's Columbia Classical Ballet gave a beautiful, exciting performance of Le Corsaire, probably one of the best ballets this reviewer has witnessed in person. With tickets graciously provided through Lucretia Mack (via Katherine Macedon), my boys and I experienced a delightful evening of dance. Although my knowledge and understanding of ballet is still in its infancy, I thought the show wonderful, especially the middle scene, with its glorious costumes and backdrops, and almost the entire cast on stage in motion.

The undisputed captain of this ship, and outright star in the eyes of Columbia, was Brooklyn Mack, whose presence on stage (as Ali) absolutely alters the atmosphere in the audience. I think he could walk out and just stand there, and Columbians would go crazy for their native son, who now dances principally with the Washington Ballet. His masculine grace, precision, and soaring leaps never fail to capture bounteous adulation, and the loudest cheers are always reserved for him. Columbians turn out for him when he comes for a visit. I have seen Mack dance this role before (often at Lifechance), but it was even better to see it with a full cast and in relation to the story. But Mack was not the only star of the evening, especially in this ballet which gives the boys plenty of opportunities to shine. Cuban-born Christopher Miro was very good as Conrad. Ivan Popov gave a solid performance as Lankendem, and he always dances well in tandem with Lauren Frere (Guinare). My friend Zolton Boros was a delightfully comic presence as Seyd. Company veteran Oleksandr Vykhrest was great as Birbanto. There were not enough roles for every guy to star, but Willie Moore and Jose Pereira stood out as well as pirates.

Let's not forget the beautiful ballerinas. Besides Lauren, who has graced our stage as a principal for a few years, was newcomer Tamako Miyazaki, who was wonderful in her role as Medora. She was especially great in her pairing with Brooklyn. Although I can't name them all here, company regulars such as Natalie Robinson, Mercedes Schindler, Saif Wilkes-Davis, Katherine Jaco, and Emma Stratton were wonderful. Along with familiar faces, both men and women, were many new dancers who I hope grace our stage for years to come.

The other star of the evening was the gorgeous set (and costumes), borrowed from the Washington Ballet. No doubt much praise has to go to the crew that transported and installed it. Pavlovich has been bringing new ballets for us to enjoy, and training new generations of dancers (as well as inspiring children through the outreach program), and I hope people continue to financially support this important resource in the Midlands.

RUSSIAN BALLERINA STARS

In my ongoing quest to experience more ballet, and understand it better, tonight I watched Laurent Gentot's Prima Ballerina, a two-part film focusing on the beautiful Russian dancers Svetlana Zakharova (Moscow; Bolshoi) and Ulyana Popatinka (St. Petersburg; Mariinsky, or Kirov). What amazing graze and beauty, and the work of these two stars allowed me to delve more into understanding why comparisons of style are made, that although there are basic rules there are also differences in presentation. Although Popatinka is in my mind what I am used to seeing as a ballerina, I was swept away by the strength, flexibility, and unique style of Zakharova. Her Dying Swan was great. I was also taken back by the wonderful costumes and the beautiful productions of the Russians. I liked being able also to see both dancers do a modern piece; Zakharova's piece seems exceedingly difficult.

Also, I finally caught the old The Turning Point, a delightful movie that horrifyingly reminded me of the atrocious fashions we wore back in the seventies. Great dancing in the movie, including a young Russian import, Baryshnikov. A lot of nice parts featuring American Dance Company.

MAO'S LAST DANCER

Tonight I watched the very nice movie, Mao's Last Dancer, a biopic about Chinese dancer Li Cunxin (based on his autobiography), who was trained in Communist China and later defected to the United States to dance with the Houston Ballet. Directed by Bruce Beresford, best known for Driving Miss Daisy and Breaker Morant, with screenplay by Jan Sardi, best known for Shine,, the film portrays the difficulty Li faced in achieving his desire to escape the rigid state-controlled Chinese dance in order to study, and then stay, in America, especially in light of the penalties heaped upon his family and the long years of not knowing about their welfare. Despite scenes and acting that reminds one of a Hallmark Classic, the film nonethless touches the heart; I will admit to tearing up several times. One of my favorite scenes is when young Li is given a contraband tape by his soon-to-be-banished teacher (for daring to insist on classical training) of Baryshnikov dancing, and the young Li's face lights up as he watches (and is inspired) as the star performs. The viewer roots for continued success for the dancer. Some of the ballet scenes are beautiful, especially the penultimate Rites of Spring, which I have never seen before. The cast did a credible job, and I love just about anything Joan Chen is in. Although the action officially takes place in Houston, most of the dancers are with Australian companies, and they are very good. Chi Cao, who portrays Li, is an exceptional dancer, and I loved his performce, especially in light of the fact that this apparently was his first tiem on the big screen. I encourage anyone who enjoys dance to see it.

DANCERS IN LIFE

A great collection of photographs of dancers in everyday places, well done and interesting, beautiful, often sexy. Really nice.

http://www.jordanmatter.com/photography/dance-photography/dancers-among-us.php#

LIFECHANCE 2011

As Radenko Pavlovich and the Columbia Classical Ballet have done for fifteen years, on Saturday night they reprised community favorite LifeChance (International Gala of the Stars), combining the presentation of a variety of styles which benefit both local dance followers and charity, in this case Big Brothers Big Sisters. The interesting dichotomy of classic performances and modern renditions were much appreciated by the large crowd, which was bigger than I have remembered. Almost all of the performers have danced here before. I wish there had been more dances, but we are so lucky to have this wonderful event every year. The crowd also reflected the fact that LifeChance (as are most CCB shows) is accessible to a wide range of patrons, from the well-heeled to families and students.

Most attendees, it seems, come especially to see hometown favorite Brooklyn Mack, presently of the Washington (D.C.) Ballet, who again did not disappoint with his athleticism, grace, and energy. The capitol crowd is lucky to have him up there; I could easily watch him dance all night. His selection from Lacrymosa was beautiful and inspiring, and elicited the usual enthusiastic response from the audience. Although my memory may be off, I remember seeing him dance the selection from Don Quixote before, but it was still great, especially his soaring, powerful leaps behind his beautiful partner, Maki Onuki, who is lovely and enjoyable to watch as well (sue me, cause I am a sucker for the Japanese ballerinas). Yet, despite my admiration and love of his work, I think Brooklyn seemed just a bit off, maybe a little tired, in some of his performace.

The show, however, belonged this year to the energetic dancing of Chanel DaSilva and Dylan G-Bowley, who especially wowed the crowd with Surrender. Last year I thought DaSilva slightly outshone her partner, but this time they were equally matched and highly entertaining. I remember seeing Wild Sweet Love last year, but it was likewise a crowd favorite. Their style is brisk, funny, and athletic; it reminds me of watching swing dancers from Harlem. Also returning to Columbia were Lia Cirio and James Whiteside, of the Boston Ballet, who combined traditional dance in La Bayadere with a little lighted flash in Indestructible (which my boys called Tron). I really enjoyed the elegant Lauren Ciobanu (with Joseph Walsh) in the selection from Madame Butterfly. Jeffrey Cirio (brother to Lia) was very good in Fleeting. Great Galloping Gottschalk by USC dancers Ashley Johannsen, McCree O’Kelley, and Ryan Thomas, was interesting, but in the choreography the guys didn’t seem to have much to do.

The CCB corps presented two nice dances, Essence and You Don’t Own Me. I thought both were well done, though not as spectacular as they could have been. Perhaps the outfits in the first dance could have been a little more exciting, but I loved the red on black of the second. Lauren Frere and Ivan Popov were featured in Essence, as well as in a piece of their own, Manon, which was theatrical. I thought the company did a good job, especially despite being robbed of practice time due to bad weather. Thanks to Myra for remembering me and the boys. My favorite memory of the night was watching Joey react to the dancers, occasionally turning to me and critiquing, “that was really nice” or “she didn’t seem to be trying too hard on that one.”

NUTCRACKER 2010

The Friday night production of Columbia Classical Ballet's annual Nutcracker at the Koger Center for the Arts delivered a sweet present to holiday dance lovers. It was full of change, and most of it for the better. The company, which appeared a bit smaller and younger this year, put on a delightful production that was sharp, colorful, and filled with more motion that I can remember seeing in past presentations. Artistic director Radenko Pavlovich introduced many new scenes and faces; alas, there were many missing as well. I missed seeing my favorite Japanese ballerinas, Akira Manabe and Kaori Yanagida, as well as my Brazilian friends, Renata and Waldelei. And the biggest absence, for me, was not seeing my son Joey up on stage, but he decided he wanted a sabbatical this year. I also missed working behind-the-scenes, especially watching the dancers from the wings, which I always find interesting (though I didn't necessarily miss children-sitting duties); but Joey got to see the performance in its entirety for the first time in years and he enjoyed it. Unlike past performances, there weren't the frequent clothing mishaps of last year---in fact, the new costumes were colorful and well put together. It seemed to me that the men, this year, outshone the women; I liked that Radenko put men in scenes that I can't recall them being a part of before. There were far fewer children involved, who at times gummed things up (probably to the chagrin of many parents, who naturally want to see more of their little darlings).

The majority of changes were to the first two sections, starting with the opening scene featuring ice skaters cavorting and fighting. Radenko did away with the well-trod former opening scene (that had featured a string of dancers crossing the stage to attend the party). The new scene was more riveting and enjoyable, and I hope he keeps it in. I also loved that he finally got rid of those darn giant bat heads and went instead with masks. Returning dancer DeeDee Rosner stole the entire show with her portrayal of grandmother in the party scene. She absolutely nailed it, and the crowd loved her. I wonder if she has considered musical stage. Usually Larry Payne, as Mother Ginger, gets the laughs from the audience, but DeeDee outdid him this year for comedy. I wasn't thrilled with the rat/soldier portion as compared to past shows. Joey didn't like it all, especially that the rats had the guns and the soldiers kept marching into the fire with swords.

Many returning dancers---Zolton Boros, Edward Persondek, Lauren Frere, Aoi Anraku, Oleksander Vykhrest, Saif Wilkes-Davis, and others---reprised former roles or took on new ones, and they all did a good job. Individual dancers were better than others, and there was the occasional slip, but they seemed energized and as if they were enjoying themselves.

I was impressed with two additions to the company. I really enjoyed Russian Ivan Popov, who danced for a while with the San Francisco Ballet, and Brazilian Jose Pereira.

The second half was not so different from past performances, and didn't quite live up to the promise of the first half, but it was still enjoyable. I didn't care for the costume worn by Ryosuke Ogura, a new member, in the Chinese dance. That one could stand some revision as well. The Arabian scene was not as well danced as in the past.

Overall, it was a nice night of dance. The boys were very good and Joey was riveted. I hope it gets him back in the company soon.

Ballet

A review from Slate of a new book on ballet that is worth reading.

http://www.slate.com/id/2274746/

HAIKU FOR AKARI AND KAORI

I saw two willows

rising sun ballerinas

dance in the midlands.