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PRESERVING THE WORK

5 May

The events of this week made me realize there is so much more to a ballet archive than the simple collection of photos, film, dance notation and personal remembrances. It’s not just about the collection of materials, it’s ultimately about the preservation of the ballets within that archive.

The ongoing mission of The Antony Tudor Ballet Trust, in addition to the licensing and production of Antony Tudor’s ballets, has been to preserve Mr. Tudor’s work – his ballets, his teachings and his creative process – for future generations so they are never lost.

Antony Tudor teaching at the “old” Met – NYC, 1961

This week the National Endowment for the Arts announced an award in support of the development of The Antony Tudor Dance Studies Curriculum.  Their award, along with funding from the Jerome Robbins Foundation, the CORPS de Ballet and the Cornelius N. Bliss Memorial Fund, will allow the Trust’s “Curriculum Committee” to complete lesson plans for a dance curriculum which will offer a multifaceted, comprehensive approach to learning the work of Antony Tudor. The curriculum, intended for university dance programs, will include Tudor’s method of choreographic composition; his unique use of gesture and movement; the application of choreographic phrases in partnering, pointe and men’s classes; and, of course, Tudor’s unique musicality. Archival images, performance video, and studio exercises will be part of the package.

According to Sally Brayley Bliss, Trustee of the Antony Tudor Ballet Trust, “engaging the student-dancer on a level where significant learning takes place is the most effective means for preserving Tudor’s work. A fully developed Tudor Curriculum will best serve to assist dance teachers and students in the interpretation, presentation, and performance of Antony Tudor’s choreography…. it is vitally important this be done now while those who worked directly with Antony Tudor are here and ready to share their knowledge.”

Tudor at “old” Met, including left to right Pina Bausch, Jennifer Masley, James Waring, Bruce Marks – June 1961. Photo: Liz Sawyer

According to Mikhail Baryshnikov, former Artistic Director of American Ballet Theatre, performing in even one Tudor ballet amounted to “a passport to become mature, to be an adult dancer, a dancer in-depth…”.

This week the NEA endorsed The Trust’s mission to insure Antony Tudor’s legacy – the development of an education program that engages young dancers in the choreographic complexities and creative process of his unique style.  Tudor was one of the great masters of 20th century choreography. The Tudor Curriculum will ensure his legacy will live on through learning. I’m excited!

ABOUT ANTONY TUDOR:

Antony Tudor was one of the giants of twentieth century choreography. He presented his works at American Ballet Theatre’s first season, and continued to choreograph works for companies throughout the world. His ballets have been performed by the world’s leading ballet companies including Paris Opera Ballet, San Francisco Ballet, and the Royal Ballet. Tudor was Choreographer Emeritus at American Ballet Theatre, and also was a renowned teacher at The Juilliard School, where he was a founding faculty member of the School’s Dance Division.

Tudor rehearsing “Little Improvisations” with Lance Westergard and Lee Wagner at Juilliard – 1964. Photo: Liz Sawyer

Licensing for performances of Antony Tudor’s ballets has been more or less consistent since Mr. Tudor’s death in 1987, with the exception of a spike in performances during Mr. Tudor’s Centennial year in 2008. Almost every major ballet company, regional dance company, university dance program, and international ballet school desires to have Tudor ballets in its repertoire.

Adria Rolnik, author of Adriaballetbeat, is Web Coordinator and Archivist  (Photos, Materials, Memorabilia) for the Antony Tudor Ballet Trust.

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VISUALS MAKE THE DIFFERENCE

4 Apr

When did my posture at the barre really change? After all the years of shoulders back and down, pulling up, sucking in that gut , nose in the air, weight forward, nothing made me reconfigure my stance at the barre better than this visual:

Thank you to my teacher Claudia Guimaraes, who said, “picture a dot under each of your shoulder blades, then a dot under each of them at your waist. Now connect them in a crisscross, and pull your stomach up and in.” Wow – that changed everything! By utilizing that visual, my posture changed – I’m now raising my leg higher, my balance is improved, I’m doing better pirouettes and ponches and have an easier time at the center. It was Claudia’s visual that made the difference.

I’ve had many teachers who use visual cues to improve technique, but some images resonate. Take my teacher Luba Gulyaeva,  for example – “when you ponche, you are balancing a crown on your head, not bending over to scrub the floor!” Oh my! Or another gem: “melt like ice cream” in describing the perfect plié.

A recent story in the New York Times science section titled, “Ballet Fans Truly Know How to Feel the Moves”  reported ballet lovers  “truly feel they are dancing” when they watch a performance. According to Corinne Jola, a cognitive neuroscientist at the University of Surrey in England, “Scientists report ( ballet) spectators showed muscle-specific responses in their brain as if they were expert dancers – even though ‘they were clearly not capable of doing the actual movements.’” Even for a non-dancer, visual cues affect their sense of movement. The spectator’s observation of dance helps them visualize their own dancing!

Stephanie Madec and Ramy Tadrous in "Lilac Garden," 2012, Ballet du Rhin. Photo: Jean Luc Tanghe

One of the reasons The Antony Tudor Ballet Trust sends a “répétiteur” to set a ballet is because it’s not just about dance notation and the steps – it’s also about nuance, feeling, interpretation. (Read Trust répétiteur Donald Mahler’s WordPress blog on setting Tudor’s Lilac Garden in France, and you will see what I mean)! The répétiteur must fine tune the dancers in their interpretation of the ballet. It’s not just the steps, it’s how you feel them.

“Melt like ice cream…”.

What makes a better history teacher? A better yoga teacher? A better dance instructor? The ability to communicate and make an idea come alive is what makes the message resonate.

What visuals have helped you improve your dance technique?

MIRROR MIRROR

5 Mar

I took my usual ballet class this morning, but today, every time I looked in the mirror, I was aghast. What in heaven’s name was I wearing? My ballet skirt was too short, my tights ill fitting; I hated my leotard, those leggings! How did I come up with that outfit? I felt ridiculous.

Natalie Portman in "Black Swan" - that mirror!

During the break between the barre and the adagio I switched my leggings, switched my skirt, hoping that might help.  When I came back in the studio I thought I looked a little better – but did I really? I thought to myself, maybe its best when a dance school requires a uniform. Children at ballet schools most often have to wear specific attire – girls in pink tights, their hair in a bun and a red, blue, green, black leotard depending on their age group… maybe that is the best bet – then there are no mirror/reflection clothing issues and you can focus on what’s important – dance.

I ran these thoughts by my daughter who understood my angst. “I feel the same way,” she said. “If I feel ugly at work, I feel gross the whole day and completely out of it. But, when I’m dressed well and look good, I feel I can do no wrong.”

Truth is, the ballet studio mirror should be used for corrections to technique and alignment, not for self admiration or self esteem issues.

Fox Business had a report last month, “Look Good, Feel Good, Get Hired.” The story, by Cheryl Casone, said “A study by Duke University researchers found that CEOs are more likely to be rated as ‘competent’, and actually make more money, based just on appearance. A September article in Psychology Today was more blunt stating ‘despite the sophisticated HR advancement in hiring and compensation practices, it appears your appearance, and particularly good looks, still matter.’”

NBC's "Smash"

In the February 27 episode of the new NBC hit series Smash, Katherine McPhee’s character is taken by her fellow ensemble members for a “Broadway makeover” – they trash her closet, buy her new dance clothes and a new wardrobe, change her “look” – all in the hopes of her getting the attention, and the lead, in the Broadway musical about the life of Marilyn Monroe. Will her appearance make a difference?

For the dancer, the studio mirror tells all. Looking your best in that mirror is definitely a confidence booster, and one needs confidence to dance, particularly at my age.

I think Martha Graham had the right idea when she said, “The next time you look into the mirror, just look at the way the ears rest next to the head; look at the way the hairline grows; think of all the little bones in your wrist. It is a miracle. And the dance is a celebration of that miracle.”

She was right. Next time I look in the mirror, I hope to look at myself differently. The new reflection? Our humanity, the body and it’s miracles, and most importantly, the extraordinary miracle of dance.

A POINTED TOAST FOR THE NEW YEAR

3 Jan

It felt good to plié today.  After all the travel and mayhem of the busy holiday season it  felt good to finally adjust my posture, pull up, move my shoulders back and down, turn out and enjoy that first plié in my first ballet class of 2012. (Sure, you can stretch and plié and tendu without class, but it’s just not the same, you know that)!

As I went through my first  barre of the New Year,  I started thinking how grateful I am to New Jersey Ballet where I take class, for being there with a professional class and pianist so close to home. In fact, I am grateful to all of the local schools and institutions who offer quality dance training – those regional ballet companies, university dance programs and dancing schools who nurture and  inspire so many, all over this country.

New Jersey Ballet

Hey – we all start local – even the luminaries. Wendy Whelan, NYC Ballet principal, began taking dance class with a local teacher in Louisville, KY and as a child performed as a mouse with the Louisville Ballet in its annual production of The Nutcracker.

Charles Askegard,  recently retired principal dancer with NYC Ballet, began his dance training with  Minnesota Dance Theatre. David Hallberg, principal dancer with American Ballet Theatre and the Bolshoi Ballet, began his formal ballet training at the Arizona Ballet School in Phoenix. And Amanda McKerrow, Répétiteur for the Antony Tudor Ballet Trust and former ABT principal dancer, began her training at the Twinbrook School of Ballet in Rockville, Maryland and later studied at the Washington School of Ballet. And those are just a few.

I love American Ballet Theatre and New York City Ballet, San Francisco and Miami City Ballet. But let’s not forget all of the smaller  companies in the smaller towns; the universities and even the small ballet schools who train and develop our young people, provide quality performance, and of course, offer class to all those who wish to continue dancing throughout their lives.

Please support your local ballet company in 2012 – their role is ever more important. As they say at NJ Ballet, “dance training develops discipline, concentration, alertness and body control, which aids in scholastic endeavors and personal growth. Carriage, body lines, coordination, grace, style, technique, artistry – the benefits that a dance education can bring are unlimited.”

Well said! We would be way less fortunate without our local schools and companies – here’s to them!

90 MINUTES TO NUTCRACKER

6 Dec

Twitter can be an amazing thing.

Ashley Bouder, principal dancer with New York City Ballet, tweeted on the Saturday of Thanksgiving weekend, “I’ve got 2 tix to the 2pm matinee of Nutcracker today. DM me if you want them:)” It was 12:30pm and I live in New Jersey.

I was barely fixed up and my kids, visiting for the holiday weekend, were at the gym, but what the heck? George Balanchine’s version of Nutcracker opened at New York City Ballet the day before and I knew the David H. Koch Theater at Lincoln Center would be a sold-out house. Plus, I hadn’t seen the NYCB version of Nut in maybe 15 years? Cool opp. I’d love to take a run in, on a whim. After a little Twitter back and forth with Ashley, I learned the tickets were complimentary and would be left at the box office under her name. The race was on. Depending on traffic, the ride could take an hour and a half or more. (Of course, Lincoln Center is only 30 minutes from my house if you leave at, say, 4am).

David H. Koch Theater at Lincoln Center

I called my kids – stop running, stop biking, stop lifting – one of you get in the car NOW – we’re going to Nutcracker. Both thought I was crazy, but one did run for it, and we were on our way. We made every wrong turn, hit every traffic light, crept though every midtown Manhattan jam up, but we made it to the box office with three minutes to spare and rushed to our seats. And were we glad we made it!

That heartwarming Tchaikovsky score! The party scene! The growing Christmas tree! Those fabulous children from the School of American Ballet! And then the wonderful Act II variations in the Land of Sweets, with the beautiful Sugarplum Fairy and all of its inhabitants…. I was excited and I was loving it. I was so excited that after the first act I stumbled upon Ballet Master in Chief Peter Martins in the rear orchestra and went up to him to say the company was excellent, Nutcracker was better than I ever expected, hadn’t seen the show in many years, better than ever… what was I doing?? Shut up!

There was excitement in the house. In the “viewing room,” where we were seated, bitter words were spoken to parents about rustling children and their whispers during the overture; people were fussing, moving around and not sitting still. Someone was making noise with candy wrappers… not the usual crowd at the Koch Theater. But Nutcracker is never the usual crowd – not only is the audience filled with children (us older folk should give them some wiggle room re decorum), but those very children were dressed to the hilt – most all little girls were in party dresses,  many with large petticoats, some even wearing “Santa” dresses, in red velvet with white fur trim. One little girl had a silver crown on her head! The ballet was a show, and the audience was a show. Even during intermission a dancer was posing for fundraising photographs with children. That is Nutcracker.

For me, there is nothing like Balanchine’s version, and I think NYCB does a stellar job. The reviews were good – even the normally persnickety New York Times was pleased. (Be sure to read Tobi Tobias’ Arts Journal blog on this season’s NYCB’s Nutcracker– she summed it up well)!

By the way, Ashley was a fine Dew Drop. The phrasing, execution and musicality of her dancing is a delight.  Thank you, Dew Drop, for a great afternoon. What could be a more wonderful and spontaneous way to kick off the holiday season then a “Twitter” Nutcracker?

NYCB will have a live telecast of Nutcracker on December 13, which will be on view in more than 500 movie theaters cross-country. On December 14, PBS’s Live From Lincoln Center will present the ballet. The NYCB season runs through December 31, 2011.

BALLET NORMAL

15 Nov

Today is one month since I moved, after being in the same home for 22 years. Although not a far move by any means, it was nevertheless a major upheaval – packing up your belongings after 22 years in the same place! What to take, what to throw, how much memorabilia do you really need to save? What is worth bringing, what you will use, how it will fit, where will you put it, should it be tossed? And then, arrival in the new digs – where do you place things, how can you get organized, what to do with this, that and the other? (Forget Internet, phones, TV, computers….).

Maybe you just can’t teach an old dog new tricks. Moving is HARD.  Now I know why some people never move – it’s just too difficult, too must work, expensive and filled with anxiety –  for many it’s easier to just stay put!

With this in mind – when nothing is normal and you can’t find your proverbial ass from your elbow – there is one thing that stays incredibly normal and blessedly diverting.  Yes, you guessed it – it’s ballet class!

So there you go – no matter what life brings – where you live, what your relationships, life’s difficulties, distractions, ups and downs – the ballet barre, at least, remains happily reliable – plié, tendu, dégagé, rond de jambe, developpé, frappé, grand battement.. class has order. When life is out-of-order, taking ballet class makes things feel incredibly normal.

Normal is good.

FINDING NATALIE PORTMAN

11 Oct

I know the ballet world wasn’t particularly fond of the movie Black Swan. From American Ballet Theatre’s Sarah Lane not being credited as Natalie Portman’s body double, to the implication ballet dancers are self possessed, anorexic freaks, the complaints were loud and clear. Top that off with the fact that it takes a lifetime to train to be a professional ballerina (not the one year producer’s implied it took Portman) and dancers were, for the most part, upset. And that’s understandable.

Nevertheless, I liked the movie!! I was entertained. And I tend to agree with New York Times film critic A.O. Scott who said, “Black Swan is no more about the behavior of ballerinas than its central pretext, ‘Swan Lake,’ is about the habits of birds.”

Natalie Portman as "The Black Swan." Movie Poster: Wikipedia

Besides, I LIKE Natalie Portman. I’ve always enjoyed her films (from Garden State to Cold Mountain) and was delighted when she won the Oscar for Best Actress in Black Swan last February. I thought she did a great job portraying a ballerina similar in personality to Odette, the White Swan, who slowly loses her mind as she becomes more and more like Odile, the Black Swan.

That being said, let me zoom back to a great night at The Metropolitan Opera House last May, when I attended opening night of ABT’s mixed repertory program with members of the Antony Tudor Ballet Trust. The evening included two premieres – Alexei Ratmansky’s Dumbarton and Christopher Weeldon’s Thirteen Diversions, plus a performance of Benjamin Millepied‘s Troika and a revival of Antony Tudor’s Shadowplay.

The audience was filled with ballet luminaries such as Peter Martins, Ballet Master in Chief of New York City Ballet his wife, prima ballerina Darcy Kistler; Anna Kisselgoff, former chief dance critic of The New York Times; philanthropist and former dancer Nancy Zeckendorf; Amanda McKerrow and her husband John Gardner, both former ABT principal dancers and now Tudor Trust répétiteurs; and, of course, Benjamin Millepied and his very pregnant significant other, Natalie Portman!

Tudor's "Shadowplay" on YouTube - Anthony Dowell, 1967

Ok, I’m star stuck! I’m a fan. Natalie’s big time – an Oscar winner and girlfriend of one really cool choreographer… how could I not be excited when I went to the rest room at intermission and came face to face with the Black Swan herself! Very pregnant and very gorgeous, there she was, waiting in line next to me, and then the two of us were there, alone together, at the sink!

Staff of The Tudor Trust at the Met for ABT's "Shadowplay" Premiere

My mind was racing. Should I say something? A hello? Make a comment? Introduce myself as a member of the Trust? Say something pedestrian like, “I love your work,” or, “Congratulations on your Oscar?” Or how about, “Good luck with the baby?” Instead I just stood there and looked at her. Then she looked at me, and I looked at her again. She glanced at me once more, because I looked twice. And I didn’t say anything. Not a word.

I eventually returned to my seat, after a chat with some friends in the lobby. I plopped down next to Amanda McKerrow and said excitedly, “Guess who I just ran into in the ladies room? Natalie Portman!” And what do you think Amanda said? “Gee, Adria, I would have introduced you to her – I was just hanging with her and Benjamin by the bar. I would have introduced you, but I didn’t see you……..”

Oh. My. God.

TENDU LATTE

27 Sep

I always walk into my morning ballet class holding coffee in a take away cup.  I know it’s wrong, but I do it all the time. I presume it’s annoying – even one of my teachers once made fun of me, saying out loud to the class, “Look at her, just like Makarova – she’d come to class wearing her bandana, with her cigarette and coffee cup, smoking and drinking coffee while doing her tendu!” I imagine my teacher, formerly with the Kirov (now the Mariinsky Ballet) would know if that’s true, but I can’t confirm it and I’m definitely no Makarova! Nevertheless, I know I do bend the rules when it comes to class etiquette – sipping coffee between combinations is definitely a no-no.

Natalia Makarova - Photo: Derek Bailey (website). Did Makarova bring her coffee cup into company class?

As a kid at the Metropolitan Opera Ballet School the rules were strict – no water (not that there was bottled water to purchase back then), nothing to drink at all. Not even a sip until after class, and that was in the hallway at the water fountain. I remember standing en pointe, trying to reach the spout.

Today, theories on staying hydrated during exercise have changed. The American Council on Exercise® (ACE®) recommends exercisers maintain a constant supply of water in the body, essential to performance. They say dehydration leads to muscle fatigue and loss of coordination, and that even small amounts of water loss may hinder athletic performance.

“In a dehydrated state the body is unable to cool itself efficiently, leading to heat exhaustion and possibly heat stroke. Without an adequate supply of water the body will lack energy and muscles may develop cramps. To prevent dehydration, exercisers must drink before, during and after the workout,” says ACE®.

According to a New York Times story by Blair Tindall, Dancers Learn to Get By on Aspirin, Coffee and Grit, “caffeine may hold some benefits; research shows that low doses significantly increase an athlete’s stamina.” The story includes a quote from Linnette Roe, who danced with the Pacific Northwest Ballet from 1987 to 1999. “I wish I had racier stories for you… but the No. 1 performance-enhancing drug today is coffee,” she said.

Water? Coffee? Neither is really within the traditional parameters of ballet class decorum. Typical rules on drinking water during class, for example, are outlined on the Virginia Ballet Company website: “It is good to drink water before and after class ends. Drinking water between barre exercises or center exercises is generally not allowed. It is inappropriate to drink water while a teacher is giving a combination. If the teacher allows, students may drink water from a water bottle between barre and moving to the center.”

There was a recent post on the blog Ballet for Me and You called “When to Drink Water During Ballet Class.” The story explained, “Yes, it’s true. There is etiquette when it comes to drinking water! Some schools are strict about their water policies, while others are not. Even if a school is not specific, there are those unspoken rules that exist… some teachers are okay with students taking a quick swig of water between combinations, while others prefer for student to wait until barre is complete. If you’re unsure what’s acceptable, my best suggestion is ask the teacher prior to class if there is a preference or a rule. Otherwise you can take a quick drink, but know the combination, and be ready to start before the music begins.”

And now for the truth – I not only bring my coffee cup into class, but I bring a water bottle too! When I finish off my coffee, I continue on with Poland Spring, stashed in my bag. (Indulge me, please… after 45 years of taking class, hydration is by far the least of my issues)!

WHOSE SPOT IS IT ANYWAY?

13 Sep

I often wonder, why do people always stand at the same place at the ballet barre? No matter what the class, or whom the teacher, no matter what the day or what the level, it seems dancers always stand at the barre in the exact same spot! (In my class, I can almost tell you where people are standing with my eyes closed).

I remember when Sally Brayley Bliss, Trustee of the Tudor Trust, told me she always stood at the piano when she took barre in Mr. Tudor’s class at the Metropolitan Opera House and that’s how she became close with Elizabeth Sawyer, Antony Tudor’s accompanist for 17 years.

Dancers at the Barre - Tudor Centennial at Juilliard; Photo: Cliff Jernigan

I’m not talking about “the middle,” where the more advanced or higher level dancers tend to be first. I’m talking about the barre and why people always seem to stand in the exact same place. In my class, dancers are often so committed to their spot that people are literally afraid to “steal” a regular spot from another class member. (I recall one day a dancer holding a tiny section of the barre at the piano relocated like a bullet when the person who normally stands in that spot arrived late – yikes)!

Actually, there seems to be a bit of protocol regarding where you stand at the barre. In a 2009 article in Pointe Magazine, author Temple Kemezis said, “At the beginning of every day, class sets the tone for how you will work. Make note of where people like to stand to avoid standing in someone’s favorite barre spot….”  The article, which discussed proper etiquette for a first-year company member, went on to say, “Communication is your best friend. Checking ahead of time is far better than being kicked off the barre mid-plié by a principal who is late for class.”

Edgar Degas - 1888. "Tänzerinnen an der Stange" Source: Wikipedia

Ashley Bouder,  Principal Dancer for New York City Ballet, told me she always stands in the same spot in company class. “I have stood in the same spot in company class for eight years. I always stand directly behind the piano, no matter which studio the company is taking class in. It makes me feel comfortable. It’s like waking up in your own bed. A hotel bed may feel great, but nothing beats home. That’s how I feel about my barre spot. It’s my home base; a place to start my day,” she said.

In a story called, “A smile on my face… as long as you stay clear of my space” columnist Heidi Rice said it doesn’t matter if  it’s where you sit in college, yoga class or church – “People stake out their territory.” The article, recently published in The Post Independent of Glenwood Springs, CO, went on to say, “When I looked up this whole phenomenon on the Internet, I found something that said, ‘Humans are homeostatic by nature.’ In other words, our bodies like things to pretty much stay the same.”

Yes, we are creatures of habit.

Recently my daughter told me a lawsuit was filed at her NYC gym after one man pushed another off his “favorite” bike in spin class and wound up breaking the trespasser’s arm! She hears the “pusher” is now banned from the Equinox gym for life and “is probably in anger management.” Well, ballet people don’t go that far, but yes, we do like our spots!

Do you always stay at the same place at the barre? (I try not to. But then again, I do like a clear view of the mirror and hate being squished in the corner. The back of the room gets too warm for me and I don’t like being too close to the door…).

Well, I guess I do always stay at the same place at the barre! Or try to!

APPLAUSE FOR ME?

29 Aug

Back in 2008 students of the Juilliard Dance Division participated in the Antony Tudor Centennial Celebration, the 100th birthday commemoration of the late choreographer.

The purpose of the weekend celebration was to bring together generations of dancers, writers and musicians who were touched by Mr. Tudor and his work. In addition to class workshops and a performance of Dark Elegies at the Juilliard Spring Concert, the weekend included informal studio performances of Tudor’s Little Improvisations, Continuo, Undertow and Judgment of Paris, performed by Juilliard students as well as dancers from the JKO School at American Ballet Theatre, ABT II and New York Theatre Ballet.  And that’s where the applause comes in.

As event coordinator of the Tudor Centennial weekend I was invited to observe a rehearsal, along with Sally Brayley Bliss, Trustee of the Tudor Trust, of Tudor’s Undertow by Juilliard dancers under the direction of Trust Répétiteur, Kirk Peterson.

That day, just prior to the Centennial, students were rehearsing in a 3rd floor studio at The Juilliard School at Lincoln Center.  Sally and I were ushered in and seated – Sally in front of the mirror on a folding chair next to Larry Rhodes, Director of the Dance Division, and I, refusing a chair, just plopped down cross legged on the floor next to them. The dancers worked with the taped music of William Schuman’s commissioned score, stopping occasionally to grasp one of Kirk’s pointed corrections, and I was excited to observe.

During a short break, Kirk introduced Sally as Trustee and the person responsible for these wonderful Tudor ballets. The students were thrilled and began bowing and applauding her, as proprietor of these important works. Then, to my surprise, I was also introduced – as Event Coordinator of The Tudor Centennial. And again, all of the dancers began bowing and applauding, but this time, to me!

Me? They bowed and applauded me??  What a reversal of fortune – dancers applauding me, instead of the other way around. Will wonders never cease?

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