Misty Copeland and FIREBIRD Excerpts Live-Streamed from the Guggenheim

For Californians (like me) who missed Misty Copeland’s Firebird at Segerstrom last month, or for New Yorkers and others hoping to catch a pre-Met season glimpse, she’ll be performing excerpts of it at the Guggenheim as part of the museum’s Works and Process event next Sunday and Monday nights, April 29th and 30th. The event is sold out but will be live-streamed on the Guggenheim’s ustream channel, so everyone everywhere can watch. It begins at 7:30 pm ET, so 4:30 PST, and they usually last an hour and a half. The Guggenheim usually does a good job with these live-streams and if you sign up for a ustream account, you can participate in the live chat. Otherwise, they usually keep the videos posted for a while so you can watch at your leisure.

It’s not just Misty performing though; it’s a celebration of ABT’s upcoming Met season. So you’ll see others perform excerpts of the upcoming ballets as well, such as Cory Stearns and Hee Seo in Onegin, Sascha Radetsky in Swan Lake, Craig Salstein and Kristi Boone and others in The Dream, and ABT Studio Company members will perform the Swan Lake Czardas. Also, according to the press release, Roman Zhurbin will perform a special character medley. Hmmm, sounds very intriguing!

Panelists include Copeland, Zhurbin, Salstein, and Reid Anderson, director of the Stuttgart Ballet, and the moderator will be John Meehan, professor of dance at Vassar.

You can also follow on Twitter @WorksandProcess and by hashtag #WPLive. But I highly recommend the live-streaming if you can!

Above photo of Misty Copeland with Herman Cornejo by Gene Schiavone, taken from LA Times Culture Monster.

 

Posted in Film / DVD / YouTube / Livestreams, Previews | Tagged , , , | 1 Comment

Ratmansky’s Fantastically Funny, Tim Burton-Esque New FIREBIRD

Thursday night I went down to Costa Mesa for ABT’s premiere of Ratmansky’s FIREBIRD at the Segerstrom Center for the Arts. I’m so glad I braved the nearly three hour drive (with traffic; without about fifty minutes) from west L.A. because it was an excellent evening. This is I think Ratmansky’s most theatrical, spectacular ballet – certainly of those he’s done for ABT – and I loved it. (Photo above of Natalia Osipova in the lead role, by Gene Schiavone, courtesy of Segerstrom.)

The curtain opened onto this magnificent set. The prince is supposed to be in a forest searching for his lost beloved, and so strewn about the stage were these fantastically creepy dead tree-trunks with spindly branches that magically sprouted blood red blossoms. I was so enchanted with those tree trunks, which to me resembled a witch’s hand, and the crimson blossoms bright red fingernails. It all had a very fantastical Tim Burton feel.

Then behind a scrim we see the prince, Marcelo Gomes, dressed all in white, searching about frantically for his lost maiden. At one point, he bumps his head into a branch on one of the creepy witch-hand trees. The audience seemed really to appreciate the humor in this; they laughed at this, and laughed pretty frequently throughout.

Soon, a flock of red birds devoured the stage, and Natalia Osipova emerged as their leader, or the most remarkable one, whom the prince became taken with. This was the one problematic part for me. It makes sense to have a flock of birds with a leader rather than one bird, as in I think most versions of this ballet – but the stage here was really too small. Natalia went to take one of her famous leaps but then seemed to hesitate and took it down several notches. There were too many birds, and as she turned to run to one side of the stage, she almost smacked into one of them. I think that set the note for the rest of her performance, because unfortunately, she just seemed to be holding back throughout the whole thing – not only in her solos but also in her pas de deux with Marcelo after her firebird is captured by his prince. I didn’t really see her struggling to be set free, and when she gave him her magical feather, it seemed more an afterthought than in barter for her freedom. Marcelo is ABT’s most dramatic male principal and he kept up the act well, being enthralled with the firebird, but ultimately feeling sympathy for her and setting her free, but you could tell he was also concentrating on making his dance partner feel as assured as possible. I’m sure as they iron out the kinks, Natalia will be perfect though.

Simone Messmer actually stole the show to me. Well, she shared it with David Hallberg (who, judging by the cheers, has quite the fan base in L.A!) Simone danced the role of the maiden who captures the prince’s attention, and she danced it with a really wonderful sense of humor, as she alternated between being controlled puppet-like by a sorcerer’s spell, being annoyed by the prince’s intrusion, then falling for him, then being fought over by him and the sorcerer, who keeps trying to retain his spell on her.

Ditto for David, who danced the part of the sorcerer set on keeping the prince and maiden apart. We first see David’s wicked magician in shadow form, from the back of the stage, which looked both malevolent and funny at the same time. When David emerged, he sported this big green bouffant, and Ratmansky had him chasing the maidens about the stage in this bent-legged run (almost like a Russian folk dancer). He was really both creepy and funny at the same time.

The comedy continued when the firebird returned (after the prince, threatened by the sorcerer, summoned her protection) and compelled everyone to dance themselves silly. It was particularly interesting to watch David here. Ratmansky gave him these rather crazed lightning fast steps danced in place that reminded me of a sequence he danced as the mentally unstable boyfriend in Ratmansky’s earlier ballet, On the Dnieper. There they were meant to convey extreme anger and were frightening because it meant the character was about to become unhinged and violent; but here they’re more funny than scary, and I think that’s what Ratmansky intended. I think Ratmansky is making an actor out of David Hallberg :) He certainly got a great brilliant comedic performance out of Simone.

I wasn’t really a fan of the ending. Prince and maiden danced, sorcerer and firebird, then they switched partners, but the sorcerer tried to reclaim the maiden. Finally the firebird shattered the egg containing the sorcerer’s power and prince and maiden were sweetly reunited. The last scene is of the firebird being held up high by a group of men, in a group lift, heroizing her. I don’t remember the firebird appearing at the very end of other productions, and it felt a little too cutesy to me, or a little too ‘good triumphs over evil.’ I realize that’s the theme of a lot of ballets but I was expecting a bit of a twist here since the whole was more comical and different in tone than other versions.

Other dancers appearing as the firebird later this week are Misty Copeland and Isabella Boylston. I can’t make the trek to Orange County again this weekend unfortunately, but will be really interested to hear what others think of the other casts.

The other two dances performed were Christopher Wheeldon’s Thirteen Diversions and Merce Cunningham’s Duets. At first I’d forgotten I’d seen Thirteen Diversions – it premiered during ABT’s Met season last year. I was charmed by it all over again; definitely one of my favorite Wheeldon ballets. Misty Copeland, Stella Abrera, and Craig Salstein stood out to me. Misty really made that ballet she was so spellbinding as the girl who seems to struggle with herself and her partner. What I like about this Wheeldon dance is that he really allows the dancers to create characters; it’s not just about musicality and creative patterns (although that’s there as well). Craig Salstein was sweetly funny as he kind of flicked his partner off stage and into the wings, so he and his male cohort could have the stage all to themselves.

Duets was first on the program, and it was new to me. It got off to a slow start. It seemed the first two couples were stiff and nervous and just going through the steps without giving them much meaning. But the fourth couple – Xiomara Reyes and Arron Scott – changed the tone when they took one look at each other, as if to say, “let’s go, let’s do it!” and took off on a quick paced, very precisely and charmingly danced sequence of steps. After that, everyone else seemed to unwind and perform more full out and with intention. I’m really beginning to like Xiomara. She and Arron were my favorite couple, but Julie Kent and Jared Matthews got the most applause. At the end of the whole program, David got the most applause – people really love him there.

This was my first time at Segerstrom Center for the Arts. The building is so interesting. The orchestra is on the right half of the theater (if you’re facing the stage) and the mezzanine is a raised portion on the left half. And then the balcony is up above. It’s definitely not as big as the Lincoln Center stages or City Center, but it was packed full of a very enthusiastic audience. It made me wonder if most lived around there or if people often drive down from L.A. I’m sorry, I’m still this stunned New York expat unable to fathom how people can drive three hours a day in gridlock and not go insane!

It was kind of unsettling seeing my favorite N.Y.-based dancers in L.A. I looked around the press section thinking there must be some N.Y. critics there to cover a premiere, but I didn’t recognize anyone and a Facebook friend later told me Macaulay was with her at a N.Y. performance Thursday night. And the one L.A. critic friend I have wasn’t there either. It made me sad. I really miss spotting the writers in the audience, wondering who’s going to write a review, who’s covering for the Times, who’s thinking what, who’ll write what. And most dearly I miss hanging out with my N.Y. dance-goer friends on the Koch Theater promenade during intermissions, or at Ed’s Chowder House or Fiorello’s afterward to discuss a performance, especially a premiere. I guess I’ll eventually make those friends here…

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ABT is Coming to Orange County with Ratmansky’s New FIREBIRD

How excited am I! This Thursday through Sunday, my beloved ABT will be performing at the Segerstrom Center for the Arts in Orange County. They’re premiering Ratmansky’s new Firebird – and none other than SLSG faves Marcelo Gomes and Natalia Osipova are scheduled to star! (David Hallberg and Simone Messmer are co-starring.) The two other dances on the bill are Wheeldon’s Thirteen Diversions (photo above, by Rosalie O’Connor, of Marcelo with Isabella Boylston) and Merce Cunningham’s Duets. The latter two I haven’t seen yet since I missed the company’s City Center season last year.

Read a preview of Firebird by Joseph Carman here.

This will be my first time at Segerstrom / Orange County. If any of my Angeleno or former Angeleno readers would like to give me advice on the best way to get down there from Century City on a weeknight, I’d be most thankful :) I will most definitely report back, particularly on the new Firebird!

 

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Careening Down Mulholland Drive, and Blue Line-ing to Long Beach

Last weekend was so nice (temps reaching 80!), I had to put work aside and get out and explore more of L.A. Friday evening I took the snaky Mulholland Drive home, which, thanks to a short story by Michael Connelly, I will always think of as Mulholland Dive. (It’s also the title of a surrealist, rather haunting David Lynch film.)

The street wends itself through the entirety of Hollywood Hills, from west to east L.A. and is the official dividing point between Los Angeles (to the south) and the Valley (to the north). Despite its reputation – and I did find it to be frightening at some points, especially when locals fly around some of those precipitous curves and intimidate you into doing the same – it’s more touristy than I would have thought. There are overlooks everywhere, inviting you to park your car and take pics. Which is what I did. Here are some from the east point, right above Hollywood, looking out over downtown.

It kind of looks like Oz, right? Oz in the distance anyway, beyond the cliff.

On Saturday I wanted to go to a beach. I haven’t been to Laguna yet, but after researching it, thought it was something my mom might like to do when she comes to visit next month, so decided to save it. I haven’t been to Venice yet either but just didn’t feel like driving all the way across town again on my weekend. I get enough of the west side on my weekdays :) Ditto for Malibu.

So, I decided to go down to Long Beach, and to take the Blue Line (one of the seven Los Angeles subway lines) to do it. I’m a rather proud rider of the Los Angeles subway. I guess it’s the New Yorker still in me… (It’s actually called the Metro rail but I like to call it the subway :) ) I’ve now taken three of the lines: “my” line  – the Red line, which is probably the most popular, as it goes from the Valley down to Universal City (where Universal Studios is), down through the most touristy parts of Hollywood, then to the trendy Los Feliz, then on to downtown (one of the two big work hubs), and ends at the train station; the Purple line, which is a rather short line and goes to Koreatown; and now the Blue line, which I now know travels not below- but above-ground, and stops first at the Staples Center (which is like Madison Square Garden), then continues on to several more stops in downtown and south L.A., passing through Watts, Compton, and ending at Long Beach.

Curving upward as we leave Long Beach.

This is taken from the Compton station, which is lined with these these big, bold letters spelling the town’s name. I thought they were so artistic. Unfortunately, I couldn’t really get a good picture as the train rolled by, but here is part of the M. I’ve heard Compton is a poor part of town but, if that was ever true, it must have enjoyed a renaissance because it didn’t seem run-down at all. The train passed a big shopping center with a Best Buy and other electronics and high-end stores, and a very snazzy-looking casino.

I found the train ride more interesting than the destination though. I don’t think Long Beach has much of an actual beach; it’s more of a harbor.

…with lots of restaurants and stores.

and a small lighthouse.

and a ferris wheel, which wasn’t being used.

I am learning that much of the food in L.A. tends to be Mexican-ized (this is particularly true of Italian where pasta sauce tastes strangely like mild salsa and risotto like it belongs beside refried beans). I ordered “jerk salmon” at this dock-side restaurant. In New York that would mean the fish would be drenched in that mouth-watering Jamaican sauce that is somehow super spicy, tangy, and sweet all at once. But this was simply grilled salmon topped with mango salsa. Very well-prepared grilled salmon and delicious mango salsa, but IT WAS NOT JERK SALMON!!! Oh well.

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How to Find the Studs in the Wall, How Do Valets Not Lose Keys, and Other Settling into LA Conundrums

Aye, still trying to figure out how to live here… The other weekend I was perusing the antique shops on Magnolia Boulevard in Burbank and this piece of furniture stood out to me. I’ve needed a bookcase since I moved here but I haven’t liked anything I’ve seen in the regular furniture stores. But I loved this one. It’s actually a baker’s rack, not a bookcase, but it serves the same purpose. Plus, ever since shopping the Rose Bowl flea market, I’ve kind of been into unique furniture functioning as something other than it was originally meant for. So I bought the baker’s rack.

But I remembered reading in The Elegant Variation, one of my favorite lit blogs written by a New Yorker turned Angeleno, that when he moved to his new L.A. home, one thing he had to do before loading the bookcases was to earthquake-proof them, meaning fastening them securely to the wall so they wouldn’t topple over in the event of an earthquake.

So this was in the back of my mind when I bought the piece of furniture. The man I bought it from told me no worries, just go to a Home Depot and buy an earthquake proofing packet. It should have everything I need, with instructions. So I did. And the guy there also acted like it should be no big deal; just follow the instructions.

I thought package would consist of some burlap straps which I could tie around the furniture and nail into into the wall. Simple. But so not. According to the instructions, after finding an ideal place to velcro and snap the straps securely around the rack (which was hard because of the rack’s kind of ornate design), I was supposed to screw the things into the wall, for which I’d need a drill of course. But I couldn’t just screw anywhere – I needed to find the studs in the wall so that the furniture would attach to something that would actually hold it, which drywall would not. For this I would need an instrument called a stud-finder. You could also just knock on the wall, but you have to know what you’re listening for – ie: the difference between drywall and a stud – which I most definitely do not. So I bought the stud-finder.

When I got the stud-finder home, I found that it operated on these rather unusual batteries, which I didn’t have and which didn’t come with the instrument, so I had to go out to the drugstore for those. When I finally got the stud-finder all ready to use, I carefully read the back of the package, which contained a kind of hidden warning that you need to be very careful that when the little red stud-finder light goes off, it’s actually a stud it’s found and not a pipe or electrical wire. The stud-finder can easily mix all these up. If you drill into an electrical wire you might be electrocuted and if you drill into a pipe you could really screw up the plumbing. In order to avoid electrocution, the package recommended turning off all electrical outlets. Which of course I needed to operate the drill.

I finally decided to call my management company. I was trying not to be a helpless woman, but, seriously, I have no carpentry skills; this is just way over my head. And I don’t even own this place if I do mess up piping or electrical wiring. I don’t remember the lease saying anything about not letting tenants drill, but I wouldn’t want tenants who know nothing about studs and drywall and pipes and electrical wiring drilling about if I were the owner.

So, a nice man from maintenance came and fixed it up for me. Funny, because he didn’t follow the instructions on the package at all – or even use anything in the package. He just drilled a couple large screws into the wall in strategic places so that if the bookcase were to be volted forward, it would probably be stopped by a screw. Not as secure as the earthquake proof kit, but I guess at this point I’m just not going to worry about it.

When I went to work the next day and told everyone about my angsty weekend, pretty much all of my co-workers laughed, and said they’ve never secured anything into a wall. Most people here don’t, they said – they just figure if it’s a small earthquake like the vast majority are, nothing’s going to happen, and if it’s a big one, we’re all doomed anyway.

So I guess that’s that. Anyway, for better or worse, I loaded the bookcase:

I don’t know what made me think all of my books were going to fit on it. I sold about 80 percent of my print books in N.Y. to the Strand and gave about ten percent more away to Housing Works, but somehow I kept so many that I still have more than will fit in one large floor to ceiling wrought iron case. And of course I’m buying more here (thanks mainly to Book Soup in West Hollywood), which I said I wouldn’t do. Didn’t say I wouldn’t buy books, just that they be of the e-version now.

Speaking of books, I also joined this book club called Ladies’ Guilty Pleasures Book Club, which reads mainly mysteries combined with romance. It’s run by a fantastic book publicist I met here through a journalist networking event named Liz Donatelli.

Anyway, their first meeting at which I joined was at this Italian restaurant on Ventura Boulevard in Sherman Oaks. It was held on a  weeknight, so I left work as early as I could so that I could find the parking lot. Not so that I could find the restaurant, but so that I could figure out where to park. I’m not kidding. Parking is by far the most confusing thing about this city to me, far more frustrating than driving.

As expected, I found the restaurant right away, then spent the next half hour driving back and forth past it trying to figure out where the parking lot was, or if they had one, and if they didn’t, where else to park. I found several general lots on the street, but I couldn’t gauge how far they’d be to walk. Here, it always seems like something is close by, and then when you try to walk it, you realize the streets are wider and longer than in New York and it’s actually much more of a trek than you thought.

Anyway, I finally found a narrow narrow driveway with an arrow pointing down with the words Panzanella (the name of the restaurant) written underneath, so I slammed on my breaks and turned on my – at that point I think left – turn signal, and when traffic finally cleared, sped into the narrow driveway. The parking was valet only. I figured okay, fine, my first valet experience. More of an expense, but I’m just happy to have my car and myself in the lot with five minutes to go before the dinner’s set to begin. But it made me worry the restaurant was going to be all five course $250 prix fixe plates or something.

Of course the valet wanted my car keys and I was all butterfingers as I tried to detach the car fob from the rest of the bundle. When I finally got it free and handed it to him, he flashed me a suave smile and delicately placed my receipt in my hand. Definitely an actor. But then all throughout dinner I kept wondering how he kept all those keys straight. There were so many cars in the lot. What if he mixed them up?

But nothing to worry about. Entrees in the restaurant were priced in the teens and low twenties and most wines weren’t more than $10 per glass. This is one of the oddest things about L.A. to me: a restaurant doesn’t have to be at all high-priced to have a valet only parking lot. The food was very good, and the valet was really good looking and smooth, and he didn’t lose my keys. And the book club was fun, and I made lots of very cool new friends. Next time, we’re meeting Jackie Collins at a restaurant in El Segundo, which should be a blast!

Posted in Literature / Books, Los Angeles, New York Versus Los Angeles, Restaurants / food | Tagged , , , , , , , , , , , | 5 Comments

Rhea’s Laser Light Show

Thought I’d let my cat people readers know about a fun new cat toy that Rhea loves. With my long work hours and kind of crazy commute I’ve been having some issues with kitty lately – namely that she doesn’t want to let me sleep at night because I haven’t played with her all day. I was complaining to one of my friends at work and she asked her sister, who works at a company called Lucky Litter, to send me a couple of play-by-herself cat toys. The company specializes in self-cleaning litter, which I haven’t yet tried.

Anyway, Rhea absolutely loves this laser toy. What I like about it is that you don’t have to flash the wand all about but can set it on a shelf or a table, push the button, and it shoots a bouncing red light all over the place all on its own. So I can just set it up and go do my things and Rhea plays with it by herself.

The instrument the laser emanates from is the cute little white robot-looking thing at the bottom center of this picture.

Fun fun! Thank you, friend at Lucky Litter :)

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Ballet Arizona’s SLEEPING BEAUTY, and Phoenix Society For the Arts Reads SWALLOW!

I feel so badly that I haven’t had time to write very much here lately. Writing doesn’t come close to paying the bills right now (will it ever??) so I do legal contract work, and I have a really time-consuming assignment right now. When I’m between assignments, I’ll try to write as much as I can, but otherwise it’s going to be slow going, sadly…

Anyway, I spent last weekend in Phoenix. I was a guest of the Phoenix Society for the Arts book club whose February read was Swallow! I was so honored, and it was such a wonderful experience. People asked all kinds of interesting questions, and they pointed to specific scenes and characters in the novel that they found particularly entertaining or related to well. One of my early writing instructors – the illustrious James Conrad :)   – once told me that you can tell if people are really into your book if they talk about specifics; if they just say general things – even nice things like “I really liked it,” or “I thought it was really good” – they are probably just b.s.ing. So it made me so happy that people were remarking on how horrible the sister and her nephews were or how wicked Alana was or how they couldn’t believe what Sophie did with the wedding dress or how the judges behaved in the courtroom.

They also asked me a lot of questions about how real everything was – how autobiographical the novel really was. I found that so hard to respond to because the inciting incident – Sophie’s globus hystericus – came from a very real experience, and yet I don’t think there’s a single scene in the book that actually happened, from start to finish. Most of the characters are combinations of so many people I’ve known and then added onto that they’re virtually made up. In order to make something dramatic and interesting that will keep readers’ attention, you really have to work with climax and character arcs and creating a twisting turning plot that will surprise and maybe even shock. You have to make stuff up, and a lot of it or the book just won’t compel readers to turn pages. And then at a certain point you get so carried away with your characters, they start to have a life of their own. And then that removes it further from “reality.” Yet everything is true with that proverbial capital T, you know. Anyway, I got very tongue twisted trying to explain that.

It was such a wonderful experience, though, and I’ll be forever thankful to the Phoenix Society for the Arts for having me, and for giving me such an engaged, inquisitive, alive audience of extremely thorough readers. It was one of the very best experiences I’ve had yet as a writer :)

That Saturday, my dad took me to downtown Phoenix to see Ballet Arizona’s production of Sleeping Beauty. (This was also with Phoenix Society for the Arts). I was so happily surprised by how excellent the company is! I really didn’t know what to expect, because once you see dancers like Alina Cojocaru and Veronika Part and David Hallberg and Marcelo Gomes in all the main roles, you really don’t know if you’re going to be able to have a favorable response to anyone else. I thought the company very much resembled New York City Ballet, which isn’t surprising since the director, Ib Andersen, was a Balanchine protege and a dancer with NYCB. He really has a wonderful little company of dancers. The principals stand out with their charisma, their very strong dance technique, and their good acting, but without being flashy and star-like – just like NYCB.

I especially loved Astrit Zejnati (above, click on photos for original source) as Prince Desire and Natalia Magnicaballi as the Lilac Fairy. And I thought Tzu-Chia Huang was a very sweet Aurora who acted each of the three acts very well. She and Zejnati got loads of applause in the third act, not surprisingly, for their gorgeous fish dives – and her legs were straight up in the air, like Cojocaru’s. Some of the best fish dives I’ve seen! Her Rose Adagio balances were good – not the best I’ve seen – but she held onto them long enough for the audience really to applaud her. Zejnati is small – he reminded me a bit of NYCB’s Joaquin De Luz – but with a very commanding presence. He was a true prince. And he had the ever so engaging expressiveness of Gonzalo Garcia, and everyone knows how I feel about him :D It’s so hard for me not to think of dancers back home when I write about dance now – sorry if that’s annoying!

Magnicaballi (above, second photo of Swan Lake, with Zejnati) was one of the most magical, larger than life Lilac Fairies I’ve seen. She reminds me a bit of San Francisco Ballet’s Maria Kochetkova. She was the perfect embodiment of the “fairy godmother” as she blessed baby Aurora with her beautifully eloquent port de bras, countered Carabosse (Nancy Crowley) with a swift but elegant flick of her arm, and she captivated the audience along with the Prince at the end of the Vision scene as she whisked him off to the real Sleeping Beauty.

Ib Andersen has a wonderful company. It’s too bad they don’t have a very long season – they seem only to perform for two or three days every two or three months. They do mainly classical ballet and Balanchine, with some Robbins, and some of Andersen’s own work, which I now really want to see. Fans of NYCB would definitely love this company.

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WE ARE THE WEST, in a Santa Monica garage

I had a cool L.A. experience last night that actually felt rather New York-ish. I drove out to Santa Monica to see a band called We Are The West perform in a parking garage below an office building on 7th Street and Santa Monica Boulevard. Above is a photo of one of the two warm-up bands, Zenda Marie, who were also really good and whose lead singer was a charming guy who once lived in N.Y as well (I’m finding a lot of New York transplants here). With the candles, cozy seating, and decorations (including a Mustang, whose front bumper you can kind of see in the lower right corner of the photo), it was a pretty cool venue. Felt very underground.

We Are The West is a two-man band – Brett Hool and John Kibler – whose music I find very poetic, which makes sense since Hool was in Columbia’s MFA program where he focused on poetry. (I know him through a New York artist friend, and he invited me to the event via Facebook). They seem to have a very loyal following and have played in upstate New York and the Netherlands as well. Below are a couple of videos, the first shot in that same Santa Monica garage a few months ago, and the second in the Netherlands.

New Haven by We Are The West from kristopher Kasper on Vimeo.

Posted in Los Angeles, Music and Opera | Tagged , , , , , | 1 Comment

Made My Acting Debut, on Gloria Allred’s WE THE PEOPLE!

This week I made my TV acting debut on NBC’s We the People With Gloria Allred. Several weeks ago, a casting agency I registered with sent me to audition for a part on the show.

I ended up getting cast as a plaintiff who was suing the owner of a small airline for emotional distress and the cost of her therapy sessions after her vibrator accidentally went off in her luggage. The baggage check guy alerted the airline owner who made my character take out the vibrator in front of everyone on the plane, to her great humiliation. It’s based on a real case.

Haha, my first Hollywood experience, my first role, and this is how I’m cast! It felt very Jonathan Ames! So I did it. And it was a lot of fun, and a really interesting learning experience. I figured, so L.A., right?! I don’t know how much acting I’ll do – what I really want to do is write, but I wanted to see what it was like on a TV set, how things were done, what auditions were like, etc.

Anyway, it aired this Thursday afternoon on NBC. I’m working a job with long hours right now, but fortunately a very nice co-worker who lives close to the office let me use her apartment on my lunch hour to watch the show. Of course all I could do was stress about how neurotic I came across with my shaky voice and how drab I looked, but that was the character, so it was all good. I thought we all – the airline owner, the baggage check guy, and I – came across as very real. So I’m actually pretty okay with the way it turned out despite my blah look.

It’s funny that I’m a former litigator and have courtroom experience. And Gloria Allred is such a huge personality here. So very cool that my first gig was in a courtroom, being on her show!

Anyway, if it ever goes up on YouTube or NBC’s website, I’ll embed or link to it. I don’t think it’s up yet, but if you see it please let me know! The episode is called “Batteries Included.”

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Happy B-Day, Mr. B

Today is George Balanchine’s birthday. Thank you to Toni Bentley for reminding me with her sweet email and link to the beautiful video below:

Posted in Dance News, Film / DVD / YouTube / Livestreams | Tagged , | 9 Comments

Palm Springs Film Festival, With a Stop at Cabazon

I spent this past weekend with my dad in Palm Springs. He came down with a group and invited me to meet them, which, now that I’m in L.A., was pretty easy. It was the last weekend of the two week-long film festival there, so we caught a few movies. Unfortunately, I wasn’t able to see either of the two dance films showing. One was Pina, by German filmmaker Wim Wenders, a biopic – in 3D – about Pina Bausch, which I know is coming to L.A. and which I definitely plan to see. The other was a Russian movie called My Father Baryshnikov, about a Soviet era student at a strict Russian dance academy who pretends that his father is Baryshnikov. It looks like that one toured the arthouse film circuit in N.Y. in October, but that was my moving month, so no wonder I missed it. Did anyone see it?

But I did see a film that involved dance – namely Allegra Kent. Bert Stern: the Original Madman is a pretty good documentary of the photographer, who is most known for having taken the last pictures ever shot of Marilyn Monroe (for Vogue). He photographed numerous famous women, like Audrey Hepburn, Elizabeth Taylor, Kate Moss, Twiggy – the list goes on and on and on… and Allegra Kent, to whom he was married for a time and with whom he has three children (two of whom were interviewed in the film, along with Kent). He is also, I guess somewhat infamously, known for taking those Marilyn Monroe-esque photos of Lindsey Lohan for New York Magazine a few years ago. Finally – and most interesting to me – he’s also known as a great innovator in advertising for some now iconic photos he took for Smirnoff Vodka, mainly of the Egyptian pyramids, very coolly reflected upside down through a martini glass.

I guess it’s no surprise that Allegra Kent was attracted to him – he came across in the film as a huge womanizer, much like Balanchine. He calls women saints and man their slave. How Balanchine is that! And his womanizing is of course what led to their divorce… He says in the movie that the moment he saw Kent, he thought she would make a wonderful mother, and she did indeed become the mother of his only children. But he didn’t really want the children, he later admits. He didn’t know what to do with children.

He also admits he was greatly drawn to the beauty of the women he photographed, and wanted to have sex with (or “make out with” as he called it) the vast majority of them. But he admits he seldom wanted anything more; he never wanted to marry them, or be more to them than a lover. This is what, he says, made him the photographer he was.

It’s a very honest film. A very straight depiction of a man who seems very shallow emotionally, but was an artistic genius.

Anyway, I tweeted a bit about the film, and one of my friends, who’s a dancer, said he’s reading Allegra Kent’s biography and, according to it, Stern is a horror. I can believe he must have been a horror as a husband. But interestingly Kent says only nice things about him in the film.

It’s really Stern who makes himself look bad regarding Kent. When she confronted him about his relationships with other women, he remembers, he threw it back on her saying she let men (in the form of dancers) touch her all day. When she finally asked for a divorce, he thought how dare she; she couldn’t do that to him.

Their oldest daughter tells the filmmaker (Shannah Laumeister, formerly one of Stern’s  models as well) that she is really a daddy’s girl, and her daughters – still small children – echo her, giggling that they are grandpa’s girls too. But the younger daughter, who also seems very genuine, and a bit more shy than the other daughter, tells Laumeister she never really got along well with her father. She had a bit of a weight problem, though I still thought she was a lovely young woman. But I wonder if that has something to do with her father not getting along well with her, given the way he seemed to think about women.

Anyway, very interesting film and definitely worth seeing if you have the chance. I found Stern to be annoying, shallow, and very unlikeable as a person, and still a genius, an artist and an innovator.

I also saw Haywire, Steven Soderberg’s latest, starring Gina Carano, Ewan McGregor, Michael Douglas, Antonio Banderas, Michael Fassbender, and Channing Tatum. This was almost the complete antithesis of the Bert Stern film. Women here are all powerful but not because of their looks. I loved loved loved this movie! Finally, a female James Bond! And Ms. Carano supposedly did all her own stunts! But I don’t think I will ever stop loving Ewan McGregor, even when he plays the “bad guy.” :) This one’s opening all over the U.S. very soon.

Finally, I saw a Belgian film called The Invader, by visual artist Nicolas Provost. I joked on Twitter that it was one of those European films filled with gratuitous nudity, gorgeous cinematography and no plot whatsoever. A friend from graduate school promptly reminded me via Twitter that those were exactly the kinds of films I used to love (and would make her watch ad nauseam with me). I do still love them! It’s kind of funny though because now that I’m a writer (or trying to become a writer or whatever) I wonder how one pitches that kind of thing…

Seriously, I really enjoyed The Invader – about an African immigrant trying to create a new life for himself in Belgium, and meeting women, and having fantasies (I think) and getting into fights with men who were trying to manipulate him (the outcomes of which may or may not have been fantasies), etc. Beautifully shot, which I guess makes sense since Provost is a visual artist. And the actor playing the main character, Issaka Sawadogo, is absolutely captivating.

Anyway, Palm Springs itself was really lovely – it was the first time I’ve actually been there, though I’ve driven by many many times on Interstate 10. Here are some photos (it was a bit overcast, so they didn’t come out all that well):

A very popular diner called Sherman’s near the main theater and festival center.

The main street – Palm Canyon Drive.

I was very attracted to this cute little smiley face atop a yogurt restaurant.

Sonny Bono was the major of Palm Springs. Here is a statue of him on Palm Canyon Drive.

You can tell you’re getting close to Palm Springs when driving on I-10 because you begin to see these modern windmills.

On my way back to L.A., I couldn’t help stopping at Cabazon, a town just west of Palm Springs that boasts the largest dinosaur replicas in the world, designed by Knotts Berry Farm sculptor Claude Bell. I remember Dinny, the apotosaurus above, so fondly as a child. We took many vacations to L.A., Anaheim, or San Diego, and on the drive over from Phoenix, I’d always be on the lookout for him. Whenever I saw him, I knew we were almost there.

Inside Dinny’s belly there’s a little gift shop.

Mr. Rex was built years later, so I don’t remember him. I think he might have scared the wits out of me as a child though.

When I tweeted photos of the dinosaurs, a friend told me they were featured in the movie PeeWee’s Big Adventure, which I haven’t seen.

There’s also a creationist museum off to Mr. Rex’s side, which I didn’t have time to visit. A strand of creationism postulates that dinosaurs co-existed with humans.

And there’s a little place to eat in front of Dinny. Ominous-looking clouds, huh? Unbelievably, I didn’t hit any rainstorms on the way back to L.A.

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“The Suspect” Now in the Kindle Store

Hey Everyone — Just to let you know, my new short story, “The Suspect,” is available now in the Kindle store for 99 cents. I plan to put it up, in ebook form, in other online bookstores shortly. It’s my first real piece of crime fiction, which I’m really kind of psyched about. It’s a short story, and I think works as a short story, but will probably become part of a longer project I’m working on. Anyway, if you have a Kindle, I’d love to know what you think! If you’re a reviewer and have a Kindle or Kindle-compatible e-reader, I’d love to send you a free e-copy.

Though there’s no dance in this story, I am (of course!) planning to weave dance into the longer project I’m working on. And I promise, nothing Black Swan-esque :)

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Lula Washington Dance Theatre’s Kwanzaa Celebration

Last week my friend Debra Levine invited me to another dance performance; this one by Lula Washington Dance Theatre, who were giving their annual Kwanzaa celebration concert. This was one of the most enjoyable dance performances I’ve seen thus far in L.A. There were many pieces on the program – twelve in all! – and we were there for over three hours. The dances were mostly either African or American modern or a combination of the two, with some ballet thrown in, and music ranged from Fela Kuti to Steve Reich to Quincy Jones’ arrangement of Handel’s Messiah, to a live Samba band with a medley of conga drums that really made you want to get up and join the dancers. Most but not all of the choreography was by Ms. Washington, and one of my favorite pieces – a modern dance one from 2005 – was a very moving tribute to American soldiers, For Those Who Live and Die For Us.

My other favorite was Washington’s 1995 Harambe Suite (all of the photos posted here are of this dance), which encompassed the entire third act. There were a group of what I interpreted to be head tribesmen and women dancing at the back of the stage, behind a table bearing religious candles and celebratory food. A choir dressed in colorful, flowing African garb stood to the side and sang and danced. Children, one by one, would run onstage holding a corn husk or other item of food, which they would take to the table to add to the feast, before going to the center of the stage and breaking into a celebratory dance. Their dancing was accompanied by the singers as well as a live band, seated on the side of the stage opposite the choir.

Some of these kids were AMAZING – seriously; they are going to be stars! There was one little girl, named Tyler, who was the daughter of a professional dancer in the troupe, who just really blew me away. She had so much rhythm and was a real natural. She’s small now but is going to go far. And there was an older boy, a teenager, who could do some of the highest jumps I’ve ever seen. He also did this incredible back bend, bending his knees to lower himself slowly all the way to the ground, only to lift himself back up again by the strength of his legs alone without touching the floor. People went wild. It was incredible.

After the children, the adults came one by one to center stage and danced as well. They’d dance solos, eventually in groups. The children then came back out as a group, accompanied now not only by the choir and the drums but by the audience’s applause as well. After a while, the audience got up and danced at their seats, cheering all the way through.

Not every dancer was perfect – and some of the little kids you could tell were just embarking on their dance training, but that wasn’t at all the point. The evening was just a pure and simple celebration of movement, of being human. So perfect for the holidays.

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Happy Holidays, Everyone!

I always like to use a photo of Alvin Ailey’s Revelations for my happy holiday post but I saw this one, of Hope Boykin in Mauro Bigonzetti’s Festa Barocca (photo by Steve Vaccariello), and decided it was bright and festive. Change is always good, right…

I can’t believe it but this was the first year I’ve missed Alvin Ailey’s City Center season in many years – as long as I can remember. The last few months were such a whirlwind for me though it doesn’t really seem like Christmas. It’s probably also the weather: it’s supposed to be 75 degrees in L.A. tomorrow- by far the warmest Christmas I’ve had since I left Phoenix two decades ago.

Anyway, happy holidays, everyone! And thank you so much for continuing to read my blog despite the sometimes rather huge gaps between posts due to my move :)

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RedCat, Ohad Naharin, and the Beauty of Downtown L.A.

Last Friday night, my friend Debra Levine invited me to a winter dance concert by students of CalArts (California Institute of the Arts, a prestigious arts college here), at  the RedCat in downtown L.A. For New Yorkers, the RedCat reminded me a lot of the BAM’s smaller Harvey theater. It was about the same size, very low-key, and had a very similar, comfy cafe / bar off to the side.

There were four pieces on the program, all of them modern: Yes Is Not Passive, by Stephanie Nugent; The Sea, the Sea, by Colin Connor; and two by Ohad Naharin – Humus and Echad Mi Yodea. I’d never seen Echad Mi Yodea before – and it’s one of the pieces Naharin’s most known for. I don’t know how I’ve missed it, but I do think I’ve seen excerpts. Anyway, it was by far my favorite piece on the program. Here’s a version, performed by Israeli dancers. In the version I saw, everyone was dressed in full black suits, black shoes, and hats. They all stripped down to their underwear by the end, except for the dancer in the front right-side chair, who kept falling at the end of each line. I really loved this piece. So much energy and layered with meaning.

I also liked Yes Is Not Passive, the first piece. There were many different parts, but my favorite was a solo where one man – Jose Luis Trujillo – simply stood in front of the audience and shouted “Yes” so many times his voice became distorted and his contorted face nearly began to melt with sweat. It reminded me of William Forsythe or Pina Bausch. Captivating.

I was also captivated by the architecture of downtown L.A. This was the first time I’d been to the Dorothy Chandler Pavilion (an opera house where ballet and other kinds of dance performances take place), and the gorgeous Walt Disney Concert Hall (pictures below). So so so stunning!

All of the buildings together were very much like Lincoln Center, except with that breathtaking architecture, far more magical. I was really truly blown away. I was also blown away by how dead it was. It really broke my heart that there were so few people out and about down there on a Friday night during holiday season when you’d expect there to be concerts and performing arts events galore. (Bill T. Jones’ Fela! is playing in one of the buildings.) L.A. is definitely a very different town from N.Y. in so many respects.

Afterward, we went to a small, popular hole in the wall in Little Tokyo (also in downtown) where I had the best meal (salmon teriyaki) I’ve had since I moved here. And after that Debra drove me down the east side of Sunset (the only stretch of Sunset I hadn’t been on) to the trendy neighborhoods on that side of town: Los Feliz, Echo Park, and Silver Lake. Echo Park looked pretty happening and like a place I wouldn’t mind living. And it’s very close to Dodger Stadium :)

Posted in Art / Architecture, baseball & ballet, Dance Performance Reviews, Los Angeles, New York Versus Los Angeles | Tagged , , , , , , , , , , , , | 5 Comments

Pasha Gets His Own Show!

With my move, I didn’t have time to keep up with it, but this season Pasha Kovalev was a professional dancer on the British TV show Strictly Come Dancing (which our Dancing With the Stars is modeled on). He danced with British celeb Chelsea Healey (photo above).

It’s just been announced that he and another pro dancer from that show, Katya Virshilas, will get their own tour this spring. They’ll be performing in various theaters in England. Local dancers will join them, but they’ll be the headliners. Hope it’ll eventually come to the U.S.

Makes me so happy to know that Pasha’s doing so well with his career. I wonder what Anya Garnis is up to these days. I don’t know of Virshilas. Any of my ballroom peeps familiar with her?

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Roberto Bolle’s Fridge

In a recent issue of the Italian magazine Corriere della Serra, Roberto Bolle (along with several other celebrities) revealed the contents of his refrigerators – both the one he keeps in his New York home, and the one in his Milan kitchen. The blogger Gramilano has nicely translated. (Above photo from Gramilano as well.)

So, he’s one of those dancers who’s a real health nut. He eats seitan :)   Seriously though, I think seitan is actually quite good. But I’m not sure what he means by not being able to buy mineral water in the United States…

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Don Mattingly’s Lovely Mother Ginger

Ha – another instance of the intersection of my two favorite pastimes… Have you guys seen this yet? I just saw it on the news. It’s Don Mattingly (former Yankee, current Dodgers manager), “dancing” the role of Mother Ginger in the Evansville Ballet’s production of Nutz. (Evansville, Indiana is apparently where he grew up.) I love the part where he gives all the signals! And how cute is the little boy in the baseball uniform…

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The Sunset Boulevard Gunman and More LA Traffic Distress

Did you all hear about this? Just wondering if the news made it out of California. It seems like unless a lot of people are killed these kinds of stories don’t make national headlines. Anyway, Friday early afternoon a 26-year-old man – a hipster type from the looks of him on the news – stood in the middle of Sunset Boulevard and Vine Street – a very crowded, touristy part of Hollywood – and began shooting a gun mostly at people driving through the intersection, but at some pedestrians as well. Several people were shot, and one man – a music industry executive driving a Mercedes – is in critical condition. The gunman was eventually shot and killed by the police. From his angry shouting and his failure to drop his weapon at police orders, it seemed to onlookers that it was a suicide, that he wanted police to shoot him.

I happened to be in that part of town right at that time. Yet I somehow missed all of it. When I first heard word of it I was sitting in a film processing shop a few blocks over on Sunset getting headshots I’d just had taken developed (I decided it would be fun and interesting to try to get some extra work while I’m here). I thought it was a joke it seemed so unreal. It also seemed like a crazy ridiculous metaphor of my experience that day, the worst I’ve had yet on LA streets that made me truly not understand how people can live and drive here for any length of time without seriously going nuts.

I’d answered a call for extras the day before. The casting agency decided to take me on. But I had no headshots so the agent referred me to a photographer in Hollywood (an excellent photog, by the way). So his studio was in a cottage, the second of two large cottages situated down a very long narrow driveway off a very busy street. He’d told me I could use the driveway to park in, but if I did, to drive in as far as I could. But the driveway was so long and narrow and there were two cars already parked there. I didn’t know how they’d get out if I parked behind them. I was there early so I drove around and around and around trying to find a parking space on the street – on any street in the area. It was a residential area. Nothing, no spaces at all. So, finally I just decided to park behind the last car in the driveway, hoping the other cars wouldn’t have to leave until evening. I no more than got out when a woman came running out of the first cottage. “Oh, I’m really sorry,” she said, “but could you pull out so I can get out please. I’m so sorry!” I told her not to worry about it at all – I totally understood – then fumbled for my keys, got in my car and backed my Prius out the long long long narrow, narrow, narrow driveway, terrified I’d hit one of the cottages or the brick wall on the other side on the way out.

I made it down okay, miraculously, but then had to back out onto an insanely busy street. I tried to see around the cars parked on each side but couldn’t really see well no matter how hard I tried. So, I just had to take a breath and go very slowly and hope if anyone was coming down the street they’d see me backing out and nicely stop. It worked out, amazingly, but when I drove out my front bumper crashed into the pavement because the driveway’s incline was so high. Ugh… I find this everywhere too in LA – really steep inclines into driveways and parking lots that you can’t help but crash your bumper on. Who designed them, owners of enormous jacked-up trucks?

So, the woman thanked me and pulled away, and in I went again. I’d just parked and gotten out of my car when the guy whose car was still parked in front of me came rushing out of the house next door asking if I could please just let him out before I went inside since he would have to leave in about 15 minutes. I laughed and he apologized. I don’t know why drivers kept apologizing though. It seemed the person who should have been apologizing was the idiot who designed a driveway serving several residences on which only one car at a time could drive.

So, same thing – I tried to back up poker straight so as not to hit anything, risked my back bumper crashing into traffic I couldn’t see, and crashed the front bumper into the steep entrance to the driveway. I drove down the street, got honked at for going too slow, had to go around the corner and come back up the street so as not to block traffic, leaving the guy who needed to back out waiting for me so he could park behind me…

All I could think about all throughout my photo session was how many people I’d have to search for in order to ask them to move their cars so I could get out.

Unbelievably, there were none when I left. My little car was the only one in the driveway. This time the photographer helped me back out. He tried to instruct me on how to turn the front tires just so so that I wouldn’t bump the front again on the steep incline. But I just couldn’t avoid doing that – especially because I was so nervous about backing out onto a crowded street lined with parked cars. This time there was a car coming down the street but he saw the photographer in the middle of the street with his palm up and stopped to wait for me. After that driver waved me on, I continued. But a driver behind him didn’t feel like waiting, and so went to pass him. I guess that driver didn’t realize I was backing out, which is why the guy behind me was waiting. I don’t know what that driver was thinking. I guess he thought the car in front of him just felt like stopping for no reason. Anyway, that driver nearly smashed into me when he tried to pass the car in back of me. Of course another car was coming down the street in the other lane, in our direction, and the car who needed to badly to pass me and the guy in back of me nearly crashed into that car head-on. I really don’t know how there aren’t more car crashes here. I really don’t.

So, after taking my pictures, the photographer had instructed me to take my film down the block on Sunset to have it developed, which I would then bring back to him so he’d help me select a headshot from the proofs. It took me about half an hour to find a parking spot in the shopping center. I even drove down the street to another shopping center – a Rite Aid – to try to find a space. But every parking lot here is just insanely designed. It’s like the designers don’t think of the possibility that every space might be filled and there may, just may be a car driving into the lot trying to park AND a parked car needing to back up out of its space and leave. I mean, unthinkable right, that two cars would be driving in the same parking lot at the same time. There is no room in these parking lots for more than one car to drive in when full. And then when you go to pull out of the lot onto the street, there are so many cars parked on the street, and the lanes are so narrow, and there are ALWAYS ALWAYS cars driving EACH way down these narrow narrow streets. So, you’re going to have a total of four cars on a two lane street – one traveling in each direction, and one parked on each side. These are streets that were meant for two cars only. And then you need to pull out onto this street so you can leave the lot that was full that you couldn’t park in. So, you have to pull out, and you’re going to have a very hard time seeing around the parked cars, and when you finally think you can go because it’s clear one way, of course the car coming the other way nearly smashes into you, often trying to pull into the full parking lot you’re trying to pull out of.

I don’t understand how people do this, I really don’t. It’s like LA is a parking lot in which there can fit 100 cars. But there are 500 cars that need to park. And there’s nowhere else for the 400 extra cars to go. So what’s that going to be like? Yes, nowhere to park, no space to drive around the parked cars. Major major congestion trying to get anywhere you need to go. And major major potholes, these streets are so overused.

Anyway, I remembered a friend’s advice to park in shopping mall lots whenever possible since they’re usually the cheapest (because they usually give you a few hours for free and / or validate for a few dollars off). So, I drove up to Hollywood Boulevard and drove down to Highland and parked in the Highland and Hollywood (H&H) mall. The mall was probably a good 3/4 of a mile from the film processing place. I then walked up and out of the deep bowels of the garage and walked all around, everywhere I needed to go: back to the film processing place to get my finished proofs, back to the photographer’s studio to decide on the headshot, back to the film processing place to get the headshots made, then to the casting agency to deliver the headshots, then back to the mall to have dinner, get validated, and get my car and go home home home!

It was a hell of a lot of walking around – must’ve walked a good five miles in all. Probably more. But it was so worth it; I was so much happier having my Prius safely ensconced in its little space deep in the bowels of the mall. On my way to the casting agency I saw an accident and thought, of course. Of course of course of course. I mean, how not?

Then at the casting agency, headshots finally in hand, while waiting to see the agent, I collapsed onto a couch and nearly fell asleep. Until news of the gunman popped up on the TV and woke me up. And then I remembered the talk of a police shooting in the area at the film processing shop, and I realized, wow, that was for real. I phoned my mom immediately thinking she’d be out of her mind with worry, knowing I was to be in Hollywood that day. But she hadn’t heard the story – she lives in North Carolina. Nor had my dad, who lives in Arizona. I still don’t think anyone outside of CA, outside of LA heard of it.

After giving the agent my headshots, I walked back to the mall, found a nice restaurant for dinner, and sat in a dark corner trying hard to decompress. But it was difficult to do so because it was getting dark outside (ie: after 5) and I started to worry about it being dark and dangerous deep in the bowels of the garage. I tried to hurry and eat. Waiters in LA never rush you, interestingly. It’s so the opposite of NY in that sense. And restaurants are rarely packed, also interestingly, because I always wonder where in the world all the drivers on the streets are going.

Anyway, for some happy reason the mall garage was full of security guards directing traffic. Weirdly, the mall parking lot wasn’t full. There were lots of available spaces. I guess this is another reason why my friend told me to park in mall garages – because others don’t. I thought how nice it would be if there were guards directing drivers searching desperately for parking out on the residential streets and the shopping center parking lots, like the one where I saw the accident. I was glad for their abundance in the mall lot because that meant I was safe.

The mall parking ended up costing me $10 – the maximum rate – even with validation from the restaurant because I was there for so long. But by that point cost was so unimportant. I just wanted to get home. It took me an hour and twenty minutes to drive the six miles back to my apartment because Sunset was blocked off due to the shooting.

This coming week I have at least two places to go during daytime, both of which, thankfully I can take a bus and a bus / subway to. But I have a third thing I want to do as well – and that I may well have to drive to, which I’m kind of dreading. I could take a combination of three buses, which gets expensive because they don’t have transfers here. So, you have to pay $1.50 each time you board, even if three of the rides are going in the same direction, en route to the same destination. And buses most only run once or twice an hour, and most don’t run after 8 pm. The subway runs much more frequently and is pretty good for the areas it serves, but stops on most of the subway lines are few and far between, so you usually need to take a subway / bus combination. And the trains don’t run all night either.

There are things I love about LA. I actually really love Sunset Boulevard – it goes from the east side of LA all the way to Pacific Palisades, to the ocean. I always try to drive home on that street, even when my GPS insists I should take Santa Monica or Wilshire. It’s like the A train in NYC, passing through practically every neighborhood in the city. It has history and soul. It’s a microcosm of the city. I saw a book the other day in the shop of the ArcLight Hollywood cinema (which is at the corner of Sunset and Vine, right where the gunman was). Each chapter was devoted to celebrating one stretch of Sunset Blvd and highlighting some of the ever so engaging characters who live in its neighborhoods.

I don’t know. I guess I’ll get used to the driving and parking insanity. Maybe. I do desperately wish they’d improve the public transportation system though.

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Los Angeles Ballet’s NUTCRACKER, and More Settling Into LA Angst

Last night was the opening of Los Angeles Ballet‘s Nutcracker. Above photo – of my favorite dance – taken from LA Mommy Poppins.) It had its premiere at the Alex Theater in Glendale, and will be showing again there tonight. Then, it’ll travel to UCLA’s Royce Hall in mid December, and will end at the Redondo Beach Performing Arts Center at the end of the month. I find it interesting how the productions here seem to travel around the city, in contrast to those of the NY companies.

Anyway, my new Twitter friend, the wonderful Christopher McDaniel, a dancer in the company, generously invited me. And I’m so glad he did because I was worried I would miss getting my Nutz fix this year. The production was fun. This company is much smaller and you can tell has far less of a budget than the two big New York companies. So no live music, no ginormous trees magically shooting through the roof, no Stella McCarthy-designed costumes. But it was a sweet production, and the theater was really packed – mainly with families, I assume from the suburbs. And the audience really seemed to enjoy it. This ballet is all about pleasing children anyway.

The Alex Theater is quite small and every seat is pretty close to the stage, which is nice for a change from the huge NY houses. I think that up close feeling, the feeling that you’re part of the action compensates for theatrics like NYCB’s magic tree.

Here is my extremely crappy night-taken iphone photo of the entrance, which I loved and found gloriously West Coast with its Art Deco-y design and bright sparkling lights noticeable from quite far away :D

The choreography (by artistic directors Thordal Christensen and Colleen Neary) wasn’t as clever and intricately detailed as Ratmansky’s but it was still very lovely classical ballet. My favorite overall was the Arabian (pictured above). The couple entered the stage with the man holding the woman high above his head in a beautifully snaky overhead lift. The female dancer, Julia Cinquemani, was really flexible and long-limbed and she did an excellent job with the part. She also had terrific stage presence, and I’m not the only one who thought so – they got huge applause at the end.

Of course I loved the Russian dance, as I always do. And Christopher was in that one so it was all the more special! There was no Tea / Chinese dance, which I found refreshing because that one always seems to end up embarrassing me with its ridiculous stereotypes.

I found the mouse costumes splendidly creepy – it’s just that those tails reminded me of an appendage to a costume that I saw recently on an episode of the HBO series Bored to Death and, well, eeeek. And when the mice died they did so with their little legs bent and up in air – so real looking, it made me laugh! Mother Ginger was danced by a man, as in NYCB’s, but here he wore an actual gingerbread house as a costume, his head coming up through the chimney. And little children came out of the house and danced. They were very popular, those kids! I think they had lots of family members in the audience :) No ornery little mouse, as in Ratmasky’s.

My friend was impressed with the boy who played Clara’s little brother, Fritz – Aidan Merchel-Zoric. She thought he was a very good young actor.

All in all, I really enjoyed the production and am so glad I went.

But I think for a while going out is going to be a bit fraught with angst for me, until I get used to things more… So, the performance began at 7:30. At 5:00 my friend who I’d invited, who lives in a beach city, called on her cell phone. She sounded a bit frantic. “Tonya?!” she said when I answered.

“Uh huh?” I answered.

“Um, I’m really sorry and I don’t understand this at all and I really don’t know what’s going on, but I’m in my car and I’m getting ready to leave, and I just typed the address of the theater into the GPS, and it’s telling me my estimated arrival time is 8:20 pm?!”

“Three and a half hours? What?” I was as astonished as she. “I’d think you’d be in Palm Springs in three and a half hours.”

“I’d think I’d be in Arizona in three and a half hours!” she shrieked.

Glendale is in northeastern LA, up over the Hollywood Hills, and so on the reverse edge of town from the beach cities. But come on, it’s like 25 miles. It really shouldn’t have surprised me that much. I spent several days this week driving to UCLA, which is diagonally across town for me, and is about 20 miles away, and I’ve spent about three to four hours per day in my car going to and from. Anyway, she told me she’d try to be there as soon as possible, she’d go on back roads and avoid freeways to save time, but she’d perhaps have to pick up her ticket during intermission. I said no worries, but did worry about her sanity after spending a total of seven hours in her car in one day – which is longer than it takes me to get to Phoenix…

Anyway, she drove through town, avoiding the freeways, and got there in two hours, thankfully.

Then, afterward, we had planned to go to a newish cocktail lounge nearby with this supposedly up and coming mixologist. The cocktail lounge was close but not close enough to walk to. But when we looked it up online it seemed like there was only street parking, which may have been a real pain. We’d each be in our separate cars and it might take me a while to get out of the crowded garage near the theater that I’d parked in, and what if there were no parking spaces there, and I didn’t have any quarters for the meters anyway, etc. etc. We ended up deciding to go to the bar of a chain restaurant down the street, that we could easily walk to. And that bar was all nice and good, and we ended up meeting some movie industry people (I’m starting to realize you meet them everywhere) and discussing various flavored ciders and new caloric menu listings now required by law and how horrid it was for the government to require restaurants to shove in our faces just how much we were consuming, and all manner of interesting things … But it still bothered me that parking angst prevented us from going where we’d originally planned to go – the more interesting, newish place with the supposedly brilliant cocktail mixologist, rather than the chain. That never would have happened in New York (my friend happens to be from NY as well, though she’s been here a lot longer than I have).

We were chatting so, we forgot the time and soon it was well after midnight. When we left the restaurant the street was deserted. We agreed to walk together to the parking garage she’d parked in, then she’d drive me to my car in the garage I’d parked in because I was freaking out a bit about walking through a dark garage alone. It all came out okay, but it made me think, what if each of us were covering the performance on our own – or the opening of the new cocktail bar with a supposedly brilliant mixologist – and had to be out late and had to go to our cars alone…

I don’t know, I guess it’ll take me a while to get used to this new life…

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James Wolcott on Deborah Jowitt in the Seventies

I’ve been reading James Wolcott’s memoir, Lucking Out: My Life Getting Down and Semi-Dirty in Seventies New York (photo above taken at the ArcLight Hollywood Cafe). It’s about his life as a writer in New York and his years working at the Village Voice in the magazine’s early days. (He got a job there after sending Norman Mailer a copy of an essay he wrote about Mailer’s appearance on a TV show for his school newspaper and Mailer went wild over it. It’s so hard to believe there was a time in NY when careers were based on talent and not on pedigree and Ivy League schools…)

Anyway, at the beginning, Wolcott describes several of the writers who worked at the Voice back then. Of course I was very intrigued by his words about the magazine’s now legendary dance critic:

“The dance critic Deborah Jowitt had the fine-boned fortitude of a frontier settler with eyes forever fixed on future horizons; her merciful consideration of even the most flailing effort and her descriptive set pieces suitable for framing set her apart from the tomahawk throwers.”

Apart from his brilliant writing (those metaphors, and adjectives!) I found this interesting because it seems that the “tomahawk throwing” form of criticism is so in vogue these days. I guess because in the internet age, incendiary writing begets comments which beget more readers, or ROI or what have you… I’ve had several people (mostly writers) tell me the problem with my blog has always been that I’m not critical enough – I could never be a “real” critic because I’m too nice, and forgiving of crappy art. Those same people are also critical of other, professional critics for the same. But what’s wrong with “merciful consideration” and rich description? Sometimes it’s far harder to try and find the value in something – to try to figure out what exactly the artist is trying to do and to place that attempt in context and describe why it’s worthy than it is to ridicule it or tear it apart. And description – especially of a largely abstract art form – is damn hard.

I feel Wolcott’s words describe Edwin Denby as well, and when I read his small pieces about dance in the forties and fifties, read together in book form one article right after the other, it’s like they tell a story of that era. I wonder if that sense of narrative would be lost in writing that focuses more on attack than on giving the reader an overall picture of what happened.

Anyway, it’s a really good book – Wolcott’s that is – and makes me miss New York – even though that’s not the New York I know, unfortunately.

Now off to a Michael Connelly reading at a Barnes and Noble that is thankfully more centrally located than blasted Santa Monica (even though I love Santa Monica). I still have to drive though. Am still so not used to driving everywhere. Every time I go out I’m still so inclined to walk or take the subway or bus. You just can’t though. They run infrequently or not at all at night and walking is impossible unless the event you’re going to happens to be right in the same neighborhood – and then you still may be walking a mile or so.

Posted in Dance Criticism / Discussion / Reviews / Blogs, Literature / Books | Tagged , , , , , , , | 2 Comments

Settling into LA II: Santa Monica, Rose Bowl Flea Market, NoHo Arts Festival, and Universal Studios

Here are some more of my recent LA photos. I guess before really settling in, there’s a period where you just have to be a tourist :)

Most of my friends seem to live near Santa Monica, so I’ve been spending a good amount of time out there. Above is the Pier, where Route 66 officially ends.

It’s a bit Coney Island-esque with the ferris wheel and all (which is lit up at night). Not nearly as fascinatingly cheesy though :) And no Nathan’s hot dogs.

The Pier’s very touristy – mainly filled with souvenir shops and restaurants like this one, called Bubba Gump, and named after the movie, Forrest Gump, and specializing in seafood of course.

Here’s the beach.

And here’s the Third Street Promenade (so named because its cobblestoned street, which goes on for three blocks, is vehicle-free), which is also pretty touristy, with lots of chain stores like Banana Republic and Barnes and Noble and Starbucks.

In places though it kind of reminded me of Vienna, with little cafes and wine bars in the middle of the street.

There were also some street musicians.

And a Christmas tree.

I went to Barnes and Noble for a discussion of LA Noir by three novelists of the genre: Denise Hamilton, Hector Tobar, and Scott O’Connor. It was really pretty interesting and made me feel that LA and NY have more in common than not. It made me feel at home, like readings often do, and made me want to pick up where I left off several weeks ago now with my own writing project.

I picked up one of the short story compilations that the writers contributed to, Los Angeles Noir, and also James Wolcott’s new memoir, Lucking Out: My Life Getting Down and Semi-Dirty in Seventies New York, which I’ve been meaning to get since I first heard about its release. Unbelievably, I hadn’t been in a bookstore since Borders closed a couple months ago.

I have to say, visiting bookstores used to be one of my favorite things to do. They’ve always made me feel safe and warm and un-alone, if I was feeling lonely. But they just don’t make me feel that way anymore. This one was pretty empty, sadly, even on an event night – empty both of people and books. It was also pretty dimly lit – making it hard to find the books you’re looking for; it was as if the salespeople just wanted everyone to leave so they could close and go home. I don’t know, this bookstore actually depressed me.

But hopefully cafes and bars will take over in celebrating and spreading literary culture. Here’s a lively poetry reading at a coffee shop called Priscilla’s back in my hood.

Here are a few photos of my trip to the NoHo Arts Festival last weekend. NoHo (North Hollywood) is kind of a bohemian area that, to New Yorkers, I’d liken to Bushwick. There are lots of dance studios (mainly teaching hip hop and jazz, some ballet), acting studios, very small theaters (as in off, off-Broadway), and a few galleries. For the festival, they had these little stations around town where all passersby could contribute to a work of art.

One of the galleries, showcasing art by those working in theater, and some photojournalism.

Here’s a hip hop singer, Brooklyn J., performing on the mainstage with several female backup dancers.

Here’s a band. Music seemed to be mainly punk and grunge.

The arts festival coincided with a little farmers market, which I guess happens every Saturday near the subway. I was particularly intrigued by this vendor, Homeboy Bakery, who has several lines of products (bread, desserts, tortilla chips and salsa, etc.) for sale at both farmers markets and in local groceries, and whose mission is to help young people from troubled backgrounds stay out of trouble by keeping them employed with creative jobs.

I spent Veteran’s Day at Universal Studios. I’m such a tourist! I couldn’t help it. I hadn’t been there in over thirty years. I think the only parts of the studio tour that are still in existence from then are the Jaws and Psycho exhibits!

I couldn’t get a good shot of the phony shark coming up to attack the tour trolley. In this photo, he’s just set off some explosive device and is now coming for us.

On the ride, they show you via the overhead monitors what the scenes that were shot on the sites you’re visiting looked like in the finished movie. Here’s a photo of the actor from Jaws messing about with the mechanical shark.

Here’s the Bates Motel, where they have an actor playing Norman come out, drag his mother’s body about, and eventually threaten guests on the ride.

Here’s part of a set from a plane crash. I forgot the movie… but this is from an actual plane.

I also sat in on a little demo on how they train animals to “act” in the movies. These animals – dogs, cats (cats are the hardest of animals to train because of their independent nature), birds, an adorable little fox, a little monkey, and a chimpanzee, were so sweet and amazingly well-behaved; kind of made me want to be a trainer…

And on Sunday, I went to the Rose Bowl Flea Market in Pasadena, which takes place on the second Sunday of every month. I’d read a lot about this, so just had to check it out. Plus, I needed to get a few things for the apartment.

The amount of crazy stuff there – it was a hoot! Like these old fire hydrants…

And this piece of furniture that looks like it once sat in a museum, or maybe a hotel lobby.

And all these signs. A couple behind me became quite excited over the Jack Daniels one.

I badly wanted one of these Sixties era yellow lounge chairs! But nowhere to put them…

Or this Freudian-looking burgundy couch.

I needed a couple of end tables, so ended up getting this very art deco-looking piece (whose scent Rhea has approved),

and, though I really have no idea what it is, this piece. All I know is it’s small and has an ornate top handle for carrying that matches its legs, and it has a little door that opens up and provides a little container for books, or in my case a CD player and old CDs. I thought it was fun and very very old.

Finally, back in Burbank, here are some cars at the antique car show held in the Bob’s Big Boy parking lot every Friday night.

Okay, that’s all for now. Next, I hope to visit Hollywood Hills… hopefully to see Stravinsky’s house (see Ballet Lover’s comment on my last post!) And on Sunday, I’ll be going to a dance performance – an actual ballet performance – finally! I’ll be the guest of LA Times writer (and Arts Meme blogger) Debra Levine for the live-streaming of the Bolshoi’s Sleeping Beauty starring our David Hallberg. Can’t wait!

Posted in Art / Architecture, Literature / Books, Los Angeles | Tagged , , , , , , , , , , , , , , , , , , , , , | 3 Comments

Finally, Settling into L.A.

Yes – I finally have a decent, stable internet connection and can blog! It’s weird but here you have to kind of figure out what internet speed you need and pay your cable company accordingly. In New York I remember there being only one speed. Weird. Anyway, I think I’m okay to blog now, but I’m still kind of settling in and haven’t seen much in the way of performing arts. I’m hoping that will change this weekend.

Here are some photos I’ve taken so far. I moved out of New York at the end of September, stayed with relatives in Phoenix for about three weeks, then moved to Los Angeles in late October. I’ve been here two weeks now. I really love it. The weather is wonderful: it’s generally warm and sunny with a rainy day thrown in here or there. Temperatures right now are actually low for the season – and highs are in the 60s!

LA is definitely very spread out but it’s not that hard to make your way around – especially with a car. People say New Yorkers take the subway and Los Angelenos (I think that’s the noun) drive everywhere. But I’ve found that’s not necessarily true. I’ve taken the subway twice now, and the buses many times. (In LA the whole transportation system is called the metro, like in DC or Paris). The buses don’t run that often, so if you rely on them you’re probably going to double or triple your commuting time. The subways – at least the red line, which is awesome – run much more frequently than the buses – about every fifteen minutes on weekdays, but they stop running around 11 at night. So you can’t have a huge nightlife. Hopefully, if more people start taking public transportation, the people who run the metro will have incentive to extend the hours and frequency of service.

Anyway, here is the station at the top of the red line, in North Hollywood, or NoHo, as it’s becoming known.

North Hollywood I guess used to be known as somewhat of a gangland, but it’s becoming a burgeoning arts district. There are a few galleries, but it’s mostly dance and acting studios, with some off-off-Broadway-type theaters. And there are some cool-looking clothing stores and cafes and restaurants. My photos of NoHo didn’t come out very well because I went there on one of the grayest days since I’ve been here, but I’m hoping to take better pics over the weekend, when they’re having … an arts fair!

If you take the red line subway south, you end up first in Universal City, which is where Universal Studios is located, then in Hollywood proper, probably the most touristy part of town, but for me important because it’s where all the mainstage, Broadway-level theater is, like

the Pantages Theater, where Twyla Tharp’s Come Fly With Me is currently showing.

And here are some more touristy photos:

You can kind of see the “Hollywood” sign in the background on the hill. I live right over that hill, in Burbank, where many of the studios, including Warner Bros., reside. In fact, I feel like Warner Brothers practically owns Burbank.

You see signs like this everywhere.

But it’s good because you also see surveillance cameras everywhere, with signs warning against trespassers. I’ve been told Burbank is a very safe place, and I think this may be one reason why. Their police force is also supposed to be superb.

But back in Hollywood:

Here is the Grauman’s Chinese Theater, at which many big movie premieres have taken place.

And here’s the Walk of Fame, with all the star names, some of which – many of which – I admit I didn’t recognize at all:

I love my neighborhood, and my building. Here’s a view from my window:

Okay, not the ocean, but I’m very happy with a view of the pool and courtyard!

And I have so much within easy walking distance: my new favorite cafe, which serves a huge variety of coffee, tea and hot chocolate and where there are lots of people rapidly clicking away on keyboards (writing screenplays perhaps?); an even closer Starbucks filled with equally interesting people in case I don’t want to walk that far; a nice Japanese take-out place whose walls are covered with pics of the owner posing with famous people and where I’ve already heard one young woman telling the owner about her new TV pilot in the works; two pet stores; two large grocery stores (I met a hip hop dancer in one of them); one big drug store and another smaller and more homey one; a shoe repair and dry cleaner; a bank; the requisite dive bar (this one with karaoke); the requisite (for me) Mexican restaurant; two theaters – one off-Broadway and one off-off; and countless charming eateries, including the oldest remaining Bob’s Big Boy:

There were once many Bobs’ out west but most of them were bought out by J.B.’s, which is what it was called when I worked there as a hostess as a teenager in Phoenix. But they’ve preserved this one pretty well, and even have a car hop out back (where I guess they serve you in your car, if you like – I haven’t tried it), and they transform the parking lot into an antique car show on Friday nights.

Anyway, I have to go to sleep so I can get up early early early and hopefully avoid rush hour traffic to make my way to the west side for an appointment tomorrow morning. More soon!

Posted in Los Angeles, Personal | Tagged , , , , , , | 3 Comments

Brief Update & Review of Peter Martins / Paul McCartney Collab at NYCB

Hey everyone,

Just a brief update since this motel’s wifi is expensive and not secure: but I now have a car (a cute little Toyota Prius – used) as well as an apartment in LA that I love but that unfortunately won’t be ready for move in for two more weeks. Which means I’m back in Phoenix for the next two weeks, shuffling around between family who have space for me and who aren’t allergic to Rhea and pet-friendly motels. Once I’m settled in to my new place – which, again, I LOVE!!! – I will most definitely resume regular blogging.

In the meantime, I did see the much spoken about new Peter Martins / Paul McCartney collaboration – Ocean’s Kingdom – at New York City Ballet when it premiered a couple weeks back. NYCB has sent me some pictures but I don’t have time to post them now. I will soon! I liked but didn’t love the ballet. I thought the story-line was simplistic and not very compelling and didn’t love the choreography, although there were some good pas de deux between Sara Mearns and Robert Fairchild – the lovers. I very was impressed with Paul McCartney’s ability to create such a rich orchestral score – really lovely. I thought Mearns, Fairchild, Amar Ramasar, and Georgina Pazcoguin all danced very well. Ramasar, who as most of you know is non-white, danced the part of the bad guy… So sigh on that. But he danced very well. For the most part, I wasn’t in love with the costumes, designed by Stella McCartney, except Pazcoguin’s, which was lovely and worked well. I kept worrying Mearns’s was going to come off, an idea my male friend liked and wished would have come to fruition. It didn’t; at least not the night we saw it.

McCartney was in the audience and gave a big wave to the audience when Martins introduced him. He has big, big hair! He doesn’t look his age at all. Martins toasted him not with champagne but with a cup of tea. Alec Baldwin was sitting right behind him in the audience. I don’t recall seeing any other celebs there but I’m sure there were oodles.

Anyway, as I said, I promise to post pictures of that ballet as well as some others from the beginning of the season that City Ballet has sent to me as soon as I’m home and have a secure (and free) internet connection. This afternoon is Charles Askegard’s farewell performance, which I unfortunately won’t be able to see. I hope to see his new company tour LA though, soon soon soon!

Thank you so much for continuing to read my blog, everyone, when I’ve been too busy to post much lately! I very greatly appreciate everyone’s support through this rather huge transition in my life. Thank you again, and will talk soon!

Posted in Dance Performance Reviews, Dancers, Personal | Tagged , , , , , , , , , | 2 Comments

Table of Silence Project, 9/11/2011

Here are some photos I took of the Table of Silence Project, performed on Lincoln Center Plaza this morning at 8:20 in commemoration of the tenth anniversary of the 9/11/01 attacks. It was about half an hour long, was choreographed by Jacqulyn Buglisi in collaboration with Italian artist Rossella Vassa, and used 100 dancers, some from her dance company, Buglisi Dance Theater, and some from other companies and from Juilliard. The dancers were accompanied by a small band, consisting of a drummer, a flutist, a small choir, and a woman with a wind instrument that looked like a handmade blowhorn. I thought it was really beautiful.

Go here to read about the project’s conceptualization. It’s to be performed in other cities as well throughout October.

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“You Are a New Yorker When What Was There Before is More Real and Solid Than What is Here Now”

It’s time for me to post a link to the Colson Whitehead essay that I link to every day this year, from the 11/11/01 “Rebuilding New York” issue of the New York Times Magazine. I can’t resist. It will always be my favorite essay about New York, and it always makes me cry. Usually makes me bawl actually. I don’t think I should read it this year though. It’ll make me not want to leave New York…

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My 9/11/2001 in Photos

Here are some photos I took shortly after 9/11/2001. The first few are of Union Square, where people – mostly young people – were holding candlelight vigils and making art and debating – not arguing, but just talking seriously about what had happened without blame and anger. It was my favorite place to go in those days following the attacks.

The view from Hoboken, New Jersey, where I was living at the time.

You can see some of the Air Force jets that were patrolling the skies for days after.

I went back downtown about a week later to prepare myself to return to work the following week. I worked two blocks away from the World Trade Center.

This is downtown, very close to ground zero.

Buildings were covered with debris and glass from windows and doors was shattered. People were putting up little signs in the windows and writing in the dust.

In the photo above, the flag is draped over the front of the New York Stock Exchange.

The following weekend I saw a man in Central Park playing guitar and singing John Lennon songs. A group of people gathered to listen.

People were trying hard to return to normalcy, by jogging, rollerblading, just taking walks in the park. But I think we were all really shell-shocked.

A photo from 2000. My friend was visiting from Europe and we went to the top of the Empire State Building. You can see the twin towers in the distance.

A photo from 1996. My mom is up in the South Tower’s observation deck looking out at the Statue of Liberty.

I took this picture, of the North Tower, in 1997.

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More Photos of Marcelo With Cisne Negro

You guys, I am so sorry it’s taken me so long to post these when I promised them, what, over two weeks ago?? I had no idea how much went into planning a cross-country move, especially when working lots of overtime… I’ll try to get caught up on blogging this weekend when Hurricane Irene (keep wanting to call her Irina…) will likely prevent me from running back and forth between my apartment and The Strand, Housing Works, Goodwill, and various Williamsburg used clothing stores bearing bags of books and clothes to sell and donate… I think I’m giving away far more than I’m taking with me.

Anyway, here are more photos of Marcelo Gomes and Charles Yang performing with Cisne Negro two weeks ago at the Joyce. And a couple photos of Cisne Negro’s other pieces. All photos are by Matthew Murphy.

I don’t have much time for a review, but briefly: I loved Marcelo’s Paganini (two top photos). There were quite a bit of tempo changes throughout the piece, and Marcelo executed them all splendidly, as did Yang. The two interacted very well together. It kind of reminded me of Robbins in that sense, the playfulness between musician and dancer.

The bottom two photos are of the company in Calunga, the last piece on the program, which reminded me of a combination of Alvin Ailey’s Revelations and The Prodigal Prince, also performed by Alvin Ailey American Dance Theater (though I momentarily forgot the choreographer’s name). Calunga was a combination of very Alvin Ailey-esque movement (much of the program was; there was a section in Flock, the first piece on the program, that was almost the same choreography as in end of the first part of Revelations to a tee), with some balletic movement, combined with authentic Brazilian. Throughout there were so many samba steps, I was in heaven :) The company is very athletic, the men were very acrobatic, many of the women were hyper-flexible, some of their arabesque penchees were quite beautiful. The dancers were definitely remarkable even if the choreography could have been a bit richer. I also liked how ethnically diverse the company is – not all whites like other Brazilian companies I’ve seen tour here, but more how I expect Brazil to be!

Sorry I can’t write more. I have to go to bed now so I can get up at the crack of dawn…

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Marcelo Gomes Rehearsing With Cisne Negro

Review of Cisne Negro and Marcelo’s Paganini coming soon but for now I just had to post this beautiful photo (by Mark Squires) of Marcelo rehearsing with the company.

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Self-Published Success Turned Amazon Poster Girl, Maria Murnane

For you writers and fiction-lovers out there who read this blog, I wrote a profile for the Huffington Post on author Maria Murnane, who originally self-published her novel, Perfect on Paper: the (Mis)adventures of Waverly Bryson (a sweet romantic comedy). After tirelessly promoting the book, and using very clever and original marketing methods, the novel had so much buzz that Amazon picked it up and published it through its publishing arm, AmazonEncore. The book has since been published in Hungarian and German, through Random House, and a film agent is scouting for a film deal. Amazon is also publishing her sequel, It’s a Waverly Life, this November. Ahhh, the success every indie author hopes for :) Here is an earlier review I wrote of Perfect on Paper. And here is my HuffPo profile on Murnane.

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