I know, this is starting to seem like the Pasha & Anya blog… but I just wanted to let people know that they are dancing in the Broadway on Broadway festival on Sunday, September 13th. Broadway on Broadway takes place every year and is basically a day-long series of free outdoor performances meant to highlight the various Broadway shows of the upcoming season. This year’s event is hosted by Michael McKean, who’s starring in the upcoming Superior Donuts, and will include performances by stars of Shrek the Musical, Next to Normal, Chicago, Memphis (Danny Tidwell is not performing though), Mamma Mia, Hair, Finian’s Rainbow, Ragtime, Billy Elliot the Musical, The Phantom of the Opera, West Side Story, South Pacific, etc. etc. — basically practically everything that’s on Broadway right now. Pasha and Anya are dancing a number from Burn the Floor, obviously.

Performances begin at 11:30 a.m. and take place from 43rd to 47th Streets.

If you’re in New York, I just received word that Pasha Kovalev (Broadway and TV star ) will be teaching a workshop at the New York Hustle Congress. The workshop is on  Sunday, September 6th at 6:30 p.m. and lasts one hour. He’ll also be participating in the Congress’s “Hustle with the Hounds” event — to benefit animal rescue organizations — the prior Saturday night (Sept. 5).

Most fun! I’ve been to this Congress before, a few years ago, and it’s pretty happening. There are workshops, performances by pros, pro/am competitions, and lots and lots of social dancing. It coincides with the New York Salsa Congress down the hall in the same hotel, which has the same. Go here for more info.

Also — this just in — Pasha and Anya are going to be on television several times this weekend with Burn the Floor’s creator Jason Gilkison. They’ll be on NY-1’s “On Stage” program, which airs four times throughout the weekend: Saturday, August 29th (today) at 9:30 a.m. and 7:30 p.m., and Sunday Aug. 30th at the same times — 9:30 a.m. and 7:30 p.m.

Finally, Pasha and Anya will appear on Channel 11’s Morning News Show this Monday, August 31st. The show airs 7-9 a.m.  They’ll perform a number from Burn the Floor.

I remember several years ago — maybe five now — sitting in another, much smaller theater on Broadway watching a Dance Times Square teacher / student showcase and nearly falling out of my chair during the all-pro part when my teacher, Pasha (Kovalev), and his partner, Anya (Garnis), danced a West Coast Swing-turned Jive to Tina Turner’s Proud Mary. They also danced a Samba and, if I remember correctly a Rumba and though I’d started lessons with him, it was the first time I saw him dance with her. It was one of those performances where you feel kind of sick afterward because you don’t have a DVD or any kind of recording and you fear you’ll never see dance like that again. I also remember thinking how they should really be on Broadway. I mean, real Broadway, like in a regular theater.

So this is, to make a massive understatement, Surreal!

Several of my friends from Dance Times Square and I went to the Longacre Theater tonight to see our friends made their Broadway debuts in Jason Gilkison’s Burn the Floor. Of course we had to go to the (insanely packed) stage door afterward.

Pasha’s about to give me a hug here I guess I repaid him by flashing my camera right in his face. Oh the endlessly annoying paparazzi…

How gorgeous is Anya?! Posing with my friend Steve and his wife, Ina.

They took over the roles of Maks Chmerkovskiy and Karina Smirnoff and of course they were radiant. I think they worked better with the show size-wise because of that small stage (which Maks was too large for — I love him, but he made it look all the more crowded up there).

If you didn’t read it, see my earlier review of the show here.

I think the dancers got used to the small floor; everything went much more smoothly. My favorite parts remain the extended Swing / Jive section that ends the first half and the two Rumbas in the second half (Peta Murgatroyd’s classic, dance-hall Rumba, and the more contemporary, sensual, half-dressed Rumba by the leads — although I noticed Pasha and Anya wore more clothes in that number than Maks & Karina did ). But … I also like the Tango- turned dual Paso Dobles in the second half. Okay, I like the whole second half (mainly devoted to Latin).

In my earlier review, I don’t think I mentioned Sasha Farber as one of the dancers who most stood out to me. He’s a character dancer, kind of like Craig Salstein, and he has a rather fun part early on during a Jive where he’s trying hard to get the girl and gets carted off, kicking madly, by two men. He’s lively, actorly, and can really move quite fast. And Murgatroyd, which I wrote about in the earlier review, captivated me again, with her long limbs and gorgeous balletic lines. I mean, I really liked everyone; it’s hard even to single people out.

Here is Peta Murgatroyd exiting the stage door, on a bike! Actually, almost all of the dancers were on them. Apparently the show’s producers or someone from the company had given them the bikes so they could get around town more easily. Peta was popular with autograph-seekers too.

Ooh, wonderful night. I miss them…

Oh and this seems to be making headlines.

The Walter Kerr Theater across the street from the Longacre is advertising the show as well. See the arrow in the sign on the right side of the street. It’s pointing across the street. It’s the first time a Broadway theater has ever advertised for another show!

Photo by Joan Marcus, from NYPost.

So this is your last week to see Dancing With the Stars stars Maksim Chmerkovskiy and Karina Smirnoff perform in Jason Gilkison’s Broadway ballroom extravaganza, Burn the Floor.

The show’s really good. It gets off to a bit of a slow start (and I saw it when it was still in previews so maybe now they’ve even worked out those few early kinks), but mid-way through the first act I knew I wasn’t going to want it to end. There’s no through story-line (thankfully — I haven’t yet seen a ballroom show with one that really works); rather it’s a set of Latin and Standard dance routines, some performed with ensemble, some in duos and trios. There’s more Latin than Standard, owing to the small size of the floor.

I never thought until I saw this production how hard it can be to put a dance show on a stage meant for plays. It’s so hard for the poor dancers to really get around and move freely, and that’s my one real problem with the show. They’ve got a band with two huge sets of drums that takes up the entire back half of the stage, which they don’t even really need because much of the music is recorded; the only live players are a couple of drummers and a violinist (along with some singers, who of course don’t stand in one place). In my opinion, if the theater has no orchestra pit, then they should have erected a stage above the floor for the band, like in Twyla Tharp’s Movin’ Out.

Anyway, that aside, they still manage to get a couple Viennese Waltzes and Foxtrots and Quicksteps in there. I do think the Cha Chas and Rumbas and Jives work best though. My favorite part of the first act is the extended Swing section, titled “Things That Swing.” Extremely fast-footed, with lightning fast flicks of the feet and difficult-looking, detailed footwork, the dancers really excel in Jive. I remember from the video too, years old now and with an entirely different set of dancers and choreography – thinking how I liked the Jive the best. Maybe Jive and Swing are simply most entertaining, the Big Band music of the thirties and the fifties so upbeat and recognizable and sentimental, maybe with their flair and tempo their power is the most translatable to the stage and screen, or maybe Gilkison (who’s an former ballroom champ and has choreographed for SYTYCD) just excels at choreographing those dances. But for whatever reason, they always stand out to me as the most entertaining in his shows.

Maks and Karina dance throughout, but they have a gorgeous Rumba duet in the second act that is really one of the high points of the show. They’re both barefoot and he’s shirtless and she’s dressed in a bra and underwear with open shirt and it’s really passionate and sensual. But also, Karina is one of the greatest Latin dancers in the world right now (she and her former partner Slavik Kryklyvyy were U.S. national champs and ranked second in the world the last time they competed together) and because the dance is so slow and she’s wearing so little you can really see the subtle movements she makes in her hips and pelvis and torso. A simple, basic hip twist she did was breathtaking. It’s really worth going just to see her.

And to see Maks as well!  The man is a total hoot, actually. He and his former partner, Elena Grinenko (who’s also been on DWTS) were ranked very high the last time they competed together as well, but more than just a technically good dancer, he’s just a lot of fun to watch – kind of in the same way someone like Vaidotas Skimelis is, or in the ballet world, Marcelo Gomes. He’s a huge man and he just eats up the stage (especially this one) with his body alone, but he’s got so much personality and character and charm. Even just watching him interact with Karina and watching him concentrate — you can see it on his face, in his eyes! You can see how much he’s trying to be a good partner and make her look good and it’s just so incredibly endearing!! I honestly fell in love with his dancer persona like never before watching this show.

Seeing him also reminded of my friend, Sharon. He was one of her favorites on DWTS. I think I will always think of her whenever I see one of these dancers.

The other real standout in the show was Peta Murgatroyd. Well, there were several dancers I really liked — Kevin Clifton, Gordana Grandosek, Giselle Peacock — but Murgatroyd stood out because I could tell right away she had a great deal of ballet training and that, along with her height and long limbs and flexibility just gave her really gorgeous lines. She kept doing these mouthwatering arabesques.

Murgatroyd’s the blonde woman in the middle in this photo by Sara Krulwich, from the NYTimes.

The whole time I couldn’t help comparing the show to those put on by Tony Meredith and Melanie LaPatin (who are my friends). Theirs are much smaller in scope, showing for only one night and mainly highlighting their studio’s (Dance Times Square) students, along with the pro dances who currently teach or have taught at the studio. Lately, they’ve been branching out and getting some of the stars from So You Think You Can Dance (which of course they choreograph for) to perform. But to me the most intense numbers that just make me nearly fall out of my seat are by Pasha & Anya (Kovalev and Garnis, also my friends), and top U.S. Latin pair Eugene Katsevman and Maria Manusova. I kept wondering what Burn the Floor would look like with one of those couples.

So I was just a bit ecstatic to find out the the former are to take over the Maks & Karina roles beginning August 18th I simply CAN’T WAIT!!!

Photo from fanpop.

I’m happy for her — she definitely had her moments of brilliance, and I do think overall she did the best, most original solos of the season.

The rest of the So You Think You Can Dance results were: 4th Kayla, 3rd Evan, and 2nd Brandon.

Seeing Janette dance that Doriana Sanchez disco with Brandon made me want to see her again. I do hope we see some of these dancers again, and not just on the show but out in the world. As Jonathan commented on my Pasha & Anya Burn the Floor post, it seems like season three contestants have done well on Broadway, happily. I really liked Janette and Evan, so I hope I will see the latter on Broadway as well, and perhaps the former in a travelling ballroom show?… I will try to find out what’s going on with Sabra and Cedar Lake.

I think the other star of tonight was Louis van Amstel (above image from here), with all of those routines he choreographed throughout the season — the waltz, the samba, the paso — being chosen by the judges for encore perfs. And yeah, they were all really memorable, now that I see them again. Let’s see him do a Broadway / travelling ballroom show in the near future! C’mon Louis.

I really wish they would have had other dancers / dance companies perform tonight rather than have so many encore performances. How about some Alvin Ailey, ABT or San Fran Ballet, and maybe some fun small modern dance companies like Keigwin + Company? And maybe some top ballroom dancers as well, or some more America’s Best Dance Crew winners? I loved seeing Desmond Richardson perform earlier in the season and then, bam, that was it — no more outside dance. I would think audiences would really want the chance to see what else is out there rather than see so many repeat routines, flashbacks to the dancers’ auditions and interviews, and previews of next season, right?

Fun seeing Pasha and Anya again, huh!

Janette is really becoming my favorite dancer. I love her because I don’t think there’s really anything she can’t do (except maybe a ballet routine on pointe, assuming she’s never had training in that, and I don’t think she has). She doesn’t seem to have any real training — she’s just Cuban, just born with dance in her blood and is working her butt off and excelling at every blasted thing that gets tossed in her way. I always like rooting for the underdog And we haven’t had a female ballroom winner on the show yet, right? It’s time, it’s time!

Okay, so I obviously loved both of Janette and Brandon’s routines — that kickass Argentine Tango (were those lightening fast, razor sharp kicks and flicks and hooks and gauchos not to die for? Not to mention her gorgeous lines in all the lifts and poses and just the power and passion of it all); and that killer Wade Robson Jazz dance (I love how both were very loose and rubbery but still had very solid form; it was very Rich Man’s Frug and now I see what we missed last week with Evan and Randi’s performance).

My other favorite couple is Melissa and Ade. That disco! Can Ade move or what?

Continue reading ‘SO YOU THINK YOU CAN DANCE WEEK FIVE: GO JANETTE!’

(photo by Lauren Duque)

I was out of town and unable to attend the recent Dance Times Square showcase, Ballroom Unleashed (my first time having to miss it since I stopped dancing there), but writer D.J. McDonald was kind enough to cover it for me. Because it’s easier (too many problems pasting from Word to Wordpress), I am just going to link to his own blog, where he covered it as well. It’s here.

(photo of Murder at the Masque, by Julieta Cervantes from NYTimes)

On Friday night I saw Dances Patrelle, who is celebrating its 20th anniversary, to see their Murder at the Masque: The Casebook of Edgar Allan Poe, a world premiere, and Come Rain / Come Shine, a revival from 1986, both choreographed by artistic director Francis Patrelle. Funny, it’s the first time I’ve ever seen anyone besides Dance Times Square perform at the Danny Kaye Playhouse at Hunter College, so, I was a slight bit confused throughout the evening because of that. I couldn’t figure out what Marcelo was doing on the stage instead of Pasha and what people were doing in pointe shoes instead of Latin stilettos… I guess it’s fitting I brought with me my ballroom friend, Mika.

And I’m so glad I did. She had a blast. Said it was some of the best ballet she’d ever seen. AS I KNEW IT WOULD BE!!! Said Marcelo was very Slavik (as in Kryklyvyy, as in man drama queen total show-off show-stealer, as in I’m totally predictable in my taste in male dancers whether it be ballet, ballroom, or whatever style. Oh well…)

Anyway, Murder, on first, was a dramatic ballet murder mystery that was interestingly told. The figure of Poe seemed to be writing the story as we were seeing it, from afront a scrim, and it seemed to me he was changing things throughout. I’m still not sure who committed the murder in the end (but that may well be because I was so excited about the second piece of the night). It had an air of Balanchine’s La Sonnambula about it — unsettling, foreshadowing tragedy, and set at a ball and in the same period — and Patrick Soluri’s music set that tone perfectly. Matthew Dibble, guest starring with the company (he’s danced with Twyla Tharp’s company), danced the lead very well, expectedly.

(photo of Marcelo and Maria in Come Rain / Come Shine by Jade Young)

Second on was Come Rain / Come Shine, Patrelle’s longish but lovely set of dances for three couples set to a group of Judy Garland songs. Sorry I’ve posted that picture above about 10,000 times on this blog; it’s the only one I have of that dance All six dancers in that ballet were guesting from ABT: Roman Zhurbin (ballet god) and Gemma Bond danced the first, youngish, romantic couple; Isaac Stappas and Kristi Boone (who BLEW ME AWAY) danced the second, more mature, argumentative couple; and Marcelo Gomes and Maria Riccetto danced the third couple, consisting of cocky, taunting, teasing, out-of-control man and the poor woman whom he’s got his eyes on. Of course Marcelo had to have the cocky part, and his role, which was very “That’s Life” from Tharp’s Sinatra Songs, consisted of him flying all about and around her, doing every trick in the book — ginormous jetes, Balanchinian continuous twisty jumps, turns and turns and jumps jumps jumps galore — which of course I love Oh, and Maria’s tiny, so he did a bunch of the one-handed assisted pirouettes he often does with Julie Kent that drove the audience here WILD. The guy behind me was seriously orgasmic. Mika and I were giggling throughout, and finally, on the last assisted pirouette, I just burst out laughing.

What would the world be like with no Marcelos? Ballet would just not be fun. To say the least.

Roman was Roman — not doing a thing wrong, everything perfect, perfect form, perfect precision, perfect acting, just sheer perfection.

Gemma was likewise perfect and Isaac was strong and Maria sweet.

(headshot of Kristi Boone from ABT website)

But it was Kristi who really blew me away. Where did she come from?! I guess I’ve never really seen her up close before … well, I did notice her before — in Tudor’s Jardin des Lilacs, which ABT put on in their Tudor centennial celebration last season — she danced the role of the lover of the man betrothed to another and she danced with such longing for him and anger at the situation and beautiful composure in the face of despair. But time got away from me and I never had time to write about that performance… Well, she had a similar character here: a woman fighting with her man, seemingly not able to fully trust him, not wanting to give herself completely to him for that reason, but unable to stop loving him nonetheless. She and Isaac (who happen to be real-life husband and wife) are really the emotional centerpiece of this ballet and she acted it with such intense emotion. She made me feel everything her character was feeling, really took me to that place. And she made such amazing shapes with her body! Isaac kept throwing her into these overhead and waist-high fish positions and she’d raise her arms up and curve them over, turning her head to face the floor. At times it looked like she was letting him lift her but was also rejecting him, couldn’t bear to look at him. At other times, she kind of looked like a dove, and in a way she was trying to make peace, so the image made sense. So she didn’t just make original, remarkable shapes; she made shapes that had meaning, and were also original and cool.

And also, her feet and legs — such strength! Her feet were almost like Veronika Part’s her points were so pronounced!  If I was a ballerina I’d want people to notice that — strong feet and legs. I wouldn’t want to look like I was floating through the air like a feather, I’d want to look more strong and toned and powerful, like my legs were carrying me through the world. Anyway, I am a new Kristi Boone fan, needless to say.

It was an intoxicatingly rich evening and I felt like I always feel when I leave the Kaye Playhouse after seeing divine dancing: deliriously high, and then kind of sad…

Sorry, I think I’m a little off on the weeks! Probably because of the double elimination week.

I’m late with my post tonight because I went to an event at Barnes & Noble. Francis Patrelle is a SWEETHEART! I can’t wait to see his company later this week now; such an endearing personality. Seriously, one of the most personable choreographers I’ve heard speak!

(I wasn’t able to take any pictures because my camera battery went dead, but Scott Schlexer, Marcelo’s representative, who was also there, kindly sent me some of his!)

Marcelo was there, Maria Riccetto, Cynthia Gregory — looking very regal! — I love how she holds herself — and several Dances Patrelle dancers and people involved in the upcoming production at Danny Kaye Playhouse. Writers of books dances are based on, composers, and even the songwriter of the Judy Garland song that Come Rain / Come Shine is danced to. He even played piano and sang, and he was very good!

(Marcelo and Maria in Come Rain / Come Shine, photo by Jade Young.

Marcelo didn’t talk much, but when he did I could hardly focus on what he was saying because … who told me he had no accent! Haha, he TOTALLY has an accent! And his voice is a bit higher-pitched than I expected. He actually kind of sounds like Pasha, except with a Latin, not Russian accent. Not an American accent! Anyway, I remember him saying he liked dancing with Maria — that she’s very light. Oh gawd, Francis Patrelle introduced Marcelo by saying he dances with all these huge ABT women! At first I thought he meant in stature, and then he made it clear he meant in size! I was dying, though no one else seemed to be. Patrelle is a total joker anyway — he says he loves to joke around in rehearsal, and it’s clear. So, he said, Marcelo’s used to dancing with all these large women, so I gave him tiny Maria, and he really throws her around that stage with ease — something to that effect. So then Marcelo nicely said something about how wonderful Maria was to dance with. Aw.

(from right to left: Marcelo, Maria, Cynthia, and Francis Patrelle)

Marcelo also said his favorite ballet is Giselle. I know he really meant to say Romeo and Juliet though, and Swan Lake. Not Giselle! No, again Patrelle set him up for it by introducing him as just having guest danced in St. Petersburg with the Kirov, dancing Giselle with Diana Vishneva

Maria seemed rather soft-spoken. But very sweet. And definitely tinier than Veronika Part and Stella Abrera and Michele Wiles and most of the other larger-than-life ABT ballerinas. Funny she doesn’t look that tiny onstage though.

And Cynthia Gregory (retired ABT prima ballerina, who staged the piece Marcelo and Maria are performing with DP this weekend), sat in the middle of the group, exhibiting excellent ballerina posture and stately demeanor I want to be Cynthia Gregory.

(Marcelo saying something very important )

(Marcelo and Maria “waiting in the wings” while children dance and others have the stage. Thanks again to Scott for the photos!)

Okay, on to Dancing With the Stars. Anyway, this will be a bit out of order because I started watching during Derek and Lil Kim’s Jive. So:

Derek and Lil Kim Jive: Hmm. That song: Elvis’s Jailhouse Rock; when I first heard it, I thought, that’s the hardest song to Jive to — it’s way the hell fast for an amateur; is he nuts? But now I see why it worked: Len’s right — they didn’t dance a lot of Jive! A lot of posing and posturing, a lot of too grounded step kicks with no proper snap and jump — they hardly came off the floor! But that opening set of pivot spins was gorgeous. Those are hard and she deserves major kudos for doing those perfectly!

Continue reading ‘DANCING WITH THE STARS, WEEK WHATEVER: JIVE AND RUMBA — Update With Marcelo Photos’

Okay, so I made sure I saw it tonight. Eh, yeah agree with people saying it’s rather boring (see comments on first post, below). Something about the television just kills some forms of dance, unfortunately.

I loved Maria Kochetkova (who is currently with San Francisco Ballet) dancing the Kitri solo from Don Quixote, but it was so disappointingly short! And somehow ballet doesn’t always translate so well to the screen. But I loved that the judges recognized what a great technician she is and all gave her high scores. I thinks she was second of the solosists.

Continue reading ‘Superstars Night 2′

On Kirven Boyd! I usually end up with a horrible mad crush on one dancer per season and this year it’s him.

(Photos by Paul Kolnick all from Alvin Ailey website, above Kirven on left, Matthew Rushing on right)

Of late I’ve seen him dance with beautiful precision the third man in the quick-paced balletic “Solo” (top photo; I wrote about the piece here); the body-shaking “flag man” possessed by both spirit and rhythm in “Wade in the Water” from “Revelations;” the soft jazzy / modern solo at the opening of “Love Stories;” and the other night he was perfectly frightening while somehow managing to be charming as well, as the leader of the thugs in “The Road of the Phoebe Snow” (which I wrote about here). (Another thing I noticed, that I love about “Phoebe”: the ‘bad guys’ are wearing white and pink.)

“Love Stories” by the way is a dance in several parts with styles ranging from jazz / modern to hip hop, co-choreographed by AAADT director Judith Jamison, modern choreographer Robert Battle, and hip hop guru Rennie Harris. Music is by Stevie Wonder, and I think the title refers, basically to one’s love affair with dance. My favorite part is the beginning solo. Go here (scroll down to Love Stories) to see some excerpts. Clifton Brown is dancing the solo in this video. He’s been my crushee in years past, but I feel like now that he is so famous and every critic in the country and beyond is drooling all over him, it’s a little boring to have him as your favorite! That said, I thought Clifton was absolute magic a couple of years ago and I noticed this season he’s improved even further which I wouldn’t have thought possible. I do think he’s developed into one of the greatest dancers in the country now and it goes without saying you must see him dance if you ever have the chance!

On Thursday night, the company also premiered “Unfold” by Robert Battle, danced by Clifton with Linda Celeste Sims, this season’s royalty, as they seem to be dancing in just about every premiere. It was a very short pas de deux (only five minutes long), but beautiful. Danced to an aria brilliantly sung by Leontyne Price, it’s about, Battle says, the first meeting between a man and a woman. To me, it seemed to tell the story of a man’s discovering and becoming impassioned by this magical, ethereal creature. The curtain opens on Sims doing this breathtaking, and impossible-looking back arch, with no support, just on her own two feet. The position of her body and the way the fabric of her gown drapes in back, it had a spiritual, mystical feel. She looked otherworldly. Clifton sees her in the distance, becomes taken, approaches, pulls her to him, “unfolds” her, perhaps. They make various shapes together, her body alternating between convex and concave. At one point she’s on the floor, her torso and legs in the air, balancing only on the small of her back. He lunges over her and pulls her up; it’s beautiful. But too short! I do want to see more by this choreographer; his rep sounds very interesting. And Kirven danced with his company previously!

Perhaps another reason I like K: he participated in one of the company’s little Saturday post-show matinee talks I saw.

Sorry so dark; I didn’t want to use the flash. He’s in the white shirt. He was so cute talking about his training in Boston and with Ailey II (their studio company), giving little kids advice and signing autographs, etc. I think dancers should participate in more things like this so the public can get a chance to know them. That’s why Danny Tidwell, and Pasha, and Maks and all the DWTS dancers became so popular — of course they’re very skilled and charismatic dancers (people wouldn’t be so into them if they weren’t), but the public also got the chance to know them a bit outside of their dance lives by watching them chat about themselves and interact with others on TV shows. Not everyone can or will want to go on TV, but with the internet, everyone can blog a bit. I know, dancers hate blogging. There are still so few. The Ailey company has two blogs — written by dancer Matthew Rushing and choreographer Camille Brown, but they’re not proper blogs since there’s no comments section, so you can’t interact with them, and they’re very seldomly updated anyway. And you need to join Ailey’s e-club even to access them, which is very easy to do and free, but it prohibits bloggers like me from linking or anything.

Anyway, more on this later, I’m late for a ballroom competition!

Oh what to get Jacob and Pasha for little holiday gifts?… What to get, what to get? I hate getting presents for people — I suck at figuring out what would be just the right thing!

Chimene, from the Winger board, posted the above pic of our favorite male dancer and I asked jokingly if it came in steel (dance belt, not David Hallberg) for my teachers (b/c of my little problems). Chimene suggested I buy this Harmonie Impact belt, which is currently on sale, and have it bronzed, like baby shoes. He he he, I love Chimene — what would the Winger board be without her