Hooray, David and Marcelo Tickets Have Arrived!

ABT season ticket envelope

Very happy to receive in the mail today my American Ballet Theater Met season subscription tickets! Well, they haven’t printed the tickets out yet, but they sent me a letter confirming that I got the series I wanted. I had a subscription last year, but when I went to renew it, realized there were different dancers performing on the nights of my old subscription, and some ballets that I wasn’t too keen on seeing, so I called and asked them to change the series to a different night. They told me they would try hard to accommodate me but couldn’t ensure I’d get the same seat on the new night. But, according to the letter, they were able to give me what I wanted — I’m up front to the side near the curtain on my new night, which will include: Othello starring Marcelo (and Julie), Sleeping Beauty, Romeo and Juliet (Marcelo and Julie again), and Cinderella with David as the perfect Prince Charming. Only thing is, I just realized I’m supposed to be reading from my novel at the Writers Room reading series at Cornelia Street Cafe the night of Romeo and J, so will have to exchange that one (believe it or not, my novel is more important than Marcelo 🙂 ) … which is okay, so I’ll see a different Romeo — maybe that’s a good ballet for Jose

Anyway, when I first saw the envelope, I immediately had this weirdly dream-esque thought that ABT management was writing me to say, no, you can’t have your Marcelo tickets; you hold him to too high a standard in his real life… ABT is in Paris / London on tour right now and I saw him going to a strip show in another ABT dancer’s blog and became really kind of disgusted and commented on how I felt, upsetting the very sensitive blogger. I know I may be weirdly old-school / pre-postmodern feminist for my age and all, but I just find any kind of strip show reductive of and demeaning to women — whether it’s burlesque, a Vegas-style thing, or some greasy bar, I just do. And to see a favorite dancer of mine doing something I abhored really made me not want to know very much about him, and wonder how much I want to read that blogger’s blog anymore… (so odd for a gay man to be at a female strip show anyway…). I mean, weirdest thing I think is seeing a celebrity you so admire doing something normally private on the internet. Eh, I’m over it. I still love Marcelo and probably always will, unless I see him killing a small animal or something…

Anyway, apropros of my post about having too many gay friends and not enough romance, and intrigued by my experience at the last LVHRD event (which I, badly, didn’t think to invite her to), my lovely friend, Kathy, in an effort to make good on my promise to go with her to the next LVHRD event, sent me this link. Apparently, the next one is to be some kind of dating thing. Ugh, why!!! Why can’t it be another dance-off or paint-off or fashion or architectural duel — dating stuff, blah!

Death in Venice — the Ballet

 

Thursday night I went to see Death in Venice, performed by the Hamburg Ballet and choreographed by John Neumeier, at the Brooklyn Academy of Music. I loved it so much; it was really one of the most beautiful contemporary ballets I’ve seen. It was really just my thing: a ballet based on a modern, relatable, familiar story, told beautifully through movement. Based on the novella by Thomas Mann, its theme is the opposition between the intellectual and the sensual and the inner conflict that produces for the artist who must inhabit both worlds in order to create meaning from lived life. And of course underlying that theme is the implicit motif of societal repression and oppression of homosexual desire.

Funny, Sloan went to see it opening night, the night before me, and posted her thoughts in the Winger, which of course I read enthusiastically upon returning from BAM (because, badly, I often surf the net at midnight on a work night…). Was so excited I had to comment like a nutter on her post, leaving me with little to say now! What’s interesting to me though, is how dancers notice so many of the small details that make up the overall production and dance-going experience — subtleties I never would have seen– such as the sets, the lighting, the choreographer’s use of the stage, the music, the theater itself. I mostly notice only the dancers and how well I think they convey their roles. So, visit the Winger for all of those aforementioned interesting details, as well as some more lovely photos, and even a little tidbit on audience celebrities!

Anyway, I’d never seen this ballet before and when I received the flyer advertising it, I thought how in the world are they going to convey through dance a writer stifled by over-intellectualizing his work? Well, Neumeier does that by making his Aschenbach, Mann’s protagonist, into a choreographer. Lloyd Riggins compellingly depicts the tormented choreographer, while Tadzio is portrayed by this stunning Russian dancer named Edvin Revazov. I attended a pre-performance discussion between Neumeier and dance critic Anna Kisselgoff, and Neumeier related that he’d found the dancer at the Prix de Lausanne, a huge ballet competition in Switzerland. Apparently, Revazov did not do very well in the classical part of the competition, but then totally blew everyone away during the more modern improvisational portion. You could definitely tell in Revazov’s dancing that he excelled at modern. And one thing I loved about this ballet was that it incorporated both classical and modern, sometimes danced side by side, very dramatically, very beautifully. The beach scenes when Aschenbach first sees and becomes enamored with Tadzio were choreographed just beautifully, as were the pas de deux between those two men and the pas de trois between Aschenbach and other males — so gorgeously sensual. Revazov completely captivated me whenever he took the stage, and, gorgeous Russian man though he was, he captured the essense of the frivolous, playful, carefree 14-year-old to a tee. There’s also a scene where cholera grips the city, and the dancers’ jerky smasmodic movements were strikingly disconcerting. There were a few moments of corniness (the dancers wear these animal-skin prints during an orgiastic dream scene; I thought nude-colored clothing would have been more sensual, not to mention subtle, and later in the cholera scene, two agents of death are made up as Gene Simmons and Paul Stanley from the 70s rock band, KISS), but overall it was just so sublimely realized.

Funny, though — there are so many beautiful, beautiful men used the ballet, that I (and another blogger) kept imagining how ABT dancers would interpret it. I imagined Jose Carreno as Aschenbach and either David Hallberg (as if I really need to link to him 🙂 ) or Jared Matthews as Tadzio. Ahhhh, wishful thinking, as I’m sure ABT would probably find it too risky to touch, unfortunately. Come on, Kevin, take a chance, pleeeasse!!!

I also kept thinking I was seeing Evan McKie (of Stuttgart Ballet, and the Winger :)), as one of the dancers on whom Aschenbach was trying to choreograph at the beginning. But, alas, it was just the German connection … and my fanstasizing about someday being able to see him dance… 🙂 Reading his Winger posts (and eyeing his gorgeous pics), he sounds so fun, so goofily charming, and Stuttgart fascinating (I do think the Winger is not just bringing audiences closer to ballet, but sometimes creating stars itself!) Evan, btw, also happens to have the most brillant MySpace page I’ve ever seen 🙂

Anyway, I posted this too late and now Hamburg has left NY, so if you missed it, you’ll have to wait till they come around with it again … hopefully, hopefully in the not too distant future!

Bad Gay Friends!!!

I was going to blog about this, but Jennifer beat me to it! Ha ha! Time Out New York‘s cover this week features a fat, fluffy, very cuddly-looking, female-friendly kitty, with the cover story, “Why You’re Single (And What You Can Do About It).” Inside, they list a plethora of reasons for that conundrum, one of which is titled “Because you’re a straight woman who only goes out with her gay friends.” I found it kind of funny that this reason is listed nearly half-way through, and not at the top of the article (this is a NYC magazine after all — don’t a great many women suffer from this here!!!) Anyway, Katharine Rust, who wrote the little piece under this topic, which contains ideas for bars, restaurants and events where such a person could go to to meet Mr. (Straight) Right, begins by noting: “A gal would be crazy NOT to surround herself with fabulous-looking guys who are quick to tell her she looks marvelous, but…” And I started thinking, hmmmm, I don’t get told I look “marvelous” all the time. Hey man, I’m being cheated out of romance AND compliments! 🙂

Get Ready For Rhythm!

Emmanuel and Joanna  So, tonight is the American Rhythm Championship portion of America’s Ballroom Challenge (for New Yorkers, that’s Channel 13 at 8 p.m.; check here for local PBS times outside of NY).

Although I’m a student of International Latin, this is one of my favorite competitions to watch — at least live. The crowd really goes wild (more so than for the other competitions, for some reason) — there’s so much shouting and cheering for your favorite, and because of that, the dancers really put on quite a show — in addition to exhibiting their brilliant technique to the judges of course!

Above is my own personal favorite, Emmanuel Pierre-Antoine with his partner Joanna Zacharewicz. In addition to their amazing speed and precise footwork, they are great fun to watch because they exude such character in their routines. Before he left my studio to teach elsewhere, I had the very serendipitous opportunity to take a couple of lessons with Emmanuel. I can say, in addition to being a fabulously fun dancer to watch, he is also one of the best teachers I’ve ever had. When I first started, I used to dance primarily on the balls of my feet, rarely putting my heels down. I longed to emulate that light, weightless feathery look of the dancers I so loved. Of course, as a result, I’d frequently lose my balance, especially on turns. Emmanuel taught me really to feel the floor, to connect to the floor more than anything else. I also used to make the stupid mistake of trying to sense the air more than the floor. I know this sounds ridiculous to an experienced dancer, but I think when you’re a beginner, and you go to the ballet (or other dance performances) all the time, it looks like the dancers are just flying through the air, so you tend to want to imitate that in your dancing. But of course they are not connecting to the air since the air can’t support you. “Real dancers ALWAYS knows exactly where the floor is … we need the floor, we are not birds!” he would always say. The bizarre thing is, as a warm up, or sometimes in the middle of the lesson when he could tell I was forgetting to sense the floor, he would stop what we were doing, go into a closely held “closed position” with me, and just make me do salsa basics until he could tell I was back in touch with the floor again. He’d close his eyes, would tell me to feel the floor … not by stomping or dragging my body weight down into it; just by feeling it with my toes. I don’t know how he did it, but whenever I forced myself to feel the floor, simply by focusing my brain down there, he would know it right off. And he’d also know right away if and when I took my mind elsewhere. Weird! Anyway, whenever I see him at competitions, he always goes out of his way to say hello and ask me how I’m doing, how I’m progressing with my dancing. He’s such a great guy! And such an amazing dancer — he totally deserves to win!

However, these two below, are the couple most favored by the powers that be:

Tony and Elena

They are Tony Dovolani and Elena Grinenko. Tony is probably the most famous ballroom dancer, as he’s been on “Dancing With the Stars” for three seasons now, leading Stacy Keibler to her near victory two seasons ago. He also had a role in the American version of “Shall We Dance,” playing the “mean Latin dancer” who pulls off Stanley Tucci’s wig during the competition. He and Elena are the current reigning American Rhythm champs and will likely win this one as well.

Felipe and Carolina

Above is another favorite couple of mine, Felipe Telona and Carolina Orlovsky-Telona. She has an extensive ballet background, and is such a beautiful dancer, making gorgeous lines. And he is a big, handsome guy who just whisks her around the floor. Charming couple!

This is the first year they’ve opened this competition up ‘to the world,’ which means that you don’t have to reside in the U.S. in order to compete. Because of that, and because some couples are no longer competing (sadly, my former teacher, Luis Grijalva and his partner Anya Fuchs), there are some couples who made the finals, whom I haven’t seen much of before. The above photos are ones I’ve taken myself at various competitions, but these below, I’ve taken from the ABC website:

Evgeny Dyachenko and Inna Ivanenko (whose showcase, judging by the above pic, looks fun!)

Decho Kraev and Bree Watson (who apparently are from my hometown — or nearby anyway — Tempe, AZ), and

Michael Neil and Danielle Wilson.

Should be a very fun night — Rhythm always is 🙂 Here are a few more of my favorite photos of the competitors. Enjoy!

Also, Terpishore Musings has posted a YouTube clip of Emmanuel and Joanna’s showcase exhibition performance from last year. Check it out!

A Beautiful New 'Samson'!

Joaquin!

I just received a copy of this week’s New York magazine (which seems to have a pretty interesting cover article about the ‘freedom’ of revealing too much info on the internet). I flipped to the back cover and saw that the newest Samonsite model (at least that I’ve seen) appears to be none other than the superb (not to mention gorgeous) flamenco dancer, Joaquin Cortes! Funny, I’ve never paid much attention to advertising, but put a dancer in your ad…

On another note, how sweet is it to know that, even in big ole huge New York, through talent and hard work you can be recognized by the powers that be!

Lawyers … And Everyone Else

This Wednesday night, the New York City Bar Association is holding a panel discussion on how to promote your law firm through a blog. Bill Gates, the e-flyer notes, says the value of websites and email distribution is declining, and blogs, with their unique RSS technology, are the future of internet business. To be discussed are such topics as how to implement and market a blog, the ethics of blogging, how lawyers have bettered their reputations through blogging, and the value of RSS feeds and other blogging functions.

I’m uninterested in learning how to promote a law firm through a blog, but am intrigued by the discussion because of my general interest in Long Tail trends, and of course my personal interest in blogging.

This panel discussion happens to be given for CLE (Continuing Legal Education) credits as well. New York attorneys need to earn a total of 24 CLE credit hours every two years, so the Bar Association offers several CLE programs throughout the year and gives its members a discount on them. Being a public interest lawyer, discounted though they may be, I still can’t afford the Assocation’s fee for the credits, so I earn mine either through my job (which gives the classes to its attorneys for free) or a criminal defense organization in NYC that makes them available to government and non-profit lawyers either for free or for a nominal fee.

Anyway, I’ve already earned all of my credits for my upcoming registration, so I’m not interested in attending the program for credit. So I called the Bar Association to make sure it was okay if I attended either for free or for a nominal fee since I did NOT want the CLE credits, and was told that I couldn’t attend unless I paid the full amount for the panel discussion — $195 for members, $305 for non-members. This is a 3-hour-long program. I re-emphasized to the person I spoke to that I did not want any credits, I merely wanted to sit in, and she repeated that I still had to pay the entire fee.

Media Bistro, a professional media arts guild here, and the Women’s National Book Association, an organization promoting women and publishing, have both held similar panel discussions. For theirs, Media Bistro charged $25 for members, $30 for non-members, WNBA’s cost was $0 for members, $10 for nonmembers. I understand charging a slight bit more if you’re going to have panelists who will give you workbooks and very specific step-by-step how-to’s, but the panels I’ve attended there have been just as general as the ones I’ve attended elsewhere (ie: people talking about their own personal experiences and successes). Plus, if you’re actually going to buy the Association’s “materials” there’s a separate charge of at least $100 more. And, they haven’t even mentioned who the panelists are going to be. I don’t understand. Does anything really justify this difference in cost?

America's Ballroom Challenge, and Craig Salstein!

Not that the two have anything to do with each other, well of course other than the fact that they’re both about Dance (and the two styles that I happen to Lurve 🙂 ) and they both happened today…

First, Oberon just informed me that Craig was promoted from ABT corps dancer to soloist!

(Above with Marian Butler in “Rodeo” — photo is from ABT website, by Gene Schiavone)

Hooray for him! He’s such a fun and charismatic dancer — always puts so much energy, attitude, and character into everything he does. It’s obvious how hard he works and how much he loves what he does, so I think he is extremely deserving. Embarrasingly, I have to admit having mixed up his name before — oops! — but I definitely know him by face! I greatly enjoyed his performances this past season in Rodeo and Fancy Free (one of my favorites, and one in which he really held his own next to the biggies 🙂 ). He has a very big dance personality, and of course, that’s what I often go for 🙂 … can’t wait to see more!

Okay, on to America’s Ballroom Challenge, whose second season premiered tonight on PBS.

Above are Ben Ermis and Shaleen Archer-Ermis, American Smooth competitors, who won the first round tonight.

Well, I liked the new breakdown in the way they’re broadcasting it this time around. Last year, they just had two one-hour episodes: the first hour was the regular ballroom competition (where all six finalist couples are dancing together on the floor, competing in technique) for all four dance styles (American Smooth, American Rhythm, International Standard, and International Latin); and the second day was the showcase competitions (one couple on the floor at a time doing a choreographed free-for-all routine with lifts, competing in showmanship and performance quality) again in all four categories. This time, instead of lumping all of the dance categories together each day, they’re breaking it down and devoting one full hour to each category, and are then spreading the entire show out over 5 hours / days.

So, tonight’s competition was all American Smooth (couples competed in foxtrot, tango, Viennese waltz, and waltz). The first half hour was the regular ballroom comp; the second the six finalist showcase routines. Next week will be devoted entirely to American Rhythm (mambo, cha cha, rhumba, swing, and bolero), the following week to International Standard (slowfox, waltz, Viennese waltz, tango and quickstep), the fourth week to International Latin (! 🙂 — Int. cha cha, samba, Int. rhumba, paso doble, and jive), and the fifth week is going to be the competition for “best of the best” among all four categories (which of course doesn’t exist in real ballroom competitions, but is their little showy, made-for-TV category).

I’m not entirely sure what the producers were aiming for. I do think breaking it down this way enables audiences to get to know ever so slightly more about the dances, and to see more of the couples competing within each category. Tony Meredith‘s off-screen commentating helps to educate the audience on what each couple’s strengths are technique-wise. But, in order for the show to attract a much wider appeal, I think audiences really need to ‘get to know’ much better the individual couples and personalities that dominate these dances. And this new breakdown still doesn’t achieve that. Instead of just showing the couple’s dancing with Tony’s background commentary, they should do a little segment on each couple’s background, allowing the dancers to talk a bit about themselves, where they’re from, what brought them to ballroom dance, what brought them to dance in general, if they’ve had any obstacles to overcome, etc. etc. Kinda like how the Olympic shows are done maybe?… I think audiences connect to personalities, and there isn’t enough time each week to devote to each couple’s dancing for people to connect to them through that alone. Those are my two cents anyway… assuming the show’s intention is to bring recognition to the actual dancers and to increase its popularity rather than to educate audiences on ballroom technique and pique their curiosity.

On a side note: Tony is the owner of my studio, and I just love watching him on the show! He’s such a cutie, and is really such a great guy with a fun personality who really cares about his students… but oooh, he is so not an actor when he’s talking to Marilu and reading from that monitor! Ha ha ha — of course I wouldn’t be either — I’d be far worse, totally flubbing my lines, and making it completely obvious I was reading from a script and was vomitously nervous! He sounded much better though when he relaxed and started talking about the dancing — what he knows after all!

Anyway, the show is on for the next four weeks. Check here for local times!

Othello in the Guggenheim

Works and Process discussion

Last night I went to panel discussion at the Guggenheim Museum as part of its “Works and Process” series, in which artists discuss their current “work in progress” with the public. Last night’s talk was entitled “The Shakespeare Festival” and focused on the American Ballet Theater‘s upcoming Met season, which will include several “Shakespeare ballets” — most notably their newest production, choreographer Lar Lubovitch‘s rendition of “Othello.” This was my first time attending one of these talks and it was really interesting, albeit short. The space, downstairs in the museum’s basement, was very intimate, seating only about a couple hundred, in contrast to the enormous opera houses and theaters the company performs in. The discussion, by Lubovitch, Kevin McKenzie (ABT’s artistic director), and moderator Wes Chapman, was interspersed with performances of pieces of the ballet by the ABT dancers, of course! Our cast was: Stella Abrera as Emilia, Jared Matthews as Cassio, Sascha Radetsky as Iago, Xiomara Reyes as Desdemona, Sarawanee Tanatanit as Bianca, and some guy I’ve never heard of before named David Hallberg?? — as Othello.

When he walked onstage, Wes Chapman (gosh, I keep wanting to call him Wes Craven…) said he first wished to introduce the dancers “since most of you are probably confused by all those names in the Playbills and it would be nice to put a face to a name for once.” He said this totally seriously. And only about two people in the audience (including me) laughed. Are ‘normal’ ABT patrons really this weird, or is it me — am I the weirdo?

Anyway, David!!!!!!!!!! Unbelievably for me, I arrived a little late (cross-town buses on the weekend are evil), and it was general seating so I couldn’t get my usual spot — practically onstage. But even though I was about six rows back, everyone was so CLOSE compared to when they regularly perform. And David looked SO skinny — I couldn’t believe it. He was also wearing all black dancewear (a slimming color we all know — oh also, the dancers weren’t in costume; they wore their normal working clothes), so could have been that — but he just looked so small.

I can’t wait to see the whole production — choreography looks so beautiful, even though it’s a pretty bloody story. I think Lubovitch is so brilliant — I haven’t seen a lot of his work, but from what I have, he is definitely becoming a favorite of mine (and he uses the great one a lot in his work, so clearly he knows what he’s doing…). Seriously, it was the first time I’ve seen him speak and he sounded really erudite and perspicacious. He said he was trying to create a “ballet in pictures” and was not so concerned with a linear narrative (as was the playwright who, he noted, didn’t actually originate the story; rather an Italian man whose name I can’t remember now is credited with that, though it was really originally an orally handed-down folk tale) as with making something that was humanly relatable and emotionally true to the classic story. As someone who’s fundamentally verbally oriented, I have a keen interest in how the poetry of language is translated into the poetry of dance, so I was very intrigued. But, as I said, unfortunately, the discussion was far too short.

But the dancing was brilliant. David is a baby genius. And I can’t wait to see the whole thing. Although, I have to say, it was really amazing just being able to watch them up close in their rehearsal clothes, without all the elaborate stage sets and costumes and props in a huge house. In a weird way all the pomp and circumstance of the theater kind of distances you from what you’re essentially there to see — the dancing…

Anyway, the Guggenheim has several other dance events as part of this series. Go here to have a look.

On the Lookout for Anyone Appearing Brazilian!

Dea and me!

So, thanks to several employees of the New York City Ballet (including most importantly dancer Kristin Sloan and her Winger, along with a total of about five State Theater ushers, box office salespeople, ticket clerks, and security guards), I was able to make, and meet, a great new friend 🙂 I finally met Dea, who just moved to the NY area from Sao Paulo, Brazil. We’d met on the Winger message board a few months ago and became friends through our mutual interest in ballet and writing, and my keen interest in Samba and Brazil! She only moved here a week ago, but I couldn’t wait to meet up with her! We decided, appropriately, on a NYCB matinee.

While I was in the shower, I received a message from her on my cell telling me she’d be a bit later than the 1:30 time we planned to meet (which was perfectly fine with me since I was running late!), so I took my time getting ready, headed to the State Theater, picked up the tickets I’d ordered, then waited in the lobby. Before long the lobby was jam-packed with hundreds of patrons. I couldn’t believe it — I’ve never seen it like that before — NYCB is doing some good business this season!

Anyway, I became pretty nervous since I’d only told her to meet me in the lobby without specifying exactly where; there was NO WAY in this crowd she was ever going to spot me. I didn’t really know what she looked like since I’d only seen the picture of her on her blog profile, in which she has her head thrown back and is laughing, so I couldn’t really see details like hair length, etc. There was no way I was going to be able to pick her out! So, I called her cell phone to tell her I was standing at the info booth on the left side of the lobby, but Al, her fiance answered — from home! She hadn’t yet bought her own cell phone and had used his earlier before he dropped her off to catch her train! He assured me she’d find me; she was really good at such things, and that, judging by the time he left her at the station, she should be arriving just about now.

So, I walked around the lobby looking intently for someone who looked like the blog photo. About fifteen minutes later, the first hurry-up-and-get-to-your-damn-seats bell sounded, no Dea, then the second bell, then the last. I knew she’d gotten lost! I was so worried! This was her first time in New York, in the U.S. for that matter, and she had no cell phone! I must have been walking around the lobby with a quite frantic look on my face, because two security guards (one from outside, and one from inside) simultaneously approached me.

“Just give your friend’s ticket to the window clerk and she can pick it up from him, miss,” the one told me, the other agreeing.

“Oh no, I’m not worried about missing the show, I’m worried that my friend is really lost.”

“Can you call her,” he asked.

“No, she doesn’t have a cell phone,” I said.

“No cell phone?” they both said in unison. I know, unheard of…

“No, she’s just moved here and hasn’t got one yet.”

“We’ll tell her where to go when she gets here; you don’t need to miss the show,” the one said. Overhearing our conversation, a third guard walked up handing me an envelope. “Just write her name, put the ticket inside and give it to the window clerk. They’ll give it to her when she arrives.”

“But how will she know to go to the window?” I asked.

“Oh EVERYONE knows, trust me,” the one guard said, with a smirk.

“But she’s from Brazil. What if the customs are different there?” At this the inside security guard, who had a West Indian accent, looked up to the left, contemplating.

“The customs are the same everywhere. She’ll know,” he said after a few seconds’ thought, nodding firmly, like he was completely positive of his assertion.

“And, if not, you’ll direct her there, right?” I said.

“Yeah, of course. What’s she look like?” the outside guard asked.

“Actually, I don’t know.”

“What?” they all said.

“I’m meeting her for the first time today. I just know she’s from Brazil. And she has brown hair … I think.” They all looked at each other like I was nuts.

“Look, miss, we’ll take care of it. Just write her name down and put the ticket in and you go on upstairs. Don’t worry.”

“Well, what if she doesn’t understand English that well?” This seemed to crack everyone up. “No, seriously, I mean, you’ll like walk her straight to the window and everything?” More laughs. I’m a worrisome dork. Always have been. I worry about Everything.

“It’ll be FINE, miss, we’ll take care of her.”

Ugh. They seemed sure everything would be okay. I hesitantly approached the box office window, looking over my shoulder hoping she’d run in just then. But no such luck. I explained everything all over again to the guy at the window. This one was a real jokester.

“She not from this country huh? Ooooh, this could be fun!” he said with an evil grin.

“What?!”

“Ha ha, just kidding!”

“She has darkish hair, I think, and she’s from Brazil.”

“Oooh, Brazil,” he said knowingly. “Oh, I’ll DEFINITELY recognize her in that case.” I assumed he was being sarcastic so I apologized for the vague description. But then he said without any irony whatsoever, “No really, I’ll see her. If she’s Brazilian, I’ll know.”

“What? No you won’t!” I laughed.

“Yeah yeah, I will. Trust me. I will.”

I really didn’t know if he was for real, but I turned around one last time and Dea still hadn’t arrived, and both security guards were looking right at me chuckling and motioning for me to go in. So, I did. I got upstairs to the Fourth Ring and explained the whole thing again to the usher while she was trying to seat me in the dark during the pause in the performance.

When the lights went on signaling the first intermission, I jumped up, grabbed my bag, darted out of theater and headed for the stairs to the lobby. If she wasn’t down there now I was definitely calling Al again. But right then, I heard someone say “Tonya?” In the HUGE crowd of people making their way from the theater to the lobby or restrooms, she actually recognized me! So, Al was right! And I was right that she’d gotten very lost on the subway — oh no! She also told me the minute she walked into the lobby everyone seemed to know who she was — probably because she had a ‘lost look’ on her face, she surmised! Ha ha — thanks New York City Ballet ushers, security guards, and ticket clerks 🙂

So we saw last two thirds of the matinee’s repetoire together (one a Balanchine, the other Robbins’ “I’m Old Fashioned” — which we both loved!), took some pictures in the lobby, then had lentil soup and these enormous cups of organic soy tea at Le Pain Quotidien, where Kristin had taken the blogger gang the week before! We ended up having a wonderful time and I’m so glad she’s moved to NY so we can talk about dance and writing and hang out and go to ballets and Winger stuff, etc. etc. etc! I just feel so bad that she got lost. But all’s well that ends well, right!

Ball-Crashing, Viennese Style

Viennese Opera Ball

On Thursday night, I received an invitation from my friend, the illustrious amateur Latin dancer, Mika, to attend the final dress rehearsal of the Viennese Opera Ball, held at the Waldorf Astoria hotel. Though I had an invitation via her, we weren’t exactly sure I’d be allowed in without being on an actual list, and so were devising ways for me to sneak in through side doors, etc. But, happily, I didn’t have to do any ‘Ball-crashing’ — the place wasn’t that packed and no one seemed to mind one little extra spectator.

gentlemen rushing in after ladies

It was really sweet. The performance (which was only about 20 minutes long; presumably the rest of the evening consists of the actual social dancing), was cute. First, the “debutantes” were presented (below — sorry pics are a little out of order…)

debutantes

They did a courtly little dance, then were escorted off the floor by the gentlemen in blue to the spectator stands, to watch the waltzing couples (above two pics). In the second part of the piece — the waltzing couples portion, that is — the ladies scurry down the floor, the gentlemen waltz after them, they perform this charming little flirty number whereby the gentlemen surreptitiously steal the ladies’ bows, the ladies through cunning then pleading, get them back, then the two make nice and waltz away together.

I saw a few familiar faces in the show — one guy, Charlie, who used to take lessons at my studio, and another guy, who I think is another dance blogger. Anyway, Mika had invited me to audition to be in the show, but I had to decline since I know very little Viennese waltz. But the dancing was so lovely, and I really would love to learn it — so perhaps a goal for next year… Or one better, attend the real thing?!

Afterward, I went to my studio’s monthly party, where Pasha made an appearance!!! He looked REALLY good, and said he is slowly but surely getting his strength back, and hopes to be back to competing and teaching very shortly!! Hooray! (Also had a little talk with my other teacher, and things went well — looks like our little foxtrotting Sinatra Suite is back on :))

Lastly, I’ve received info that the first of five segments of America’s Ballroom Challenge, which was televised at the famed Ohio Star Ball this past November, is to be broadcast on PBS on January 31st. Check local listings for exact times. I, unfortunately, wasn’t there this year, so can’t give any insight into what all went down, but it is one of the largest national events, and, as an authentic ballroom competition boasting as competitors some of the best dancers in this country, it should be of great interest to anyone who likes the more poppy TV shows. Please tune in and support ballroom dance! (Below is a photo from their website, of my favorite Standard couple — Victor Fung and Anna Mikhed — believe me, the show is worth watching just for them 🙂 )

Can You Say, Evil Latin Stilettos!!

latin shoes

One of the hardest things for me about Latin ballroom dance is honestly the shoes. Above is my shoe collection — priced at well over $1,000. And I don’t keep buying more because I have some kind of stiletto fetish, believe me. I just absolutely cannot, no matter how hard I try, find a pair of high-heeled open toed sandals that I can dance in. My problem is that I have extremely small ankles, but the width at the ball of my foot is normal. So narrow shoes pinch very badly at the toe and start to give me bunions if I wear them too often, but regular-sized shoes are way too large at the heel and don’t keep my heel secure, so that at times, my foot has almost lifted completely out of the shoe, resulting in a near-twisted ankle. Also, I have an extremely high arch, so if the material at the front of the shoe does not extend well enough up the middle of my foot, the front of my foot will pop out of the shoe when I point. Finally, I have long toes, so in open-toed shoes, my toes tend to extend out the front of the shoe, hitting the hard-wood, sometimes resulting in splinters short-term, bone spurs on my big toes in the long term. Yet, if I were to get the shoes in a bigger size, the heels would be way too big, resulting in the twisted ankle problem.

The only pair of shoes that have ever worked at all for me are the Capezios, in the picture on the bottom right with the tango toe in twisted copper and navy blue. But Capezio is no longer making that style in a soft-soled Latin ballroom shoe — it now comes only in hard soled cabaret-style shoes. Still, they weren’t perfect — the tango toe was a bit hard to point in and the material at the toe was so hard that they ripped the cuticles on my big toe, forcing me regularly to pad my big toes with moleskin, even after a year of wearing them, when they were well worn-in. Not the most attractive look, but at least the heel held my heel and I never nearly twisted my ankle. Interestingly, the Capezio’s — the shoe that worked the best while it was still being made — are, at $90, are the second least expensive pair (Blochs were $85; most expensive were LaDucas at $290).

To the immediate left of the Capezios are a strappy pair of International brand which are way WAY too tight at the ball of my foot, completely cutting off my circulation and forcing me to hobble around after half an hour of wearing them. After a couple of weeks of trying to break them in, I couldn’t feel the front of my foot. I went to a podiatrist, who laughed at the shoes when I pulled them out of my ABT dance bag. Shaking his head, he told me it was no wonder I was losing sensation in the foot. I told him all Latin shoes were this way. He told me no serious worries, loss of sensation in the foot did not amount to loss of motor function. So, basically, just because I couldn’t feel my feet didn’t mean I wouldn’t be able to walk.

Next, atop the Internationals, are a brand called Gamba or something like that (I honestly can’t remember all the brands I’ve tried). Basic problem with those is that they don’t hold my foot in them — kind of defeating the purpose of having a shoe in the first place: the straps are too far apart at the toe, so my toes come straight out of the edges of the shoe; if I have the ankle strap buckled tightly enough so that my foot doesn’t come out the front, it cuts off my circulation and sometimes literally creates a bloody mess. Exact same problem with the Freeds, to the right of the Gamba’s.

Proceeding to the top circle, from left to right. On top left are black tango shoes. These, and the LaDuca’s next to them have the best heels — only 2 inches tall and wide, allowing me to keep my balance. However, the tango shoes, though fitting at the heel, are too narrow at the toe (I have 1/2 hour tops of wearing them before I’m in such pain I can’t walk, let alone dance). The LaDucas work okay, but if I’m ever going to compete, closed toed shoes in Latin are an absolute no no. In any event, LaDucas all come in medium width, making them too wide at the heel for me. I had to take them back to the store three times to have more holes created in the strap so I could buckle them tighter and tighter, but now, because of that slightly off center t-strap, they’re pulling too much at the toe, creating serious toe pain. However, LaDuca guy told me I need the t-strap shoe, because, in the shoe sans t-strap, my foot will pop out the front when I point.

Next to LaDucas are the Blochs. Bloch just started making ballroom shoes, and I was told by the clerk these were the ones the ABT ballerinas wore in “Fancy Free.” However, upon seeing the ballet recently during ABT’s City Center season, and sitting practically onstage, I can assure her that only Angela Snow, who danced the very small part at the end of the ballet, was wearing these — and she looked very wobbly in them. Indeed, the heel is so narrow, it’s nearly impossible to stand on let alone dance on. Also, long toes come out the front of the strappy straps. Also, these, when buckled as tightly as I need to buckle them to keep my ankle secure, rip into the vein running underneath my ankle.

To the right of the Blochs are the second pair of Freeds. These are fine except the front of my foot, from ball to toe pops out of the front of the shoe when I point because of my high arch. So, after pointing, I somehow have to nonchalantly stomp on the front of the shoe to get my foot securely back in — which I don’t think will look too keen during competition or performance. Also, Freed does not design their buckles well. In neither Freed shoe style can I buckle the strap when it’s tightened tight enough to keep my heel in place. So, I can only get the metal thingy in the middle of the buckle into the hole, without being able to get the strap then back through the buckle. Looks stupid, and, needless to say, is not very secure.

To their right are the fancy pair of Internationals. These are so high (3 1/2 inches) that I really can’t balance. Plus, I’m taller than all of my male partners in them. Plus, the toe is not flexible enough and doesn’t allow me to point properly. Plus, the toe is sooooo open, my foot comes forward and out the front leaving my heel insecure risking the twisted ankle.

Finally, all the way at the top right are these Mootsies Tootsies brand (can’t remember the exact name but it’s something like that). Everyone makes fun of me when I wear them because they’re not a serious competitor brand (as the name implies), but a social dance brand. I didn’t care when I bought them; I was just desperate for a shoe that fit, and they seemed to in the store. But, as I learned, when dancing my rhumba routine with Pasha, the soles are so soft that they buckle under my foot. At one point, while trying to do a sexy rhumba walk around him, the toes of my right foot pointed (in arabesque position — so foot was behind me), and, as I brushed my foot forward through the floor, toes went completely through the straps, leaving the shoe under my foot, the ankle strap ripping through my skin while my foot went forward without the shoe. I literally tripped and fell.

“Tonya, you must get used to one pair of shoes,” Pasha always used to tell me. Having some kind of a shoe malfunction was nothing new with me, so he almost laughed with the Mootsies Tootsies mishap. Okay fine, but which pair? If I force myself to ‘get used’ to the wrong pair I could end up with a twisted ankle, severe bunions, or complete loss of foot sensation.

Oh, why can’t I just wear these! I know, not exactly attractive paired with a sexy Latin costume… I often wear the soft jazz shoes (on right), or teacher ballet shoes, which have a slight heel and suede bottoms allowing them to glide over hardwood floors (on left), but then when I go to practice the routine in the proper shoes (ie: evil Latin stilettos), I’m two to three inches taller and the partnership is all off. When I practiced my snake with Luis (where he dips me sideways, then I slither down and go through his legs, ending up behind him), we did it a bizillion times perfectly in my soft jazz shoes. When I started wearing the high Latin heels, I was suddenly banging my head into his crotch on the way through…

Well, one fun thing about these street Samba classes I’ve been taking recently at Ailey, is that, I just wear these:

No super skinny heel that I can’t balance on, no toe straps to fall through, no ankle straps to slice my skin, and, most of all, really inexpensive!