Hide and Seek with Rhea

Sorry, love my new kitty and can’t resist! It’s hard to believe she was so shy in the ASPCA and when she first came to live with me because she’s now into absolutely everything. Which kind of worries me because this apartment is perhaps a bit dangerous for an inquisitive cat. She loves to run up the ladder / stairs to my bedroom loft and then run all around its pretty small perimeter, peeking out from time to time between the little pillars.

It’s a long way down though and I’m a little scared she’ll fall.

And she loves to play with this small leather mask I bought one year at a festival in Toronto. She loves to try to bat the thing down.

And the other thing she loves to do is jump back and forth between the corner of the loft and the top mantel of the fireplace. I had to clear everything off of the mantel so she’d have a place to step. Worries me! I’ve tried to put soft mats and things all around under the mantel and around the edges of the loft. I guess you just can’t worry about all that cats will get into…

Finally tired, and taking a little rest.

And now, in the laundry basket. Everything, she gets into everything!

Rhea!

I finally got a new kitty. My beloved former cat died of congestive heart failure several years ago and it took me a while to get over it. Finally, a couple weeks ago I went to the ASPCA, where I met Rhea. I love the ASPCA by the way – they are wonderful people there who do wonderful things. Anyway, Rhea’s a sweet little Abyssinan mix. Of course she was very quiet her first few days with me, but now she’s a nut, particularly at nighttime of course, running up and down the ladder / stairs of my bedroom loft, doing gymnastics around its pillars, playing basketball down on the floor with some little toy balls with bells that were given to her by her friend, Lula, who lives across town. And yes, I meant basketball, not soccer or hockey. I have no idea what she does with the balls to make them bounce the way they do… because whatever it is she’s doing it’s in the dark when I’m trying to sleep…

She actually makes me nervous when she plays on the stairs / ladder, because she most enjoys the top rung, and it’s a long way down to the floor. I kind of feel like this high ceiling-ed apartment, which is good for housing my art work, is a bit dangerous for a cat. My old cat never even tried to get herself up in the loft, nor has any cat I’ve cat-sat here since. But Rhea’s very inquisitive, and very small, which I guess makes her more inclined to acrobatics than the average cat.

She can also sit on my narrow windowsill, which no other cat has been able to do:

She sleeps in the oddest places, like on top of the book spines. A copy of Swallow was on top of Turow’s Presumed Innocent. She apparently thought nothing of smacking mommy’s novel down to make herself a little step to her “bed.”

Sample Sunday: Wedding Belle

For this week’s #SampleSunday, here’s an excerpt from Swallow‘s chapter eight, titled “Father Christian.” For a synopsis of the whole book, go here.

I made it to the boutique only ten minutes late. Speed walking toward the glass-doored entrance, I saw Francie inside looking out, peering up and down the street, pacing back and forth, perfectly steady on her six-inch, stiletto-heeled, candy red pumps, her flawlessly coiffed strawberry mane bouncing girlishly with each pirouette. Oh, I pray I’m Francie at fifty, I thought.  New York women never get old, I swear. When our eyes met, she tapped her French-manicured fingernail on the face of her watch, then shook her finger at me in mock reprobation.

“Sorry sorry,” I mouthed, pushing open the door.

“It’s all right, it’s not like there’s anyone else here.” She stood in fifth ballet position and extended her left arm gracefully toward the middle of the store, her frown at odds with her delicate pose. “What is it about getting married here? No one in this city seems to do it.”

“That’s because New York women are all so independent and sophisticated, like a certain fashion maven I know,” I gushed.

“Yeah yeah yeah. Perpetual singlehood has been a real friggin’ joy.” She fluttered her hand about dismissively. “Come on, let’s find you the Audrey dress of your dreams, skinny girl,” she said, pinching my arm. “Geez Soph, you really are losing weight. Look at these little twigs.”

“I’ve lost twenty pounds,” I said. I knew it was getting to be a lot; another ten pounds and I’d weigh 100. But truth be told, I felt like I was really beginning to fit in in New York. It looked rather elegant, if not downright trendy, to be thin here. Still, I knew I couldn’t lose a whole lot more. It had to stop at some point.

“Shit, Soph. What’s your secret? How come you’re keepin’ it from the old lady?”

“Hey, I did tell you; you just weren’t listening.”

“Huh?”

“The throat ball. The ‘ball’ — remember?”

She had the loopiest smile I think I’d ever seen.

“Okay, after we’re done here, we’ll go out to eat,” I said. “Then you just imagine a big ole ball in your throat and you choking to death whenever you try to swallow. Beats the hell out of a diet any day.” I couldn’t believe what I just heard myself say.

“Shit, Soph, you’re starting to sound, you know, a little fucked up,” she said, echoing my thought.

“Hello, ladies.” Marlena, with whom I had my appointment, appeared as if out of thin air.  She was sixtyish, immaculately groomed, with snowy whitish-blonde hair, and a full face of makeup that — unlike on me — made her look polished rather than fake. Already I felt like a street urchin with my shiny nose, flyaway hair, and now oversized, dowdy suit.

“You must be Ms. Hegel,” she smiled, cupping my hand between her palms. I always felt so uneasy in places like Saks and Bergdorf, like it was so obvious to all the salespeople that I didn’t belong anywhere near the place. Funny, I wasn’t feeling that so much with Marlena though.

“Um, yes.” I tried to return her smile, not anywhere near as elegantly.

“And you’ve brought your big sister with you. Excellent idea,” she said, extending a hand and smile to Francie.

“Basically,” Francie said, giving her a cursory New York handshake.

“Now you tell me what kind of dress it is you’re looking for, dear,” Marlena began, eyes now focused solidly on me. “Would you like to look at the catalog, or do you have something in mind?” Something about her was so familiar, like she was an old dear nanny or governess or something. Except of course I never had such a person in my life.

“Mmm…” I looked at the four huge tomes on the counter. They looked far too intimidating; we’d have been there all day if I started with them. “I think I’ll start with the actual gowns.”

“That’s perfectly fine,” she sang, with the sweetest of smiles. “Let me just tell you a little about my job here at Bettina’s Bridal. I’m not here to dictate what you should wear. You brides today are more sophisticated, more mature, far more educated than you were in my day,” she chimed in a fantastical voice that sounded like she’d been around for centuries. “You have your careers, you know who you are and what you want out of life, not to mention out of a dress,” she laughed. “You’re not to be bossed around by your mothers, your sisters…” she gave a nod and wink to Francie at this, “certainly not your future husband. This is obviously your most important day. This is the statement that you’re making to all your friends and family, to the world, of who you are.” She positively glowed.

Francie rolled her eyes. Argh, can you say, ‘jaded New Yorker,’ I thought.

When I looked back at Marlena she radiated a fairy godmother smile, and I felt a tear starting down my face. I was so embarrassed I could’ve just fallen to the floor and rolled myself up into a little fetal ball. What was with my total lack of control over my tear glands?

“Oh dear. Would you like a glass of water?” she asked, grabbing a tissue.

“No, no.” I felt like the consummate ass.

“It’s normal, you know, this is quite an emotional time.” She stood smiling down at me, her hands folded in front of her, her long eyelashes glistening, her cheeks glowing.

“Okay.” I took a deep breath, pulling it together. “I have an idea of what I want. Something basic, not really frilly, just simple, but you know, a fabric with a nice sheen.” I had no idea what the hell I was saying. ‘Nice sheen’ – what was that? Such the couture dyslexic was I.

“Sophisticated, elegant, you know, Grace Kelly, Audrey Hepburn. Maybe matte satin or Duchess silk, possibly organza. I think she wants to go with a simple A-line silhouette, natural or dropped waist bodice, attached chapel train, very little if any embellishments.” Thank you, Francie, I thought. Whatever you just said.

“Let’s start here.” Marlena showed me a simple satin dress with beautiful beaded buttons trailing down the back. Only problem with that one was a monster bow right on the butt — made it look like her bottom was a big present to the groom.

“Kind of makes her look like a present,” I said to Francie.

“Well, you are a present, my darling,” she said.

“No, like an object, I mean. Like she has no personhood.”

“Ugh.” Francie rolled her eyes again. Francie didn’t have the most developed feminist consciousness, I kept forgetting. I mean she did, but she just wasn’t schooled in feminist theory, didn’t have the jargon down. Not that I wanted her to though; she was far, far more interesting the way she was!

“Then there’s this nice simple organza ball gown.” Marlena next showed me one with a lacy bodice, cinched at the waist by another bow that led to a poofy floor-length skirt. This one reminded me of the ballet dress I wore for a recital at Phoenix Symphony Hall right before Daddy left. And the cinching bow recalled a bit of the Barium Swallow ordeal. Uh-uh, I shook my head. Far too much baggage contained in one dress.

Then she led me to a plain, but soft and silky, form-fitting gown. But this one had underwire cups stitched on the outside of the fabric.

“Ooh la la, sexy,” Francie said.

“Yeah, for the slut bride,” I whispered to her.

Francie rolled her eyes again. “You have body issues,” she said to me under her breath, her voice trailing off at the end, indicating this was a continuing issue that she intended eventually to cure.

“I don’t have body issues, and I am not wearing a bra on the outside of my dress to my wedding,” I whispered back, smiling over at Marlena, who was looking a bit weary. I was being too picky. I decided I’d try on the next one — which happened to be very pretty, with pearl buttons tip-toeing down the back. It’s just that the buttons didn’t start practically till the waist-line; I had no idea how the thing stayed up and I knew I’d be worrying about it nonstop.

Before I knew it, we’d spent an hour and a half and I hadn’t tried on a single thing.

“Are you sure you don’t want to take a little peek at the catalog?” Marlena asked with a hint of hopelessness. Francie, ever the New Yorker, didn’t bother trying to hide her annoyance.

“Come on, come on, come on, Soph. We don’t have all day. Nothing is going to look right on the hanger. You gotta see it on to see how it hangs on your body.”

Okay, okay. I told Marlena I’d try the first two — the butt-present and the issue-laden ones. She looked ecstatic.

The dresses on display were all in size 10, so Marlena called her assistant, Ruiza, to accompany me into the dressing room. I felt weird undressing in front of her — especially when she motioned for me to remove my bra. She helped me into the butt one, then taped, tucked, tied, zipped and pinned me up. About twenty minutes later, I emerged.

“Wow, very very nice,” Marlena said, walking me toward the three-way mirror.

“Oooh, look at those gorgeous tiny arms,” Francie squealed, squeezing my shoulder.  “Hon, really, another ten or fifteen pounds and you could be a petite model.”

Oh geez. I laughed.  As I stood in front of the mirror, Francie walked around me gazing at the dress. Marlena patted at the skirt. It actually looked quite lovely. I was transformed. Imagine that, mousy me.

“You really do look beautiful, hon,” Francie said from behind, to my reflection in the mirror. Then Marlena turned me to my side, and I saw the blasted bow. It was pinker than it initially appeared, and strikingly different than the rest of the dress. I looked like a baboon in heat.

“I don’t know. I really don’t like the bow.”

“It can be altered,” Marlena and Francie said simultaneously. Yeah, but that would totally increase the price, I thought. But I didn’t dare say it, of course.

“I’ll try the other one.” I went back into the fitting room with Ruiza, underwent the process again with the cinch-waisted Giselle gown. Hmmm, could get used to someone dressing and primping me, I thought. Like Scarlet O’Hara. It was kind of nice, even if initially embarrassing.

After she finished, I headed to the three-way. Ooh, this one looked quite lovely. A little poofy and princessy, but also chic and sophisticated with a more grown-up elegance than had appeared from the hanger. The bow was sweet, much smaller than the other, the same color as the rest of the dress, and was a little off to the side, so not so obnoxious. It was beautiful; I could definitely do with this one. However, one ever so little necessity… had to figure out a way of finding out the price. Of course, there were no tags on anything. I hated it when stores did that.  But I guess I should’ve expected it with a place like this. I hated having to ask.

“That one’s a great deal,” Marlena said right then, as if reading my mind. “Quite a steal at only $5995.”

Yikes. I was hoping to pay a third of that, at most.

“That’s great,” Francie said, nodding at me. I thought I detected a wink as well. “Okay, Soph, off to a good start. We got one possibility. But before you get hooked, hon, let’s look at a couple more.” She turned back to Marlena. “The organza and lace might make it just a bit too frilly. What about something with a little less embellishment.”

“Sure,” Marlena smiled, a bit pityingly, I thought, as if she knew exactly what Francie was hinting at. She led us over to one of the first racks in the store — exactly where all of the silly, frilly, i.e., cheap, stuff was located.

I tried and tried. But nothing looked as good as the $5995. Just as I was about to leave to think over my too-expensive Giselle-before-Daddy-left dress, I remembered the catalog and, ever so stupidly, decided to take a peek.

And of course therein I saw it: the gown that simply stood so far above the rest it was pitiful. The satin-y fabric wrapped around the wearer’s body regally, like a protective sheath. And it had this really extraordinary lace framing device. There were two wide strands of intricately-patterned lace extending the length of the bodice. They originated at the waist, then rose up and above the top of the dress where they fanned out into two pleats flowering just over the top, highlighting the wearer’s chest, and framing her torso. At the waist, they met with several more lace lines that wound around from the back, and at the hip, all lace strands bunched up and overflowed into more pleats that formed sequins, which cascaded all the way down to the ballgown’s train.

The wearer of the gown was a true queen. And, bizarrely, here that wearer was the supermodel from the Vogue ad in the museum exhibit; the one Stephen had said looked like a “Holocaust victim.”

Only odd thing was the gown was rose-colored. I’d never thought of a wedding gown in any color other than white.

“Beautiful, isn’t it? That’s one of our Lacroixs,” Marlena said, over my shoulder.

“It’s gorgeous. But it’s red. It is a wedding dress, right?”

“Oh yes. The most popular color right now in Europe is red. Brides here are a little more conservative. But if you want to make a statement…”

“Do you have it?” I asked. I knew it was probably way too expensive but I really wanted to try it just for kicks.

“Yes…,” she said, her voice inflecting at the end. She looked hesitant.

“Can I try it?”

Marlena smiled weakly. “Sure. It’s just that, well, this one has a great deal more embellishments than… Of course you can, of course, dear.” She started to walk away; I followed.  “It’s in the back. It’ll take some time to get,” she called over her shoulder.

“Hey ready yet, Soph? I’m getting hungry,” Francie called out, posing in front of a mirror with a pearl-white veil draped over her face.

“I’m just going to try one more.”

“One more! I’m really really getting hungry here, Soph.” I hated it when Francie got pissy.

“It’ll just be a sec. Please?” I whined like the child Marlena’d just spent all afternoon trying to make me feel I wasn’t. Francie scowled at me, returning the veil to its mannequin. Just then Marlena returned with Ruiza, the two of them together carrying a veritable body bag.

“What’s in there?” Francie asked, annoyance metamorphosing into intrigue.

“Here it is,” Marlena chirped, as she, Ruiza, and yet another assistant all maneuvered it out of the bag. Once I saw it, I understood why this required a group effort. It was simply huge.  This time it took a full forty minutes to get into it, but not because there was a lot of taping and pinning on Ruiza’s part: believe it or not, unlike all the other floor models, this one was a size four. It took so long because there were so many pleats, sequins, ties, clasps, and buttons for poor Ruiza to figure out.

“Oh my god,” Francie shrieked when I walked out, “You look …”

“Yes, you do,” Marlena echoed, even though Francie hadn’t actually come up with an adjective. “It’s tight, but, wow, not all that much.”

“The color is gorgeous, Soph,” Francie said, brushing the train.

“You think it’s okay that it’s not white and all?” I asked.

“Shut up and look at yourself!” Francie whiplashed me toward the three-way.

When I looked in the mirror, I saw someone else. I was like royalty, someone very special, even beautiful. There’s no such thing as natural beauty, I thought. Designers are the makers of reality, and you just have to be skinny enough to squeeze into the alternate universe they’ve created for you. I had no idea what Christian Lacroix looked like, but I imagined him as this posh but avuncular man plucking at the lace, smoothing out the sides, telling me what a perfect fit it was, how beautiful and smart and charming I was; how I was the perfect wearer.

Suddenly I began hearing my mother’s voice. “Who do you think you are? Some movie star, some Arabian princess?” The same words she used when I’d received my letter from Yale and told her the cost of tuition, and my father went ballistic. A place for high-class people, deserving people, not me.

“Oh Sophier, you’re absolutely mesmerizing.” Thank goodness for Francie’s New York voice trumpeting over Mom’s. I was getting married now. I was a law school graduate. I was an adult. What was wrong with me? “So teeny tiny. Oh you’re so beautiful, darling. You look just like the model. It’s so so SO you!”

“Stephen says that model is a glorified Holocaust victim,” I couldn’t help but blurt out.

“UGH.” Francie screamed, throwing up her hands. “Fff…” she began, then saw my discomfort at her ‘free form expressions’ in Marlena’s presence and altered her tone, somewhat. “Then, my dear, you are a beautiful fucking glorified Holocaust victim,” Francie whispered to me, lips pursed tightly over teeth.

“I need to know the price of this one,” I found myself again blurting out, too needy now to care how poor I appeared. Marlena smiled, pityingly again. She had an answer that I really didn’t need to know.

Photo above of Christian Lacroix and model from Independent UK.

Imagine Edward Gorey in Fur Coat and Sneakers, Nightly, at NYCB

I met this writer, A.N. Devers, at a party last week, and when she enthused about a piece she wrote recently for the Paris Review about a favorite writer of hers, the late Edward Gorey (in photo above, from Squidoo) and his fur coat collection, I made a mental note to find it on the web. I’d forgotten, but just remembered to look for it this morning. It’s a sweet piece about her attending a recent auction of his furs where she was determined to hold her own amongst the seriously seasoned bidders and, despite her comparably meager bank account, get herself a coat.

She also mentions that Gorey (who was best known as an illustrator) often attended New York City Ballet – decked out in fur coat and Converse sneakers. This was during the 70s, when, according to some quick internet research I did, he was well known at the ballet, was quite the eccentric, and knew Balanchine. He even wrote and illustrated a book about NYCB, The Lavender Leotard.

(top image from the Winger, bottom two from StoryCulture)

Actually, he wrote a couple books about the ballet.

He also created a poster:

(image from Chisholm online gallery)

He supposedly so loved NYCB he was there every night. He must have been quite the figure in those full-length furs and tennis shoes. Kind of sounds like something out of a Jonathan Ames novel. But this was all in the 70s. Sometimes I really feel like I’m in NYC in the wrong era

Anyway, just found all this interesting and thought I’d share. Is there anyone here who remembers him?

Writers Cake!

How sweet is this cake! Last night was the annual Writers Room party, where all the books published by Writers Room members throughout the past year are honored. The Writers Room of NYC, by the way, is the oldest and largest writers’ colony in the country. A membership gives you a quiet space in which to write 24/7, seminars and little lectures from time to time, and group readings at local cafes that you can participate in. Those readings have always been really helpful to me.

Anyway, since Swallow was published so late last year, they waited till this year to celebrate it with the 2010 books. I love how they did the cover of the cake – the top layer with images of all of our book covers was actually edible.

The Last Days of the Lincoln Square Barnes & Noble

It’s so sadly empty in there. I guess this is what a large bookstore looks like when it doesn’t order any new books for several months.

Anyway, there are lots and lots of books – and other items – on clearance. This is the last weekend of the B&N Lincoln Square’s existence, so, happy raiding.

Judith Jamison Rings Closing Bell at NYSE

Yesterday I attended Judith Jamison’s ringing of the closing bell at the New York Stock Exchange. It was the first time I’d ever actually been inside NYSE and it was a really cool experience. So glad Alvin Ailey invited us to attend!

It wasn’t really a huge ceremony. There were no spoken introductions, though there was a line of ticker tape that read that Judith Jamison of Alvin Ailey American Dance Theater would ring the closing bell in celebration of the 5oth anniversary of Mr. Ailey’s Revelations. So, if you were in Times Square watching the screens or watching on TV or on the NYSE website, you probably saw that. But inside the NYSE, she was simply escorted in by several NYSE press people, led up to the podium, and at 4:00 p.m., when the stock exchange closes for the day, she led a round of applause for the traders, who joined her in applause, and then she rang the bell, which lasted for several seconds. Afterward, Robert Battle (incoming artistic director), who accompanied her up to the podium, lifted a little gavel and softly struck in on the podium a couple times. Also with Jamison and Battle were Masazumi Chaya (associate artistic director of AAADT) and Sylvia Waters (artistic director of Ailey II.) The ceremony was over pretty quickly.

They let me take some pictures though:

From right: Chaya, Waters, Jamison, Battle, and the NYSE guy. This is right before the bell.

They posed for the press cameramen, who asked Waters to change places with Battle.

This is before the ringing of the bell. The NYSE people let me take some general pictures of the inside.

And these are from outside, around the corner, around Wall Street.

We had a snowstorm the day before and for some reason New York was pretty shut down by it. At NYSE I learned that only about half of the traders were in that day. And, my bank was closed, my post office was closed, most of the coffee shops in the area that I used to frequent when I worked down there, were closed, the New York Public Library was closed. The subway stations were dangerous to get into as the steps hadn’t been de-iced. My own sidewalk wasn’t de-iced and it was hard to get from my building to the subway. I was nearly snowed into my building, as we have a few steps leading down to our entrance and those weren’t de-iced until later in the day. My street wasn’t cleaned and cars not realizing that would drive down and get stuck right in the middle of the street. For two days I kept hearing cars screeching and screeching to free their tires from the clumps of snow. It was bizarre. I mean, yeah, it snowed, but I’ve lived in New York for 17 years now and we’ve had far more severe snowstorms than this. And I’ve never seen the city have such a problem handling it. Maybe it’s just that we haven’t had a snowstorm in a while.

Anyway, things are better today – now the snow is melting in to a sludgy mess, but at least it’s just dirty water and not ice.

Even trudging through the snow, though, I’m so glad I went down there. Thank you again to Alvin Ailey for inviting bloggers to apply for press passes and to NYSE for allowing us in.

Page 99 Test for This Week’s Sample Sunday

I hope everyone had a good Christmas. I did. Went to a friend’s to make mulled wine and roasted chestnuts but somehow neither happened. My friend ended up taking me out for a massage, which I seriously needed (especially after spending all morning listening to my next door neighbor’s four unsupervised children run, scream, wail, jump off of his bed loft, and repeatedly ram themselves into the walls of his approximately 200 square foot apartment, nearly sending several of my paintings crashing to the floor). Then when we got back to her apartment, another friend came over with a bottle of vintage Scotch, which was lovely, and which, for the same aforesaid reason, I desperately needed. But somehow we just didn’t get a whole lot of cooking done after that…

Anyway, I almost forgot about Sample Sunday this week. (This is a new promotion for authors on Twitter, to link to a sample passage from one of their books.) I recently uploaded page 99 of Swallow for the newish Page 99 Test site (wherein readers rate how likely they’ll be to buy your book based on a random page somewhere in the middle), but I didn’t realize you couldn’t access the site without signing up for an account. So, I’m pasting my page 99 into the body of this post instead. Here it is:

Okay, I made it worse. I decided to cut my losses and just shut up.

We found Stephen in the next room examining a sketch of Rodin’s sculpture of a woman with her legs splayed in the air.

“This is the ideal woman,” he nodded.

“She’s upside down,” I said.

“Well, obviously. I mean the proportions. Fleshy womb, generous hips, well proportioned-breasts…” He sounded lost in a dream. I cocked my head to try to see her right-side up as Stephen became interested in a Gauguin Polynesian princess. From what I could tell, her body seemed very unlike mine.

I followed Thom’s laughter to some advertisements. There was a hilarious turn-of-the-century one of a woman riding witch-like not a broom, but an uncorked, exploding champagne bottle. Another, more contemporary one, depicted a naked woman, her back to the viewer, but head cocked over shoulder, demurely smiling, sitting at an outdoors picnic with two fully clothed men and a stereo. Caption read, “We could all use a bit of romance in our lives.” Like, buy the stereo, get the woman included. There were naked women selling sports cars, men’s cologne, everything under the sun. This room could have gone on forever and a day.

I saw Stephen shaking his head at something. I walked up. It was an advert featuring a naked female model being sprayed playfully by a hose. Honestly couldn’t tell exactly what it was advertising though. Tap water? Didn’t think so.

Judith Jamison to Ring NYSE Closing Bell on December 27th

Apparently it’s dance season at the New York Stock Exchange! Tomorrow morning, a NYCity Ballet Sugar Plum fairy will ring the opening bell (word in the Twittersphere is that that Sugar Plum will be Ashley Bouder). And now it’s just been announced that Judith Jamison will ring the closing bell on Monday, December 27th. This will be in honor of Alvin Ailey American Dance Theater’s final week at City Center and Jamison’s final year as Artistic Director, and in celebration of the 50th anniversary of Ailey’s Revelations. Jamison will be joined by incoming Artistic Director Robert Battle (photo above of the two of them by Andrew Eccles), AAADT dancers, and several other company members. The closing bell ringing will take place at 4:00 p.m. on the 27th and can be viewed live on the NYSE’s website: nyse.com.

Roberto Bolle & Robert Wilson’s “Perchance to Dream” Scared the Crap Out of Me

My friend, Oberon, told me about this exhibit – a video installation by Robert Wilson showcasing Roberto Bolle, showing at Center 548 in Chelsea, as part of Milano New York Isaloni. So I went to check it out yesterday.

Scared the absolute crap out of me! I don’t really want to say too much or it will ruin the mystery for people who go, but I’ll just say, definitely go see it – I’ve never really seen a gallery exhibit, or even a museum exhibit quite like this before. Just try not to go alone. I think that’s partly why I was so spooked. It’s very dark in there; the first room is lit only by the small amounts of light emanating from some x-ray-like photos of light bulbs.

At the beginning there’s some nice classical music playing, but then the sounds get more ominous, and at points become quite harsh.

The second and fourth rooms really scared me the most – the rooms with three-dimensional art depicting scenes both classical and apocalyptic. Some of the three-dimensional art – well, it just looked too real… I’m not even sure if I saw the entire exhibit because I was just too nervous to go to the very end of the second big room and see if there was anything around the corner. It’s like a dark maze after you enter the first room. I almost couldn’t find my way out. I think if there are more people, though, if would be obvious where the entrances and exits were. As I was exiting, there was an art critic speaking with the curator and the critic said she thought this exhibit was really compelling and should be expanded to a museum, but then said the danger of doing that would be to diminish its mystery precisely because it would be more crowded.

Anyway, another thing that startled me – I kept forgetting it was a video installation because many of the projections looked like still photos … until Bolle would move ever so subtly. It’s like the moving eyes in the portrait effect… And I never realized how doll-like he can look…  And, had I not seen Black Swan, there are additional associations I probably would not have made but…

I’ve said too much! Just go see it! I do hope they someday expand it into a larger project.

For now, it’s at Center 548, which is at 548 W. 22nd Street in Chelsea. It’s only showing through December 18th so hurry.

Paperback Dolls and Nutrackers

I have a guest post up today at the Paperback Dolls blog! They’re currently featuring New York authors and bloggers as part of their “Passport to New York” series. So, since I’m both, I talked about both my novel and the blog.

Regarding the blog, I gave their readers some recommendations on what to see in New York for the next couple of months dance-wise. I then realized I haven’t done that for my own readers yet, because I’ve been so blasted busy. But of course everyone who regularly reads my blog knows what I’ll recommend: Alvin Ailey, upcoming at City Center for the month of December (it’s Judith Jamison’s last season as artistic director so there will be lots of tributes to her); New York City Ballet’s Balanchinian Nutcracker which has already begun and continues on through the beginning of the year; and ABT’s new Nutcracker, which begins December 22nd and will be at Brooklyn Academy of Music.

I didn’t have a chance to write about it but I saw a small sneak preview of ABT’s new Nut at the Guggenheim’s Works & Process event a couple weeks ago, at which choreographer Alexei Ratmansky and conductor Ormsby Wilkins spoke. Several excerpts were performed including Veronika Part and Marcelo Gomes dancing part of the final Clara and the Prince pas de deux, the Russian dance, and some of the snow scenes. Ratmansky and ABT representatives had said earlier during a press conference that it would be pretty much traditional, but from what I saw it looks very modern. The costumes and sets – which are gorgeous and are made by Richard Hudson, the Tony award-winning set designer of the Lion King – are period, but the movement looked very modern to me, not at all classical. The pas de deux looked like lyrical and more romantic (without a capital “r”) and less fairy tale-like than I’ve normally seen, and the Russian dance looked folksy and even a bit slapsticky rather than the classical bravura dancing we’re used to with “Trepak.” Anyway, Ratmansky had noted that the original choreography for this ballet is no longer extant so that’s why there are so many different versions. The only two versions I’m really that familiar with, I guess, are Balanchine’s and the San Francisco Ballet’s two-year-old version, the DVD of which I reviewed a while back.

Anyway, I think the new Ratmansky Nutcracker is going to be a departure from the ordinary, and it will be interesting to see the whole and see how audiences react!

Happy Thanksgiving, everyone!

So You Think You Can Dance Auditions, New York

Earlier this week, thanks to my friend, Taylor Gordon, I was able to sit in on some of the New York City So You Think You Can Dance auditions. They were held at the Brooklyn Academy of Music, in the opera house. This was my first time watching, so it was really enlightening.

First, it wasn’t at all as formal as I was expecting. I got there an hour early, fearing there’d be a huge line, and there really wasn’t. I don’t know how many people really knew about them; if it wasn’t for Taylor, I wouldn’t have known. So I got there early for nothing! But while I was waiting in the outside line, I spotted Alex Wong running down the street across from the opera house. Actually someone else spotted him and then everyone looked over and started waving wildly. He smiled and waved back. I didn’t see much of him but it looked like he still had a very slight limp. Later, former contestants Katee and Will were inside. They didn’t do anything onstage though; were just watching.

Anyway, when we got into the auditorium, we were confined basically to the far right-hand side of the orchestra. The middle of the orchestra was taken up with all the audio and camera people, and of course the judges. And the left-hand side was where the contestants and their families sat. A camera man was standing all the way to the left-side of the auditorium, right in front of the path the contestants took up to the stage. As their number approached, a contestant would walk up to the camera man, and stretch and pose in front of him while he shot them close up. As a contestant would leave the stage after auditioning, another camera man would follow him or her down the aisle. Funny, but I always thought, when I watched on TV, that of all that was happening in separate rooms, but it all happened right there in the same room.

Also, when the judges first came out, they had makeup and hair people kind of touching them up right there, before they sat down. Tuesday’s judges were: Mary Murphy, Jason Gilkison, and of course Nigel Lythgoe.

I’d thought they were going to make us check in our cell phones, etc., and that there would be all these production assistants roaming the aisles shushing everyone. But no. We could totally talk and laugh and make whatever noise we wanted; none of it would be heard on the tape without a microphone being nearby anyway. That was actually kind of annoying to me because of course everyone around me was taking on the role of critic him/herself, saying what they thought of the dancer to everyone around them. I couldn’t always hear what the actual judges were saying. Sometimes people even talked during the performance – talking about the dancer onstage, so they were involved in what was going on – but I just found it really disruptive. I guess I’m just so used to ballet performances, where everyone is silent.

The first contestant came onstage from the left wing, her number pinned to the front of her waist. Nigel told her to approach the microphone directly in front of them and she shyly did so. She was petite and blond, and very nervous. She said she was dancing contemporary. Nigel asked her her age (I think it was 19) and dance training (she’d trained in almost everything). It all seemed sweet and informal; no nastiness from anyone, at least in the beginning. Nigel was really nice and considerate, as were the other two. Then, he told her to proceed to center stage and when she was there, called out, “cue music.” She danced very well. Good technique, and nice choreography. You could tell she was very nervous, though, and didn’t give it the emotional punch it needed, as the judges said (along with the very vocal people behind me). She was sent through to choreography.

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