American Ballet Theater Fan Gonna Be Out On The Streets Soon…

ABT subscription brochure

Okay, as Chimene pointed out in her comment on my last post, I am ever so slightly conflicted over my dance versus spending goals for the next year… Harrumph.

Anyway, these three villains are responsible for the, as of today, $400 hole in my wallet:

Jose Manuel Carreno

Marcelo Gomes

David Hallberg

Also known as:

Hallberg in underwear

Sorry, I don’t know why I can’t resist …

Oh, and I forgot her:

Alessandra Ferri
She (Alessandra Ferri — my favorite ballerina in the world) is, horrifically, retiring from ABT this year, and of course I had to get an (expensive) ticket to her final performance, in front orchestra balance near the curtain just so I can get trampeled during the hours-long curtain call by anxious fans wanting up close pictures… Actually, I had to get the same expensive tickets to the other four perfs that constitute my subscription series because of my deep-seeded need to see the aforesaid villains up close. Because I’m weird.

All of the above headshots, by the way, are images I linked to from the ABT website, and are copyright of ABT of course.

Anyway, in making my purchase I realized that I am actually not going to miss the Met’s Othello; I will leave for Blackpool the very day following Julie and Marcelo’s premier of it. Meaning, I don’t actually have to go down to Washington D.C. in January to catch it. Of course, that means I have to wait four months until May, when it comes to the Met. Four months is a long time. And I do have a good friend in D.C. who will be leaving for the foreign service in February. And I have a cousin who just moved to Arlington. Hmmm. I believe I may have to go to D.C. in January after all … for reasons other than the fact that I am an obsessed, deranged ABT groupie, of course… Well, I still have five days until my New Year’s resolutions to not spend so much money on dance officially begin. We’ll see… It’s HARD being a balletomane 🙁

Dance Goals For 2007

La Duca shoes

Thanks to Natalia for forcing me to come up with these, because one must always have goals, and putting them down on paper (or blog) makes you organized and keeps you focused. I’ve divided mine into three basic categories:

1) CUT BACK ON EXPENSES.

Unfortunately, I think my biggest goal, at least regarding my greatest dance love — ballroom — is going to have to be to cut back. Looking over my expenses the past year, I’m a bit overwhelmed (okay a lot overwhelmed) at how much this wonderful hobby has cost me. I had wanted to go to Brazil this February for Carnival, and it looks like that’s not going to happen, I’d wanted to do some more travel even to places as close as Washington D.C. (do-able, but not without fret about cost), and even looking into possibly adopting another pet since my dear Najma passed away last year freaked me out a bit expense-wise. I simply have nothing left over in my leisure spending allotment after all of my ballroom. My parents, embarrasingly, have even had to help me pay for showcase, costume, and private coaching costs a bit here and there. Plus, my studio has just increased their prices $10 per private. So, with each private costing $95, each coaching $150 on top of that (for both teacher and coach), costumes running a minimum (and I mean very very minimum) of $500, and I don’t even want to say what the showcases cost, you get some clue as to the thousands. Not a happy bank account have I.

So, I’ve decided that, since of course giving it up is completely, ridiculously out of the question, I must force myself to take only one private lesson per week, and do either one showcase or one competition per year (ONE is the key number, in other words). Perhaps I can take one or two group lessons per week, but I’ve really got to watch that expense as well.

2) RELAX, LET LOOSE, AND HAVE FUN.

Second, and related to my first goal, I attended several Alvin Ailey performances this season and was really just mesmerized by what I saw. Watching the dancers closely, I realized Ailey must have had an extremely wide dance background including not only ballet, modern, and jazz, but African and Latin as well, because the way his dancers move incorporates all of those. And, I specifically saw some Samba, both in Revelations and other dances, and not only in the hip and pelvic movements generally, I mean I also saw some of the exact same steps I have learned in ballroom. And I felt like these dancers moved so amazingly. Jazz dancing is “bigger” than Latin ballroom, in that you take far larger steps and really work on moving your body without restraint; with ballroom, you must take very small steps and keep arm and upper body movement very small and controlled so as not to whack your partner or others on the crowded dance floor. And, because of this forced constraint, I found the Ailey dancers so much more interesting than ballroomers. Often at the ballroom competitions, there’s so much smallness of movement in Samba that I can’t even really see the dancers moving their hips and contracting and expanding their pelvises; it looks almost the exact same as a traveling form of Cha Cha to me.

Teachers at my old school used to tell me that studying any dance outside of ballroom besides ballet may well hurt my ballroom, mainly because of the uncontrolled movement. But these Ailey dancers just moved in such brilliant ways; really made me want to learn what they do. Plus, it looks so damn fun! So, I have decided that I will start taking some jazz, street samba (the Ailey School teaches it!), and African, in addition to my ballroom, at schools that offer group classes in those areas like Steps, Broadway Dance Center, and the Ailey school. If it hurts my ballroom technique, so be it. I love the way these modern dancers move and I’m not ever going to be a professional dancer, so it might as well be fun for me!

3) WRITE WRITE WRITE.

Third, I’ve realized through some recent discussions with friends and work and writing associates that a lot of people really don’t understand two basic things: 1) how frigging hard it is to become a great dancer — good enough, that is, that people will actually spend money to come see you perform; and 2) fun as it may be for most of us, dancing is actually a profession for others, and those others deserve to be taken seriously, just like doctors and lawyers and other professionals, and should be compensated appropriately. I came upon these realizations when some of the aforementioned friends and associates expressed difficulty understanding how I, with two whole years of part-time dance experience, could possibly need MORE practice (don’t I know everything already???), and that I actually had to pay for my teachers’ services — particulary at competitions and showcase events — as if my showcases and competitions were supposed to be so much fun for THEM that they were willing to forego an entire day’s worth of teaching wages to spend the day dancing with me, as if they don’t have rent to pay like the rest of us… Anyway, these discussions really enraged me, and one of my goals, as a fledgling writer, is to create more respect for professional dancers through not only this blog, but hopefully with magazine and newspaper writing that I will actually be compensated for, please please!

I also intend to attend as many ballroom competitions as I can — already have my tickets for Blackpool in May, of course of course! — and will most definitely blog about them, and take as many photos as I can, which I will put on the photo page here. I may take a course in digital photography, through the School of Visual Arts perhaps — to learn how to make better use of my camera.

And, finally, I intend to write my next novel this year, and to have it finished by the end of the year! It will deal, in some way, with dance, which is what that goal is doing in this blog entry, though I’m not sure how much of it will be devoted to dance, since, of course, plot and theme change a bit as you’re going about the writing process. But definitely definitely there will be dance in the novel 🙂 My last one took me one year, at least to get the first draft down, and I’ve already started this one (okay, I just have about the first 500 words!), so I am giving myself until, at the very very VERY latest, the end of the year. And, if I’m not finished and don’t have it out to my agent by this very day next year, please someone shoot me!!!!!

And of course, ballet, my lifelong love: I’ll be going to every performance I have the time and money for, am just sending off my ABT subscription renewal to their Met season now 🙂 🙂 🙂 and will likely run down to D.C. for a couple of Othello’s this January (since I’ll likely miss that ballet during their Met season, when I’ll be in England). And of course, I’ll obsessively be reading The Winger

Merry Christmas and Happy Holidays Everyone!

Christmas card from client

This is a Christmas card I received from one of my clients in prison. He obviously spent a good portion of his inmate funds on this, and I found it so sweet when I received it Friday, I burst into tears. Anyway, I will share it with you all, to wish everyone a wonderful holiday. I have to say, Christmas sometimes really depresses me. I start thinking of everyone who is alone — my clients in prison, the homeless, the elderly, the mentally ill who have no one, orphans, etc. etc. etc. It’s just heart-breaking. Since I’m spending the holiday alone myself (though not ALONE alone; I expect to be receiving umpteenth phone calls from relatives 🙂 ), I contacted a local volunteer organization that sends people to soup kitchens and shelters, but they told me that, ironically, Christmas-time is just about the only time they are NOT lacking in help — just about any other time of the year they’d love me. I made a mental note to try to volunteer at some other point, if and when I’m ever not dancing or working!

Anyway, trying to keep sadness at bay and keep an upbeat attitude… this weekend I had another dance / theater marathon. Yesterday, I went to my last Alvin Ailey performance of the season, sadly. I saw some brilliant dancing and choreography, of course! The matinee’s ballets included The River, a gorgeously dreamy ballet choreographed by Ailey himself to Duke Ellington music, with all dancers dressed in light blue, which kind of reminded me of Clear or Drink to Me Only With Thine Eyes — beauty for beauty’s sake. And, I saw Pas De Duke for the first time, which was originally choreographed for Judith Jamison and Baryshnikov. I liked, but didn’t love it. Ailey called it a modern pas de deux (dance for two people), but there was hardly any partnering; it was mostly side by sides, with the dancers interacting a lot with each other emotionally, but not physically. I loved Dwana Adiaha Smallwood (probably the most famous current dancer in the company) in the female role — she was a badass! I can only imagine how Jamison must have performed the part! Then, Solo, by Hans van Manen, was next, a beautiful piece designed, despite its title, for three men, alternating between a pas de trois and each man dancing alone onstage. And the last was Love Stories, a very fun ballet choreographed in honor of Ailey by Jamison, Robert Battle and hip hop choreorapher Rennie Harris. It alternated between hip hop, disco-y jazz, and ballet, and had some absolutely spectacular lifts — man carrying woman over his head while circling the stage multiple times — and jumps — twice a woman jumped up on the chest of a man arching his back — crazy!

ailey dancers taking bow

I sat in the orchestra pit for this one! I don’t know why these seats are so cheap ($25) — they’re so close to the stage, you feel like you’re practically one with the dancers (a feeling that of course I savor!), and, unlike at the Met when you’re so near to the stage, at City Center you can still see the dances’ feet perfectly. Afterward, they held another post-performance panel discussion with some of the dancers, like last time.

ailey dancers at post discussion

This time we had two Frenchmen, Malik Le Nost and Willy Laury (in the glasses — one of my favorites, whom I always seem to see in the Sinner Man part of Revelations which is odd because they always say they alternate between all the roles; I recognize him partly by this cool tattoo that he has on his hip snaking down to his groin area, which is always peeking out from the top of his cinnamon red Sinner man pants 🙂 ), and I think the woman was Khilea Douglass (she was sitting on the far side from me, so I didn’t hear her name clearly or see her face). I really enjoy these discussions — I appreciate hearing the dancers talk about the work from their perspective.

Today, I went to see Spring Awakening, the new big thing on Broadway.

spring awakening

There were a lot of people out in NY for it being Christmas Eve day…! This Rent-like musical was recommended to me by my friend, Mark, who knew I liked Bill T. Jones, the show’s choreographer (hi Mark!) and I also saw a fellow Winger post about it on her website. I liked it, but I have to say it didn’t move me hugely on my first viewing. It’s something I may have to see again (when it comes down a bit in price!), but I did like the music, the singing was great, and the staging (which I assume was what Jones was responsible for, since there really wasn’t any dancing) was a lot of fun. I guess what I didn’t like was the basic story — it’s based on a German play from the 1890s — and wasn’t something I haven’t heard a zillion times before, so it definitely told me nothing new. And, it seemed a bit melodramatic and I couldn’t understand the motivations of some of the characters. I also wanted some real dancers for Jones to work with! Maybe I’ve just seen so much dance lately I expect everyone to go soaring through the air like an ABT or Alvin Ailey member. I’ve got so used to seeing abstract expressions of thought revealed through the sublime vehice of a near miraculous human body that I just didn’t want to hear any dialog! — which is VERY odd for me since I used to be so into dramas. But I guess I’ve never been a huge fan of musicals in the first place — the only one I think I’ve ever liked is the Cabaret of the Mendes / Cumming variety. But, everyone seems to love this musical, so I’m sure that whatever I didn’t see in it on first viewing is just me 🙂

Christmas dinner for the single girl!

So, this will be my single-girl-in-the-city Christmas dinner for tomorrow: an artisanal chicken pot pie made by Just Rugelach and bought at my local Sunday farmers’ market, fresh spinach with Olde Cape Cod honey mustard viniagarette currently on sale at my local Food Emporium, and Barefoot Sauvingon Blanc from Nancy’s Wines, preceded by my favorite appetizer of Greek taramosalata (red caviar mixed with pureed potatoes and other lovely ingredients) on Russian black bread, and for dessert, thick delicious (and immensely fatty) Southern Comfort Egg Nog, and some Haddington Farms chocolate-covered peanut caramel clusters sent by Mom 🙂 Yum!

Christmas reading

And, finally, here’s some of my Christmas reading! Two novels I’ve been hoping for time to sink my gums into — Home Land by Sam Lipsyte, which is a dark comedy in the style of Augusten Burroughs and consists of letters an alum writes to his alma mater on the eve of his high school reunion basically telling them how life DIDN’T pan out so hunky dory (just my type of thing 🙂 ), and the other, The Feast of Love by Charles Baxter, was recommended by Nick Hornby to his fans a long time ago, which I never got around to buying, but some nice person in my apartment building left this copy for me on top of the recycle bin! And these two lovely works of fiction sit here atop my stacks of trial transcripts for the next case I’ll be working on. I promised friends and family I WOULDN’T do any work work, but if I get antsy enough….

Anyway, happy holidays everyone!

My Little Sinatra Suite

tony and jacob 1

Well, I guess it’s not really a suite since I’m only dancing to one of his songs. But last night, we played the tune — “Luck Be a Lady Tonight” — for Melanie LaPatin, who liked it and approved it for the showcase! Then, Tony Meredith, the studio coach, and Jacob began choreographing it. This part always makes me nervous because I basically just have to sit and watch them go at it, and I’m not even sure what all they’re doing since most of the lifts and tricks they don’t actually do but only mark (so that Jacob doesn’t break Tony’s back jumping into his arms, etc.) Tony choreographs on Jacob because, basically, Jacob knows what he’s doing; if Tony used me, he’d have to spend far too much time teaching and not creating… so he uses Jacob, while Jacob tells him all of my strengths, and what kinds of things we want to do. Actually, I brought in the DVD of Baryshnikov dancing Tharp’s Sinatra Suite and Tony viewed it before my lesson to get an idea of what kind of lifts, tone, style, etc. we were shooting for.

I get nervous while watching them put together my routine both because I don’t want it to be too easy and basic (which sometimes teachers and coaches do because they don’t want the students to struggle with something that’s way over their head and then get down on themselves about their abilities), because then it won’t be interesting enough to watch, and because I really want to challenge myself. But then, I also got a bit freaked out listening to Jacob tell Tony repeatedly that I have great extensions that he wants to showcase! Blah! I have long limbs, so I think everyone WANTS me to have great extensions. But I have been very bad and lazy so far this fall and have not been stretching nearly as much as I should. So, my extensions … aren’t quite there yet, I should say 🙂 Oh well, goals goals!

tony and jacob 2

It is kind of funny watching Jacob play the girl!

jacob and tony 3

Who’s that goof flashing away in the mirror?… Crossed legs = varicose veins and bad posture! Bad bad…

Anyway, we got probably about a quarter choreographed. Tony gave me this really cool jump splits to do. Jacob extends his arm to me, I grab it and use it to propel myself up and do a big kick jump past him. He and Jacob also tried to do this very easy-looking small lift that Baryshnikov and Elaine Kudo did on the DVD, where he kneels and she slides over his shoulders. Of course, we realized right away, it only LOOKED easy with those two performing! I am determined though to learn it and get it right! Some of the other things they marked … well, I wasn’t quite sure what exactly they were. Important thing is that I videotaped it all, so Jacob will figure it all out next week and will then start teaching it to me.

By the way, I ended up throwing together my own little gift basket for him for the dreaded holiday gift — bought him some hand-made bath soaps for achy muscles, massaging foot lotion, lots of chocolate from my local Belgian chocolatier, and some fun-looking candy cane bath confetti. So, no bronzed Michaelangelos 🙂 🙂 🙂 Though that was a damn good idea, if I can ever track Luis down at his new studio…

Who Is YOUR Dancer Alter Ego?

Her Kind play

Last night I went to see this very interesting play / modern dance performance called Her Kind, about the life and poetry of Anne Sexton, recommended by Winger contributor Tony Schultz. The actress and playwright was Hannah Wolfe, who alternated fluidly between three different characters: the poet herself; Sexton’s sad but sweet daughter, Linda; and a rather comically nervous young professor trying to teach Sexton to a college class. I was more familiar with Sexton’s poetry than her life, other than the fact that she killed herself, like her friend, Sylvia Plath. Through a combination of recitations of Sexton’s poetry, video projections of interviews with her friends, monologues by Linda recounting anecdotes of life with her mother, and one of those fourth-wall-breaking ‘dialogues’ where Wolfe’s college teacher lectured us, her students, on the import of Sexton’s work, the performance taught me a great deal about Sexton in only a little over one hour. But what I found most fascinatingly unique about the show was modern dancer Laurel Dugan’s role. She ‘played’ the part of Sexton’s alter ego, Elizabeth, who was both a multiple personality of Sexton’s (she was arguably mentally ill) and served as a muse, figuring strongly in her poems. But instead of speaking, Dugan mainly interpreted Sexton’s words through dance. I’d never really seen dance as a direct expression of literature before, and, in a way, I felt like I got more out of watching a dancer interpret the poetry, read by Sexton herself via a tape-recording, through her body, than by listening to the actress use her voice to do the same. The whole conception was really brilliant, and Dugan was stunning.

Anyway, I had kind of a weirdly funny experience afterward. I suffered a bit of “professional identity confusion” when I got into a little disagreement with the woman sitting next to me, who was, it turned out, a former English teacher of Wolfe’s, and a writer herself. The woman immediately expressed dissatisfaction with the piece overall, saying it didn’t really work for her, and she thought she’d give suggestions to Hannah for improving it, since she was a former teacher of hers and all. “Oh really?” I said. “Well what I really loved about it was the dancer; I’ve never seen that kind of thing before and I was surprised that it brought so much more to the play than words could.”

“Oh,” she laughed. “No, that was exactly what I didn’t like!”

We both laughed at our disagreement, the way friendly, unantagonistic women do, then she asked me if I knew Hannah. It was a very small theater, and it seemed everyone who was there knew someone involved in the production. “No,” I said, “I’m here because it was recommended on the Winger, a dance website.”

“Oh, you’re a dancer,” she said, sounding somewhat embarrassed. “I should have known. Well, no no, don’t let my interpretation sway you at all. I’m sure I just feel the way I do because I’m a writer. I take Sexton very personally,” she laughed again.

“Oh, I’m a writer too,” I exclaimed. “I was an English major and I like Anne Sexton too.”

“Really?” she said sounding a little confused. “What do you write?”

“Oh well, I mean, I, I have a novel, but it’s not published. I mean, I don’t have anything published. Yet. I mean besides law review articles.” With this, her eyebrows shot straight up. “I mean, I’m a lawyer, but I’m also trying to start a writing career. And, um, I dance too. I mean I try.” Her eyes widened. Clearly I had multiple personalities just like Anne. “I mean, I just meant I understand what you mean about taking a writer you love personally, and um, I guess because I like dance too, I um…” I sounded like the biggest bumbling fool in the world. She just stared at me, while I tried, in vain, to figure myself out.

We talked a bit more and found that we both agreed that Wolfe had played the role too Sylvia Plath, and not Sexton enough: she was too much of a sweet schoolgirl (faux sweet schoolgirl of course, turned faux happy housewife) instead of sexy and deriving power partly from her attraction, and attractiveness, to men. What I didn’t think of to say to the English professor, what I didn’t think of until I was walking back to the subway, was that, while Wolfe didn’t really play the role Sexton-y enough, Dugan did just that with her more sensuous dance interpretation. Perhaps that was what the play was trying to say anyway: Anne the writer and woman held back, but her alter ego responsible for her creative spirit was completely unconstrained. And what better means to express this unrestrained spirit than through dance?

So maybe all writers, maybe all people, need dancer alter egos. Luis always used to tell me he thought I couldn’t let loose and do that crazy-ass mambo combo he choreographed for me because I was an upright (read: uptight) lawyer. So, he wanted me to think of myself as someone else while I was dancing. He suggested I even invent another name. Of course he came up with … Lolita. Luis!! Anyway, I have decided that I will take his advice. I just need a good name for her. Hmmm…

Downstairs at Cornelia Street Cafe

Cornelia Street Cafe readings

A writers’ organization I belong to, The Writers Room, hosts readings by its members on the downstairs stage in the Cornelia Street Cafe every third Tuesday each month. I’ve always been so scared to read my work, I guess just because I feel silly reading my own words aloud to an actual audience — I was even hesitant in class once, to the befuddlement of my teacher… But this year I decided just to bite the bullet, and signed up to read from my novel. My reading’s not until June — I scheduled myself that late partly because that month’s theme, “Our (Fore)fathers: (Dis)respecting,” is the closest fit with what my excerpt is about, and partly to give myself plenty of time to freak out! So, I figured I’d go every month until then to see what the atmosphere is like, how the readers actually read (of course I’ve gone to umpteenth readings before, but always got so absorbed in the content I never thought to watch closely how the writer actually went about giving an entertaining read), and to support my fellow writers so they will in turn support me 🙂 Tonight’s theme was on the holidays, and the readers were novelist Eric Zeisler, novelist and screenwriter David Evanier, and this very witty fun poet, Rachel Rawlings. The event was hosted by Stan Richardson, who is on the mike in the above pic. Of course each reader he introduced tonight had a list of writing accomplishments pages long — the first guy I think had won about five major awards and had attended several really prestigious writer programs and retreats, the second co-wrote a bunch of screenplays with super famous people and had about 10 books published … Oooh, what’s Stan gonna say for me??? “Ladies and gentlemen, Tonya Plank, a total wannabe with absolutely nothing published!” (I’ve been told law review articles don’t count in the publishing world). No, seriously, Stan was, fortunately, a very funny guy, who cracked a lot of jokes — after Eric read, interrupted several times by the heat cranking on, Stan proposed we give a round of applause to the plumbing system which was apparently needy for some recognition. I think (hope) he can lighten the situation, calm my nerves at least a bit, and hopefully come up with something goofy to say in my intro that will make people more sympathetic toward me than ridiculing, please please 🙂

I’ll definitely be posting hysterically about this more as the time approaches, but until then, WR readings are every third Tuesday of the month, and I have them all posted under My Upcoming Events, on the right-hand section of the blog!

Freedom Tower Coming Up Soon

corner of Vesey and Church near WTC site

Fueled by interest in what the first steel beam to serve as the basis for the new Freedom Tower looks like, after being signed by victims’ families and others yesterday in Battery Park City, I made my way downtown to the former WTC site to see if I could get a glimpse. I couldn’t — it hadn’t arrived yet; and I didn’t have time during lunch to trek all the way over to the Hudson River, where they had had it available for signing yesterday. And, actually, I didn’t have much of a ‘way downtown’ to make, seeing as how I work a whole block and a half south of the WTC site. Still, it was a journey. I never come up this way since that day. I don’t know why really, I just don’t. It’s not like I haven’t had plenty of time to get over it. Last week, we had our office party in a restaurant just down the block from here, and a colleague of mine remarked that she hadn’t been up here much either. Another colleague agreed. And then, a bizzare discussion ensued among my co-workers over whether or not re-construction had actually begun, and, if so, how much progress had been made. No one knew. I realized I was not alone in staying away from here, ridiculously close to our office as it may be.

So, I discovered several new things today. One is that they’ve painted 9/11 flag memoralia on the street signs at Vesey and Church, the southwest corner of the WTC site (which is probably what I’m always going to call it). Another is that the discount designer haven, Century 21, across the street from the site, which I used to frequent, along with everyone else who lived in or visited the city, is celebrating the holidays.

Century 21

And the third is that Liberty Park Plaza, which once served as a triage unit … well, which once served as an urban park bearing lots of chessboard table-tops where elderly men would play chess and checkers and others would sit and consume their falafal and hot dogs bought from street cart vendors lining the park, and THEN served as a triage unit, is now back to serving as an urban park again, this time seemingly without as many chess tables, but with plenty of marble benches, statues of financial district-like denizens peering into briefcases, greenery, and, right now, even a small Christmas tree. And, it is a perfectly fine place to spend lunch outside, enjoying the mild weather we are currently having.

liberty park

I also realized that there is an actually rather nice memorial to the WTC and the victims and survivors of 9/11 along the eastern front of the fenced-off construction area, which seems to be attracting many tourists, though not so many that it is a madhouse. I really have no idea what is so difficult about coming up here again. Maybe I will do so more often once construction on the new tower begins. It may be nice to document its progress.

"Tappy Holidays" and More "Revelations"

Alvin Ailey member pics in CC lobby

Whew, another dance marathon weekend. Saturday afternoon, I went to see another Alvin Ailey performance. Top pic is of the dancers’ profiles, in the City Center lobby. This show was particularly special for two reasons. One was that it was one of the few “All Ailey” specials they’re doing this season, so they performed several excerpts from his ballets, some of which I’d never seen before. My favorites (besides “Revelations” of course, which they performed last, and which they almost always do each show) were: “Night Creature” — a jazzy tribute to Duke Ellington; “Opus McShann” — a gorgeous pas de deux performed by Olivia Bowman and Glenn Allen Sims (one of my favorite dancers with the company) and to music composed and performed by Jay McShann whom, I’m embarrassed to say, I don’t know; “For ‘Bird’ – With Love” — a fun theatrical piece that took place in a jazz club replete with ‘musicians,’ ‘singers,’ and ‘showgirls,’ and in tribute, obviously, to Charlie Parker (whom Sims, again, played / danced); and “Cry” — which I’d seen before, danced to disco music performed by The Voices of East Harlem and in celebration of “all Black women everywhere, especially our mothers.”

I think what I love so much about Ailey is that I completely recognize every move his dancers make — they’re so natural, so organic to the character and meaning of the ballet. With so much modern dance, I find the movements are so abstract that I can’t understand them, and the ‘story’ — whether it’s a linear narrative or not — is either nonexistent or just not accessible to me. With Ailey, I recognize everything his dancers do: the arabesques or battements (back and front kicks, basically), look like something someone who’s putting his heart and soul into playing his sax would naturally do. But they’re not just straight arabesques and battements as taught in classical ballet; they have a jazzy attitude. And, the hands in the air, palms facing upward, at the beginning of Revelations, look like worshippers searching for God, praying for salvation. It’s like he told his dancers to go out on the streets and into nightclubs and churches and watch people intensely, and then bring that to their dancing. The result is characters everyone immediately recognizes; stories that make sense to the viewer, while still taking him/her to a higher level with the beauty of classically-trained movement.

Alvin Ailey dancers giving post performance audience qa

The second reason the matinee was special was that it was one of their “family days” which meant, apparently, that they gave discounts to families, so lots and lots, and LOTS of them showed up. Made for a somewhat noisy audience! But that aside, it was really nice to see very young people being exposed to dance.

At the end of the performance, some of the dancers hosted a Q & A with the audience. Guillermo Asca, Olivia Bowman, and Vernard Gilmore fielded audience queries ranging from what made them want to dance with Ailey (Gilmore said the first time he saw “Wade in the Water” from Revelations — my favorite piece from that ballet too! — he was a goner), how old they were when they began dancing (all were children), to how they kept the choreography — some of it rather old now — fresh and alive, and what they ate before performing. Okay, answers to that last one revealed to me that I cannot, no how no way, ever be a pro dancer! Bowman said she “juiced frequently” and sometimes had some yogurt too, but really just “juiced” a lot. Gilmore said he just went to some place called “Wh—” something or rather; some organic food store I’d never heard of and loaded up on — and here I swear he began speaking a foreign language. I heard wheat grass, but couldn’t understand anything else. This guy (on far right in the above pic) had a body to die for; had the most finely sculpted abs I have seen. What, pray tell, is wheat grass??? The moderator, whose name I forgot — I think she was Nasha Thomas-Schmitt, the arts-in-education director, who used to dance with the company, saved us from all feeling like a bunch of lard asses by claiming that she used to eat burgers and pasta before each performance. “Please, if I just drank juice before dancing ‘Cry’, I’d faint!” Definitely! Anyway, it was a lot of fun, and many little kids were the ones asking the questions, so it was cute. Afterwards, I saw Nasha and some other dancers in the lobby signing autographs and posing for pictures with the little ones.

Also, I saw this flier in the program. How sweet would it be to have an Alvin Ailey birthday party?! Almost makes me want to have kids…

Ailey birthday party flier

Then, tonight, I went to see “Tappy Holidays,” a tap dance show celebrating the Christmas season that was recommended by Matt, whose sister, Carson Murphy, performed alongside such tap legends as Michelle Dorrance, Jason Samuels Smith and Jared Grimes. I thought Carson was so sweet — she danced really well and had a great stage presence; she seemed like she had some acting experience because I thought a lot of her facial and body expressions really helped to sell her dancing. Anyway, it’s been a very very long time since I’ve seen any tap dancing, and it was really just so amazing. I’d never seen Samuels Smith and Grimes before, and those two, they really just floored me. The way they moved, the speed, the attitude, and the complicated steps, the many turns, I just hadn’t realized tap dancing could be so brilliant. They were simply stunning.
Here’s a picture of Samuels Smith taking a bow:
Jason Samuels Smith and Tappy Holidays cast
And here are some other dancers in the cast: Carson is the one in the middle in black, and Michelle Dorrance is on the left, on the mike:

cast of Tappy Holidays

The event was extremely popular. It was general admission seating, and when I got to Symphony Space, half an hour early, the line was already around the block: (please forgive the reverse-order of these pics!). Passersby were all asking people in line what in the world was going to happen in there!
line outside Symphony Space

Tap and ballroom used to be so popular, in the era of Fred Astaire and Ginger Rogers at least. Perhaps since ballroom is enjoying a resurgence, tap will too?…

One last thought. I hope it is okay for me to say this. But all weekend, I couldn’t help thinking of my clients, that many of these amazingly brilliant dancers could have ended up like them. And yet they didn’t; and my clients did. Is it just a simple matter of “there for the grace of God go I” that some people end up becoming pimps and crack dealers and spend a good part of their lives behind bars, and some become great performers, or it there something more that can explain the difference? At the end of “Tappy Holidays,” they pulled down a movie screen and showed some pictures of the dancers as children. Jason Samuels Smith looked like he was bouncing right off the walls with energy as a little kid. He must have been a real handful for his mother, who I know is a great jazz dancer herself. Being introduced to dance at at young age (as he presumably was, by being blessed with parents in the business) must definitely have given him a creative outlet for all that energy, enabling him to use it in an extremely productive way, providing an invaluable service to humanity. I wonder if dance was introduced to more kids, before they had a chance to mess up their lives forever (because the consequences of one conviction, tragically, can last a lifetime), it could make a real difference in this society. How awesome for the Alvin Ailey company for seeking the answer.

Does God Want Us To Eat Fishsticks Tonight For Dinner?

Another fun, book-y meme I found from Konagod. I’m always for memes that promote books 🙂

Grab the book nearest to you, go to page 123, and read the fifth sentence.

“There are surely as many things that deserved to make it to market but were overlooked as there are things that made it to market and then flopped.”

From The Long Tail, by Chris Anderson. Great book, by the way, accessible to the average non-economics major and providing a lot of food for thought about, amongst other industries, publishing.

Above post title, by the way, is from a scene in Running With Scissors (both book and movie) in which the kooky members of the psychiatrist’s family make decisions based upon words they finger to in a randomly-opened book. This meme just kind of reminded me of it, in a goofy way.

Konagod also posted of all the “best” blogs (meaning the blog that garnered the most audience votes from each category, after being selected by judges as a finalist in that category) from the Weblog awards.

Becoming a Criminal On My Way to Defend My Client!

Does this look like the face of a criminal?!

me after court

Oh I fear it is! I had to turnstile-jump this morning on my way to this lovely place:

Appellate Division courthouse

… which is the Appellate Division courthouse in Brooklyn Heights, where I had an oral argument. I didn’t mean to commit a crime! I was running late on my way to court because I was hysterically researching cases on Westlaw this morning before I left — I always do far far far too much research and am pretty ridiculously overprepared for court. I’m always so afraid the judges are going to ask me something about some obscure case and I’m going to look stupid. Not that overpreparation is bad, but it does sometimes get me a little behind on my caseload. And, when you have about one of these a month, spending several days obsessing over case law and trial transcripts and penal codes and sentencing guidelines can really put you a good, full case behind…

Anyway, so I was researching hysterically, not realizing the time, until it was about 9:00 — an hour before I have to be in court. Calendar call (which every attorney with a case on for argument has to attend in order to tell the presiding judge how much time s/he is requesting to argue their appeal) is strictly at 10, and if you’re late, you’re in big trouble. So, I grabbed my argument outline, the mass of cases and trial transcripts I wouldn’t need (since I basically had all of them memorized), and, shoving an extra pair of hose into my briefcase, fled my apartment for the 2/3 train.

When I went to go through the turnstile, there was a man entering before me, and I guess his Metrocard didn’t go through and the machine told him he needed to slide it through again. But since I was in such a hysterical rush, I’d already swiped mine. So, when he walked through, it was on my card. Since I have a monthly, I couldn’t swipe it again for another 15 minutes (for non-NYers, that’s the MTA’s means of preventing people from buying one monthly pass and then letting all their friends and family ride on it as well). Of course I didn’t have 15 minutes to spare. Normally, I’d just explain to the agent in the booth what had happened and they’d let me through, but for some crazy reason there was no agent in the booth this morning. I searched for another one, but couldn’t find any. Angry that I was actually going to have to buy a single ticket, I whipped out my wallet only to find I had no small bills. I started crying out, asking anyone within earshot if they had change, but no one could be bothered to help the poor, hysterical, screaming besuited lawyer. So, I did the only thing I could do: jumped the damn turnstile! Actually, I didn’t jump; I slid underneath. And as I went, I waved about my Metrocard just in case any officers were spying from behind some “janitors’ cabin” and came after me. Nothing happened, other than a few odd looks from commuters. I’m just afraid they have some surveillance camera and I’m going to get a summons in the mail! Or worse, served at my place of work … Well, I have a damn good excuse. It’s just kind of ironic: the criminal defending a convict!

Anyway, I had a lesson with Jacob tonight, after not seeing him, or the studio, in over two weeks. My back knee bent badly while he tried to take me down into a split in our opening trick. Uh, so out of practice! And, the DVDs from our October student / teacher showcase are in. I bought two — one for me and one for Dad for Christmas 🙂 Oh, I don’t know if I want to look though!

DTS DVDs

Fergie to Dance With Stars? Why Not ABT Royalty??

I just received in my inbox news that, according to rumor anyway, Sarah Ferguson is considering being on “Dancing With the Stars.” I think that would be quite fun actually; she’d be so cute! Who’d be her partner: Dovolani? Hmmm. I still think they should have ABT dancers do it. I’d so love to see Marcelo Gomes and Jose Carreno doing Quickstep or Viennese Waltz. Not with each other of course … although … hmmm… No, seriously, I really really wanna see ballet dancers run around the room at maximum speed attached to each other at the pelvic bone with feet in perfect, steadfastly maintained sixth position (that’s parallel: in Standard dances, a turned-out foot = a tripped over foot = partners going down fast…) And David Hallberg, that’s David Hallberg (sorry 🙂 ) and Julie Kent can do Samba. And Cha Cha. Fun fun!

Life Imitating Art (Again): They're Either Gay or Fatally Flawed!! Blah!

blogger panel discussion notes

Last night, I attended Media Bistro‘s panel discussion entitled “From Blogger to Author” which was about, as the name implies, bloggers who ended up with some pretty cool book deals. It was quite informative. Michael Malice from Overheard in New York was there (and I caught him eyeing my Naughty Ms. Kitty writing journal, pictured above; he wanted one badly and was extremely jealous, I could tell!!), talking about graphic artist Harvey Pekar‘s biography of him; as well as interior designer Maxwell Gillingham-Ryan, of Apartment Therapy, who was wearing extremely cool multicolored-striped socks; Rachel Kramer-Bussell, who writes Lusty Lady; ICM’s Kate Lee, a.k.a. “literary agent of the blog superstars” who came across as a very intelligent, shrewd businesswoman for her young age; editor Laura Mazer of Seal Press; Julie Powell, author of Julie & Julia, a Bridget Jones-style diary of cooking all of Julia Child’s recipes in one year and supposedly the author of the most popular blog to date; and my personal favorite (in terms of his blog, which I discovered only after last night), Rob Rummel-Hudson, whose sweet My Beloved Monster and Me, is the basis for his memoir, to be published in 2008, Schuyler’s Monster, about his little girl and her rare neurological disorder. Learned lots of interesting tidbits about such things as blog ‘hits’ and page views versus publicity, the challenges of blogging versus book writing, how these awesome book deals came about, and witnessed a rather fun debate mainly between Lee and Mazer on whether literary agents are still necessary.

Anyway, I stupidly left my notes at work, so was searching the internet for info on the panelists, and, while looking for Julie Powell’s cooking-diary book, came across this fun little interview with her. I just love “who’s your favorite literary character”-style quizzes, and the first question here, which fictional character would you most want to date and why, completely stumped me. At first, I thought, oh that’s easy, I have lots of favorite male novelists. Then, I realized, ooh wait, that question was which of their CHARACTERS do I wanna date? Just because the character’s creator is desirable, doesn’t make him so… after all, the author must have an ironic detachment from his little creation to make him compelling.

Thinking of my favorite books: there’s Andrei Makine’s Franco Russian war child in Dreams of My Russian Summers, but that character had lovely little thoughts like, women should just die after sex when they’ve exhausted their usefulness. And, even if forgiven for those sentiments, is a man who doesn’t know whether he’s Russian or French, who’s so conflicted over his national identity, really a desirable partner? Ditto for Jeffrey Eugenides’s fascinating Cal in Middlesex regarding gender / sexuality identity. While I hugely appreciate Oscar Hijuelos for making me feel actual sympathy for the womanizing, sexist, even sometime rapist Cesar Castillo in Mambo Kings Play Songs of Love, he’s not exactly someone I want to spend time alone with. Dostoevsky’s Raskolnikov — now there’s marriage material! Hemingway’s characters are, well, Hemingway characters. Salinger’s characters are smart-assed shitheads with engaging voices who make great narrators, but to date?… Philip Roth characters … ugh. Martin Amis men … ugghh. Nick Hornby males … uuuuggghhh… Leaving, for me… Augusten Burroughs‘s heroic survivors of things like complete childhood insanity who are, of course, GAY. And E.M. Forster guys… hmmm… much better than the most of the aforementioned but, yes, same little problem as Burroughs…

I can honestly only think of Emma‘s Knightly as a desirable man, and he’s 2,000 years old, so is bound to be a bit old-fashioned… Powell at first answered the question saying, ooh I dunno, that’s a hard question for a straight woman … Couldn’t agree more, unfortunately. But, on the bright side, I guess I do find something about all of these great writer men to fall in love with. Ironic detachment; it’s a marvelous thing. If only every man could strive for it…