Required Reading For The Day

I love this! When’s the book coming out here, when when when?! Perhaps the excerpt contains hints as to why Danny Tidwell may have felt not so at home in the world of ballet

Also, I don’t have time to blog about Dancing With the Stars today, but hope to later in the week, after the results show tonight, which is, by the way, especially worth watching, even for those not solely into ballroom. The man widely hailed as the greatest tap dancer in the world will be on. That’s Savion Glover of course of course! So, that’s tonight, ABC, 8pm / 7 Central.

Sir Alastair Speaks!

But he didn’t say much. And I should probably stop calling our new(ish) Chief Dance Critic ‘Sir Alastair’ and come up with a different nickname; he came across more as a jolly, down-to-earth commoner than a lord. Anyway Mr. Macaulay, along with dance writer and professor Mindy Aloff, addressed a crowd of mainly students, critics, and dance insiders last night at Barnard College. He spoke of: his move to New York (he’s still not completely moved into his new apartment and has no television, allowing him neatly to evade the question of the moment — what about all this dance stuff on tv?); what he misses about London (his garden, the West End’s plethora of Shakespeare plays); how he felt about becoming the NY Times’ chief dance critic (it was a welcome mid-life change, he and his audience at the Financial Times in London had grown a bit tired of each other, he was worried his appointment wouldn’t be well taken since he was from out of town — and rightly so, why should a critic not be homegrown?– people laughed at this, not sure why); his most trying life moments (serving jury duty and having to announce the verdict to a raucous courtroom, being charged with taking indecent pictures of minors after an officer saw him photographing frolicking children on a beach– don’t worry, it all worked out well as charges were eventually dropped); his dance training (ballroom, reading ballet technique books and sitting in on ballet classes); his favorite artists (Shakespeare and Mozart), etc. etc. — things on that level. It was nice to see his face and hear his voice, and it did make you realize he was human despite his sometimes harsh reviews, which was probably the point of the whole thing, but it was hardly the in-depth discussion of issues important to the dance world that I was hoping for.

During the Q & A, a student asked him if he felt that bad reviews played any part in declining dance audiences. He thought for a moment and answered that he didn’t know how much of an effect reviews really had on audiences. He thought his reviews had absolutely no effect on that of American Ballet Theater, as the Met Opera House was far from packed each week during the their summer season regardless of what he’d said in his most recent review. He also felt as a critic a certain degree of harshness was necessary, as it was the critic’s responsibility to “hav(e) a passionate subjective response” to a work. Wendy Perron, editor in chief of Dance Magazine, after noting that he’d largely written subjective reviews frequently inserting his own voice, asked if he’d ever taken a more objective tone. He responded that he wasn’t sure of the difference between subjective and objective with respect to criticism, but felt that his writing was a combination of the two. He viewed the objective part as describing what he saw, the subjective to tell why it mattered.

Eva sweetly asked him in her beautifully mellifluous voice whether he was going to explore the entire New York City dance scene and all the wonderful things it has to offer. He brightened considerably and said he’d just discovered “downtown” and had gone to a performance entitled something like “Accounting” and really liked it. He sounded authentic and it was actually rather cute. I don’t think he knows he got reemed for his review of that 🙂 Countercritic guy asked him something along the lines of whether he had to consider something beautiful in order to value it. I thought it was an interesting question and Macaulay did too, and even said so. “But I’m not sure how to answer it,” he replied. He said he liked it when a choreographer challenged his notion of beauty as Mark Morris has on occasion. Which I thought was a good answer. He mentioned other such choreographers, but I’ve forgotten who– I’d put my notebook away by then and was packing to go.

Hmm, what else do I have in that notebook?… He takes a few notes during performances but usually they don’t amount to much. He was first seriously impressed with the New York Times when he picked up a copy of the paper in London and saw a review of a classical dance performance on the front page. Such a thing would never have happened in a London paper, he said, as concert dance wasn’t considered “sexy.” He doesn’t regularly read others’ reviews of a piece because he doesn’t want them to influence his own, although his favorite critics are the New Yorker’s Joan Acocella (who has an “engaging” “shrewd” voice that, even if you disagree with, “you really want to spend time with”) and Wall Street Journal’s Robert Greskovic, who has a gift for detailed description (and is his good friend and sends him copies of his reviews). He said dance and music criticism were very challenging because the dialog one had with the piece was not a direct or natural one (as with a play) but forced the critic to translate from one language into another. I thought that was nicely stated.

That’s all. It was about an hour and twenty minutes altogether. It was okay, just wish the discussion would have gone deeper.

I came home and watched the video I’d taped of Dancing With the Stars. I’ll blog about it more tomorrow — am too tired now — but, very briefly: ridiculously, he hasn’t even danced yet and I am totally in love with Helio 😀 Does Marcelo have that same accent 🙂 🙂 😀 Am also in dancerly love with Mark Ballas 😀 How great were the perfs by those “girls” — Cheetah and Spice?! Whoa! And that opening pro number: you can’t say the ballroom dancing, despite Pasha and Anya, is better on So You Think You Can Dance! I wish there were more pro numbers like that! You can tell how different the demographic is for this show as compared with SYTYCD though — they have a lot of older contestants here. I thought Marie Osmond was a bit of a goof, but charming in her own way, and Jane Seymour was sweetheart 🙂 Could some ballroom insider please smack Chmerkovskiy for me for that self-description: “I’m known as the bad boy of the ballroom. But how can I be so bad when it feels so good?” 🙂 Okay, more tomorrow, I’m off to bed…

"The New York City Dance Community"

dance community NY group photo in bryant park

I don’t know who in the dance community annoys me more: those who consider themselves hipper than thou and call themselves “downtown,” or those who consider Ballet the only form of dance.

Spurred by Eva’s suggestion, I went to Bryant Park this afternoon to take part in the first ever group photograph of the New York dance community, organized by Belgian online dance initiative Sarma and local dance collective Chez Bushwick. Everyone who considered themselves part of the dance community was invited. Since I’m a dance blogger, ballet and modern fan and amateur ballroom dancer, I decided that included me.

When I arrived I spotted a robust, jovial-looking, curly-haired man wearing a t-shirt that announced he was a member of the photo op, and headed toward him. I kind of look like Sylvia Plath but shorter and with darker hair, or maybe Suzanne Farrell but not anywhere near as pretty 🙂 I have long hair and was wearing a ballet-y black bouncy-skirted sundress bow-tied at the waist by a red silk scarf, and sandals whose straps were topped with embroidered flowers. I was carrying an oversized pink bag bearing books. After making brief eye contact with me, the man peered around me to another woman and began greeting her, until I stopped right in front of him.

“Oh hi,” he said to me, surprised. “Um, we’re actually taking a photograph of the New York dance community here. Would you like to participate?” he asked hesitantly.

“Uh-huh, that’s what I’m here for,” I said.

“Oh. Oh good,” he said handing me a piece of paper announcing the rules (you gave them permission to use the photos of you on the internet and in magazines, yadda yadda). He also told me after the picture was taken, I was to sign my name on a roster of attendees and would receive a sticker entitling me to a free drink at one of the concession stands. He then told me they were running a little behind schedule and directed me to take a seat at one of the tables in an adjacent elevated area along the path.

I did as he suggested. Turned out to be the perfect little perch for me since its elevation gave me a good view of the crowd. I enjoy being an observer. Plus, I was having a bad hair day and was a little worried of running into Marcelo or David or one of my ballet heartthrobs, so could be on the lookout and duck for cover if need be. I had nothing to worry about as it turned out: there wasn’t a soul from the ballet world there.

Many people began arriving, and I didn’t know anyone. Finally, I spotted a fellow blogger in the crowd. As he was making his way to the tabled area after receiving his instruction paper, I waved to him.

“What are you doing all the way over here?” he said as he approached. I didn’t really understand the question so responded with a quizzical look.

“We don’t ever see each other,” he then announced, “because you’re a snobby elitist who only goes to uptown things. I go to all the cool downtown things.”

I just stared at him, not really knowing what to say. He laughed. Apparently I was supposed to take it as a joke.

“Well, I’m going to go around and meet new people while you sit here like a wallflower.” And he was off.

I kind of sat there stupefied. I think I saw Eva, but after that didn’t feel like getting up to say hello. Maybe some other time. I saw Jonah Bokaer, one of the organizers of the event and a dancer with Merce Cunningham. He’s rather cute in person 🙂 He was going around giving people who looked like they belonged small bottles of water. That didn’t include me. He looked right through me when he passed directly in front of my table even though I had my piece of paper with the instructions prominently displayed. A twenty-something woman with dark hair bearing a green “press pass” around her neck was going around with a notepad. She stopped at a table in front of me at which sat a man and two women with really cool-looking dreadlocks. I overheard them tell her they were retired dancers, now choreographers. I wondered if the interviewer was Gia.

About half an hour later, an announcer muttered something over a microphone that barely worked. From the crowd’s actions, I figured he was telling people to line up to his left. I followed suit, but kind of wish I’d just have stayed where I was to take pictures. I got a space all the way in the back of the crowd. I could hear him now telling taller people to move to the back, but apparently the average man over six feet either doesn’t understand English or has no sense of his size in comparison to others. Or else “downtown” male dancers are just rude. Some tiny women in the back brought over some chairs and stood on them. Soon, a security guard was in on the action ordering the people to get off the chairs. They paid him no mind. He yelled louder. They continued to ignore him. I couldn’t believe their audacity. And it did look dangerous: the plastic chairs were very insubstantial and the ground was really rocky and unstable. I wouldn’t stand on such a thing and these were dancers. He walked right up to one of them and yelled in her face to get off the chair or else. This was far more exciting than the photographer up front!

“Oh come on, officer” she whined like a character in Rent. Thankfully the last picture was snapped and the whole experience over, so there was no further trouble.

Good thing about being in the back was I was first in line to record my name. That of course didn’t mean I was actually first to do so. As the man handed me pen and paper, someone reached over my head and snatched the whole right out of my fingers, bumping me on the crown with the back board. Other pens and rosters were handed about, arms flying feet stomping everywhere. About fifteen minutes later I was finally able to scribble my name, identity (blogger), place of birth and email address, and receive my sticker, which I promptly took to the nearest concession stand.

“What’s this thing?” the clerk snapped.

“We’re supposed to get a free drink?” I said.

She laughed shaking her head. “I don’t know nothin’ about this.”

“The dance community gathering, over there,” I pointed to the raucous crowd bombarding the man with the rosters and stickers.

“I don’t know and I don’t wanna know,” she spit.

I guess it was a fitting end to a discomfiting experience. Weird, I was just saying how good it felt to be part of the dance community.

Petipa is the New Black

“‘What color would you say this is?’ Lana asked, handing her the pump. ‘Not quite turquoise.’

‘Oh I’d say Bluebird. Very franco-russe, very Petipa.'”

Hehehehe, I’m really enjoying this novel, Women About Town, by dance critic, Vanity Fair contributing editor and novelist Laura Jacobs. One of the main characters, Lana obviously, is a dance critic, and it’s so fun reading about her world. At times kind of frighteningly competitive and at times sweet. Dance critics so live, breathe, sleep (and shop!) dance, sometimes more so I think even than the dancers… Anyway, can you imagine going shopping with your girlfriend and speaking about the clothing and colors in ballet terms? I love it — can totally see me and Ariel doing such a thing, when she moves to NY 🙂 Probably with us, it’d be more like, ‘whoa, that’s Tybalt yellow!’

Times Joins SYTYCD Debate, Ignoring Some But Not All Blogs

Claudia LaRocco writes briefly in today’s NYTimes about TV show So You Think You Can Dance and whether it’s of any value in bringing concert dance to a larger audience. She didn’t mention the lively debate taking place on Apollinaire’s blog, in which I nominated the wonderful Rasta Thomas as “Ambassador of Dance.” Apollinaire sweetly made me feel good about the Times’ mention of him as well in that role, since when all the other nominations came in and people began talking, I felt really stupid, as if I’d nominated Playgirl’s Playmate of the Year (if they even have such a thing 🙂 ) So, I’m glad the powers that be were on a similar wavelength 🙂

I’m also glad that Ms. LaRocco interviewed Kristin Sloan of the Winger to weigh in on the question, and so didn’t completely leave out the blogosphere. Unfortunately, SYTYCD was mentioned not once on the Winger. I don’t mean to be critical at all, it’s still my favorite dance blog and I dearly love many of the contributors, but I think with so many of them now, no one’s really in charge and everyone’s expecting someone else to take on the important issues, so the debates have been had elsewhere. I just wish the dance community was a bit more cohesive. I just feel sometimes like everyone’s writing, blogging, talking in a vacuum, and that’s unfortunate for dance because it cuts down the level of discussion…

Update: Kristin just published a really interesting post on a Chinese TV show on cable that she compared to our SYTYCD. I like the sound of this one! Okay, I take back what I said above 🙂 🙂

Survived First Dance Class in Four Months!

Okay, how come I always look like an ass in ballet class, but a ballerina in all the other styles of dance I take? Tonight, I took my first dance class in four months now (yikes) — a beginner Flamenco class at 92nd St. Y. Seriously, in lieu of the beautiful palmas (fluidly wrist-bending Latin / Indian hand movements that are one of the three basic elements of the dance), I did the perfect port de bras (balletic arm movements). I mean, I’m sure they wouldn’t have looked like perfect port de bras in ballet class, but they sure did in Flamenco. No matter how much Latin I take, for some reason I always have the tendency to turn my wrists inward so that my palms are toward my body (as in ballet), rather than turned out, away from it, as they usually are in Latin. It’s ridiculous.

And damn do those castanets require patience! We only did basic taps, but tapping the pinkie finger, then the ring, then the middle, then the pointer, then moving to the left hand in a continuous one-two-three-four-five rhythm, faster and faster and faster was so unbelievably trying on my nerves, for some reason. I had to keep shaking my hands like I was shaking off a bug or something. And keeping my arms up in the air was a bit painful, embarrassingly. I am just a bit out of shape here 🙁 And forget trying to coordinate the castanet taps with the wrists with the arms with the foot toe / heel stomps (my favorite part — gets rid of some real aggression :D)… forget it! This dance is so hard. It’s not athletically hard in the way ballet is, but it requires maximum coordination that I don’t have!

I’ll probably stick with it anyway; it’s good for me 🙂 Unfortunately, the teacher has a strict dress code — all black — so I can’t wear my pretty purple Flamenco skirt (above). Don’t really understand this — I took a Flamenco class at Ballet Hispanico months ago and wore the skirt to Paso Doble classes at two different ballroom studios and no one’s ever had a problem with the color. It cost $75 too, so I have no intention of buying another one in black. My black ballroom skirt will have to do, though it doesn’t have the pile of ruffles at the bottom so is not going to look wholly right for Flamenco… I just always pride myself on being different, so was rather pleased with myself for finding such a color.

I’ll never forget the first dance class that blew me completely to Heaven, made me feel like I was experiencing a whole new level of humanity, made my heart race: it was basic ballroom Samba with Roula Giannopolu at DanceSport studio. I remember I was squealing when I came out of there, practically crippled with blisters, my classmates trying to steady me and asking if I was okay. “What kind of music was that?” I screamed out demandingly, collapsing on the lobby sofa. No one knew and Roula had sprinted off to her next class. “That was like ballet and African and Latin and just the whole world!” I cried, flailing about. I haven’t had that same exact experience since and I so long for that feeling again. I think I may sign up for group ballroom classes next month. I like the solitary Latin dance classes I’ve taken — Brazilian Samba at Alvin Ailey and now Flamenco. But ballroom’s really where my heart is.

Anyway, on another note, here are some more pictures I took today during my lunch hour of the Bill Shannon “Window” site-specific dance performance that I blogged about at the beginning of the week. It was funny seeing it down on Liberty Plaza this time, after having watched from the high-rise before. I had thought when I was inside looking down that people were trying to be good New Yorkers and avoid any weirdish person making a “scene,” but being down there with the people, I realized that the area the dance was performed in was so vast, without music, it was actually pretty hard even to notice. You had to really seek him and his dancers out to see him. Dance is also so music-dependent I realized. Upstairs we had the music blasting from the speakers to accompany the movement we saw out on the plaza. It really got you into it, made you move a little yourself. Being down there with no speakers, the movement just didn’t have the same meaning, it wasn’t as fun, it wasn’t as noticeable, it wasn’t as “performancey” which I guess was the point…

One of Shannon’s break-dancers.

The guys in white are the performers. It might be apparent, it might not.

This is Shannon himself, on the crutches. I didn’t notice him zooming around on the skateboard this time; he used it more as a prop than a vehicle, unless I just arrived a bit late and missed that part of it.


On, and another thing, at one point a woman walked up to him while he was on the ground break-dancing. I guess because he had the crutches, she thought he was hurt and tried to help him up! He spoke with her a bit, but with all the city noises, I couldn’t possibly hear what they were saying. I wonder whether he went along with her, told her what was really going on, or if I just completely misunderstood the whole interaction and she was actually part of the performance!

David Speaks!

Matt posted a little video he made of him and David Hallberg attending a live taping of the Broadway play “Legally Blonde” for MTV. Pretty good video, Matt! But interesting thing to me is, this is the first time I’ve actually ever heard David speak! He’s more fragile-seeming than he appears onstage. He’s so cute 🙂 🙂 🙂 It’s just funny because in dance (in contrast to theater, movies, etc.) you see a favorite dancer onstage many many times and you never hear the sound of his voice.

My First Suzanne Farrell Experience!

Last night, I met up with fellow dance blogger, Art, at the NY Library of the Performing Arts to watch a newly restored film of George Balanchine’s 1965 ballet Don Quixote, performed by the choreographer and his then muse (and one of the greatest and most famous ballerinas of the 20th Century) Suzanne Farrell. The film, which is now available for private viewing in the library’s research carrels, was shown last night to an audience.

I’m currently reading Ms. Farrell’s autobio (one of MANY books overspilling my night table…) but this was my first time actually seeing her dance, and, oh my gosh, I was beyond blown away. She was just the epitome of grace and serenity and beatific, angelic, ethereal purity. Her arms were like water and her body at times looked like a candle’s brightly flickering flame. I can see why she was his muse! And she was only 19 in the film; all of those qualities that make a sublime dancer thusly so are present from the get-go, several of us agreed after the showing in the lobby.

The film is a bit wobbly in places. The filmming wasn’t sanctioned (making the movie a piece of bootleg!) So, at times the light is so dim you can’t really make out what is happening; sometimes the camera is focused on a dancer who isn’t dancing, cutting off someone else who is, there’s lots of blurriness, and the sound is often distorted. Somehow you can always see radiant Suzanne, though, which is what is most important of course!

Also, this version of the ballet is rather dark, based closely on the original Cervantes, not on (19th Century ballet-maker) Petipa’s more fun-loving, celebratory classical ballet filled with flirty characters and thrilling, virtuostic dancing. I rather liked Balanchine’s more melancholy interpretation. I wish New York City Ballet was still performing it today. Sadly, the ballet got mixed reviews, so they nixed it.

It was really fun seeing this with an actual audience. I think if I’d viewed it at a private carrel or checked it out and watched it at home on video I might have got bored. But seeing it with other ballet fans (some very long-time), hearing their gasps when Balanchine’s Don Quixote has his feet washed by Farrell’s Dulcinea, then dried by her long, flowing hair (Balanchine, many many years Farrell’s elder, suffered an unrequited romantic love for her), their heavy applauding at the end of one of Farrell’s solos, their enthusiastic whispering when someone who was obviously a famous dancer back then came on the screen, all made it so much more intriguing, made it all come alive. Some of the faces I’m seeing at all of these dance events are beginning to become familiar now, and it’s really nice sensing that you’re part of a community, especially in the hugeness of New York City.

Speaking of familiar faces, Art and I ran into Monica in the lobby and we chatted for a bit, which was fun. Her daughter is an aspiring ballerina and currently studies at the School of American Ballet, founded by Balanchine and connected to New York City Ballet.

Art is just amazing, and, after reading his blog for several months now, it was so great finally to meet him! So knowledgeable about ballet, though so young 🙂 He lives in L.A. but was here checking out grad schools in art admin. After the showing, I dragged him to Cafe Mozart because I’m a pig and a half 🙂 to chat more. As an undergrad at USC he took a dance history class with the (in)famous critic Lewis Segal! He said I should be reading Edwin Denby (which Terry Teachout and my friend the great dance writer Apollinaire Scherr 🙂 have told me as well), so when my next Borders coupon arrives via email, I will have to break down and buy it. We discussed dancers, dance companies, dance journalism, dance presenters, theater, London verses New York for all of the above … he recommended for my next Blackpool trip (in May / June next year), I fly into London instead of Manchester so I can bookend my ballroom dancing extravaganza with some dance at Sadler’s Wells. He even knew what was on their agenda at that time of year! See, smart!! It was so nice meeting you, Art, and I hope you do relocate here for grad school 🙂 In the meantime, keep blogging!

Boston Ballet at the Guggenheim

Last night I went to my first Works & Process discussion of the Fall season to investigate the Boston Ballet, who will soon be performing as part of the Fall For Dance Festival at City Center. These Works & Process events held by the Guggenheim Museum, by the way, are really a good value. For only $25 you can see, in a very intimate setting, prestigious dance companies perform new pieces from their upcoming reps, and hear the artistic directors and/or choreographers talk about the works.

Last night’s program featured speakers Mikko Nissinen, Boston Ballet’s artistic director, and choreographers Helen Pickett and Jorma Elo. Elo is the main reason I wanted to attend, as I have loved both of the two very modern ballets I’ve thus far seen of his: “Slice to Sharp” performed by New York City Ballet; and “Glow Stop” by my favorite American Ballet Theater 🙂 This makes me a bad person, as dance critics just lurve to hate Elo 😉 I guess many find him vapid and aerobic. But I think his ballets are fast, fun, sharp and bedazzling, and they both showcase the dancers’ athletic abilities with their numerous mid-air turns, high jumps, and fast precise footwork, and take dancers out of their comfort zone (as this favorite of mine once put it) which, in a weirdly extended way, does the same to us.

Anyway, tonight’s piece of his, an excerpt from “Break the Eyes” was the best thing I’ve seen by him yet. The music alternated between a section consisting of heavy, disconcerting, foreboding sounds (at first sounded almost like something out of “Jaws”), and was accompanied by the voice of a young woman breathing frantically and speaking urgently in Finnish, and a section of sweetly mellifluous Mozart piano music. A solitary ballerina danced to the foreboding soundscape, her movements at the start sharp, jerky, and frazzled, which became less so as the ballet went on. The Mozart pieces were danced by a small ensemble whose dance vocabulary — pretty partnering, lifts, quick-paced but mellifluous allegro steps — mirrored the flowing music, the solitary ballerina’s angular, harried, awkward movements a stark contrast to theirs. As the piece developed, the music was at times played together, the frantic Finnish woman’s voice crying out over, disrupting the Mozart. The ensemble and solitary ballerina seemed to struggle with and react against each other, eventually helping to define each other. The dance was intriguing: though I didn’t “get” everything the first time around, as I never do with abstract ballets, there was a real development there, a kind of story, and I felt Elo was trying to say something, making me curious to see it again. I’ll get that chance with Fall For Dance, as Elo’s is the piece the company will perform.

Boston Ballet, as Nissinen explained, seeks to perform a blend of contemporary and classical ballet. Ballet, he said, is “not just a church or museum, but must pave the way for the future.” I like that, and it’s true. There’s nothing more beautiful and romantic and fairytalish than classical ballet, but for the art to stay alive, there must be new along with old. (What if the only plays performed on all of Broadway were by Shakespeare? Going to theater would be a historical enterprise, like visiting a museum.) In this vein, the company also presented a Swan Lake pas de deux — you realize just how beautiful classical ballet is, what genius possessed Ivanov, and how iconic Tchaikovsky is when you see something like this juxtaposed with the modern — along with an excerpt from the first professional work by new choreographer Helen Pickett. Interestingly, Pickett said her process was to choreograph a dancer’s solo, then allow the five or so others sharing the stage to improvise their own moves, taking cues from the soloist’s movement “reading” her vocabulary and reacting to it. She said it was empowering to the dancer, which I can see. Still think I’d be very nervous making up my own movement right on the spot before an audience though!

Anyway, if you wish to see the Elo piece at Fall For Dance, go here; for Guggenheim’s W&P schedule, go here.

Doh!

Celebrity sighting, celebrity sighting! Of course I would have to be looking like a complete dumbass. I’d just been at the street fair and was making a quick run to the drug store a few blocks away. It was the first coldish day of the not-yet-fall and a bit windy out, so I had a runny nose and hair flying out of my ponytail and scattered haphazardly all over my face and head. Hadn’t washed my hair this morning because wasn’t planning a big day and so make that greasy hair scattered all over face and head… Plus, I’d just finished eating some street food bought at the local Italian restaurant’s stand, so likely had Alfredo sauce somewhere on my cheek, and perhaps a mashed pea too… Thank God it wasn’t Marcelo!!!

And dancers — at least the principals — always know when you recognize them. You look at them and they look right back at you, and you try to look away but you can’t help doing a double-take and they lock eyes with you again on the double! So embarrassing when you’re shy and too timid to say hello, and especially at a time when you look like a total dumbass.

Anyway, he has really beautiful eyes. But really kind of frighteningly intense, but in a beautiful way.