ISSN 0522-0653, 6 x 9 in, 100 pages, 24 color photographs
From the current issue
On the CW network, which is aimed at teenagers, the name of the television series is Breaking Pointe. I cannot sit through even five minutes of an episode. It is just so stupid. But the joke’s on me. It’s not a program for the over-twenty crowd. It’s aimed at teens and they love it. Apparently hundreds of thousands of them across the United States and Europe (the show is produced by the BBC) think Breaking Pointe is cool. Ballet West is Cool. Adam Sklute is cool. Classical ballet is cool.
Ballerinas Dance in Your Lap
The preshow continued with some stunning views of St. Petersburg, meant to highlight the 3D effect, but once I put on the special glasses, it was immediately apparent that through a technical glitch the 3D effect had been reversed – turned inside out so to speak, with near objects receding and distant objects coming forward. What to do? Call the projectionist? Chances were the technical problem was beyond the projectionist’s ability to resolve. Fortunately, summoning my previous experience with just this sort of 3D viewing, I found a low- tech solution: I tuned the glasses upside down, and lo and behold! The images were now visible in their proper special relationships, I whispered my discovery to the person next to me, and soon there was a buzz going around the theater as the news was passed along, and I got several congratulatory pats and thank-you’s from people in the row above me. I was a hero.
Le Clercq was one of the dancers in the early days of New York City Ballet who were each uniquely individual. She and the legendary Marie-Jeanne, Allegra Kent, Suzanne Farrell were not cookie-cutter products of the School of American Ballet, but individuals who were musical, witty, elegant, daring technically, and could create atmosphere on the stage – in short, Balanchine’s muses.
The irony of Miami City Ballet’s program, of course, was that the 1934 Serenade packed more of a punch than the 1978 Ballo ever will. Just as Picasso’s 1907 Les Damoiselles d’Avignon presaged the rise of cubism and modern art, Serenade telegraphed where Balanchine would take classical ballet for the next sixty years. It is a ballet whose opening sixty seconds still rank as the most monumental in all of classical ballet.