REPOSTED FROM THE AGE/JOEL MEARES
Harrison Lee, 15, back home in Castle Hill after winning the famed Prix de Lausanne. Photo: Steven Siewert
At first, Harrison Lee thought he was in trouble. His mother had called him into her bedroom early in the morning, and he was “a little scared” – this was not the regular morning routine at their Castle Hill home. Then she gave him the news: “She sat me down on her bed and said, ‘Congratulations, you’re going to Switzerland!'”
It was the news the 15-year-old had been waiting more than a month to hear, ever since he sent a DVD of himself performing a variation from the ballet Flames of Paris to the judges of the Prix de Lausanne, among the world’s most prestigious competitions for young dancers. From 300 entrants, he was one of 70 invited to Lausanne, on the shores of Lake Geneva, for a week of classes and performances.
“When she told me I got in, happiness just took over my body,” says Lee. But he did not leap down the road, Billy Elliot-style, painting his delight for the world in pirouettes and arabesques. “I’m not one to scream and shout and go crazy,” he says calmly. “It just took over inside.”
Harrison Lee: The dancer won the Youth America Grand Prix in 2014. Photo: Steven Siewert
Last week, after eight days of classes and major performances, Lee took top prize in Lausanne. He again showed trademark control when called forward from a line of finalists – some three and four years his senior. “I was shocked, and I was getting very emotional so I had to hold that in until it was over.” He adds with a laugh: “I didn’t want to watch this back five years later and see myself crying.”
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The Lausanne win comes just shy of a year since Lee took out the equally prestigious Youth America Grand Prix: the one-two punch puts him among the most promising, and prized, young dancers in the world. Watching the YouTube video of Lee performing his classical variation at the Lausanne finals – a video that has clocked 37,000 views in less than a week – it is easy to see why. His control and strength astounds: he springs to impossible heights from the raked stage; his toes arch improbably towards his heel. One commenter writes under the video: “Good lord those feet are so good they should pay taxes!”
Brisbane’s Lucid Dance Theatre founder Louise Deleur was a choreographer at the Prix, and watched Harrison on stage and in classes, where the dancers are also scored. “He was blessed with these long legs and beautiful feet,” says Deleur, “but what also stood out about Harrison was his humility and graciousness in class. He’s a beautiful soul to work with.”
Lee spent a week in London before the competition taking classes at the Royal Ballet School. He did some sightseeing – Harry Potter World, even though he’s not a great fan of the boy wizard – but mostly it was business. It’s the same at home: he takes two hours of ballet every day at the McDonald College, and three more hours every day after school. His diet “is not as strict as the girls” but he watches what he eats. He points out, humbly, that teachers Josephine Jason, Jane Kesby and Allan Cross have sacrificed as much as he has for his success.
The goal, Lee says, is to become the principal dancer at a company so that “I can dance as many lead roles as I can”. He’s not being unrealistic. Following his successful 12 months, Lee now has his choice of schools: by September he will be living in New York and attending the American Ballet Theatre, or in London at the Royal Ballet, or anywhere else he chooses to attend in Europe. Recruiters are clamouring.
“It’s weird to think at 16 I will be on the other side of the world, living by myself and cooking and cleaning and washing up,” says Lee. “It’s scary, but it’s what I’ve been training for.”
For mother Cindy, a travel agent, the prospect of Harrison moving is bittersweet. The family delights in his success – his brother skipped schoolies to go to Switzerland and watch Harrison compete; Cindy gets giddy recalling how Li Cunxin (of Mao’s Last Dancer fame) told her he was looking forward to seeing her son dance.
“But it’s sad too to think of your child travelling so far away at such a young age,” she admits. “A lot of people probably don’t understand it – people who don’t have a child with a passion or dream and the talent don’t understand how you could see your child do that. We’re happy to see him reach his goals.”
And wherever Lee lands, mum will be visiting. A lot. “It will be a path well worn, I imagine,” she says.
via Ballet dancer Harrison Lee wins prestigious Prix de Lausanne prize.
Dance
$5 Million to Benefit New York Dance
JAN. 11, 2015
Arts, Briefly
Compiled by LORI HOLCOMB-HOLLAND
The Harkness Foundation for Dance announced on Sunday that it would distribute $5 million in grants over the next decade to five organizations that support dance. The recipients are the Brooklyn Academy of Music, the Joyce Theater, City Center, the 92nd Street Y and the NYU Langone Medical Center’s Hospital for Joint Diseases, which houses the Harkness Center for Dance Injuries. Each organization will receive $1 million, making this the foundation’s largest grant to date. Plans for the funding include support for dance presentation at the academy; a new performance series at the Joyce; renovations at City Center; a new residency program at the 92Y; a new boardroom at the Hospital for Joint Diseases; and the development of online courses about dance injuries and treatment.
BIG news! Please share…
HARID Conservatory Announces $25,000
Marcelo Gomes Scholarship Program
The HARID Conservatory recently announced an exciting new initiative to support the training of male dancers. The Marcelo Gomes Scholarship Program will provide a number of qualified finalists the opportunity to attend HARID’s four-week Summer School on full scholarship. During the Summer School, they will compete for a grand prize: the Marcelo Gomes Scholarship. The Scholarship will support the winner’s continued studies at the school during the 2015–16 academic year.
Each of the Program finalists will receive an award valued at $3,200 to cover his tuition, room, and board at HARID’s Summer School. The Marcelo Gomes Scholarship, valued at $6,000, will offset the winner’s fees for room and board during the academic year. (All students study tuition free at HARID during the academic year.)
HARID director, Gordon Wright, stated, “We are pleased to name this new scholarship initiative in honor of Marcelo Gomes, one of HARID’s most-distinguished alumni. Marcelo has enjoyed an esteemed career as a principal artist with American Ballet Theatre in New York City. He is revered worldwide for his technical expertise, artistic sensibility, and his exceptional abilities as a partner. Being named the winner of a scholarship bearing Marcelo’s name will be a tremendous honor and a feather in the cap of any young male dancer.”
Male dance students 13–16 years of age are invited to apply to the Marcelo Gomes Scholarship Program by attending a HARID Summer School audition in January or February (www.harid.edu/auditions), or by submitting an electronic application on or before February 15, 2015. Electronic application requirements include a video presentation of class work and a personal statement. Visit www.harid.edu/marcelo-gomes-scholarship for details. The finalists will be selected by a jury comprised of HARID’s director and ballet faculty. The winner of the Marcelo Gomes Scholarship will be announced at the conclusion of Summer School.
………………………………………
Marcelo Gomes left his native Brazil at age fourteen to enroll at The HARID Conservatory. While a student at the school, he competed at the Prix de Lausanne international ballet competition. There, he was awarded the Hope Prize in recognition of his significant potential. After graduating from HARID, Marcelo spent an additional year studying at the Paris Opera Ballet School and was then asked to join American Ballet Theatre. He was soon promoted to soloist and, just two years later, he was made a principal dancer of the Company.
Most balletomanes know that Marcel Gomes was (in part) a product of the famed Harid Conservatory in FL, and the prodigal son has returned to endow the school with the well-spent fund in hopes of assisting male dancers to their dreams of becoming ballet dancers. This is an amazing endowment (from a dancer). Called putting your money where your mouth is….call it a LEAP of faith. They are very happy and would appreciate a SHARE-
HARID Conservatory Announces $25,000
Marcelo Gomes Scholarship Program
The HARID Conservatory recently announced an exciting new initiative to support the training of male dancers. The Marcelo Gomes Scholarship Program will provide a number of qualified finalists the opportunity to attend HARID’s four-week Summer School on full scholarship. During the Summer School, they will compete for a grand prize: the Marcelo Gomes Scholarship. The Scholarship will support the winner’s continued studies at the school during the 2015–16 academic year.
Each of the Program finalists will receive an award valued at $3,200 to cover his tuition, room, and board at HARID’s Summer School. The Marcelo Gomes Scholarship, valued at $6,000, will offset the winner’s fees for room and board during the academic year. (All students study tuition free at HARID during the academic year.)
HARID director, Gordon Wright, stated, “We are pleased to name this new scholarship initiative in honor of Marcelo Gomes, one of HARID’s most-distinguished alumni. Marcelo has enjoyed an esteemed career as a principal artist with American Ballet Theatre in New York City. He is revered worldwide for his technical expertise, artistic sensibility, and his exceptional abilities as a partner. Being named the winner of a scholarship bearing Marcelo’s name will be a tremendous honor and a feather in the cap of any young male dancer.”
Male dance students 13–16 years of age are invited to apply to the Marcelo Gomes Scholarship Program by attending a HARID Summer School audition in January or February (www.harid.edu/auditions), or by submitting an electronic application on or before February 15, 2015. Electronic application requirements include a video presentation of class work and a personal statement. Visit www.harid.edu/marcelo-gomes-scholarship for details. The finalists will be selected by a jury comprised of HARID’s director and ballet faculty. The winner of the Marcelo Gomes Scholarship will be announced at the conclusion of Summer School.
………………………………………
Marcelo Gomes left his native Brazil at age fourteen to enroll at The HARID Conservatory. While a student at the school, he competed at the Prix de Lausanne international ballet competition. There, he was awarded the Hope Prize in recognition of his significant potential. After graduating from HARID, Marcelo spent an additional year studying at the Paris Opera Ballet School and was then asked to join American Ballet Theatre. He was soon promoted to soloist and, just two years later, he was made a principal dancer of the Company.
Gomes was named one of “25 to Watch” by Dance Magazine in 2001. In 2008, he was awarded the prestigious Benois de la Danse following a performance of Lar Lubovitch’s Othello in Moscow. Marcelo has performed at numerous international dance festivals and as a guest artist with many companies, including the Kirov Ballet, the Bolshoi Ballet, Dutch National Ballet, Mikhailovsky Ballet, The Royal Ballet, National Ballet of Canada, Teatro Colón in Buenos Aires, Teatro Municipal do Rio de Janeiro, and the New York City Ballet.
Marcelo has recently begun a successful career as a choreographer while maintaining his schedule as one of classical ballet’s most sought-after male dancers.
Reposted from the New York Times-Arts Beat
ArtsBeat – New York Times Blog
Theater
Dark Times Ahead for Two Major Paris Theaters
By Roslyn Sulcas
January 1, 2015 2:07 pm January 1, 2015 2:07 pm
PARIS — The Théâtre de la Ville and the Théâtre du Châtelet, two of the most important theaters in Paris, will close for extensive renovations at the end of the 2016 season, darkening the houses for one and a half to two years.
The theaters, which face each other on the Place du Châtelet, next to the Seine in the heart of the city, were designed by Gabriel Davioud and constructed between 1860 and 1862. Both have been important to theater and dance history. Sarah Bernhardt directed the Théâtre de la Ville (at the time, named the Théâtre Sarah Bernhardt) and appeared there in her most important roles between 1899 and her death in 1923, and the Ballets Russes presented its first European seasons at the Théâtre du Châtelet.
The theaters have different artistic mandates. Châtelet, where “An American in Paris” is currently playing to sold-out houses, tends to program musicals and concerts; the Théâtre de la Ville is an important destination for international theater, contemporary dance and world music. Both receive large subsidies from the city of Paris: 17 million euros (about $20.5 million) a year at the Théâtre du Châtelet, which has an annual audience of around 320,000; and 10 million euros at the Théâtre de la Ville, which has about 260,000 spectators each year.
The announcement of the long closures, made this week by Bruno Julliard, the mayoral deputy responsible for culture, did not specify what arrangements would be made for the employees of both theaters (130 at the Châtelet, 110 at the Théâtre de la Ville, according to a report in Le Figaro). Although Mr. Julliard did not offer details, he said that the closures “did not mean that programming would come to a complete stop.”
He did not give figures for the renovations, which fall within a 100-million-euro budget for refurbishment allocated to the two theaters and a number of museums.
The Théâtre de la Ville, directed by Emmanuel Demarcy-Mota, has a second, much smaller house in the 18th Arrondissement, but its larger productions are unlikely to be shown there. The Théâtre du Châtelet, directed by Jean-Luc Choplin, is likely to have a harder time finding alternative venues, particularly as another Paris theater, the Opéra Comique, will also be closed for renovation for at least 18 months from mid-2015.
Patricia McBride rehearsing with choreographer George Balanchine.
This was normal for McBride, then the New York City Ballet’s principal dancer (now the associate artistic director at the Charlotte Ballet), but working with Balanchine would have been a dream come true for aspiring ballerinas around the world.
He is known as an artistic genius in the ballet world. A gifted choreographer responsible for changing the face of dance and famous for the New York City Ballet’s ” Coppélia” and “The Nutcracker.” And this man personally invited McBride to join his company when she was just 16 years old.
Balanchine and McBride would work alone in a studio, not speaking much. Balanchine would cue the music and dance in front of McBride. A pianist himself, musicality was of the utmost importance to Balanchine. He wanted the dances to flow naturally, so he let the music do the speaking. McBride followed along behind him, learning the steps. Forty-five minutes later, McBride would have a new solo in her repertoire.
“He worked so quickly and he didn’t have to experiment with you. He knew exactly what you could do,” McBride said in a phone interview. “Once something was made to you, you had to remember it forever. You were the guardian of the choreography.”
Balanchine trained McBride for a 30-year career with the New York City Ballet. She danced over 100 ballets in that time, including 30 choreographed just for her. When she performed her final ballet in 1989, McBride was showered with 13,000 roses and a standing ovation.
But McBride did not leave dance behind. She went on to teach at Indiana University and then took over the Charlotte Ballet in North Carolina with her husband and dance partner, Jean-Pierre Bonnefoux in 1998. She’s now 72 and still teaches eight ballet classes at a time, on top of running rehearsals for performances like The Nutcracker.
This lifelong dedication to dance has been noticed by the outside world, too.
Earlier this month, McBride walked down a red carpet in Washington, D.C., to be honored for her commitment to the performing arts. She mingled with Tom Hanks and Sting, had dinner with John Kerry and met the Obamas. She was given a rainbow-colored Kennedy Center Honors ribbon and listened to actress Christine Baranski praise her accomplishments.
It was a celebratory weekend all about honoring the ballerina (among other honorees), but McBride was quick to thank others in our interview. Especially Balanchine, her mentor.
Theirs was an intimate setting to work in, but Balanchine was more than a teacher to McBride. She looked up to him as a role model and desperately wanted to please him. McBride‘s own father left her family when she was just 3 years old, so Balanchine stepped in to fill that role.
“I grew up without a father so he was everything to me — the man I most admired and just the most wonderful role model anyone could have,” McBride said.
And their relationship was not lost on the outside world.
“A true muse for George Balanchine, he created many ballets especially for her,” said Larry Attaway, executive director of ballet at Butler University. “She was one of the most remarkable ballerinas of the 20th century.”
McBride still remembers leaping for joy when Balanchine invited her to join the New York City Ballet Company all those years ago — and did not hesitate to give up a normal teenage life for one of endless rehearsals, travel and intense dedication.
Balanchine took McBride under his wing and trained her to dance his ballets, many of which are still performed around the world today. She traveled to Tokyo, Italy, Germany, London, Paris, South America and Russia to dance, including five performances for U.S. presidents. Leading roles in her repertoire include the Sugarplum Fairy in “The Nutcracker” and Colombine in ”Harlequinade.”
“I cherish the ballets made for myself by Mr. Balanchine,” McBride said in a phone interview. “He never lost his temper. He was quiet, humble, the genius of the 20th century. He changed the face of what dance is today.”
Balanchine was her teacher, her mentor and inspiration during her long-lived dancing career. He pushed her and drove her to perform at the highest possible level, but he was also kind and patient — a notable trait in the perfectionism-driven world of ballet.
“In the beginning, he taught you how to hold your fingers, use your head, hold your shoulders, how you glissade, bourre — the exact way he wanted you to do the steps,” McBride said. “It was relearning the whole Balanchine technique.”
He was not a man of many words, but when he did offer praise, it stayed with McBride for years to come.
“After performances he would say, ‘Good, good.’ He never really gave a harsh word. I don’t ever remember him saying, ‘That was awful,’ ever. He didn’t praise that much, but when he did, it was wonderful. He would say, ‘I loved how you used your eyes, you were mysterious.’ It would make you feel like a million dollars.”
Balanchine passed away in 1983, but McBride carries on his legacy by teaching her students his ballets with patience and kindness. She gives her students at the Charlotte Ballet Academy praise and talks highly of her “beautiful dancers.” She believes in nurturing her students and making them feel secure in themselves.
“Mr. Balanchine wanted me to be myself. He didn’t want me to look like anyone else,” McBride said. “I love teaching our company dancers the Balanchine ballets. I try to give them what was passed down to me and what I learned from him. They dance it so beautifully. It also keeps me close to Mr. Balanchine. He’s with me every single day.”
Hello Mysylph readers and Repetto aficionados!
It’s a new year 2016 and there is some wonderful news stateside about Repetto-they have seen the light and opened a flagship store in Manhattan at 400 West Broadway in Soho. It is not some tiny little store, but an homage to the paris Repetto store in every conceivable light. Please stay tuned for more information regarding this store (I will try to keep you up to date on sales, events, etc). In the meantime, please see their website for more information on the U.S. location. I will be publishing an updated post on their store, selection and other info as it becomes available. Currently they are overstocked. A pair of pointe shoes with ribbons, and a pair of leather flats came to just $124. Persistence pays off….
[Welcome to the new updated list of US Repetto Suppliers for 2015! Sadly, many of the previous year’s suppliers have gone off Repetto, but several have also been added. It seems there is some activity with regard to promoting new accounts, or there has been an increased demand for the shoes (which I have heard) and I hope in some small way we are a part of that evolution.]
We have since switched to Grishko’s due to their availability, however-not because we do not LOVE Repettoes, but because when we have the Repettoes custom made we have to buy five pairs and this is often too expensive for me, and when we need additional pairs we got off track. We have no where near us to buy them currently and no one is usually able to fit properly when we do find them. I am planning a trip to the actual Repetto store for this purpose (some day). Hopefully, I will bring back things for you all and I will post them up for sale on this website (if I do). Little baubles, especially tutus……:)
Repetto’s distributor in New York has a storefront and they were very snooty when my daughter went in, while she was in school in New York. I think somehow I got charged twice for the same pair of shoes, too. Nevertheless, she still loves the shoes. They are solely a distributor and have in all, been very accommodating to us, on a whole. Additionally, some of these people have been replaced. The current contact is more helpful than some others in the past, but has completely no information about our previous custom order (they have no problem finding the bills and credit card payments though, usually). Not this time.
This underlines the need for Repetto to improve their stateside operations which are virtually nonexistent. That is probably why this list is so important, because it is these fine stores (listed below) which act as a go-between for you, so that you may have the best experience possible and enjoy your new Repetto items without constraint or reprisal. Repetto still has an almost iron-clad no return policy, especially on pointe shoes.
Some may wonder why I continue to post the list if I have these grievances with Repetto, and that is simply because the shoe, once obtained is one of the most incredible shoes on the planet (I love Repetto pointe shoes). Also, their other products are very well-made and beautiful, too; if you can get them. I would probably recommend wearing Repetto EVERYTHING if I could get them~ The only issue I have with their ballet product line is that their ballet bags are rather small, so if you buy one (as a keepsake) remember this and do not expect the cavernous yaw that American ballet dancers are used to.
Last year, about this time, I was informed by my rep at Repetto, who was very nice, that they were excited to tell me that in the new year (this past year) they would be receiving additional ballet items stateside, and planned a launch in January of 2014. Subsequently, as we no longer had contact with them after March 2014, I gave up hope as I heard nothing more about this.
However, in 2014, Repetto FR opened many retail boutiques all over Europe, and in most other countries you visit, but their main focus is on the ready-to-wear items. Opening Ceremony had for a limited time, as part of a display, romantic length tutus, which sold out astronomically quickly, and no more were planned to be ordered (I checked).
I do plan to renew my pestering of Repetto, when I have time to do so, in an effort to make more of their products available here, but so far my past complaints have not proved very helpful. I am just one voice. So, when you get the chance, you should also write to Repetto (in FRANCE) and complain, per your own motives. I do think a lot of voices are effective. Eventually.
Please contact these suppliers for your needs. Most of them are very willing to go to war for you-otherwise they would not deal with Repetto at all-so you must assume they LOVE their products (and their customers) very much, too! I do not envy them their positions, but I admire them…..Keep on Dancing!
Per the usual, please post comments or info and I will be glad to pass it on.
After Post Comment- Do not become overly excited about the numerous Discount Dance entries. Two of these may not be actual stores or may have a reason they are on the list at all, i.e., Repetto is confused about their warehouse operation versus their store, i.e. Repetto posts mailing addresses. The Anaheim store does not carry Repetto at all, only the Gamba, and this is the same through the catalogue. Their policy is to order for you, but that would require a fitting….and some knowledge of the product, which to date they have not obtained-
New York City Flagship Store
400 West Broadway
New York, NY
Telephone: (917) 999-0501
Hours: M-Sa 11:00-7:00
Sunday 12:00-6:00
Google Map Directions: http://bit.ly/1JIuctr
Website location information http://www.repetto.com/en/boutiques/united_states/new_york
DISCOUNT DANCE SUPPLY
1501 N.Raymond Ave, E
Anaheim CA 92801
714-970-0462
DANCE
225 E College Avenue
Appleton WI 54911
M-F 10-6
Sa 10-4
920-749-0305
BACKBAY DANCEWEAR
185 Cambridge St
Burlington MA 01803
781-273-3089
online catalogue available-check sizes in stock before ordering
CHICAGO DANCE SUPPLY
5301 N. Clark St. Fl.2
Chicago IL 60640
773-728-5344 (Karen/Bryan)
3/4 and full
batches 97 and 93 currently
*Had the G11 in stock in my size, but 2 WEEK RESUPPLY WOULD BE APPLICABLE FOR NEW ORDERs*
DIANA’S DANCEWEAR
8958 Blue Ash Road
Cincinnati OH 45242
513-792-0970
SYLVIA’S POINTE SHOES
101 North Main Street, Suite 16D
Crystal Lake IL 60014
By Appointment
815-477-8450
Sylvia’s Pointe Shoes (actually a master fitter who wore Repetto’s for 20 years) beware the Gamba afficionado who sells Repettos-not the same at all, even though both are now made by Repetto. She was able to provide some information, but still claimed the shoes (letters) were not relevant. (False.)* If you are ever out that way, does a three hour fitting session, and she has good relationship with Repetto!
*[I have later discovered the reason for this issue-they are not supposed to matter. Repetto actually changed the lasts at the time of that writing, so the shoes were actually significantly different. A new fitting would be required as Repetto does not like to make custom orders.]
ALLEGRO DANCE BOUTIQUE
2114 Central Street
Evanston IL 60201
847- 733-8460
only sells Gamba
DISCOUNT DANCE SUPPLY
180 Welles St. Ste 500
Forty Fort PA 18704
no phone listed
CAROLINA DANCEWEAR
1627 New Gardner Rd
Greensboro NC 27410-2001
M-F 10-7
Sa 10-4
Closed Su
336-856-9983
DANCER’S CLOSET
253 E Pittsburgh St
Greensburg PA 15601
M-Th 10-8
F-Sa 10-5
Closed Sunday
724-832-1501
BEAM + BARRE
352 Greenwich Av
Greenwich CT 06830
No hours obtained
203-622-0591
Spoke-carries 205, 207, NOT La Carlotta
ENCORE DANCEWEAR
364 Old Country Road
Hicksville NY 11801
M-W, F 10-6
Tu, Th 10-7
Sa 10-5
Closed Sundays
516-712-2567
BOYS DANCE TOO LLC
248 York St, Floor 1
Jersey City NJ 07302
732-648-6757
THE DANCE STORE
2509 S Robertson Blvd
Los Angeles CA 90034
310-271-3664
CARMEL DANCEWEAR
3004 Cleary Avenue
Metairie LA 70002
504-457-0101
DANCE SHOP
517 Holcombe Ave
Mobile AL 36606
251-473-3623
DANCE BAG
2221 McHenry Ave, Suite G
Modesto CA 95350
209-571-0369
PAS DE DEUX
328 East 11th Street
NY NY 10003
Closed Sunday
212-966-0026
??????
THE LEOTARD
2432 NE MLK Blvd
Portland OR 97212
No hours obtained
503-284-9244
@ weeks order time
very good follow-up/willing, friendly
discount
DANCE WORKS
3228 N University Ave
Provo UT 84604
801-375-4622
SAN FRANCISCO DANCEWEAR
659 Mission Street
San Francisco CA 94102
415-882-7087
Most well stocked provisioner of Repetto Pointe Shoes I have encountered. The staff is very helpful, but not entirely anxious to accommodate special requests. The owner, however, is a gem. If one can obtain the correct point shoe here, they have no problem in supplying it. They are prompt, courteous and there is a discount program for which you may register. Their Oakland store does not supply Repettoes.The shipping was cheap and they arrived in normal mail time by UPS.
The only difficulty I faced was again with the distributor and the point shoe itself. They still claim, despite my proof, that the shoes are identical except for slight variations. They still claim the letter is a date and will not accede to the fact that the B’s fit my daughter and the other letters do not. We have also found that the I’s fit well enough. But the B is the perfect shoe, in the 11’s and the 12’s.
REPERTOIRE DANCE
65 Garth Road
Scarsdale NY 10582
914-722-2440
BARRY’S CAPEZIO
2240 N. Scottsdale Road
Scottsdale AZ 85257
480-946-3651
DISCOUNT DANCE SUPPLY
213 Scranton Carbondale Hwy
Scranton PA 18508
570-558-9042
CENTER STAGE LTD
5012 University Way NE
Seattle WA 98105-4342
M-W, F 10-5
Th 10-7
Sa 10-5
Sun 12-4
206-527-4697
LABRIE SHOES & DANCE
375 Putnam Pike, Suite 6
Smithfield RI 02917
401-232-2266
JAZZ RAGS DANCEWEAR
25701 North Fwy
Spring TX 77380
281-364-1600
DANZAR CORP
590 Market Street
St. Augustine FL 32095
904-473-7401
danzarcorp@gmail.com
Carries full line, though some items are provided in limited quantities. Full service boutique and some items are online only-They carry, as a rule, in point shoes: La Carlotta, Julietta and Bayadere, also demi-pointes, tights, technique socks, leotards, sweater wraps, ballet bags, etc. I spoke with Colleen and she seemed ready, willing and able to assist in locating or procuring items. They will drop ship-)
BEE’S COSTUME’S CREATION/BALLET TO BLADES
6025 N. Wayne Rd
Westland MI 48185
734-728-7596
LINES FOR THE BODY
2035 Essex Road
Williston VT 05495
802-878-8988
?????
Children’s Hospital Hosts Annual Holiday Ballet
Students, pediatric patients enjoy ‘Nutcracker’ ballet in Washington Heights
By Catherine Yang, Epoch Times | December 22, 2014 | Last Updated: December 22, 2014 10:27 pm
NEW YORK—”Dance of the Sugar Plum Fairy” echoed through the lobby of the NewYork-Presbyterian Morgan Stanley Children’s Hospital and 4-year-old Madeline sat up and clapped, engrossed in the ballet before her.
“When she was here two years ago, she was upstairs in her room, quarantined,” said Madeline’s mother Jenna Kellerman. Kellerman had come downstairs for a cup of coffee, and caught a glimpse of the New York Theatre Ballet’s (NYTB) annual performance at the hospital, but had to rush back upstairs.
“She likes it when they’re on their toes and spin around,” Kellerman said of her daughter, and Madeline mimicked pirouettes with her fingers. Christmas means baking cookies, watching holiday movies, and “The Nutcracker” on television, but she has never seen it live. “Every time they had the performance she was sick upstairs.”
Madeline was born at the hospital and had open-heart surgery at 1-week-old, a second surgery when she was 6 months old, and a third when she was 2 1/2, for the same heart condition.
This year, Kellerman came to the hospital to visit a friend with a child in the intensive care unit, and Madeline came along for the performance.
Mice in polka dots and dancers with oversized chopsticks performed the holiday favorite, choreographed by Keith Michael in the art nouveau style, circa 1907. Costumes were designed by Sylvia Nolan, the resident costume designer of the Metropolitan Opera.
“I wanted her to see the show she actually missed,” Kellerman said.
Dancers of the New York Theatre Ballet performed “The Nutcracker” at the New York-Presbyterian Morgan Stanley Children’s Hospital on Monday, Dec. 22, 2014. For the last eight years, NYTB has performed a one-hour holiday ballet for the pediatric patients. (Benjamin Chasteen/Epoch Times)
Mental Healing
For the last eight years, NYTB has performed a one-hour holiday ballet for the pediatric patients and, more recently, grade students of the nearby PS 4. They have performed “Carnival of the Animals,” “Sleeping Beauty,” and “The Nutcracker” in previous years.
“The families and patients definitely look forward to it every year … it’s always nice to be able to bring the arts to our patients,” said Juan Mejia, vice president of operations at NewYork-Presbyterian Morgan Stanley Children’s Hospital. Many of the pediatric patients are at the hospital for extended stay, which means long hours and long days, Mejia said. “It’s nice for them to have a break from being on the floors.”
“There’s a lot to say about the mental healing of patients,” Mejia said. “The ability for them to have a break from the day allows them to really heal mentally.”
Dancers of the New York Theatre Ballet performed “The Nutcracker” at the New York-Presbyterian Morgan Stanley Children’s Hospital on Monday, Dec. 22, 2014. For the last eight years, NYTB has performed a one-hour holiday ballet for the pediatric patients. (Benjamin Chasteen/Epoch Times)
Giving Back
These sorts of intimate performances are the cores of NYTB’s mission, according to founder Diana Byer. NYTB performs in smaller venues, across the world, and “the theatrical experience is quite personal.”
“We can see gesture,” Byer said. Rather than seeing the overall picture from a great distance, “you’re seeing detail. It’s a personal, very intimate experience. It’s how an individual experiences it.”
This version of “The Nutcracker” was refreshed four years ago, from the version NYTB had performed for 26 years. After months of choreography, the ballet was adapted for today’s changing culture.
“It’s designed to appeal to today’s child. It’s in the narrative, the pacing, the costuming, the color,” Byer said.
In addition to small classic masterpieces and one-hour ballets for young children, Byer tries to unearth lost ballets—pieces by great choreographers that have not been performed for many years. “It’s part of our culture and should be seen,” Byer said.
To her, “Art is about generosity of spirit,” Byer said. And performing at the children’s hospital teaches the dancers that. “I think it’s good for the dancers to give back … that’s what art is. It’s something for the public.”
Margery (C), a patient at the New York-Presbyterian Morgan Stanley Children’s Hospital, poses with dancers of the New York Theatre Ballet after the troupe performed “The Nutcracker” for the children at the hospital on Monday, Dec. 22, 2014. For the last eight years, NYTB has performed a one-hour holiday ballet for the pediatric patients. (Benjamin Chasteen/Epoch Times)
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URL to article: http://www.theepochtimes.com/n3/1158119-childrens-hospital-hosts-annual-holiday-ballet/
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