Tag Archives: osipovasphere

It’s okay to laugh in ballet

4 Feb

I find it hard to believe that anything could be more important in life than laughter.  So today’s post is all about ballet and comedy…ballemedy if you will.  Especially in a world is so grounded in tradition and formalities I think humor is often overlooked in ballet and it’s important to remind ourselves to think of humor as a completing element; nobody is truly human without it (is that not the essence of this blog…or of my life for that matter?).  Dancers themselves don’t always take things so seriously but when we see this scrupulously polished finished product on the stage, we forget that fact as the performers whisk us away into a world of fantasy and splendor.  So I present to you some evidence that ballemedy is alive and well, kicking us in the gut so we double over in laughter:

The first is a piece entitled Le Grand Pas de Deux, with choreography by Christian Spuck (the resident choreographer of the Stuttgart Ballet).  The music is Gioachino Rossini’s overture from his opera La gazza ladra (or The Thieving Magpie).  A fine piece with plenty of furious strings and a flittering piccolo melody that sounds like fun (although I’d rather shoot myself then play piccolo again.  While the piccolo itself is very cute, playing it can feel like trying to squeeze your face through a keyhole).  The overture certainly inspires a comedic air and is often used as such in popular culture, like that video on youtube of cats doing funny things…it should come as no surprise that the overture makes a fine incidence of ballemedy as well.  So Le Grand Pas de Deux debuted in 2000 (to who knows what kind of reviews…and who cares anyway?  It’s a great piece) and has all kinds of giggle-worthy moments.  I love that there’s a cow in a tutu onstage, wonderful little touches of odd looking choreography amongst a dazzling array of classical steps.  It’s one of those pieces that you can’t imagine would ever be boring for the performers.  Especially for such professionals I would think it would even be therapeutic to be able to take to the stage and get a laugh every now and then, amongst the plethora of applause, flowers and even tears.  There are a few performances of this on YouTube, of them I most enjoyed  Julia Krämer and Robert Tewsley of the Stuttgart Ballet:  

Next we have a gala…performance (not quite a piece) with lots of cross-dressing, role reversals and a large hammer.  This came from the World Ballet Festival in Tokyo, where principals from top companies all over the world gathered to dance like they never have before.  You have Vladimir Malakhov as Giselle, partnered by Diana Vishneva as Count Albrecht and Malakhov is surprisingly proficient at pointe, a rare talent for a danseur.  Their lifts were absolutely breathtaking and set a new standard for dancers aspiring to perform the principal roles.  Aren’t you glad my last post was about Giselle so you know what I’m talking about?  Moving on, the gala performance included many famous variations like the Bluebird variation from Sleeping Beauty (with a tragic end) but they saved the fireworks for last; Natalia Osipova doing the male variation from The Flames of Paris.  With a giant hammer (of which I couldn’t discern the purpose of such an implement, but if I know Japan, I know they love their giant hammers.  Purpose?  Not necessary.).  The crowd goes nuts when she leaps onto the stage, ascending to heights that earn her own strata in Earth’s atmosphere that is aptly named the Osipovasphere.  I’m amazed that she basically does the male variation in its entirety (with a few interpolations…although I highly doubt she’s incapable of a pas de ciseaux, aka “switch leap”).  Great to see her get to jump in regular ballet shoes instead of pointe shoes as well…that has to be liberating.  Enough talk, now video:

For the last shred of ballemedy I would like to draw your attention to a former ballet dancer, Megan Mullally.  Prior to her days (much prior, actually) as the martini soaked, piccolo-voiced Karen Walker on the NBC sitcom Will and Grace, Mullally was in fact a soloist with the Oklahoma City Ballet when she was in high school, dancing with them for five years and attending summer intensives at the School of American Ballet.  During interviews in promotion of the remake that must not be named (Fame), Mullally recalled her experiences at SAB (housed in the Juilliard building), talking about how strict and disciplined it was and how old Russian ladies would say mean things while wearing sunglasses (“Make plié!” Perhaps?).  It was the acting in ballet that she was most drawn to and actually inspired her to leave ballet and pursue acting as a career instead.  But you know what they say…you can take the dance out of a dancer but you can’t take the dancer out of…mmmkay.  You know what they say.  At any rate, in more recent years she became a fan of SYTYCD and even had the nerve to skip a meeting for her own talk show that was set to premiere, just to attend the finale.  For which, not only did she not have a ticket, she was also busted for snapping photos inside, which they so kindly announced over the intercom: “Ladies and gentlemen, Megan Mullally is in the house and she’s taking pictures illegally.”  She obviously continues to enjoy dance, even if it isn’t the main priority in her life and it’s funny where your past experiences can take you.  We all know the benefits of having experience in dance because it develops internal rhythm and musicality, but whoever thought such talents could be called upon in a situation like this:

Oh Megan.  How I heart you.  My friend Liz said that she hopes Megan was paid a lot for that (a shorter, edited version ahs been hitting the television waves as a commercial), to which I merely replied, “Hell, I’d do that for free!” (and videotaping?  Not necessary).  Clearly, Liz has also forgotten what it’s like to go grocery shopping with me in the first place.

Learning to be expensive with Katherine Healy

14 Sep

It’s no secret that I have a penchant for gems and precious stones.  Oddly enough I don’t care much for jewelry, but I do have an endless fascination for the gems themselves.  I think it has something to do with the idea of taking something that occurs naturally on Earth, and refining it with manmade techniques to show off an inner brilliance.  It’s a lot like ballet actually…taking a raw talent and refining that person into a finished dancer.  And like dancers with the most pirouettes or biggest jumps, it’s not necessarily the size and cut of a gem that draws me in, but color, history and other qualities that give the gem character.  For me, the ultimate shiny is the Hope Diamond.  I’ve mentioned getting to see it at the Smithsonian earlier this summer and I’ll admit, as a nerd I found it really inspiring, and have been doing some reading on its history.  And to reaffirm my nerdiness, I also found out that the Hope Diamond will be getting a new setting (voting for the new Harry Winston design just recently finished, although the winner has not been announced and yes, I voted.) slated to go on display in May 2010, and beginning this fall and until that debut, the diamond will be on display as a stand alone gem for the first time ever.  It’s exciting for fellow gem-geeks so be sure to check out it out this year.

The Hope Diamond...the holy grail for magpies

The Hope Diamond...the holy grail for magpies

WHAT in Billy Elliot’s name does this have to do with ballet?  Let. Me. Tell. You.  The diamond was donated to the museum by heiress Evalyn Walsh McLean, who purchased it from the Cartier brothers.  Cartier should be a familiar name to people with money, and Louis Cartier was the smart cookie of the three and was very influenced by Diaghilev’s Orientalist designs for the Ballet Russes.  The author of the book I read proposes that the designer the Cartier brothers hired to fabricate the Hope’s current setting was a famous jeweler named Charles Jacqueau who also conceived many of the Cartiers’ Orientalist jewelry settings.  Jacqueau drew inspiration from the Ballet Russes’ previous season and designed the Hope’s setting to be worn as a head ornament in a European Orientalist version of an Indian sarpanch.  The Hope will eventually return to its original Cartier setting next year, and isn’t knowing that Les Ballet Russes played a part in its immortalized design nifty?

Doesn’t it seem like the influence of the Ballet Russes extends to just about everywhere?  A dancer I admire in particular is Katherine Healy (now Katherine Healy Burrows), and people would think she had quite a charmed life.  Born to a wealthy family, her early training came in the form of coaching by Vera Nemtchinova of the original Ballet Russes, and also trained at SAB.  She was the subject of a book A Very Young Skater and starred in a movie Six Weeks, with Mary Tyler Moore and Dudley Moore as a young dancer dying of leukemia.  She made her rounds through competitions, winning the silver medal at the 1982 USA International Ballet Competition, which was actually televised due to her popularity (took a spill during the Don Q pas de deux…oops!) and in 1984 became the youngest winner at Varna.  The accolades don’t stop there…she got a senior principal contract at the age of fifteen with the then London Festival Ballet, even being selected at age sixteen by Sir Frederick Ashton himself to do the title role in his production of Romeo & Juliet.  She returned a couple of years later (apparently there was a lot of resentment from other dancers with the company…eek!) and enrolled at Princeton University, graduated and went back to dancing, as a principal for Les Ballet de Monte Carlo and the Vienna State Opera Ballet.  After seven years, she retired from dancing and went back to figure skating in professional shows (she had given up figure skating much earlier to focus on becoming a ballerina).  Ayayay…that’s a lot, and still a disservice to everything she has accomplished.

Unfortunately, things weren’t always so rosy.  For everything ballet gave her, it seemed to take as well, and at one time she even referred to ballet as a gift…as in, the German word for poison.  But I found her a joy to watch, especially when she was younger and unfettered by the hardships she had been through later in her career.  The talent was always obvious, and she was a naturally gifted turner (and a lefty like me!), often throwing five/six/seven pirouettes in a series of fouettés.  Sometimes she would do pirouettes a la seconde in attitude as Medora or Diana, and she also did the beast fouetté for Don Q in Varna.  There’s a video of her doing the Corsaire coda, where she completely smoked her partner who only managed triples, while she did a couple of sevens.  Her codas are fun to watch because you never know how many pirouettes she’ll throw.  She had some huge jumps too, like approaching the Osipovasphere in a series saut de chats in the Diana and Acteon coda or double saut de basque en manege for Corsaire.  There’s a ton of footage on YouTube, most of which has embedding disabled (here), but a simple search for Katherine Healy will turn up a wealth of amateur videos of her doing classical repertoire, Ashton’s Romes & Jules (with a video of the curtain call with Sir Ashton himself!), videos of her private lessons with Vera Nemtchinova, and footage of her just practicing by herself, doing all kinds of jumps and pirouettes (doubles a la seconde on pointe, four or five attitude turns en dehors, which I think is one of the witchiest pirouettes out there).

Here she is at the 1982 competition, where she fell and cheerily laughed it off:

And the aforementioned Corsaire coda where she shows the man who’s boss:

However, I have to say what I find most interesting and recommend as a must view for all is a lengthy interview about her extensive training.  She also gives some really interesting advice on pirouettes and fouettés, elaborating on specifics of Balanchine technique, like the preparation, and drawing the arms in close instead of leaving them in first.  I find her insight in thinking about doing a fondu instead of a plié particularly enlightening, as well as having the working leg developpé-enveloppé instead of rond de jambe.  So make sure to check this channel out if you’re having trouble with those movements!