Edward II: David Bintley's X-rated Ballet

Let me paraphrase a couple of telephone conversations I had with Mathias over the past several months.

"Hi, Mathias! How are you?," I asked innocently.
"Mom, have you heard about Edward II?"
"No. Except that your Artistic Director, David Bintley created it."

"Well, yes. But, have you heard about it?"
"No."
"Well, people call it his X-rated ballet."
"Really? How so? What part is yours?"
"I really don't know what it's all about; but, I'm cast as the 'Fool', which probably means I'm wearing some hideous costume, walking on stage, standing there like an idiot, and moving furniture or some other stupid prop off at the end of the scene."
"Well, hang in there. I'm sure you'll get your chance to impress everyone soon. Love ya'"
(We hang up the telephone.)

(About a week later)
"Hi, Mathias! How are you?," I asked innocently.
"Mom, remember about my being cast as 'The Fool'?"
"Yes."
"Well, it's not one of those parts that moves furniture. It's a real dancing roll."
"Congratulations!"
"No, Mom, you don't understand. It's a real soloist part...but..."
"Congratulations!"
"No, Mom, you REALLY don't understand...remember that this is David Bintley's X-rated ballet?"
"Yes," I say, half as a question and half because I'm not sure what else to say.
"Well, Mom....I'm the "X"....it's a dancing roll...not an excuse to get some prop off stage...a real dancing roll...but....the costume....," he trails off.
"What about the costume?," I inquire.
"Remember, I said it might be 'hideous'?"
"Yes."
"Well, it's hideous. Almost all the costumes all are black and Gothic looking." (The costume is actually royal blue!) I have to wear all this face paint....(which didn't sound too hideous either)....and....well, Mom, there's an eighteen inch, strap-on, hot-pink dilbo...." (Please note, spell check isn't sure about the word "dildo" and I really don't have the slightest idea about the spelling...this is truly a dramatic "pause"....and the hot pink actually looks very "flesh" colored under the stage lights.)

As a mother, one is often required to "go where no man has gone before"...this was one of those times....what is one suppose to say to one's nineteen year old son about wearing an eighteen-inch, strap-on dildo?

Without missing a beat, I tried, "Well, I'll certainly be able to pick you out from the other dancers!"

"MOM!"....(please add all the righteous, shocked, exasperated intonations possible from a nineteen year boy about to have his mother witness him performing with a dildo)

"MOM!," he continued, "You don't understand! When the five of us come on stage we have to act like were "shagging" each other...and we're like, all guys!"

"Well, with an eighteen inch dildo, you should be very popular in that scene." (I'm not a prude.)

"MOM!" (Said with total shock and absolute exasperation).

We didn't discuss the role or the costume much beyond this. Birmingham Royal Ballet's website carried a capsulized version of the story...gay king, rejected and then vindicative wife, angry barons, civil war, a beheaded lover, and a red-hot poker up the....well...a dark and twisted Gothic tale of neglected responsibilities and the consequences of not meeting them...a tale of power corrupting absolutely...a tale of prejudice and narrow-mindedness, a tale of a historic death and a society's anger, a tale of violence and a monarchy's worst side...Edward II.

My sister Wanda joined me in London. Wanda's experience with ballet was limited to Mathias' graduation performance...the pas de deux from Flames of Paris, Le Corsaire, and Satanilla...competition pieces along with fun and fluffy contemporary choreography meant to depart from the heavily classical, Russian works...no story, no plot, no statement, nothing modern, and certainly devoid of homosexual themes, blatantly sexual costumes, and scenes of violence.

My mother, upon hearing about Edward II, exclaimed, "How horrible that a company forces its dancers into such roles." Little did she know that Mathias' only problem with the part was the fact that I, his mother, would be witnessing it. With rehearsal time, however, Mathias got over this fear/anxiety/problem. He was the perfect FOOL! He positively embraced the light-hearted, frivolous nature of the part and was truly animated. He and his cast of "clowns" provided both comic relief and a symbolic icon of "inappropriate expenditures of time for a monarch". They fulfilled their role, added a laugh, danced well, and were a pivotal part of the plot.

Overall, the ballet was riveting. Wanda was entranced. After the show, she exclaimed (paraphrased!), "I never knew that ballet could tell a story without a single word, without reading the program notes, without background information about dance or history. I thought I was going to be bored by tiaras and tutus. I never knew that ballets could include gorgeous men stomping angrily in boots on table tops, dramatic sets, spectacular live music, history, real-life and relevant meaning, and be FUN to watch. This was GREAT!" She meant it too.

I was able to see both Thursday and Saturday evenings productions. Unfortunately, these featured the same casts...not that I minded. It would have been interesting to compare how various members of the company interpreted the parts...but, I'm no ballet expert. I'm not sure that it would have made a difference...besides, Mathias dances the Fool in all the shows...every cast. Frankly, I agreed with Wanda. It was totally captivating, brilliantly choreographed, and excellent to watch.

One of the most important things about the ballet, however, was watching how complicated all the action really was in terms of staging. The corps de ballet and all the other characters have so many extra parts...carrying props or furniture, making transitions form scene to scene, working together as a company with a focus to create an entire work...not just a dancer going through the steps...a whole show. David Bintley's ability to stage the work is incredible. There are so many little things to be done in order for the story to progress and make sense.

It was brilliant and worth seeing time and time again

BRB's Strictly Dancing

I arrived at Heathrow airport in the early morning...really early...jet-lagged, tired, and with only the computer print-outs Steve provided. Honestly, in another life Steve was both a travel agent and an accountant. Thus, I embark upon a trip without any preparation because Steve has printed out itineraries, maps, and confirmation numbers and put them into a nice folder with "money". It is lovely and strange...all at the same time.

I found the airport "tube" stop and purchased a ticket (Steve provided at least seven pages of explanations for various one-day, three-day, and "oyster" fare cards). Somehow, I found the hotel...okay, the TOTAL DIVE...I've stayed in cleaner, nicer, and better kept youth hostels in the 1970s...but the location was FIRST RATE. Mathias had booked a triple room with discounts offered to members of Birmingham Royal Ballet. He had already left for "work". I thought I'd sleep a bit....but, housekeeping checked in, reception requested payment, and finally my sister Wanda arrived from Frankfurt. Soon, it was time to go to Sadler's Wells Theater for the matinee.

Strictly Dancing was the title given to the three act performance. I was a bit nervous, having read that the program didn't quite "gel" as did last season's Stravinsky triple bill (according to the ballet.uk.com forum). Of course, I hadn't really LOVED the Stravinsky triple bill. Agon left me yawning, feeling the affects of jet lag. I'm not a Balanchine fanatic. I can't quite embrace "ballet for ballet's sake"...all movement and no reason, story, or implied connection whatsoever. So, I was a bit worried. Were these seasoned ballet goers really blessed with superior knowledge and correctly assigned levels of quality? I just didn't know.

I'd recently seen Twyla Tharp's Nine Sinatra Songs, as done by North Carolina Dance Theater. I was anxious. Mathias would be performing in the segment called "Forget Domani". As a member of the corps de ballet, he would also be performing in Chloe and Daphnis.

My sister Wanda flew in from her home outside Frankfurt. We went to the theater to see the matinée. It began with Paquita. Mathias wasn't cast in this piece; but, I've seem so many Paquita variations in competition that all the music was oddly familiar. Then, I read the program notes. Paquita started out as a short French ballet. The Russians later adopted it and added the finale. Over time, everything but the finale was forgotten...so, what remains is some strange ending to a lost ballet that hardly has a story and barely a hint of the original Spanish styling. It is a collection of short solo moments...not unlike the many graduation productions I've seen or the competition selections that I've watched. There were the customary tutus and regal attitudes. Fortunately, it was first on the program...otherwise, I could have lapsed into the arms of jet lag. That isn't to say it wasn't well danced...it was quite nice. The lead was a new member of BRB, originally from London...helping fill the house with fans and presented a lovely bouquet of flowers at the end for a London debut. Yawn.

This was followed by Twyla Tharp's Nine Sinatra Songs. I saw this recently done by Charlotte's North Carolina Dance Theater. I was eager for the work. Mathias was cast. I know all the music. I was expecting something more wonderful, bigger than life, alive with action, and breath=taking. For the most part, I was rewarded. Of course, I was thrilled beyond words at how Mathias took command of the stage. He has energtic and happy, all good attributes. He also looked to be about age fifteen in the tuxedo...which wasn't totally a problem in this segment.

I couldn't help myself but to compare the work to what I'd seen earlier. In almost every instances, BRB was superior...except in my favorite part. In "One For My Baby (and One More for the Road)", the dancing was forced and emotionally lacking. I was surprised. BRB cast leads in these parts. They didn't know how to act, to dance, to relate to the story line, to fulfill the parts required...there was NO FLOW. Everything was "forced" and "mechanical" and void of all emotion. It was lack-luster. Traci Gilchrest and Ian Grosh danced amazingly for NCDT. BRB couldn't even stand in their wings.

The finale piece was Daphnis and Chloe. It was an unusual number, quite an interesting mix of time, style, and presentation. Everything about it seemed dated; yet, it was enjoyable. In fact, the scenary, costuming, and fresh dancing seemed to perfectly blend "old and new". Mathias danced in the corps de ballet.

In the end, I can honestly say that the program might not have "gelled" because it showcased the many facets that are ballet...old, new, emotional, youthful, retro, traditional, multi-cultural, international, and ever changing.

Organization or posting order!

Yesterday I drove to Charleston and delivered framed artwork, still semi-jet lagged, but it was necessary. I do have to work in order to afford travel and fibers! Yet, it gave me a chance to think about the posts I want to write and the thoughts I've had about this blog.

First, I been thinking about this blog quite a bit: what it means; how I used it in the past before anyone read a word of it; how I started using it when people started reading; how I want to use it in the future; the pressures I heaped on myself to post more pictures and fewer words; the thrill of collecting hits and comments; the self-imposed pressure to try new techniques; the overwhelming depression associated with thinking my work isn't good enough because of all the other images on line; why I post; what I want to get out of this experience, etc. etc. etc.

Second, I have concluded that I will keep this blog as it had been before I ever had a single reader...my personal, artistic journey...one I am happy to share with anyone willing to read. Starting now, however, I will post for mainly for myself...selfishly...which isn't easy to do. Part of me really wants a "community", to "fit in", to "share and compliment others and keep up with 'things' in cyberland". I just can't do all of it. Lately, I've been overwhelmed with a sense of commitment. I need to get back to a sense of self.

The time I spent in London was wonderful in so many ways. One of those ways was absorbing everything just for myself, arrogantly. I had no access to the addictive powers of the computer. I simply looked, made notes, absorbed art of all kinds, and enjoyed the processes around me. I want to record all that I experienced. I want to be able to draw upon the time in England, relive it at the click of a few buttons, and document my feelings...all of them...without worrying that readers might not find interest in ballet or museums or my family.

At the same time, mere words cannot possibly express how much it has meant to me to have other fiber artists interested enough in the work I've created to leave comments and visit this blog regularly. I don't want to disappoint but I must be true to myself. To summarize, I have a lot to record about my recent trip to London. I want to remember. It will require several posts. I'm doing this mostly/mainly for myself. Yet, I am aware of a "public"...that's you, Arlee (and anyone else who cares, like Jacqueline!). So, I've spent all day with my digital images. I'm working with Flickr! to post them all...with comments and tags and (God knows what else)...and I plan to write the following entries...because they've profoundly touched me:

(Okay, many aren't "fiber related"...I'm not a 100% fiber girl...I love my family and have developed an odd relationship to dance as a totally uninformed ballet fan/parent. Ballet season is upon us...or at least me...I've been completely torn between keeping this blog "only about fibers" or "my total artistic journey"...it's going to by ALL OF ME. That's ballet and everything...including the trial and tribulations of having a seventeen year old boy riding a moped all over Columbia, SC without informing his parents as to his whereabouts!)

Anyway, the upcoming posts are to be:

Birmingham Royal Ballet's "Strictly Dancing"
Birmingham Royal Ballet's X-rated and absolutely delicious "Edward II" (Mathias is the "X")
The Knitting and Stitching Show, a general view
The Pfaff "Embroidery Challenge" at the Knitting and Stitching Show (Best of the Best)
The Student/Graduate word at the Knitting and Stitching Show
"Friends, Fun, and Family", my time in London
The Victoria and Albert Museum's Textile Department (TO DIE FOR)
The Victoria and Albert Museum: My new FAVORITE museum in the world

It might take through tomorrow, but it is important to me that I record my feelings, inspirations, and thoughts...what my airline ticket paid for...INSPIRATION!

I'm Back!

This is just a short post to say, "I'm back from an exciting trip to London!"

Over the next few days I will be sorting through 298 digital images, my notes, my mental impressions, and the many beautiful visions of art, ballet, and family. I will post as I manage all this...in no particular order...so, please return often!

Steve leaves for a mini-vacation to Seattle on Thursday. This is how he decided to use the free airline ticket he won in a raffle at Pub Night, a CMFA fund raiser. I will be stuck at Mouse House....but with nothing better to do than post on my blogs!

Demonstrating at Saluda Shoals Park

(All images can be clicked for a larger view!)

The leaf project is done at last. It was fun and exhausting. Steve and I hauled all seven tree stumps out to the shelter in which I spent the rest of the day demonstrating how felt leaves are created. Hundreds of people came, watched, admired the leaves and all my fiber vessels. It was over ninety degrees. At the end of the day, we hauled everything back home and to my studio. I would have loved to postpone some of the unpacking....but, I'm leaving for London tomorrow! I still haven't thought about packing and I've got so many other things to arrange before leaving...naturally, I'm blogging instead!

Below are all sorts of pictures...none of which I particularly like because I'm in them. I prefer to be on the other side of the camera. Alex took these photos (I took the rest long before the crowds arrived). He loved coming out to the park on his moped and will hopefully soon be creating a little video of all the pictures he took.




These last photos are details of the installation of leaves, vessels, and tree stumps. Nature can both inspire my work and be part of it!

Birmingham Royal Ballet has updated their photos

Birmingham Royal Ballet just updated the photos of their dancers...including Mathias. Mathias doesn't particularly like it...he's so traditional and prefers the older, posed, black-and-white one used last year. Personally, Steve and I really like it a lot. I can't wait to see him dance next week. He had to step in for another dancer last night in Nine Sinatra Songs due to a minor injury. He said he did well.

Trying to Catch Up!

I just can't seem to catch up with all the items on my "to do" list. Going out of town is fun, but both work and pleasure seems stack itself into piles waiting for my attention. There's even more to do since I'm leaving for London next Tuesday.

On a recent post, I mentioned being awarded an honorable mention in the current MOJA exhibition in Charleston. I never got around to posting a picture of the piece, Happy, until today. It's from my African Series mostly created last year. I've made about twenty-four or so of these...all based on digital images of genuine West African artifacts printed as giclees and fused to fabric. Each is then embellished with fabrics, paint, and free-motion embroidery. Yesterday, I found a review of the exhibition in the Charleston City Paper. Writer Nick Smith said, "Susan Lenz uses thread, and through stitches explores her own being. Judging by her past work, her inner self is complex, reflective, and comprised of many tiny pieces of yarn." I'm thrilled, of course, especially since I don't know who Nick Smith is but he's evidently seen more of my work than just the one featured in this show.



I did managed to finish my recent work. It's called Elements in Blue: Taking Flight. Thank you to everyone who left comments on it while in progress. To answer a few really good questions: I cover these pieces with very sheer chiffon scarves in order to avoid getting the free motion foot (open or close toed) tangled in the bulky hand stitches (image below was taken during this step.) Also, the finished piece is 32" x 13" (approximately 80 x 32 cm). I'm really pleased with this one since I've not done any like it at this larger size.





One of the reasons I'm far behind on almost EVERYTHING is the fact that I had the problem getting the correct colored felt for making leaves. I will be demonstrating the steps at an outdoor event (under a shelter with electricity!) this Sunday. I need a bunch of leaves already painted and dried, just needing to be melting. I need a bunch to cut away from the felt using a soldering iron. I need a bunch just penciled onto felt and ready to be free-motioned. So, I've been working like crazy trying to finish up framing at Mouse House in order to stitch leaves! Here are two photos. One shows a single, finished leaf in the spot from which it was cut. Each one really shrinks quite a bit. I left a Sharpie marker in the photo for size.

I promise to get around to writing people individually, especially Kate. Since I am about to leave for London, I'd love the opportunity to meet a just fellow fiber enthusiasts while there (especially Kate!)

Work in Progress: Hand Stitching Complete

I took this embroidery with me to Hilton Head and finished the hand stitching. Now, to cover it with sheer chiffon scarves and do the free-motion machine embroidery. (Click on it for a closer view.)

Hilton Head

After picking up my embroideries from the solo exhibition at Francis Marion, Steve and I headed to Hilton Head Island for a weekend with my parents at their time share. Alex and Erica joined us after school...bring the moped in our utility van...thus, we barely saw them at all.

My Dad has really healed very nicely after the emergency tracheotomy. Although he hid behind a palmetto tree, the photo above was taken on his first day without wearing the bandanna over the wound. It is still healing but miraculously better.

Below are several photos I took...from a leisure seaside lunch to one of dozens of mushrooms that my mom and I discovered and photographed. We really laughed at the sign posted on the door to a chic boutique. I spent a great deal of time on the beach with a needle and thread...stringing together shells with holes...hence, I stitched on the beach! More photographs are posted on my "family" blog.

My Sister Wanda is going to London too!

I waited and waited to post about my trip to London...thinking that my plans were at last finalized. Then, an hour or so later, my sister Wanda, a fabulous counted thread stitcher, decided to book a flight to join me! She lives outside Frankfurt, Germany. We'll have time to catch up, shop for threads, and enjoy Mathias dancing. This is going to be a GREAT trip!

Going to London

I've been waiting for weeks to write this post. I'M GOING TO LONDON. Why wait? Because only part of the reason I'm going is fiber related. I'll be able to go to the Knitting and Stitching Show at "Ally Pally" (a colloquial term I had to "google" several weeks ago). I'm terribly excited about seeing the vendors, especially since I heard that my favorite supplier The Thread Studio, is suppose to be going. I'm thrilled to have the opportunity to see work by members of the Sixty-Two Group. And, I'm mostly looking forward to viewing the Valerie Campbell-Harding Retrospective. The other part of my trip is ballet, of course. Just today the casting was posted for Nine Sinatra Songs at Sadler's Wells Theater. So, I'll be seeing Mathias dance "Forget Domani" during the matinee on October 10! Mathias will also be appearing in just about all the Edward II productions and in other parts of the "Strictly Dancing" evening...but these are not parts generally listed on the public cast notice.

So, who else is going?

Leaves

(Click on image for closer view)

Several years ago I made these autumn leaves from 100% acrylic felt. I've given some away, lost some, but always intended to make a big pile one day. About two months ago, my friend Dolly Patton, executive director of the Saluda Shoals Foundation, finalized the selection of artists for a one day art event called "Through the Eyes of Art". It will include original dance choreography from the students at Columbia College, songwriters and musicians, poetry reading, student film-makers documenting the event, and visual artists demonstrating their processes...including me. All the art is suppose to be inspired by nature, and Dolly is working hard on a big media blitz.

For me, this was a wonderful opportunity to make the pile of leaves. For a month, I dropped into almost every local fabric store and craft outlet...even Wal-Mart...looking for the right golden/rusty felt. I had once purchased at least a yard; but I only had about a 10" x 18" piece left...not many leaves. I was getting rather desperate...I knew I couldn't alter my plans because there are maps and press releases already announcing the artists and their work. I HAD TO FIND THE FELT.

Finally, I googled "acrylic felt" and found The Felt People who had 7270 Old Gold. The minimum order is $100; the minimum cut of felt is three yards....so, now I'm swimming in eighteen yards of felt (in six different colors...Old Gold and some shocking neon colors too.) I'm way behind schedule but at least I've got the correct felt now!

By the way, the leaves are made by free-motion embroidery. Only local, deciduous leaf designs are being stitched. Each is cut from the felt with a fine tipped soldering iron and then dabbed with watered down acrylic paints on both sides. After the paint is dried, they are scorched with a heat gun. The paint prevents areas from shrinking but otherwise the leaves distort and curl into perfectly realistic autumn debris. I'll be stitching leaves for another week or so. The art event is on Sunday, October 7.

Two new videos!

I've been struggling with Blogger and PhotoBucket issues since early last week but have finally resolved the problems and posted the videos of my two recently altered books on http://videosbysusanlenz.blogspot.com/. Alex did a great job with both Black God and New Song in a Strange Land, which is currently art of the the MOJA juried arts exhibition in Charleston, SC.