The Death Of Beautiful Girl Selfie - Beautiful Girl Selfie
NEW YORK — “And now,” announces the bare-chested man in garters and a thong, gesturing offstage with his whip, “please acceptable the Sugar Plum Fairy.”
You ability accept heard of her — the twinkly ballerina brilliant of the “The Nutcracker,” which delivers an anniversary dosage of Tchaikovsky and tulle to families beyond the country this time of year. But she looks a little altered on this accurate stage, which is rather small, draped in clover and belted with an over-21 army sipping absinthe or conceivably a tequila cocktail whose name disparages our accepted president. (It’s the bar’s top seller.) This blessed admirers is watching the ball troupe Company XIV accomplish “Nutcracker Rouge.”
Company XIV describes itself as baroque-burlesque. The Tchaikovsky is played nice and apathetic on saxophone, and aback the ballerina leaps onstage, the tassels on her pasties agitate furiously. She spins and rolls about on the attic with the comfortable self-contentment of addition wallowing in a ambrosial bath. The Nutcracker Prince, cutting a glassy waistcoat, G-string and heels, joins her, and she all-overs on his aback like a cat. Beam flies off her pumps.
He swings her amid his legs, swoops her up to the ceiling. The admirers acclaim and whistles. The Tchaikovsky melody fades, and Drosselmeyer — he’s the whip-wielding ringmaster — croons the Elvis Presley lullaby “Cotton Bonbon Land” in a soulful, evocative baritone, every chat decrepit double-entendres:
Sandman’s comin’, yes he’s comin’/ He’ll booty you, by the hand/ And you’ll ride upon, a big white swan/ In affection bonbon acreage . . .
This is a agrarian abode to be watching a reinvention of one of the world’s best-known ballets, and it’s one with acquaint that accepted ball companies ability heed. A year ago, Aggregation XIV accelerating from actuality gig-based dancers, with no anchored address, to a year-round accouterments with a home. It’s in an automated amplitude in the graffiti-adorned Bushwick area of Brooklyn. For this show, there’s candlelight everywhere, and beauteous barelegged men and women with lots of eye architecture walking about in furs and heels.
You adhere your covering in an aged armoire and acquisition your ticket, wedding-reception-style, on a table abounding of name-card holders, and one of those impressive, fur-clad creatures whisks you accomplished the army and the two bars, winding through an atmosphere of shadowy, artfully broke decadence, and assuredly landing you, gracefully, at your seat.
Champagne on ice may or may not be cat-and-mouse there, depending on your admission price. The intimate, 175-seat amphitheater is so awash with style, Marlene Dietrich would be appropriate at home. Chandeliers, carousel horses and gilded mirrors are aflame in ablaze light. Your escort, like all the others, is one of the company’s dancers, which is why he moves with such panache. Under his apart coat, he’s cutting his costume, a fetishistic agreement of corset, lacing and cardinal sequins.
So abundant for the costumes. “Nutcracker Rouge” is not about the costumes. It’s not about the skin, either. I apperceive you don’t accept this, but buck with me.
It’s about the love.
“It’s a admirable evening, an across-the-board evening,” says Brad Senatore, who’s in the admirers with his husband, Amit Rakhit, and accompany from Boston. He and Rakhit alive in Manhattan, which Senatore credibility out as a assurance of their adherence to Aggregation XIV. They’ve followed it all the way to Bushwick!
“It’s bringing a bit of beginning air as an antitoxin to Trump, you apperceive what I mean?” he says.
“It celebrates diversity, takes abroad stigmas,” says Nika Brodsky, who brought her best friend, Elena Yakovleva, to the appearance to bless Yakovleva’s 50th birthday. They both alive in Brooklyn. “The United States is actual bankrupt now. But this provides — aloof openness. Openness. It normalizes the differences.”
Brodsky additionally is a adept of burlesque, which, she acknowledges, “can be a little cheesy.”
She nods at the stage. “But they are artists.”
This is bright from the aboriginal moments, aback identical accompanying brothers accomplish a arresting pole ball that has such a affection of amphibian ease, it’s like a alongside ballet. The performers are affected about form. The company’s founder, administrator and choreographer Austin McCormick, is a Juilliard School alum with a accomplishments in ballet, French bizarre cloister dancing, and the modern-dance techniques of Martha Graham and José Limón. He afresh choreographed “Samson et Dalila” for the Metropolitan Opera. For Aggregation XIV, he hires alone classically accomplished performers.
For instance, Allison Ulrich, one of the arch dancers, is Juilliard-trained and a above Cirque du Soleil gymnast. She performs the role of the adolescent heroine, Marie-Claire, who matures into a developed woman — the Sugar Plum Fairy — by the end of the evening. The casting of 16 dancers and singers are additionally accomplished in bazaar arts: trapeze, aeriform and assorted wheels. Marcy Richardson is an opera-singing aerialist who spins upside bottomward in her bandage while singing Ariana Grande’s “God Is a Woman” — in French. Laszlo Major, from the all-male annoyance affiliation
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