BrodyFosse123 said: "Oh, boy. Let’s correct some things here: Tony meets Maria AT the dance, so “Tonight” happens afterwards, not before the dance. The transition you meant to say is when Maria is inside the bridal shop (with Anita, Bernardo and Chino) and mentions her excitement for the dance and begins to twirl as the stage goes dark and as other girls twirl on stage alongside her, in a loud pop colored streamers drop from the flies and in a blink the entire stage
I post this template for a letter to the Board at NYCB. It's not perfect but it saves you from having to compose one of your own. If you like, alter it to suit your view. Either print and mail it or email it. I sent mine to Kbrown@nycballet.com, a guess at the company's Executive Director's email. Alternatively, you could bombard firstname.lastname@example.org.
I have loved her since I first saw in a little-known show by Barbara Schottenfeld called Hello I'm Not in Right Now. I think it was Marin's first appearance in the New York area. With those huge expressive eyes and that glorious soprano/belt, she seemed to slide off the stage and into your heart.
I then marveled as she went from Passion to Ragtime to Kiss Me Kate to Next to Normal and then--all too soon!--to Zorba at Encores, during which she received her diagnosis of ovarian c
The fascinating thing about the conversation is that "challenging an audience's racist assumptions" is EXACTLY what Oscar Hammerstein was doing in King and I, South Pacific, and even Flower Drum Song. Oscar was more progressive and further to the left of center than his audiences, and he challenged them to open their minds by looking at the humanity of the Thai, Pacific Islander, and Chinese-American characters. Then he made them question their assumptions with songs like &