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“Yes, I would love to have another 25 years to my life, but I wouldn’t exchange that time that I came along, because it was seriously the golden age,” she says. “The theaters were packed with great artists, great collaborators, and they were fabulous shows. I consider myself very lucky to have come along at that time, because they’re still doing all these shows that I did originally.” diamant dance shoes. Rivera certainly doesn’t claim to have had any idea back then which shows would wind up classics and which would be soon forgotten..

“I made that mistake years and years ago,” she says. “I remember reading the script for ‘Bye Bye Birdie’ and saying, ‘This is absurd. Who’s gonna tolerate 16 or 18 kids in square boxes talking on the phone? And this guy wiggling his rear end? Oh, please.’ I learned my lesson then and there that you don’t know what’s going to happen.”. That was even true with “West Side Story,” she says. “We were so engrossed in ‘West Side,’ we had no idea what we had, and didn’t even think about it because we had to get through every single day of rehearsal. Then when we let it out in DC, and all of a sudden people are reacting, we’re going, doggone, this is exciting!” diamant dance shoes.

Now 85, Rivera was honored this June with a lifetime achievement Tony Award. “It’s sort of surreal,” she says. “You start to dance because your mother puts you in ballet school to get you off the street from being a tomboy and breaking the furniture. Then you do your first audition, and you get it, and you go, oh, OK, this feels good. And you just continue until one day, when you’re slightly older, you’re told that you’ve done some stuff that’s really good. All you can say is, ‘Wow, thanks!’ It’s not, ‘Boy, I’ve worked hard and I’ve done it all by myself.’ That’s bull. You are what you put into it, and the respect you have for it diamant dance shoes. You are the people that have given you all of this stuff to do. They help to make up who you are.”..

By Michael O’Sullivan | Washington Post. In its broadest parameters, Disney’s “The Nutcracker and the Four Realms” hews only loosely to its source materials: German writer E.T.A. Hoffmann’s 1816 fantasy story “The Nutcracker and the Mouse King” and the two-act ballet – now a staple of Christmastime entertainment – that is based on it. Otherwise, the film, a mix of live action and CGI, is, for better and for worse, pure Disney diamant dance shoes. What that means is a visual spectacle that is wildly imaginative, dazzling and, more often than not, charming, harnessed to a screenplay (by Ashleigh Powell) that pads out the slender, dreamlike fable at its heart with an at times needlessly busy narrative that evokes “Alice in Wonderland,” “The Chronicles of Narnia” and, at its most extravagant, Cirque du Soleil. That said, the movie also includes passages of simple ballet featuring Misty Copeland. While doing little to advance the larger story, the beautiful dance sequences make for a delightful reminder of the film’s roots. The score, by James Newton Howard, also mixes in plentiful chunks of Tchaikovsky’s familiar music..

As with most versions of the ballet, the story centers on a girl named Clara Stahlbaum (Mackenzie Foy) and opens at a Christmas Eve party that is attended by her father (Matthew Macfadyen) and godfather (Morgan Freeman), a toymaker of ingenious contrivances named Drosselmeyer diamant dance shoes. In this London-set version of the tale, when Clara wanders off in search of her present from Drosselmeyer, the key to a locked, ornate metal egg, she enters – via a “Narnia”-like magic portal – an alternate universe..

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