In the Charlotte Herald Tribune:

Marjorie North — Aug 28, 2003

Lighting designer heads to NYC this fall

Come September, Jeffrey Salzberg will be winging to NY to design lighting for a new solo by NYC Ballet's Alexandra Ansanelli.

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I hope salzberg will post something in CD about the experience. Maybe it'll be just another job for him, but I think it would be interesting to know how working for NYCB [Stuart adds: see the discussion below] compares to working for some of the other groups that have hired him.

<small>[ 01 September 2003, 12:35 AM: Message edited by: Stuart Sweeney ]</small>

Two corrections:

I won't be working for NYCB (don't I wish!); I'll be lighting two NYCB principals (Alexandra Ansanelli and Peter Boal) who will be guesting with Dance as Ever.

Something else the article didn't make clear is that Ms. Ansanelli's solo (as well as everything else on the program) will be choreographed by the talented Leigh Witchel.

As for its being "just a job", well, they're all "just a job", but they're also all special. It's an odd dichotomy.

<small>[ 09 September 2003, 07:43 PM: Message edited by: salzberg ]</small>

Actually, the article was perfectly clear about Dance As Ever - I just didn't remember it after I read it!

"..they're all "just a job", but they're also all special.."

That's a simple, but eloquent way to describe the working life of an artist designer, Jeff. I hope the new job for Dance As Ever is challenging and rewarding and do let us know anything we can do to help promote the event.

<small>[ 01 September 2003, 12:36 AM: Message edited by: Stuart Sweeney ]</small>

I may have written about this before; if so, I hope you'll forgive me.

Dancers and choreographers, for the most part, may do up to 8 or ten productions a year, and it's not unreasonable that each concert totally consumes their professional (and sometimes personal) lives. Over the past 2 years, I've lit 40 shows; if I were to emotionally invest in all of them the way dancers and actors do, I'd be a total basket case, of no use to anybody (shaddap, Babs).

This is not to say that I never buy in to any of the pieces I light; at least one of the dances I'll be doing in NY is very close to my heart (and, boy, it's crowded in there), and every piece I light certainly gets my best effort.

In a lesser way, I suppose, it's similar to the attitude physicians and nurses take when they depersonalize patients by referring to "the broken leg in room 4"; if they were to get personally involved with that much suffering, it would interfere with their ability to alleviate it. (Er...not that I'm equating "art" with "suffering"...well, come to think of it, it's not a bad analogy at all....).

Well, I'd love to have a "criticaldance evening", with as many CD users -- anyone who lives in or near NY or happens to be in town the week of 18 September -- as possible in attendance.

<small>[ 01 September 2003, 11:07 AM: Message edited by: salzberg ]</small>

One of the most interesting parts of the process for me was the contrast between the two guest artists (both of whom are incredible performers and remarkably pleasant dancers with whom to work*).

Peter Boal is a very controlled dancer. During the first technical rehearsal of A Shropshire Lad I saw him move his hand ever so slightly to the left so that it would interact with the light more effectively. Gotta love Peter Boal.

The best word to describe Alexandra Ansanelli (other than "stunningly gorgeous," which is two words) is "kinetic". Just watching her in rehearsal exhausts me (although I could watch her in performance for hours). This means that she's not going to be as precise as Peter, but it's certainly a fair tradeoff.

This was the 4th time I've worked with Peter and every show has been a joy. It was Alexandra's 1st guest appearance since being promoted to principal and I'll happily work with her again any time.

* <font size=-2>They're probably kind to dogs, too.</font>

Jeff, I agree with what you say about emotional investment. I have found the same thing. Some jobs are more involving than others. Some choreographers I'm happy to be done with, others have become my friends. and interestingly enough, it doesn't affect the work I do for anyone; I always try to do my best. It just means that I look back on some jobs more fondly than others.

Of course, lately, I seem to be doing nothing but weddings, and they are an entirely different kettle of fish.

<small>[ 01 October 2003, 03:21 PM: Message edited by: LMCtech ]</small>

BTW, Congrats Salzberg, and thanks for sharing some of your lightingly insights. I have to say that ever since I saw Ansanelli when she was 16 and did her first Dewdrop at NYCB, I've liked her. There's something so charming and fresh about her.