Category: Ballet

  • Lar Lubovitch Dance Company @ BAC

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    Sunday November 21, 2010 evening – The culmination of one of my busiest fortnights since I started blogging: a truly enjoyable evening of works by Lar Lubovitch, beautifully danced by his beautiful dancers. This was the Company’s final performance of a sold-out run at the Baryshnikov Arts Center.

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    I suppose North Star would be considered early Philip Glass. He’d been composing for about ten years when he wrote this in 1977. (The ballet premiered in 1978). The music seems denser and less ethereal than many of Glass’s later works, but still very enjoyable to hear. The dancers swirl and flash about the stage individually or in quartets which join and then splinter as the music ebbs and flows. The restless energy of the score is visualized by the choreographer to perfect effect. Photo above: Todd Rosenberg.

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    Katarzyna Skarpetowska and Brian McGinnis (above, Christopher Duggan photo) performed the duet from MEADOW. Dating from 1999 and originally set on ABT, this work is set to an intrinsically luminous work by Gavin Bryars entitled Incipit Vita Nova.To the uneartly sounds of the counter-tenor voice, the dancers create sculptural shapes as one pose flows into another with silken smoothness. For the perfection of their performance, Skarpetowska and McGinnis were warmly cheered.

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    THE LEGEND OF TEN is a tribute to the ten members of the Company and – all clad in somewhat ominous but elegant black – the dancers turned it into a tribute to Lubovitch who is surely the king of lyricism among current choreographers. With a central adagio couple (Jenna Fakhoury and Reid Bartelme) surrounded by a lively octet of dancers who often step in unison and sometimes bring gypsy flourishes to their movements, the piece is structurally propelled by the music of the Brahms piano quintet Opus 34. The Lubovitch dancers mesh into a cohesive ensemble but the individual personalities of the dancers also shine thru in this, the latest success in the choreographer’s long catalog of works. (Photo above: Sasha Fornani)

    All was going well as I saw the finish line of my 2-week dance marathon approaching, but on standing up for the second intermission tonight, my left knee finally rebelled in earnest. I realized that if I sat for another twenty minutes it would tighten further so I hobbled down to the street and after a few minutes of walking it loosened up enough to limp to the subway. I felt bad missing the last piece on the Lubovitch programme though it was one (Coltrane’s Favorite Things) I’d seen not long ago. My grandmother always told me: “It’s hell to grow old!”

  • Dancing for Avi: Ana Sophia Scheller & David Prottas

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    Thursday October 28, 2010 – Avi Scher is creating a new duet for New York City Ballet artists Ana Sophia Scheller and David Prottas and he invited Kokyat and me to watch a rehearsal down in SoHo tonight. This pas de deux will be presented at the Young Choreographers Showcase at the Manhattan Movement & Arts Center Theatre, 248 West 60th Street (between 10th and West End Avenues) on Sunday evening November 14th. Tickets available here.

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    Avi tells me that this duet will eventually become part of a larger piece that he is working on entitled DreamScapes.

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    Ana and David are two of NYCB‘s most attractive and charismatic dancers; I always love watching them onstage so it was exciting to observe them in the studio. Their partnership creates an intense and shifting dynamic and the choreography takes wing from that with some really expansive moments (above)…

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    …as well as a kind of intimate tension that keeps the focus of the duet on the relationship.

    Here is a gallery of Kokyat’s images from this rehearsal:  

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    In addition to Avi Scher’s newest creation, the Young Choreographers Showcase will feature works by Emery LeCrone, Ja’ Malik, Justin Peck and Zalman Grinberg.

  • Isadora Rediscovered

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    Isadora Duncan (above, in 1908) is a legendary name in the world of dance. Born in San Francisco in 1877, Isadora moved to Paris in 1900 where she taught a style of dance freed from the constraints of classical ballet technique. She also performed, and her reputation for dancing to classical music wearing a Grecian tunic in her bare feet and with hair down made her a celebrity.

    In her private life, Duncan’s affair with Paris Singer (of the sewing-machine Singers), her tempestuous marriage to poet Sergei Yesenin and an affair with the poetess Mercedes de Acosta (as well as a rumoured dalliance with Eleanora Duse) were manifestations of her free-thinking lifestyle. She embraced Communism; she gave birth to three children out of wedlock, though none survived her.  

    Fatal accidents plagued Isadora to the end: her father died in the sinking of the SS Mohegan in 1898 and her two young children were killed in a bizarre accident in Paris in 1913 when a car in which they were sitting with their nanny rolled into the Seine. Duncan met her own death in an equally strange manner: riding in an open car, her long scarf became entangled in the rear wheel and she was strangled.

    People today may be familiar with the tragedies of Duncan’s life and of her pioneering work as a dancer but: what were her dances actually like?  The group IsadoraNOW under the direction of Elyssa Dru Rosenberg have invited us to a rehearsal on Halloween evening. Watch a brief video here of dancers from IsadoraNOW performing, and there’s a lovely gallery of photos of the Company here. I’m very much anticipating this experience.

  • Emery LeCrone/Columbia Ballet Collaborative

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    Sunday March 21, 2010 – Emery LeCrone invited Kokyat and me to a rehearsal for her new work being created for the Columbia Ballet Collaborative‘s upcoming performances at the Miller Theater on April 9th & 10th.

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    Emery’s work is entitled Five Songs for Piano and is set to selections from Mendelssohn’s Songs Without Words, Opus 19, #2 – 6. Click on the first two images for a closer look.

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    Victoria North, who is Artistic Director of the Collaborative, dances a soloist role in the new ballet and she is joined by an ensemble of four young Columbia students:

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    Erin Arbuckle…

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    …Jen Barrer-Gall…

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    …Nicole Cerutti…

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    …and Alexandra Ignatius.

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    The work has been set and now Emery is polishing up the details and sometimes adding, discarding or altering moves and gestures. The music is sometimes plaintive and sometimes vivacious. The girls worked smoothly together to produce the look Emery wants; counts and spacing were discussed and Victoria’s solo passages were worked into the framework of the quartet.

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    After Emery broke down and spruced up individual segments, she suggested technical corrections and got the girls thinking about expressive nuances. Then they tried a full run-thru during which the shape of the ballet became clear and the detail work paid off. It’s a really attractive, lyrical piece – I’ve always thought so much of Mendelssohn’s music truly begs to be danced to – and the girls responded well to the score and to Emery’s style of movement.

    Here are more of Kokyat’s images from the rehearsal:

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    Nicole and Victoria.

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    Nicole (in front).

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    Jen.

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    Erin.

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    Alexandra.

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    Performance details:

    Columbia Ballet Collaborative proudly presents an engaging program of contemporary ballet works in its return to Miller Theatre. The program includes choreography by Justin Peck, Emery LeCrone, Monique Meunier, Lauren Birnbaum, Claudia Schreier, and John-Mark Owen. Guest artists include Teresa Reichlen and Justin Peck of the New York City Ballet.

    Tickets are just $12 (or $7 with Columbia University ID). Tickets are available online or at the box office:

    Miller Theatre Box Office
    2960 Broadway (at 116th street)
    212-854-7799

  • Roman Baca’s NUTCRACKER Rehearsal

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    Saturday October 23, 2010 – Kokyat and I went to watch choreographer Roman Baca working on his upcoming new production of THE NUTCRACKER for Ballet Theatre Company’s annual performances at St. Joseph’s College in West Hartford, Connecticut. A USMC veteran of the Iraq war, Roman presents the ballet as A Soldier’s Nutcracker. Above, Paige Grimard leading the Waltz of the Flowers.

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    Taylor Gordon would normally be dancing in this NUTCRACKER but following surgery (from which she’s well on her way to recovery) she is serving as ballet mistress for the production. Most of the divertissement pieces are double-cast giving the dancers expanded opportunities.

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    How many dozens of times have choreographers tackled the NUTCRACKER since Balanchine put it on the map? I really like what Roman is doing with it: very classical in feel but steering clear of the ideas we’ve seen in other settings. For example, his Harlequin (Michael Wright, above)…

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    …and Columbine (Hope Kroog) do not dance together: they each have a solo in turn.

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    Roman’s Arabian is probably my favorite from among the set pieces I’ve seen so far for this production: Roman creates a very sensuous and demanding pas de deux. Above: Kimberly Gianelli and Kendahl Ferguson.

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    Arabian (and many other roles in the production) are double-cast. Above: Michael Wright, Jessica Freitas.

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    Spanish is a trio: a man and two women. Above: Adrienne Cousineau, Michael Wright and Crystal Danzer ready to start. Marzipan is another trio, all girls in this case. And there are two alternating Dewdrops for the Waltz of the Flowers...

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    …Mayo Kurokawa…

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    …and Paige Grimard.

    Thru being over-played 24/7 from Thanksgiving til New Year, the music of the NUTCRACKER makes some people nauseous. Me? I love it still and most especially the Waltz of the Flowers – melodies that tug at the heartstrings try as we may to withstand their charms.

    The pure dance numbers are being rehearsed here in NYC and the party scene and all the story work are being done up in Connecticut meaning that Roman is trekking back and forth.

    Here are a few more of Kokyat’s images from today’s rehearsal:

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    Jessica Freitas

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    Michael Wright, Crystal Danzer

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    Kimberly Gianelli, Kendahl Ferguson

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    Maddie James

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    Jessica Freitas, Michael Wright

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    Adrienne Cousineau

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    Paige Grimard

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    All photos by Kokyat.

  • Cedar Lake @ The Joyce/Programme A

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    Tuesday October 26, 2010 – This first of two programmes by Cedar Lake Contemporary Ballet at The Joyce provided a tremendously satisfying evening of dance:

    Week 1 (October 26 – 31)
    Sunday, Again” by Jo Strømgren
    UNIT IN REACTION” by Jacopo Godani (NY PREMIERE)
    Hubbub” by Alexander Ekman (NY PREMIERE)

    Top photo: Jon Bond & Manuel Vignoulle in rehearsal for HUBBUB. View the Company roster here.

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    SUNDAY, AGAIN (Julieta Cervantes photo, above) is one of the pieces from Cedar Lake‘s repertoire that I most enjoy and admire and I’m very glad for the opportunity to see it again (twice…it’s on both Joyce programmes). This work by Jo Stromgren is set to music of J S Bach and features the entire Company dressed in tennis whites. The theme of the work is: what to do on yet another Sunday spent with the domestic partner.

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    Jason Kittelberger wants to go out and play badminton and his lover Acacia Schachte wants to stay in. This leads to the work’s tempestuous opening duet by these two magnificent dancers (above) in which the most edgy, risky aspects of dance partnering are displayed. The play of tension between the two dancers and the intensity of their individual personalities make this a thrilling start to the evening.

    From there the work evolves into an ensemble piece with the underlying idea of getting a badminton game going. This leads to shifting dynamics between men and women and to witty moments as when Harumi Tereyama draws a shuttlecock out of her mouth and teases Jubal Battisti with it. Later, Gwynenn Taylor-Young pats down Ana-Maria Lucaciu til she finds another shuttlecock. Between these and other duets, the dancers stride across the stage with racquets and nets at the ready. Finally the game begins: men vs women. But all too soon the afternoon’s over and the drapes are drawn.

    UNIT IN REACTION by Jacopo Godani is a New York premiere. Six of Cedar Lake’s ultra-powerful and fascinating dancers form the first of two alternating casts who will perform this work during the first week of the current season: Jon Bond, Jason Kittelberger, Oscar Ramos, Ana-Maria Lucaciu, Acacia Schachte and Ebony Williams. In a darkish setting, these dancers move with restless energy in a series of solos and duets which stretch the limits of physical movement. Acacia Schachte and Oscar Ramos seize their moments vibrantly and a duet for Ana-Maria and Ebony is especially potent. Jon Bond, one of the most thrillingly agile and sexy dancers ever to take the stage, is mind-boggling in his solo. Throughout this work with its pounding, fragmented percussion/industrial score, Jason Kittelberger is an ominous, forceful figure. The six dancers won screams and whoops from the packed house as each stepped forward for a bow at the end.

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    The New York premiere of Alexander Ekman’s HUBUB provided a truly witty and apt finale to the evening. To the relentless clicking of that antique, obsolete apparatus – the typewriter – the dancers, stripped down to the briefest and most revealing of costumes, each have their own metal-frame podium on which they stand, sit or hide under.

    In an endless, pretentious monologue the voice of dance criticism reads from the endless sheaf of typewritten pages, telling the viewer what the dance is all about, what it means and how to react to it. In fact, the narrator is saying next-to-nothing and merely stating the obvious in dressed-up language. 

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    Central to HUBBUB is a hysterically funny duet in which the thoughts of two dancers – Harumi Tereyama and Nickemil Concepcion – are heard in voice-over as they perform a pas de deux. Harumi and Nickemil danced this piece with dead-pan expressions as the audience laughed aloud. (Above: a rehearsal photo of the pair by Jubal Battisti).

    In the final movement of HUBBUB, the inner thoughts of the dancers are revealed – their mundane likes and dislikes and their secret habits. The music of Xavier Cugat had underlined the opening segments of HUBBUB but here we have one of the Chopin nocturnes, yet another imaginative stroke.

    The evening ended with a genuine standing ovation.

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    Is twenty-six year old Alexander Ekman the world’s cutest choreographer? He has my vote.

    So the evening was a great kickoff for the two-week Cedar Lake season. Allthough I have a special fondness for the Company’s home-theatre on 26th Street, the Joyce provides more seats – all occupied tonight – meaning that more people can see this troupe of dancers: some of the most potent and distinctive in Gotham. Ticket info here.

  • Emery LeCrone Prepares For MOVE! @ PS1

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    Kokyat and I watched choreographer Emery LeCrone working on two very different projects this past weekend. On Saturday we went to the studio at Barnard where she was creating a new piece for the Columbia Ballet Collaborative. And then on Sunday we found Emery again at MMAC where she was rehearsing a fairly large contingent of dancers for a Halloween weekend production which is part of MoMA PS1‘s series MOVE!

    MOVE! is a series of performance/installations at the Queens MoMA venue which bring together the realms of the arts and fashion. The current MOVE! project will take place at the museum on October 30th and 31st. Emery’s collaborators will be artist Tauba Auerbach and designers Flora Gill and Alexa Adams of Ohne Titel.

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    Emery’s piece for PS1 will be performed in a small space, so she blocked off part of the studio so that the dancers would have an idea of what to expect. Click on the above image to see Kat Carter, Erin Arbuckle, Caitlin Dieck, Stephanie Eagle, Ashley Matthews, Jen Barrer-Gall, Kelsey Coventry, Nicole Cerutti, Emery LeCrone, Sakiko Yamagata and Rebecca Azenberg. (Erin, Jen and Nicole were in the original cast of Emery’s FIVE SONGS FOR PIANO at CBC, and Erin and Rebecca are in Emery’s current CBC project). A twelfth dancer, Maddie Deavenport, will also be in the PS1 production.

    At PS1 the girls will perform Emery’s ten-minute piece 6 times each day, every hour on the hour. There won’t be any music and they will be sharing the space with their audience. Emery came into the rehearsal with a whole range of ideas and she immediately started whipping up a piece that is entertaining, amusing, mysterious and that will suit the venue really well.

    Kokyat and I had one of our most purely enjoyable studio visits ever watching this work come together. It was fascinating to see how quickly Emery worked and how fast the piece developed. The dancers jumped right in; they took each of Emery’s visual motifs and expanded on them, bringing their own personalities into the mix.

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    Emery uses the dancers’ personal attributes as part of the look…their hair became an expressive device. Erin, Kat and Stephanie, above…

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    …and Caitlin, Ashley & Jen.

    Kokyat circled the room and came up with these images; now it remains to see how it will look when meshed with what the artist and designers have created. We plan to go out to Queens on Halloween and hopefully be able to photograph the finished performance. Meanwhile, just watching Emery and the girls in the studio was pretty much a performance in its own right.

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    Stephanie, Kat, Ashley and Caitlin

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    Erin, Kat & Stephanie

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    Rebecca and Kelsey in the foreground

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  • Young People Committing Suicide

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    It’s so pleasant to sit here blogging about dance, music, opera and my adventures in Gotham; it’s nice to feel so involved in the world that I write about and to have my wonderful friend Kokyat preserving our experiences with his camera. In general I try to steer clear of politics and religion on my blog, partly because they are such devisive topics and I am so very tired of divisiveness. Also there are countless sites where you can go for every political and religious perspective and where you can join in discussions of those topics and rant, rage or despair to your heart”s content; I prefer my blog to be an oasis of beauty and reason.

    But in recent weeks there has been an alarming spate of suicides among young people related to their sexual identity, whether real or as perceived by their peers. Columnist Dan Savage has contributed a video entitled It Gets Better which urges young gay people not to despair, to stay the course and look forward to a time when they can emerge from the shadow-world of mental and physical abuse, embrace the world in all its diverse beauty and – hopefully – live happily ever after.

    Dancer/choreographer Bennyroyce Royon has made a short film that young people should watch.

    Growing up in a tiny town in the 60s and early 70s, I was terrified. I was so different from everyone else. Even once I began to understand what my ‘problem’ was there were no answers, and no one to talk about it with. In this situation you are virtually alone. 

    Back then, on so many days, I pretended to be sick to stay home from school – and in fact, my fears did make me physically ill so many times. My parents were respected members of the community and my older brother (a rebel-without-a-cause type, but OK since he was straight) and my sister were very popular with their peers. I realize that if not for these facts I would have had an even harder time – I remember once when I was being harrassed an older student passed by and said, “Hey, he’s Jeff Gardner’s little brother…leave him alone!”  I suppose if I’d had the courage to tell my brother what was happening to me, he would have beat the crap out of my assailants for me and maybe even pulled his jack-knife on them. But how could I talk to him about my feelings? How could I talk to anyone?

    Dan Savage’s video suggests the possibility that the troubled small-town kids of today might find ways of reaching out to older gay people via the internet. This is a great idea however it is also fraught with risks: if parents find their kids are corresponding with homosexuals – or have even watched Dan’s video –  it will make life for these kids even worse. And also, how would an adolescent in rural Texas or a teenaged girl in Utah be able to distinguish between someone genuinely wanting to help them and someone who just wants to get into their pants, or blackmail them?

    When I attended the vigil last year for the young people murdered at a gay center in Tel Aviv I was so moved by the plight of some of our local gay youth who told their own stories of being bullied and disowned. Luckily for them here in a major city there are places you can go, people you can turn to. In Smalltown USA there are no such options. 

    The Obama administration, after hood-winking gays into supporting their ‘Change You Can Believe In’ pep talks, continue dancing around gay issues, tossing crumbs from the table here and there and trying to appear sympathetic to gays in such matters as DADT and DOMA while avoiding taking any real leadership position on either matter, and filing court briefs behind the scenes that seem aimed at maintaining the status quo.

    I have sometimes asked my sister if she knows of young people in our little hometown (she still lives there) who might be in need of someone to talk to about their sexual orientation. Of course you can just imagine the reaction of parents when they hear that some faggot from the Big City wants to talk to their kid.

    Of course another facet of all this is the tacit affirmation that staying in the closet is the best policy; athletes, actors, political figures, dancers, musicians, religious leaders – people who might serve as powerful role models for young gays everywhere – continue to play it straight or at the very least play it ambiguous out of fear of having their careers de-railed by an admission of their sexuality. One newscaster who interviewed the parents of a recent teen-suicide has never stood up and said that he’s gay, though it was not all that long ago that you’d see him around the NY club scene. And he had a fling with my ex. So for all his ‘concern’ he seems to lack the basic courage to be himself and thus maybe help – however indirectly – a young person somewhere in Middle America who is struggling with an incredible burden.

    It was in fact only thru the love and understanding of two people – Jeanette and Ann(e) Olga – that I never took the pills I had stashed away and that I am here today to look back on it all and thank them for keeping me alive, even though they didn’t know that that is exactly what they were doing.

    I have always viewed life as a journey and this song – which I’ve always loved and which I’ve been listening to a lot lately – always feels like it was written just for me. Maybe young people will listen to it and come to realize that life in all its beauty and mystery lies ahead of them:

    “In my early years I hid my tears
    And passed my days alone
    Adrift on an ocean of loneliness
    My dreams like nets were thrown
    To catch the love that I’d heard of
    In books and films and songs
    Now there’s a world of illusion and fantasy
    In the place where the real world belongs

    Still I look for the beauty in songs…
    To fill my head and lead me on
    Though my dreams have come up torn and anchored
    As many times as love has come and gone

    To those gentle ones my memory runs
    To the laughter we shared at the meetings
    I filled their kitchens and living rooms
    With my schemes and my broken dreams
    It was never clear how far or near
    The gates to my citadel lay…
    They were cutting from stone some dreams of their own
    But they listened to mine anyway

    I’m not sure what I’m trying to say
    It could be I’ve lost my way
    Though I keep a watch over the distance
    Heaven’s no closer than it was yesterday

    And the angels are older
    They know not to wait up for the sun
    They look over my shoulder
    At the maps and the drawings of the journey I’ve begun

    Now the distance leads me farther on
    Though the reasons I once had are gone
    I keep thinking I’ll find what I’m looking for
    In the sand beneath the dawn

    But the angels are older
    They can see that the sun’s setting fast
    They look over my shoulder
    At the vision of paradise, the changing light of the past
    And they lay down behind me
    To sleep beside the road til the morning has come
    Where they know they will find me
    With my maps and my faith in the distance
    Moving farther on”