1983 chicago original mandala dream catcher

Class differences, as a major theme of the play, are historically correct for the time. Wealthy girls were not so likely to be ballerinas in the 19th century, as their parents wouldn't have subjected them to gawking men. (While we think of dancers and race horses expressing consummate grace, we don't think of laundresses that way.) In the play, Marie was put into a competition with snooty, upper class girl who had a stage mother, a story for a Disney movie or a story which would be more truthful today. Laundresses - like dancers and race horses - were part of Degas' continuous subject matter, as he studied the movements of muscles and limbs at work and in stress. Marie's mother was a laundress, and I'm guessing she posed for Degas, too. The story is truthful in that portrayed some of the challenges in the lives of the dancers who were working class girls. Tiler Peck in front of the National Gallery of Art's Little Dancer Aged Fourteen , from Tiler Talks Blog, October 15, 2014

It's fairly funny as it refers to the yellow coat with a fur collar that was annoying to Marie. Mary Cassatt is there, wishing to turn the ballerina away, but she came back to see the sculpture he did of her many years earlier. The story opens in 1917 with a visit to Degas' household after his death. The musical fits in with what I've been writing about, Degas and Cassatt and the relationships between artists. The music is delightful, and most of the story is fairly credible, so I do hope the musical will go to more venues.

1983 chicago original mandala dream catcher