Things are busy.

Yesterday calls and e-mails rolled in. I kept my calendar open and filled the next two days with meetings, parties, interviews and ballets alongside directions from Hop-Stop.

In the afternoon I received a text-message from an old editor-boss coming to the city for a visit. “Which ballet should I see?” she asks. So I give her a call and we plan to attend the Thursday night NYCB performance of “Four by Four.” I’m turning into a City Ballet addict.

My mentor in Mobile e-mailed in the late afternoon: “Are you busy on January 28th?” he asks. I glance at the calendar. “No I’m free.” I write back. Good thing, because he arranged an interview for the Mobile Press-Register with a very famous (and recently televised) violinist.

20 or so e-mails later and Wednesday and Thursday look like marathons.

Last night, after hitting State Theatre for the Jock Soto film, I came home late. Dione and I talked on the phone for an hour and a half. I washed dishes while watching Gustav Dudamel conduct at Carnegie Hall (I really like watching him lead!) and promised myself to go straight to sleep. I blogged until 2:30 and even when the lights were out, I dreamed of random dancers executing pirouettes.

Luckily today is easy, with just a few shopping excursions and more e-mails. I’ll be lucky if I get to bed before 1 a.m.

Dancer-watching at ‘Water Flowing Together’

New York is turning me into a night owl. I haven’t arrived home past 10 p.m. in three days. Tonight I was out at State Theatre (that’s four times in six days) with Tonya Plank and Philip from Oberon’s Grove(by the way, he has a pretty awesome write-up about the film and the evening on his blog too.) As part of the Dance on Film Festival they were showing a documentary about former NYCB dancer Jock Soto titled “Water Flowing Together.” The audience was large, the film was great, and I had a good time.

After the film, Soto answered questions and participated in a discussion with the film director, Gwendolen Cates. From my seat in the first ring, I could look down and see all the dancers scattered in the reserved seating. If my eyesight is good, I swear I saw David Prottas and Sterling Hyltin. Two dancers were behind Tonya and I, but I couldn’t recall their names.

Someone in the audience asked Soto about teaching artistry. He said that you can’t teach artistry but that some dancers have that “soul bearing” inside of them and began to list a few. “I see it in some of the younger dancers,” he said, “like Katie (Kathryn) Morgan.” I was so excited to hear his positive comments about her talent. I hope she was there to hear what he’d said.

After the film and discussion, the audience emptied into the lobby of State Theatre. Tonya, Philip and I hung around talking and dancer-watching. According to Philip, Robbie Fairchild was in the audience, and we kept getting glimpses of Maria Kowroski. I spotted Wendy Whelan at the top of the lobby stairs and immediately became nervous.

“I don’t know why I get so star-struck,” I said.

She passed right by us with her husband, and stood behind me for awhile talking. Tonya, Philip and I turned to admire that huge black and white photo of Albert Evansand Abi Stafford.

“I love Abi’s dancing,” I said, “And Albert Evans, he’s so nice.” As soon as I’d finished speaking, I turned and Albert Evans himself was descending the lobby stair. He looked, smiled, and gave me a huge hug.

“I saw you in ‘Romeo + Juliet’ on Saturday,” I said.

“I heard,” he said before waving good bye. I wonder if someone told him I was there, or if he reads this blog?

Tonya and I parted with Philip who ran across the plaza to the MET to catch the end of an opera (I think Maazel was in the pit tonight right?) and Tonya and I walked up Broadway. I hailed a cab home, and had a fun night.