spb/wp30_uqo

1{2  "document_id": "lb_hotpotqa_b785963089bd7f81ee294751c688af85bfe2863dba623373",3  "family": "public_hotpotqa",4  "split": "test",5  "text": "Passage 1:\nLev Ivanov\nLev Ivanovich Ivanov (Russian: Лев Ива́нович Ива́нов; 2 March 1834, Moscow – 24 December 1901, Saint Petersburg) was a Russian ballet dancer and choreographer and later, Second Balletmaster of the Imperial Ballet. As a performer with the Imperial Ballet, he achieved prominence after performing as an understudy in a benefit performance of La Fille Mal Gardée.  He is most famous as the choreographer of Acts II and IV of Swan Lake, which include the Dance of the Little Swans, Act II of Cinderella, and The Nutcracker, which he choreographed alongside Marius Petipa.\n\nBiography\nIvanov entered the Moscow School of Dance, but in 1844 moved to Saint Petersburg where he studied at the Imperial Ballet, becoming an official member of the Corps de ballet in 1852.  Among his teachers during this time were Jean-Antoine Petipa, Alexandr Pimenov, Pierre Frédéric Malavergne and Emile Gredlu (Эмиль Гредлю).\nHistorically, Ivanov is credited with choreographing the entirety of premiere of Pyotr Ilyich Tchaikovsky's ballet The Nutcracker in 1892 due to the ill health of the ballet master, Marius Petipa. While some contemporary and modern accounts dispute this, Ivanov is still mentioned in The New Grove Dictionary of Music and Musicians, Second Edition with choreographing at least the majority of the ballet as Petipa had reportedly not progressed very far in his work. Regardless of the amount of work he actually did, Petipa's was the only name listed for choreography on posters for the first production in St. Petersburg.Ivanov worked with Petipa on a new restaging of Tchaikovsky's Swan Lake ballet in 1895.  Ivanov choreographed the entirety of the lakeside acts or \"white acts\", Act II and Act IV.  This includes the Dance of the Little Swans, an iconic pas de quatre where the four cygnets huddle together and dance in unison, before breaking the chain and falling to the floor whilst attempting to fly. Ivanov also choreographed the Danse Vénitienne (Neapolitan/Venetian Dance) and the Pas Hongrois (Hungarian Dance) of the third bier scene.In his last years Ivanov was in financial straits. On the strength of his 50 years' service he petitioned the Imperial Theatres for financial assistance.\n\nBallets\nOriginal works\nLa Forêt enchantée (en. The Enchanted Forest). Ballet-fantastique in one act. Music by Riccardo Drigo. Imperial Ballet School, 5 April [O.S. 24 March] 1887. Imperial Mariinsky Theatre, 15 May [O.S. 3 May] 1887.\nrevival by Marius Petipa. Peterhof, July 1889.\nLa Tulipe de Haarlem (en. The Harlem Tulip). Ballet-fantastique in three acts. Music by Baron Boris Fitinhoff-Schell. Imperial Mariinsky Theatre, 16 October [O.S. 4 October] 1887.\nrevival by Claudia Kulichevskaya and Pavel Gerdt. Imperial Ballet School, 16 April [O.S. 3 April] 1902.\nrevival by Alexander Shiryaev. Imperial Mariinsky Theatre, 29 April [O.S. 16 April] 1903.\nLa Flûte magique (en. The Magic Flute). Ballet-comique in one act. Music by Riccardo Drigo. Imperial Ballet School, 22 March [O.S. 10 March] 1889. Imperial Mariinsky Theatre, 23 April [O.S. 11 April] 1889.\nLa Ruse de Cupidon (en. Cupid's Prank). Ballet-anacréontique in one act. Music by Alexander Friedman. Krasnoe Selo, 6 August [O.S. 24 July] 1890. Imperial Mariinsky Theatre, 23 November [O.S. 11 November] 1890.\nLa Beauté de Séville (en. The Beauty of Seville). Divertissement-ballet in one act. Music by various composers. Krasnoe Selo, 10 August [O.S. 29 July] 1889.\nLa Fête des bateliers (en. The Boatman's Festival). Divertissement-ballet in one act. Music by Alexander Friedman. Krasnoe Selo, 7 August [O.S. 26 July] 1890.\nThe Nutcracker. Ballet-féerie in two acts. Choreographed jointly with Marius Petipa.  Music by Pyotr Ilyich Tchaikovsky. Imperial Mariinsky Theatre, 18 December [O.S. 6 December] 1892.\nCinderella (a.k.a. Zolushka). Ballet-féerie in three acts. Staged jointly with Enrico Cecchetti and Marius Petipa. Music by Baron Boris Fitinhoff-Schell. Imperial Mariinsky Theatre, 17 December [O.S. 5 December] 1893.\nrevival by Lev Ivanov. Bolshoi Theatre, Moscow, 12 March [O.S. 28 February] 1898\nSwan Lake. Ballet-fantastique in three acts. Staged jointly with Marius Petipa. Music by Pyotr Illyich Tchaikovsky, revised by Riccardo Drigo. Imperial Mariinsky Theatre, 27 January [O.S. 15 January] 1895.\nAcis et Galatée (en. Acis and Galatea). Ballet-mythologique in one act. Music by Andrei Kadlets. Imperial Mariinsky Theatre, 2 February [O.S. 21 January] 1896.\nrevival by Alexander Shirayev. Imperial Ballet School, 3 May [O.S. 20 April] 1905.\nLa Fille du Mikado (en. The Mikado's Daughter). Ballet-fantastique in three acts. Music by Baron Vasily Wrangell. Imperial Mariinsky Theatre, 21 November [O.S. 9 November] 1897.\nEgyptian Nights (a.k.a. Une Nuit d'Egypte or Nuits égyptiennes). Divertissement-ballet in one act. Music by Anton Arensky. Never premiered.\nrevival by Mikhail Fokine. Imperial Mariinsky Theatre, 8 March [O.S. 24 February] 1908.\nrevival by Mikhail Fokine as Cléopâtre for the Ballets Russes. Théâtre du Châtelet, Paris, 2 June 1909.\nSylvia. Ballet-mythologique in three acts. Music by Léo Delibes. Staging completed by Pavel Gerdt due to Ivanov's final illness and death. Imperial Mariinsky Theatre, 15 December [O.S. 2 December] 1901.\nPassage 2:\nThe Nutcracker (Willam Christensen)\nTchaikovsky's now-classic 1892 ballet The Nutcracker received its first complete production in the U.S. on 24 December 1944, performed by the San Francisco Ballet. This production used the ballet's original plot and was choreographed by Willam Christensen, who danced the role of the Cavalier. Gisella Caccialanza, the wife of Lew Christensen, danced the role of the Sugar Plum Fairy. The staging was a huge success and one critic wrote: \"We can't understand why a vehicle of such fantastic beauty and originality could be produced in Europe in 1892 with signal success [a factually erroneous claim] and never be produced in its entirety in this country until 1944. Perhaps choreographers will make up for lost time from now on.\" The company was the first in the U.S. to make the ballet an annual tradition, and for ten years, the only company in the United States performing the complete ballet, until George Balanchine's production opened in New York in 1954. (Annual productions of the San Francisco Ballet Nutcracker began in 1949.)\nThe San Francisco Ballet performs The Nutcracker annually to this day, though not necessarily with Christensen's choreography (their most recent version is choreographed by Helgi Tomasson). Christensen's Nutcracker continues in Salt Lake City, where it is performed annually by Christensen's Ballet West. The stage success of the Christensen version marked the first step in making productions of The Nutcracker annual Christmas season traditions all over the world – a phenomenon that did not really come to flower until the late 1960s.\nPassage 3:\nAdam Cooper (dancer)\nAdam Cooper (born 22 July 1971) is an English actor, choreographer, dancer and theatre director. He works as both a performer and choreographer in musical theatre, and has choreographed and/or starred in award-winning shows such as On Your Toes, Singin' in the Rain and Grand Hotel. He began his professional career as a dancer of classical ballet and contemporary ballet and is a former Principal of the Royal Ballet, a major international ballet company based in London. He became internationally recognised for creating the lead role of Swan/Stranger in Matthew Bourne's contemporary dance production of the ballet Swan Lake, a role that was briefly featured in the 2000 film Billy Elliot, in which Cooper played the adult version of the titular character.\n\nBiography\nAdam Cooper was born 22 July 1971 in Tooting, London to a musician father and a social worker mother. He has an older brother, Simon Cooper, who is also a dancer and they trained at the same schools. From a young age, he and his brother studied tap and ballet at the Jean Winkler School of Dance in Tooting. They also played various musical instruments and sang in a choir. At age 11, Cooper won a place at ArtsEd, a specialist performing arts school in London where he studied classical ballet, character, modern, tap, jazz and contemporary dance, as well as singing, acting and stage combat. After completing his secondary education at the school, aged 16, he was accepted into the Royal Ballet Upper School.\nAt his graduation performance he played the lead role of Young Man in Ashton's the Two Pigeons.Cooper married Sarah Wildor in 2000. She was a principal dancer with the Royal Ballet She has become an Olivier-nominated actress. Their first child, a daughter, was born in 2008. They also have a  son.\n\nDance\nRoyal Ballet\nIn 1989 Cooper joined the Royal Ballet and was quickly promoted to First Artist and Soloist in 1991, First Soloist 1993 and Principal Dancer in 1994. He was recognized for his performances in the classic as well as dramatic and contemporary ballet works, and he excelled in playing cruel but sexy villains. While with the Royal Ballet he worked extensively with choreographers Kenneth MacMillan and William Tuckett partnering all the leading ballerinas of the company including Sylvie Guillem and Darcey Bussell. He also performed works choreographed by George Balanchine, Ashley Page, Fokine, Bronislava Nijinska, Mikhail Baryshnikov, Christopher Wheeldon, Matthew Hart, and William Forsythe. He left the Royal Ballet in 1997 to freelance and expand his career opportunities.\n\nAdventures in Motion Pictures\nIn 1995 Matthew Bourne recruited Cooper to join Adventures in Motion Pictures (now renamed New Adventures) for his radically re-interpreted production of Swan Lake. Together they created the basic Swan movement motifs and Cooper also contributed to the choreography. Cooper performed the dual Swan/Stranger role (the analog of the white and black swan in the classic version) all over the world and his performances won him international acclaim, multiple awards and a strong fan following. Cooper's performance was described as one of \"tremendous excitement, subtlety,emotional depth and sheer sexiness\". The popular press embraced him and his photo appeared in many magazines.For his performances as the Swan/Stranger he received the Time Out Award in 1995, the Evening Standard Dance Award in 1997 and the 1999 Astaire Award for Best Dancer. He was also nominated for the 1999 Tony Award for Best Actor in a Musical. He appeared briefly at the end of the 2000 film Billy Elliot as the adult version of the title character, who is seen performing the role of the Swan. A DVD recording of the Swan Lake with Cooper and the original cast was issued in 1996 and can be seen on Youtube.com. Excerpts from Swan Lake (Bourne) appeared on the 1998 Royal Variety TV program and he repeated his Swan/Stranger role for the TV audience. His performance in the Billy Elliot film and in the Swan Lake (Bourne) DVD inspired at least one of the boys playing Billy Elliot in the stage production to join New Adventures in the hopes of performing The Swan role. In 2003 Cooper once again played the Swan/Stranger when AMP toured in Japan, and there was enormous enthusiasm for his performance and he acquired a large number of new fans.\nIn 1997 Cooper was invited by Bourne to take part in the initial planning of AMP's next show, Cinderella. This version of the dance took place in London during the Blitz, but used the same Prokofiev music as the classic version Cinderella (Prokofiev). Cooper helped to create and performed the role of Pilot (the Prince analog) in the initial 1997 London run and also played the Angel (the Godmother analog), and Sarah Wildor was his partner when she played the title role.\nThe production was also performed in Los Angeles in 1999.\n\nFreelance dancer and choreographer\nIn 1998 Cooper worked with the Scottish Ballet to choreograph Just Scratching the Surface. He also performed the Hoffmann role in their production of Tales of Hoffmann. Since then he has gone on to choreograph for other ballet companies and for musical theatre.\nCooper appeared as a dancer and choreographer at the Exeter Festival for 3 years, heading evenings of dance co-produced with Iain Webb. In 2002 Cooper and Sarah Wildor presented a tribute to Sir Kenneth MacMillan at Exeter and in Japan. The Adam Cooper Company represented the UK at the Washington International Ballet Festival in 2003 performing a revival of Sir Kenneth MacMillan's Sea of Troubles.Cooper has frequently danced as a guest artist with the Royal Ballet since leaving the company, performing lead roles in Romeo and Juliet, Ondine and Onegin. and others. In 2002 he created the role of Badger in William Tuckett's Wind in the Willows. In 2004 created the title role in Tuckett's The Soldier's Tale, which he reprised in 2005 and later performed in Japan in 2009 and 2015.In 2005 he realized a long-held vision with his own production of Les Liaisons dangereuses, a mixture of theater and dance. Co-directed and designed by Lez Brotherston, the production was choreographed by Cooper and he also played the lead role of Viscomte de Valmont. The piece premiered in Japan early in the year before a summer season at Sadler's Wells, with a cast which included Simon Cooper and Sarah Wildor.In 2009 Cooper joined Russell Maliphant to dance in Maliphant's 2:4:10 contemporary dance program- an evening of works celebrating Maliphant's 10 years as a choreographer.\n\nMusical theatre\n2002 to 2010\nIn Cooper's first venture into the musical theatre he was both the choreographer and actor (playing the lead role of Junior Dolan) in On Your Toes. In 2002 it played at Leicester Haymarket, and was in transferred in 2003 to the Royal Festival in the West End of London. Sarah Wildor joined the production in 2003 to play the role of Vera Baronova. He was lauded by both the critics and the audience for his contributions and was rewarded with the Critics' Circle National Dance Award for Best Choreography and Most Popular Dancer. In 2004 the production also had a successful tour in Japan.In 2002 Cooper provided the choreography for the Swedish production of Garbo-the Musical. Cooper also played the lead role of Don Lockwood and choreographed Paul Kerryson's Singin' in the Rain in 2004 at Sadler's Wells Theatre, Leicester Haymarket, and was nominated for Critic's Circle Award for Choreography of a Musical. He was nominated for a Laurence Olivier Award for his choreography of the 2004 Grand Hotel for The Donmar Warehouse. The production won the 2005 Olivier Award in the category of Outstanding Musical Production.In 2005, Cooper and Wildor performed a two-person play, Wallflowering, at the Seven Oaks Playhouse. Their roles were primarily dialogue with intermittent bits of ballroom dancing. Following this, he designed the choreography for the revival of Promises, Promises at Sheffield's Crucible Theatre.In 2006 Cooper appeared alongside Neil Morrissey and Patrick Swayze playing Sky Masterson in Guys and Dolls at The Piccadilly Theatre, London and in 2007 he provided the musical staging for Side by Side by Sondheim for The Venue Theatre, London.2008 saw Cooper's return to the stage, creating the role of Ramon in Zorro the Musical for the UK tour. He also played the Tin Man in the Royal Festival Hall's summer staging of the musical The Wizard of Oz, after which he turned his attention back to choreography. First, he choreographed Carousel for director Lindsay Posner which had a very successful UK tour and West End run at the Savoy Theatre. Then Cooper was asked by Paul Kerryson to direct and choreograph the first new show, Simply Cinderella, at the brand new Curve Theatre, Leicester.In 2009 Cooper unveiled Shall We Dance at Sadler's Wells, an ambitious all-dance show based on Richard Rodgers' songs. For this production he was the box-office star, director, creator, librettist and choreographer. Later that year, he provided choreography for Lindsay Posner's production of the Donizetti opera Roberto Devereux at the Holland Park Theatre, Kensington, London.Cooper co-starred in the touring stage version of Irving Berlin's White Christmas during the Christmas season in 2009 2010 and 2011. He played the role of Phil Davis.\n\n2011 to the present\nCooper was the above-the-title star playing the role of Don Lockwood in Jonathan Church's highly successful 2011–2013 production of Singin' in the Rain, with choreography by Andrew Wright. Its first sold-out run was at the Chichester Festival Theatre and then a longer run at West End's Palace Theatre. He also performed the iconic Singin' in the Rain scene on the 2011 Royal Variety Performance TV show. The stage show was nominated for the Best Musical Revival and several other Laurence Olivier and other awards. A cast recording of Singin' in the Rain was issued in 2012. Good Mornin' was performed at the 2012 Olivier Awards Ceremony. The show, starring Cooper, played in Japan for three weeks of November 2014.In 2013 Cooper choreographed Matthew White's well-received production of Candide at the Menier Chocolate Factory. Reviewer Sam Smith wrote \"Adam Cooper's choreography is racy, and the production finds a particular affinity with the 'Surrealism' of the piece.\" In late 2013 Cooper was invited to Denmark to choreograph Daniel Bohr's Danish language version of Evita at the Det Ny Teater (The New Theater) in Copenhagen. The show premiered in January 2014. For Evita, Adam Cooper created a choreography with continuous tango elements merged into the rest of the dance.Cooper provided the \"energetic\" 60's choreography for Sunny Afternoon Musical at the Hampstead Theatre in London. The show ran from April to end of May in 2014 and then in October 2014 it transferred to The Harold Pinter Theatre (formerly The Comedy Theatre) \nat the West End. Its run was extended several times due to its popularity with the audience and positive critical reviews. It was nominated for numerous awards and won 4 Olivier Awards in 2015. Details are at Sunny Afternoon.\nCooper had another opportunity to present a stage version of Les Liaisons dangereuses (Gefährliche Liebschaften) in 2015.  He choreographed and co-directed with Josef E. Köpplinger a German musical version of the novel with a newly commissioned book, lyrics and score for the itinerant Staatstheater am Gärtnerplatz company in Munich, Germany.\nIn 2019, Cooper appeared in the UK Tour of New Adventures' The Red Shoes, playing the role of Boris Lermontov.\n\nFilms and TV\nThe Soldier's Tale (2010) TV Movie (The Soldier)\nBourne to Dance (2001) TV Movie (himself)\nBilly Elliot (2000) Arts Council of England, BBC Films, Working Title Films (Billy, Aged 25)\nMadame Bovary (2000) TV Movie (Vicomte)\nThe Sandman (2000) Channel 4 TV Movie\nJason and the Argonauts (2000) Hallmark Entertainment & Panfilm TV Movie (Eros)\nDance Ballerina Dance (1998) BBC2 TV (himself)\nSwan Lake (Bourne) (1998) PBS Great Performances TV Series with Adventures in Motion Pictures (Swan/Stranger)\nRoyal Variety Performance TV Show (1998) Excerpts from Swan Lake (Bourne) (Swan/Stranger)\nThe South Bank show: Matthew Bourne's Adventures in Motion Pictures (1997) TV Documentary (himself)\nSwan Lake (Bourne) (1996) BBC/NVC with Adventures in Motion Pictures (Swan/Stranger)\nMayerling (ballet) (1994) BBC with the Royal Ballet (Hungarian officer)\nGala Tribute to Tchaikovsky (1993) TV Special (Principal Dancer)\nWinter Dreams (1992) BBC TV with the Royal Ballet (Staff Captain Vassily Vasilyevich Solyony)\nLa Bayadère, The Sleeping Beauty (ballet), Winter Gala with Royal Ballet for BBC TV\nPrince of the Pagodas (1990) with the Royal Ballet\nMerry Wives of Windsor (1982) BBC TV (fairy)\n\nOther\n(2000) National Portrait Gallery (London), portrait of Adam Cooper by Stuart Pearson Wrightoil on gesso on oak panel, NPG 6542\n(2014) Imperial Classical Ballet Faculty Patrons, Adam Cooper and Sarah Wildor\n\nAwards\n(1988) Ursula Moreton Choreographic Competition\n(1989) Professional Level Prize @ Prix de Lausanne\n(1996) Time Out Award for Best Performance in AMP's Swan Lake\n(1997) Evening Standard Award for his performance as The Swan in AMP's Swan Lake\n(1997) Drama League Award for Best Performance as The Swan in AMP's Swan Lake (Los Angeles Season)\n(1999) Astaire Award for outstanding Male Dancer for his performance as The Swan in AMP's Swan Lake\n(1999) Nominated for Best Actor in a Musical Tony Award for the Broadway Season of Swan Lake\n(2002) Nominated for Best Male Dancer by the Critics' Circle National Dance Awards for his performances with the Royal Ballet and On Your Toes.\n(2003) Critics' Circle National Dance Awards for Best Choreography for On Your Toes\n(2003) Critics' Circle National Dance Awards for Most Popular Dancer.\n(2003) Nominated for Whatsonstage.com Theatregoers' Choice Awards – for Best Choreographer and Best Actor in a Musical for On Your Toes\n(2004) Nominated by Critics' Circle National Dance Awards for Best Choreography (Musical Theater) for Singin' in the Rain\n(2005) Nominated for What's Onstage Award for choreography of the 2004 Grand Hotel for The Donmar Warehouse.\n(2005) Nominated for a Laurence Olivier Award for choreography of the 2004 Grand Hotel for The Donmar Warehouse.\n(2013) Nominated for What's Onstage Award as Best Actor in a Musical for Singin in the Rain\nPassage 4:\nThe Nutcracker (1993 film)\nThe Nutcracker, also known as George Balanchine's The Nutcracker, is a 1993 American Christmas musical film based on Peter Martins's stage production and directed by Emile Ardolino. It stars Darci Kistler, Damian Woetzel, Kyra Nichols, Bart Robinson Cook, Macaulay Culkin, Jessica Lynn Cohen, Wendy Whelan, Margaret Tracey, Gen Horiuchi, Tom Gold, and the New York City Ballet.\nThe film was released by Warner Bros. under their Warner Bros. Family Entertainment label on November 24, 1993, four days after director Ardolino died. It received mixed reviews and was a box office failure, grossing only $2 million.\n\nPlot\nThe film follows the traditional plot of the Nutcracker.\n\nAct I\nScene 1: The Stahlbaum Home\n\nIt is Christmas Eve. Family and friends have gathered in the parlor to decorate the beautiful Christmas tree in preparation for the party. Once it is finished, the children are sent for. They stare in awe at it sparkling with candles and decorations.\nThe party begins. A march is played. Presents are given out to the children. Suddenly, as the owl-topped grandmother clock strikes eight, a mysterious figure enters the room. It is Herr Drosselmeyer, a local councilman, magician, and Marie's godfather. He is also a talented toymaker who has brought gifts for the children, including four lifelike dolls who dance to the delight of all. He then has them put away for safekeeping.\nMarie and her brother, Fritz, are sad to see the dolls being taken away, but Drosselmeyer has yet another toy for them: a wooden nutcracker carved in the shape of a little man. The other children ignore it, but Marie immediately takes a liking to it. Fritz, however, breaks it, and she is heartbroken.\nDuring the night, after everyone else has gone to bed, Marie returns to the parlor to check on her beloved nutcracker. As she reaches the little bed she put it on, the clock strikes midnight and she looks up to see Drosselmeyer perched atop it. Suddenly, mice begin to fill the room and the Christmas tree begins to grow to dizzying heights. The nutcracker also grows to life size. Marie finds herself in the midst of a battle between an army of gingerbread soldiers and the mice, led by their king. They begin to eat the soldiers.\nThe nutcracker appears to lead the soldiers, who are joined by tin soldiers, and dolls who serve as doctors to carry away the wounded. As the Mouse King advances on the still-wounded nutcracker, Marie throws her slipper at him, distracting him long enough for the nutcracker to stab him.Scene 2: A Pine Forest\nThe mice retreat and the nutcracker is transformed into a handsome Prince. He leads Marie through the moonlit night to a pine forest in which the snowflakes come to life and dance around them, beckoning them on to his kingdom as the first act ends.\n\nAct II\nScene 1: The Land of Sweets\n\nMarie and the Prince travel to the beautiful Land of Sweets, ruled by the Sugar Plum Fairy in the Prince's place until his return. He recounts for her how he had been saved from the Mouse King by Marie and transformed back into himself.\nIn honor of the young heroine, a celebration of sweets from around the world is produced: chocolate from Spain, coffee from Arabia, tea from China, and candy canes from Russia all dance for their amusement; Danish shepherdesses perform on their flutes; Mother Ginger has her children, the Polichinelles, emerge from under her enormous hoop skirt to dance; a string of beautiful flowers perform a waltz. To conclude the night, the Sugar Plum Fairy and her Cavalier perform a dance.A final waltz is performed by all the sweets, after which the Sugar Plum Fairy ushers Marie and the Prince down from their throne. He bows to her, she kisses Marie goodbye, and leads them to a reindeer-drawn sleigh. It takes off as they wave goodbye to all the subjects who wave back.\n\nCast\nDarci Kistler as The Sugar Plum Fairy\nDamian Woetzel as The Sugar Plum Fairy's Cavalier\nKyra Nichols as Dewdrop\nWendy Whelan as Coffee\nMargaret Tracey as Marzipan\nGen Horiuchi as Tea\nTom Gold as Candy Cane\nLourdes López as Hot Chocolate\nNilas Martins as Hot Chocolate\nWilliam Otto as Mother Ginger\nPeter Reznick as Fritz\nKarin von Aroldingen as Grandparent\nEdward Bigelow as Grandparent\nHeather Watts as Frau Stahlbaum\nRobert LaFosse as Dr. Stahlbaum\nBart Robinson Cook as Herr Drosselmeyer\nJessica Lynn Cohen as Marie Stahlbaum\nMacaulay Culkin as The Nutcracker/Prince/Drosselmeyer's Nephew\nKevin Kline as Narrator\nKatrina Killian as Harlequin\nRoma Sosenko as Columbine\nMichael Byars as Soldier\nRobert D. Lyon as Mouse King\nMaureen C. McFadden Devlin as Drummer\n\nReception\nCritical response\nThe film received generally mixed reviews from critics. Based on eight reviews, it holds a rotten rating of 50% on review aggregator Rotten Tomatoes, with an average rating of 6/10. The film was criticized by James Berardinelli for not capturing the excitement of a live performance; he wrote that it \"opts to present a relatively mundane version of the stage production...utilizing almost none of the advantages offered by the (film) medium.\" Roger Ebert of the Chicago Sun-Times was mixed on it, and gave it 2 out of 4 stars criticizing it for not adapting the dance for a film audience and also its casting of Culkin who, he writes, \"seems peripheral to all of the action, sort of like a celebrity guest or visiting royalty, nodding benevolently from the corners of shots.\" In The Washington Post, Lucy Linfield echoed Ebert's criticism of Culkin, stating that \"it's not so much that he can't act or dance; more important, the kid seems to have forgotten how to smile...all little Mac can muster is a surly grimace.\" She praised the dancing, however, as \"strong, fresh and in perfect sync\" and Kistler's Sugar Plum Fairy as \"the Balanchinean ideal of a romantic, seemingly fragile beauty combined with a technique of almost startling strength, speed and knifelike precision.\" The New York Times' Stephen Holden also criticized Culkin, calling his performance the film's \"only serious flaw\", but praised the cinematography as \"very scrupulous in the way it establishes a mood of participatory excitement, then draws back far enough so that the classic ballet sequences choreographed by Balanchine and staged by Peter Martins can be seen in their full glory.\"\n\nBox office\nDuring its theatrical run, the film grossed $2,119,994. In North America, it opened at number 16 in its first weekend with $783,721.\n\nSee also\nList of Christmas films\nPassage 5:\nDennis Courtney\nDennis H. Beaulne (born April 30, 1958), better known by his stage name Dennis Courtney, is an American stage director, choreographer, actor and teacher of master classes in auditioning for the theatre. As a director, he is notable for winning the 2008 Israeli National Theatre Prize (Israel's TONY Award equivalent) for his work in the Cameri Theatre production of Fiddler On The Roof, in Tel Aviv. The production closed on January 27, 2016 after a near 8-year run. As an actor, he made his Broadway debut in the 1979 production of Peter Pan with Sandy Duncan and George Rose. Subsequent Broadway/National Tour/Production credits include Shenandoah with John Raitt (1984), Joseph And The Amazing Technicolor Dreamcoat (1984), Roza (1987) and Starlight Express (1989-1990). He directed and choreographed a production of My Way, for the Riverside Center Theatre in Virginia and It Shoulda Been You starring Kim Zimmer and 8 Track: The Sounds of the 70's for Gretna Theatre in July and August 2016. In early 2017, he directed and choreographed Kiss Me, Kate at Kent State. In March 2017 he directed the pre-Broadway workshop production of The Last Adam, a new musical by George Alex Livings and Jonathan Hickey. He has collaborated with playwright David Brian Colbert on a new play with music about the life of legendary performer, Ethel Waters, entitled Still Waters: The Life of the Legendary Ethel Waters. The play is currently in development.\n\nPersonal life\nBorn Denis Beaulne in Detroit, Michigan to French Canadian parents, Albert Beaulne and Claudette Perron.  He took the stage name Dennis Courtney with his first union acting job in 1978.  Courtney has 2 siblings - a sister, Rachelle Beaulne McKevlin and a brother, Raymond Beaulne.  He also has a step-sister, Lori Hurren Harrell and a step-brother, William Hurren. Dennis' parents divorced in 1967 and both remarried.  His mother married Harry Parr and his father married Anna Pasternacki.  Harry Parr died in 1986, Anna Pasternacki Beaulne died on December 5, 2011. Albert Beaulne is currently living in Cornelius, NC.  Dennis' mother, Claudette, died on June 6, 2010. Dennis has been in a long term relationship with entrepreneur, Grant Wheaton, since 2000. Dennis and Grant became engaged on Christmas Day 2016 and married on July 29, 2017.\nHe graduated from Anderson High School in Cincinnati, Ohio and studied theatre at the University of Cincinnati.  He currently resides in New York City and has homes in Sarasota, Florida and Palm Desert, California.\n\nNotes\nExternal links\nOfficial Website - http://www.denniscourtney.com\nDennis Courtney (http://ibdb.com/person.php?id=92973) at the Internet Broadway Database\nDennis Courtney (http://www.broadwayworld.com/people/Dennis-Courtney/#) at BroadwayWorld.com\nPassage 6:\nStephen Nicholas (actor)\nStephen Charles Nicholas (born 23 August 1978)  music artist and presenter from Doncaster, South Yorkshire, England.\nAs an actor Stephens first role was on Sky One's Dream Team, where he played Scott Ward. From there, he filmed the first in the trilogy Goal! (In which he played a Newcastle United Reserves player). Following this, he moved to Los Angeles, where he played Smith in the feature film Futbaal: The Price of Dreams.\nStephen then returned to the UK to make a Bollywood film called Dhana Dhana Goal with John Abraham.\nStephen then experienced her first opportunity in reality TV with the show Premier League All Stars for Sky One, as well as playing a footballer, he was on-hand to present celebrity gossip and pitch side reports.\nHe then appeared in Celebrity Most Haunted and Date the Enemy. From there he then went on to star in Goal 3 where he not only acted in the film he also became the football choreographer and choreographed all the football scenes in the film.\nNicholas then starred in the film Damned United where he played Welsh international Alan Durban, the film was filmed in Chesterfield and Leeds and was directed by Oscar winner Tom Hooper and also starred Oscar nominated Michael Sheen.\nStephens next production was the feature film called 'No Way Back Now'about the notorious Manchester district of Moss Side, where Stephen played the lead actor Stuart Gavin. The feature is roughly based on the notorious Gooch gang that terrorised Manchester throughout the years.\nThe next move for Stephen was pantomime where he was part of the production Aladdin over the Christmas period of 2015 in Doncaster playing Abanaza the main villain which he did until 7 January 2016!.\nHe Was also in the Feature Film 'Whiteblade' where he will played Thurstan the head Warlord Whiteblade Stephen shot his scenes in August 2016.\nIn September 2016 Stephen presenting the Sky TV show 'Britz go Bollywood' the show consists of a group of Celebrities being dressed by The best Indian designers, stephen was the main presenter of the show.\n\nMusic\nNicholas instigated and was part of a group called U.K. Flow. The group was made up of 14 celebrities from television and sport.\n\nFootball\nNicholas was a Sunday league footballer at various clubs\n\nFilmography\nExternal links\nOfficial Site\nStephen Nicholas at IMDb\nPassage 7:\nThe Nutcracker (Balanchine)\nChoreographer George Balanchine's production of Tchaikovsky's 1892 ballet The Nutcracker has become the most famous stage production of the ballet performed in the U.S. (Mikhail Baryshnikov's production is the most famous television version, although it too originated onstage.) It uses the plot of the Alexandre Dumas, père, version of E.T.A. Hoffmann's tale, \"The Nutcracker and the Mouse King\" (1816). Its premiere took place on February 2, 1954, at City Center, New York, with costumes by Karinska and sets by Horace Armistead. It has been staged in New York every year since 1954, and many other productions throughout the United States either imitate it, or directly use the Balanchine staging. However, although it is often cited as being the production that made the ballet famous in the U.S., it was Willam Christensen's 1944 production for the San Francisco Ballet which first introduced the complete work to the United States.\n\nStaging\nIn Balanchine's version, the leading roles of Clara (here called Marie) and the Nutcracker/Prince are danced by children, and so their dances are choreographed to be less difficult than the ones performed by the adults. Marie does not dance at all in the second act of this version. The Prince's dancing in Act II is limited to the pantomime that he performs \"describing\" his defeat of the Mouse King. Instead, Marie and the Prince sit out nearly all of Act II watching other dancers perform for them, and unlike most other versions, neither one of them takes part in the ballet's Final Waltz.\nBecause Marie and the Nutcracker / Prince are played by children approximately ten years old in the Balanchine Nutcracker, no adult romantic interest between them is even implied, although Marie and Drosselmeyer's nephew, who looks exactly like the Prince, are clearly drawn to each other during the Christmas party. However, the 1958 Playhouse 90 telecast of the Balanchine Nutcracker, which changed Marie's name back to Clara and stated that the Prince was Drosselmeyer's nephew, had narrator June Lockhart saying at the end that \"From that day on, Drosselmeyer's nephew is Clara's Prince and Clara is his Princess, and I need not tell you that they lived happily ever after.\" (But Drosselmeyer's nephew is there when the Nutcracker is broken during the Christmas party, so it is difficult to believe that he is the Nutcracker/ Prince, unless Marie dreams her fantasy adventures, and it is unclear in this version whether she does or not.) Years later, movie critic Stephen Holden, in reviewing the 1993 film version of the Balanchine Nutcracker, referred to Marie as the Prince's sweetheart. And oddly enough, throughout Act II of the 1993 film of Balanchine's version, Marie does wear a veil that resembles a bridal veil.\nThe Balanchine version uses perhaps more real children than any other version. (In other versions, the children are sometimes played by adult women.) The rôles of Clara and the Nutcracker/ Prince are performed by adults in many other versions, and in these productions of the ballet, there is usually more than a hint of budding romance between the two.\nThe Journey Through the Snow sequence, in many other productions danced by Clara and the Nutcracker immediately after his transformation into a Prince, is not danced at all in the Balanchine version, although the music is played. Instead, Marie faints and falls on the bed after the battle, and the Nutcracker exits. Marie's bed moves by itself across the stage as the music plays, and at its climax, the Nutcracker reappears and through the use of a stage effect, turns into a Prince. He awakens Marie, places on her head one of the crowns that he took from the dead seven-headed Mouse King, and they exit. (In the 1993 film of Balanchine's Nutcracker, the bed flies through the air rather than simply moving across the stage. This is achieved by visual effects created by Industrial Light & Magic.)\n\nOn the screen\nBalanchine's Nutcracker has since been staged in New York every year, filmed once, and performed live on television three times – although its first television edition, telecast by CBS in 1957 on the TV anthology The Seven Lively Arts, was severely abridged. Some sources say it was complete, but it could not have been because The Seven Lively Arts was only an hour long. This marked the first telecast not only of the Balanchine version but of any staging of the ballet. CBS's Playhouse 90 broadcast a more complete (but still abridged) version of the Balanchine Nutcracker, narrated by actress June Lockhart, who was then starring as the mother in CBS's Lassie, on Christmas Day in 1958; it was the first Nutcracker (and only installment of the entire Playhouse 90 series) broadcast in color. There were only four commercial breaks. This television production starred Balanchine himself as Drosselmeyer, Diana Adams as the Sugar Plum Fairy, Bonnie Bedelia in an early role as Clara, and Robert Maiorano as the Nutcracker/ Prince.Excerpts from the Balanchine production were performed several times on various television shows of the time, notably The Bell Telephone Hour and The Ed Sullivan Show.The complete Balanchine version was eventually made into a poorly received full-length feature film by Elektra Entertainment and Regency Enterprises. It was distributed and released by Warner Bros. Family Entertainment in 1993, and starred Macaulay Culkin in his only screen ballet rôle, as the Nutcracker, the Prince, and Drosselmeyer's nephew. The film was directed by Emile Ardolino, with narration spoken by Kevin Kline. From the billing in this film, the Prince and the nephew would seem to be two different characters, though that may not have been what the filmmakers intended. Director Ardolino died of AIDS only a few days before the film's release. The other rôles in the film were played by members of the New York City Ballet, including Darci Kistler as the Sugar Plum Fairy, Damian Woetzel as the Fairy's Cavalier, Bart Cook as Drosselmeyer, Jessica Lynn Cohen as Marie (a.k.a. Clara), and Wendy Whelan as Coffee in the Arabian Dance.During the 2011 Christmas season, PBS, for the very first time, presented the complete Balanchine Nutcracker on Live from Lincoln Center, although it was not seen on all PBS affiliates, since the affiliates have a choice of which programs they will air locally. This was not the 1993 film, but the production's latest revival, and the production was telecast by PBS on December 14, 2011. This presentation, directed by Alan Skog, marked the first U.S. telecast of the Balanchine version (aside from cable and \"on demand\" showings of the 1993 theatrical film) in more than fifty years. It was nominated for an Emmy Award in July 2012.\n\nCasts\nOriginal\nNYCB revivals\nTelevision\n(1958)\n\nTelevision\n(2011)\n\nTheatrical Film Version\n(1993)\n\nMusic\nBalanchine adds to Tchaikovsky's score an entr'acte that the composer wrote for Act II of The Sleeping Beauty, but which is now seldom played in productions of that ballet. In Balanchine's Nutcracker, it is used as a transition between the departure of the guests and the battle with the mice. During this transition, the mother of Marie (as she is usually called in this version) appears in the living room and throws a blanket over the girl, who has crept downstairs and fallen asleep on the sofa; then Drosselmeyer appears, repairs the Nutcracker, and binds the jaw with a handkerchief. In addition, the Dance Of The Sugar Plum Fairy is moved from near the end of Act II to near the beginning of the second act, just after the Sugar Plum Fairy makes her first appearance. To help the musical transition, the tarantella that comes before the dance is cut. In the 1993 film version of the Balanchine version, just as in the telecast of the Baryshnikov one, the Miniature Overture is cut in half, and the opening credits are seen as the overture is heard. The film's final credits feature a reprise of the Trepak and the Waltz of the Flowers.\n\nFootnotes\nExternal links\nGeorge Balanchine’s The Nutcracker at the Balanchine Trust website\nPassage 8:\nDarci Kistler\nDarci Kistler (born June 4, 1964) is an American ballerina.  She is often said to be the last muse for choreographer George Balanchine.\n\nEarly life\nKistler was born in Riverside, California, the fifth child (with four older brothers) of a medical doctor and his wife.  Her brothers excelled in amateur wrestling, and she followed them into water-skiing, basketball, football and horseback riding.\n\nBallet career\nAt age 4, Kistler received her first tutu and began ballet training that same year. She claimed although she was always athletic, she could never keep to her brothers—so ballet turned out to be one cornerstone she had mastered. After seeing a ballet performance of Rudolf Nureyev and Margot Fonteyn, she decided she wanted to take up ballet herself. She studied with Mary Lynn at Mary Lynn's Ballet Arts and later with Irina Kosmovska in Los Angeles.\nIn early 1979, Kistler was selected to study at New York City Ballet's School of American Ballet (SAB), where she met George Balanchine. She joined the New York City Ballet (NYCB) corps de ballet in 1980, and was featured in a Time article before the end of the year.Kistler was promoted to (NYCB) soloist in 1981 and principal dancer in 1982, the youngest ever at 17 years. Signature roles include Balanchine's Jewels (Diamonds), Agon, Prodigal Son and Symphony in C. She danced the rôle of the Sugarplum Fairy in City Ballet's 1993 film version of The Nutcracker. She eventually wrote her own autobiography \"Ballerina: My Story\" as a children's book.\nKistler joined the SAB's permanent faculty in 1994.\nThroughout her career, she had numerous dance-related injuries, including a broken ankle that sidelined her for three years. She went through several surgeries, including for her back.In February 2009, Kistler announced her retirement from New York City Ballet at the end of the 2010 season. Her farewell performance took place on June 27, 2010, and consisted of ballets choreographed by Balanchine and Martins:\n\nPersonal life\nKistler married New York City Ballet's balletmaster-in-chief Peter Martins in 1991. In July 1992, Martins was arrested and held for five hours after Kistler phoned the police for help. Kistler filed an affidavit accusing him of assaulting her, pushing and slapping her, and cutting and bruising her arms and legs, leading to a charge of third-degree assault (a misdemeanor). Kistler dropped the charges a few days later, saying she preferred to resolve the matter without the court's intervention. When she next performed in a ballet two days later, she reportedly wore heavy makeup to conceal bruises she had suffered. Several people who knew the two well claimed it wasn't the first time Martins had hit Kistler.Kistler and Martins have one daughter, Talicia Tove Martins, born June 13, 1996.\n\nJerome Robbins\nUlysses Dove\nRed Angels\n\nRobert La Fosse\nDanses de Cour\n\nPeter Martins\nFeatured roles\nGeorge Balanchine\nJerome Robbins\nPeter Martins\nTelevision\nPBS Dance in America\nBournonville Dances William Tell pas de deux\nSerenade\nPBS Kennedy Center Honors tribute to Alexandra Danilova\nSwan Lake pas de deux\nPBS Dance in America The Balanchine Celebration\nPBS Live from Lincoln Center New York City Ballet's Diamond Project: Ten Years of New Choreography, 2002\nThem Twos\nPBS Live from Lincoln Center Lincoln Center Celebrates Balanchine 100, 2004\nLiebeslieder Walzer\nPassage 9:\nGwen Verdon\nGwyneth Evelyn \"Gwen\" Verdon (January 13, 1925 – October 18, 2000) was an American actress and dancer. She won four Tony Awards for her musical comedy performances, and served as an uncredited choreographer's assistant and specialty dance coach for theater and film. Verdon was a critically acclaimed performer on Broadway in the 1950s, 1960s, and 1970s, having originated many roles in musicals, including Lola in Damn Yankees, the title character in Sweet Charity and Roxie Hart in Chicago. She is also strongly identified with her second husband, director-choreographer Bob Fosse, remembered as the dancer-collaborator-muse for whom he choreographed much of his work and as the guardian of his legacy after his death.\n\nEarly life\nVerdon was born in Culver City, California, the second child of Gertrude Lilian (née Standring) and Joseph William Verdon, British immigrants to the United States by way of Canada. Her brother was William Farrell Verdon. Her father was an electrician at MGM Studios, and her mother was a former vaudevillian of the Denishawn dance troupe, as well as a dance teacher.As a toddler, she suffered from rickets, which left her legs so badly misshapen she was called \"Gimpy\" by other children and spent her early years in orthopedic boots and rigid leg braces. At age three, her mother enrolled her in dance classes. Further ballet training strengthened her legs and improved her carriage.\nBy age six, she was dancing on stage. She went on to study multiple dance forms, ranging from tap, jazz, ballroom and flamenco to Balinese. She also studied juggling. At age 11, she appeared as a solo ballerina in the musical romance film The King Steps Out (1936), directed by Josef von Sternberg and starring Grace Moore and Franchot Tone. She attended Hamilton High School in Los Angeles and studied under ballet enthusiast Ernest Belcher. While in high school, she was cast in a revival of Show Boat.\nIn 1942, Verdon's parents asked her to marry family friend and tabloid reporter James Henaghan after he got her pregnant at 17 years old, and she quit her dancing career to raise their child. In 1945, she appeared as a dancer in the movie musical Blonde From Brooklyn. After her divorce, she entrusted her son Jimmy to the care of her parents.\n\nCareer\nEarly on, Verdon found a job as assistant to choreographer Jack Cole, whose work was respected by both Broadway and Hollywood movie studios. During her five-year employment with Cole, she took small roles in movie musicals as a \"specialty dancer\". She also taught dance to stars such as Jane Russell, Fernando Lamas, Lana Turner, Rita Hayworth, Betty Grable and Marilyn Monroe.\nVerdon started out on Broadway going from one chorus line to another. Her breakthrough role finally came when choreographer Michael Kidd cast her as the second female lead in Cole Porter's musical Can-Can (1953), starring French prima donna Lilo. Out-of-town reviewers hailed Verdon's interpretation of Eve in the Garden of Eden ballet as a performance that upstaged the show's star, who reputedly demanded Verdon's role be cut to only two featured dance numbers. With her role reduced to little more than an ensemble part, Verdon formally announced her intention to quit by the time the show premiered on Broadway. But her opening-night Garden of Eden performance was so well-received that the audience screamed her name until the startled actress was brought from her dressing room in a towel to take a curtain call. Verdon received a pay increase and her first Tony Award for her performance.\nVerdon's biggest critical and commercial success was her following show, George Abbott's Damn Yankees (1955), based on the novel The Year the Yankees Lost the Pennant. The musical ran for 1,019 performances. Verdon won another Tony and went to Hollywood to repeat her role in the 1958 movie version Damn Yankees, famously singing \"Whatever Lola Wants\". (Fosse can be seen partnered with her in the original mambo duet \"Who's Got the Pain\".)\nVerdon won another Tony for her performance in the musical New Girl in Town as a hard-luck girl fleeing from her past as a prostitute. She won her fourth Tony for the murder-mystery musical Redhead, Fosse's Broadway debut as a director/choreographer. In 1960, Fosse and Verdon wed.\nIn 1966, Verdon returned to the stage in the role of Charity in Sweet Charity, which like many of her earlier Broadway triumphs was choreographed and directed by husband Fosse. The show is loosely based on Federico Fellini's screenplay for Nights of Cabiria. It was followed by a movie version starring  Shirley MacLaine as Charity, featuring Ricardo Montalbán, Sammy Davis Jr. and Chita Rivera, with Fosse at the helm of his very first film as director and choreographer. Verdon helped with the choreography. The numbers include the famed \"Big Spender\", \"Rhythm of Life\", \"If My Friends Could See Me Now\", and \"I'm a Brass Band\". Verdon also traveled to Berlin to help Fosse with Cabaret, the musical film for which he won an Oscar for Best Director.\nAlthough estranged as a couple, Verdon and Fosse continued to collaborate on projects such as the musical Chicago (1975) (in which she originated the role of murderess Roxie Hart) and the musical Dancin' (1978), as well as Fosse's autobiographical movie All That Jazz (1979). The helpmate/peer played by Leland Palmer in that film is based on the role Verdon played in Fosse's real life.  She also developed a close working relationship with Fosse's partner, Broadway dancer Ann Reinking, and was an instructor for Reinking's musical theatre classes.\nAfter originating the role of Roxie opposite Chita Rivera's Velma Kelly in Chicago, Verdon focused on film acting, playing character roles in movies such as The Cotton Club (1984), Cocoon (1985) and Cocoon: The Return (1988). She continued to teach dance and musical theater and to act. She received three Emmy Award nominations for appearances on Magnum, P.I. (1988), Dream On (1993) and Homicide: Life on the Street (1993). Verdon appeared as the title character's mother in the Woody Allen movie Alice (1990) and as Ruth in Marvin's Room (1996), co-starring Meryl Streep, Diane Keaton, and Leonardo DiCaprio. In 1999, Verdon served as artistic consultant on a Broadway musical designed to showcase examples of classic Fosse choreography.  Called simply Fosse, the revue was conceived and directed by Richard Maltby Jr. and Ann Reinking and choreographed by Reinking and Chet Walker. Verdon's daughter Nicole received a \"special thanks\" credit. The show won a Tony Award for Best Musical.\nIn 1997 Verdon appeared in an episode of Walker Texas Ranger as Maisie Whitman. She reprised the role in 1999.\nVerdon played Alora in the movie Walking Across Egypt (1999) and appeared in the film Bruno, released in 2000. Verdon received a total of four Tonys, for best featured actress for Can-Can (1953) and best leading actress for Damn Yankees (1955), New Girl in Town (1957) and Redhead (1959). She also won a Grammy Award for the cast recording of Redhead.Verdon was inducted into the American Theater Hall of Fame in 1981. In 1998, she was awarded the National Medal of Arts.\n\nPersonal life\nVerdon was married twice and had two children. She married tabloid reporter James Archibald Henaghan in 1942. They had a son, Jim, the following year and divorced in 1947. In 1960, Verdon married choreographer Bob Fosse. They had a daughter, Nicole, in 1963. Fosse's extramarital affairs put a strain on their marriage, and by 1971, Verdon and Fosse were separated, but never divorced. She was involved in relationships with actor Scott Brady and actor Jerry Lanning, son of Roberta Sherwood. Verdon was with Fosse when he suffered a fatal heart attack at the Willard Hotel in Washington, D.C., in September 1987.Verdon was a cat fancier, having up to six cats at one time, with the pets carrying names such as \"Feets Fosse\", \"Junie Moon\", and \"Tidbits Tumbler Fosse\".Verdon was a mental health-care advocate; later in life, she openly spoke about the positive effects of mental-health counseling. Along with teaching dance as a form of therapy, she sat on the board of directors for the New York Postgraduate Center for Mental Health, and actively raised funds to support mental health-care research.\n\nPopular culture\nFosse/Verdon is an 8-part American miniseries starring Sam Rockwell as Fosse and Michelle Williams as Verdon. The series, which tells the story of the couple's troubled personal and professional relationship, is based on the biography Fosse by Sam Wasson. It premiered in eight parts on April 9, 2019, on FX. At the 71st Primetime Emmy Awards, Fosse/Verdon received seventeen nominations, including Outstanding Limited Series and acting nominations for Rockwell, Williams, and Margaret Qualley (as Ann Reinking). Williams won the Emmy for Outstanding Actress in a Limited Series.\n\nDeath and legacy\nVerdon died from a heart attack on October 18, 2000, aged 75, at her daughter's home in Woodstock, Vermont. Later that night, at 8 pm, all marquee lights on Broadway were dimmed in a tribute to Verdon.\n\nWork\nStage\nFilm\nTelevision\nMusic\nIn 1956, Verdon released an album titled The Girl I Left Home For. The album includes her covers of popular jazz standards of the time.\n\nAwards and nominations\n† Tied with co-star Thelma Ritter\n \n†† Tied with Ethel Merman for Gypsy\n\n††† Shared with Bob Fosse\nPassage 10:\nMansi Aggarwal\nMansi Aggarwal is an Indian filmmaker, writer, producer and choreographer who has written, directed, produced films and choreographed songs in Indian film industry. She is best known for choreographing the song, \"Bharat Mata ki Jai\", from the movie Shanghai that starred actor Emraan Hashmi - the song gained a lot of popularity and became a hit in India. She has worked with path breaking actors - Priyanka Chopra in Mary Kom, Rajkumar Rao in Kai Po Che, and with Abhay Deol in the movie Dev D.She has been nominated for the Filmfare award for the song \"Bharat Mata ki Jai\" from Shanghai starring the actor Emraan Hashmi, the song was loved by the audience and became popular in India. The song \"Suno na Sangmarmar\" from the movie Youngistaan was also nominated for Stardust and Filmfare awards.She also choreographed commercials for big brands like Nykaa, Biba, Zandu Balm, etc. She was published as the youngest choreographer in the eminent magazine Femina.  In 2018, she made her debut as a writer-director with her first short film The Handbag, which was posted on ‘Humara Movie’ YouTube channel. She came with her second film Raani, which got selected for Lift Off Global Networks, London and was also screened at the Darbhanga International Film Festival. It was a finalist at the Golden Jury International Film Festival and won the Best Actor award at the same. Raani released on Disney Hotstar and is streaming on MX Player. The films The Handbag and Raani were produced under the banner Yin Yang Films.\n\nEarly life and career\nMansi was born on 10 June 1984 and raised in Delhi where she also took training in Indian classical dance, Kathak. Her Kathak training started when she was only 7 years old and she later became a Visharad (graduate) in the dance form. She studied Economics at Hansraj College in Delhi University and after finishing her graduation she opened her dance institute in Delhi—Mansi Dance Creations Her career in Bollywood movies started when she was first spotted by the film director, Anurag Kashyap, during a dance performance in Delhi. Anurag offered her to choreograph the critically acclaimed film, Gulaal. However, the movie got delayed and Mansi shifted her focus to academics until Anurag came to her for the second time with the proposal of choreographing Abhay Deol-starrer, Dev D.Mansi is married to cinematographer Arindam Bhattacharjee.\n\nChoreography in Indian Film Industry\nMansi has choreographed the following Bollywood movies:\n\nFilmography as Director, Producer and Writer",6  "char_len": 56381,7  "document_hash": "edf2525f8311fbd3f14a0ad85f2fcf0b52b2d3635cefc694e41f8275f335fb0c",8  "questions": [9    {10      "question_id": "q00",11      "qtype": "hotpotqa",12      "question": "Who choreographed one who is said to be the last muse for the choreographer and starred in the Nutcracker?"13    }14  ]15}