its the mom

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  1. Has Perdziola done costumes for ABT before? I know he did Boston Ballet's "The Nutcracker" and "Swan Lake." Beautiful designs and work.
  2. I was at the final show of Don Quixote and spoke with some of the dancers about the situation. They do have understudies, but felt that it was best to go this way. They will prepare the others for the later run. Cirio is not dancing Albrecht, but will still be dancing in Golden Cockerel. Dreamer, I was told that although the dancing may not look hard, the variation for "The Boy" is very difficult. In fact, in the initial run-throughs, each of the "boys" struggled with it.
  3. I was at Copeland's performance. I thought she did a fairly good job of it, actually better than I expected. She did not fall anywhere. She had difficulty holding herself up in the one-handed lift, making it difficult for Cirio to suspend her in the air for a length of time. She seemed a bit nervous going into the grand pas de deux. Her solo was fine, not amazing, but the audience (surprisingly) was tepid in their reaction to it (not the usual cheering reaction). She started her fouettes upstate left and traveled down center, doing singles. She didn't quite finish all of them (maybe 28), piqued out, and did a jete to the side of the stage for Cirio to start his turns. Once again, I do not think she is a natural Kitri, so I think it was fairly good considering that.
  4. I have been told that they are very difficult, especially for those with hyperextension. I suppose that is why both the above-named dancers might find them challenging.
  5. Yes, my reasoning for using the word, "classical." (Sleeping Beauty, Swan Lake, Paquita) I also think she works well in quirky contemporary pieces, ala Ekman.
  6. Not in total agreement, but I would certainly add Oksana if we are talking about classical dancers. Also, the young Jack Thomas seems very promising. I was impressed with him at the Prix.
  7. That is very common in the Cuban version of Black Swan. I find it distasteful and circus-like. Lorna Feijoo used to do it that way in Boston. Obviously, it is just an opinion. I will be honest, my issue with Mayara is that her bent knees in general are a problem.
  8. I wish I had been able to go to the shows. But Macaulay was not too positive in his review: Even worse was his comment on instagram: "I was in Philadelohia last night to see Pennsylvania Ballet's final program of the 2016-17 season, "Re/Action". This included the world premiere of Matthew Neenan's "Somnolence", the company premiere of Christopher Wheeldon's "Rush" (2003), and four pas de deux - two by "Petipa" (whose estate, if only it existed, should sue), two by Balanchine. The "New York Times" has posted my review; I've tweeted it. The photo, showing "Somnolence", is by Alexander Izilaev. Friday 12 May."
  9. Harrison is leaving to go to Miami.
  10. Many of those students did not originate in her studios. They spent time in her studios, training with her for specified periods of time.
  11. I wonder if they feel comfortable sitting in the space.
  12. Yes, they normally do send someone if there is nobody on staff qualified to teach and rehearse it. I wonder the same thing about the dancers - cannot imagine the aesthetic of it all.
  13. Less and less of a Balanchine influence ...