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brokenwing

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    former dancer/teacher
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    NYC
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    New York

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  1. India Bradley posted an image on her story rehearsing alone in an arabesque that looks suspiciously like the one dewdrop does in her second variation before exiting with fouettés. Let's hope she is cast along with some of her other very talented corps sisters (I would love Corti, Lister, M. MacKinnon, in Dew, Afanasenkov in Sugar, etc). The new administration seems allergic to some of the bolder decisions the previous leaders used to make during Nut (Ansanelli and Peck both did dew around age 16) that could make this season exciting.
  2. I would kill to see Mira in the Farrell role, but you're right that it's a tricky work to cast. Mearns is fantastic in Karin's part, Russell had a major breakthrough in the Luders role. Perhaps Miller would be good in Karin with some coaching? Laracey has done Kay's role before and I think many of the men (Chun, Gordon, Furlan, Sanz, Walker) would be elegant in it.
  3. I would presume they are saving Mira for the Copeland ballet, as she is now anchoring that premiere. Excited for the debuts, but wishing Mearns the speediest recovery from whatever her ailments may be.
  4. I don't want to be too negative about casting, as I love just about everyone who is dancing, but does anyone else feel things are a bit stale? Nutcracker used to be a moment to take a chance. The last week was always full of debuts. Having 3 soloists who have done tons of esteemed rep debut in sugar (as well as excluding soloists like LaFreniere and Miller who are clearly ready, to say nothing of exciting corps members) feels like giving us the bare minimum. Alexandra Ansanelli debuted dewdrop on her 16th birthday and Tiler Peck was probably the same age. Kaitlyn Gilliland, Sterling Hyltin, Unity Phelan, Katie Morgan, Bouder, Fairchild, etc. were all very young corps sugars. I'm not saying that should be the standard, but shake things up once in a while! Don't let the talent rot on the vine. If it doesn't work right away, that's okay. We enjoy watching dancers grow in roles! Casting has gotten more conservative and it's something I've noticed both in Nutcracker and during the season.
  5. Pretty frustrated by Mira Nadon's casting, if I'm being honest. She is a once in a generation talent and I don't want to see her rot on the vine. I know she had surgery, but if she is capable of doing the *very* difficult final solo (and two ladies dance that follows) in 'Raymonda', is she not capable of doing more than stand in heels for the entire last two weeks of the fall season? I could see her leading in almost every ballet in the rep and instead we are treated to people who are simply not of her caliber (or at best inadequately prepared/out of shape). Hoping I'm just being cynical and there is a logical reason here.
  6. Not sure if this has been posted but according to broadwayworld.com the Janice Levin award is going to both India Bradley and Davide Riccardo this year. Congratulations to these dancers!
  7. Promotions to soloist announced via Indiana’s public facing insta: Mira Nadon, Preston Chamblee, Ashley Hod, Miriam Miller, Isabella Lafreniere, Emily Kikta, Emma Von Enck congrats to these fantastic dancers!
  8. I'm more of a listener here than a writer, but I did want to note that I don't take the lack of curtain calls to be any sign against 'Fairy's Kiss'. MCB has never done them (I suppose the audiences are just impatient), with a very pleasant exception being 'Serenade' (and maybe 'Glass Pieces') last program. Christian, it sounds like you are as big of a Delgado fan as I am, and if that's the case, I imagine you are excited about her debut in 'Walpurgisnacht' today. A major ballerina in a major Balanchine role. <3
  9. Sohalia, I'm so glad you enjoyed it. It sounds like a great program. One thing I was going to point out is that 'Bourree Fantasque' first movement is often cast with a taller woman and shorter man, to emphasize certain comedic moments, i.e. when she kicks him in the head, or when he comes in to hug her. Do you think some of the mishaps were choreographic? If it was that and it didn't come across to you, it's still problematic, just thought I would share that little tidbit of information. I for one, can't wait until they're performing 'Bourree' in NYC!
  10. Allegra actually was quite short; this is what enabled her frequent partnering with Villella. It's her larger than life presence and beautiful proportions and line that made people think otherwise.
  11. The Joyce announced their upcoming season via the NY Times and they are presenting MCB in ballets by Balanchine and Tharp and works by Peck, Scarlett and Ratmansky that were commissioned for the company. With NYCB and ABT seasons following almost immediately, it should be an exciting time to be in NYC!
  12. I've never heard of a ballet being contractually an opener or closer. MCB performed 'Serenade' last, both on tour last season and in the rep the year before. I'm sure B's Swan Lake could be programmed last had they wanted it that way, but it also makes perfect sense as an opener, since, in my experience, it always has been. By the same token, Fancy Free is almost always performed last, so I doubt they considered moving the ballets from their traditional slots.
  13. Kathleen, thank you for your wonderful commentary. Jack, as Kathleen later clarified, I don't think she was indicating that the work should be censored, nor should any work that is 'chilling'. The problem isn't that it's chilling, the problem is the commentary Robbins is or isn't putting into the work. Had he presented the purse snatching scene as intentionally disturbing, it would be one thing, but the viewpoint he seems to hold is that it's a perfectly acceptable to harass women in this capacity. We aren't meant to feel any ill will towards the sailors, and indeed, neither does the woman. She comes racing back in with them a scene later with a big smile on her face. Granted, I've seen the scene done with more malicious intent and I've seen it done with less. It leaves me with a feeling of ickiness, no matter the case. I don't like seeing a work where the choreographer condones (near) violence against women. I have a very similar problem with what I consider to be one of the greatest musicals of all time, 'Carousel'. The most gorgeous melodies, characters that draw you in and captivate you... but then we're supposed to just be okay that Julie was abused and that real love understands that the abuse came from a good place. It drives me crazy! 'Fancy Free' and 'Carousel' are both masterpieces, but it's difficult to not want to hit the fast forward button when the misogyny comes in, and I'd imagine it's difficult for many in a modern-day audience. How do we present these masterworks while not endorsing violence against women? It's not a question I have the answer for. Robbins is a big offender, in my book, for a number of ballets ('The Concert', 'In the Night', 'The Cage'), but that's another thread.
  14. Finally announced but no real details: MCB will tour to Lincoln Center as presented by the Joyce some time after their 'Midsummer' production this spring: http://www.miamiherald.com/entertainment/performing-arts/article39567972.html
  15. There are now several Instagram posts featuring Garcia rehearsing with Herrera. Perhaps Martins gave him permission to take this wonderful opportunity.
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