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ABT 2007 City Center season

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Some more casting has been added for the first week of City Center:

Opening night Oct

Ballo della Regina

G. Murphy

D. Hallberg

The Leaves Are Fading pas de deux

M. Wiles

A. Hammoudi

Clear pas de deux

X. Reyes

H. Cornejo

Don Quixote Act III pas de deux

P. Herrera

J. Carreño

Fancy Free

H. Cornejo

S. Radetsky

M. Gomes

S. Abrera

J. Kent

Wednesday

Clear

X. Reyes

H. Cornejo

The Leaves Are Fading

J. Kent

M. Gomes

Fancy Free

C. Salstein

D. Hallberg

J. Carreño

P. Herrera

G. Murphy

Thursday

Clear

P. Herrera

J. Carreño

Meadow-

J. Kent

M. Gomes

Ballo della Regina

M. Wiles

M. Beloserkovsky

Friday

Ballo della Regina

G. Murphy

D. Hallberg

The Leaves Are Fading

X. Reyes

G. Saveliev

From Here On Out (New Millepied Work)

Company

Saturday Matinee

Ballo della Regina

M. Wiles

M. Beloserkovsky

Meadow

S. Abrera

D. Hallberg

Fancy Free

H. Cornejo

S. Radetsky

M. Gomes

P. Herrera

J. Kent

Saturday evening

Clear

P. Herrera

J. Carreño

New Elo/Glass/Close Work

M. Copeland

J. Kent

K. Boone

H. Cornejo

M. Gomes

J. Matthews

From Here On Out (New Millepied Work)-

Company

Sunday matinee

Ballo della Regina

M. Wiles

M. Beloserkovsky

New Elo/Glass/Close Work

M. Copeland

J. Kent

K. Boone

H. Cornejo

M. Gomes

J. Matthews

Fancy Free

C. Salstein

D. Hallberg

J. Carreño

S. Abrera

G. Murphy

Sunday evening

The Leaves Are Fading

X. Reyes

G. Saveliev

Meadow

J. Kent

M. Gomes

From Here On Out (New Millepied Work)

Company

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Here's the official casting for the City Center season:

CASTING ANNOUNCED FOR ABT's

2007 NEW YORK CITY CENTER SEASON

10/4/2007 - Casting for American Ballet Theatre’s 2007 season at New York City Center was announced today by Artistic Director Kevin McKenzie.

American Ballet Theatre’s Fall 2007 season will open on Tuesday, October 23 at 6:30 P.M. with a Gala performance highlighted by the Company Premiere of George Balanchine’s Ballo della Regina, led by Gillian Murphy and David Hallberg. The program will also feature pas de deux from Antony Tudor’s The Leaves Are Fading, Stanton Welch’s Clear, and Act III of Don Quixote. A performance of Jerome Robbins' Fancy Free will round out the evening.

The first week at NY City Center will feature the World Premieres of Benjamin Millepied’s From Here On Out on Friday, October 26, and a new work by Jorma Elo on Saturday evening, October 27, led by Misty Copeland, Julie Kent, Kristi Boone, Herman Cornejo, Marcelo Gomes and Jared Matthews. The Leaves Are Fading will have its Revival Premiere on Wednesday, October 24, led by Julie Kent and Marcelo Gomes, who will dance the role for the first time. Xiomara Reyes and Gennadi Saveliev will debut in these roles on Friday, October 26. On Thursday, October 25, Paloma Herrera and Jose Manuel Carreño will debut the leading roles in Clear and Michele Wiles and Maxim Beloserkovsky will debut the leading roles in Ballo della Regina.

American Ballet Theatre’s second week at NY City Center will include the Company Premiere of Twyla Tharp’s Baker’s Dozen on Tuesday, October 30, and the Revival Premiere of Agnes de Mille’s Fall River Legend, led by Julie Kent and Gennadi Saveliev, on Thursday, November 1. Gillian Murphy and Sascha Radetsky will make their debuts in Fall River Legend on Friday, November 2, and Michele Wiles and Isaac Stappas will dance these roles for the first time at the matinee on Sunday, November 4. Additional highlights of ABT’s second week include the debuts of Jacquelyn Reyes, Xiomara Reyes, Stella Abrera, Craig Salstein, Sascha Radetsky and Blaine Hoven in the new Elo/Glass/Close work on Tuesday, October 30, Stella Abrera and Sascha Radetsky in The Leaves Are Fading on Wednesday, October 31, and Sarah Lane and Herman Cornejo in Ballo della Regina at the matinee on Sunday, November 4.

Tickets for American Ballet Theatre’s 2007 Fall Season at New York City Center, priced from $27-$93, are available online or by calling CityTix at 212-581-1212. Performance-only tickets for American Ballet Theatre’s Opening Night at NY City Center are priced from $30 to $135. NY City Center is located on West 55th Street between 6th and 7th Avenues in New York City.

Countrywide Financial is the National Sponsor of American Ballet Theatre. Superfund Asset Management, Inc. is the sponsor of ABT’s 2007 New York City Center season. Saks Fifth Avenue is the Leading Sponsor of ABT’s Costume Fund and CA, Inc. is the Leading Sponsor of ABT’s 2007 Family Initiative. American Airlines is ABT’s Official Airline. Additional support has been provided by the New York State Council on the Arts, a state agency, and the New York City Department of Cultural Affairs.

Complete casting follows:

FIRST WEEK

Tues. Eve., Oct. 23, 6:30 P.M. OPENING NIGHT GALA

BALLO DELLA REGINA (Company Premiere) – Murphy, Hallberg

THE LEAVES ARE FADING Pas de Deux – Wiles, Hammoudi

CLEAR Pas de Deux – Reyes, Cornejo

DON QUIXOTE Pas de Deux – Herrera, Carreño

FANCY FREE – Cornejo, Radetsky, Gomes, Abrera, Kent

Wed. Eve., Oct. 24, 7:30 P.M CLEAR – Reyes, Cornejo

THE LEAVES ARE FADING – Kent, Gomes*

FANCY FREE – Salstein, Hallberg, Carreño, Herrera, Murphy

Thur. Eve., Oct. 25, 7:30 P.M CLEAR – Herrera* ,Carreño*

MEADOW – Kent, Gomes

BALLO DELLA REGINA – Wiles*, Beloserkovsky*

Fri. Eve., Oct. 26, 8:00 P.M. BALLO DELLA REGINA – Murphy, Hallberg

THE LEAVES ARE FADING – Reyes*, Saveliev*

FROM HERE ON OUT (World Premiere) - Company

Sat. Mat., Oct. 27, 2:00 P.M. BALLO DELLA REGINA – Wiles, Beloserkovsky

MEADOW – Abrera, Hallberg

FANCY FREE – Cornejo, Radetsky, Gomes, Herrera, Kent

Sat. Eve., Oct. 27, 8:00 P.M. CLEAR – Herrera, Carreño

NEW ELO BALLET (World Premiere) – Copeland, Kent, Boone, Cornejo, Gomes, Matthews

FROM HERE ON OUT - Company

Sun. Mat., Oct. 28, 1:30 P.M. BALLO DELLA REGINA – Wiles, Beloserkovsky

NEW ELO BALLET – Copeland, Kent, Boone, Cornejo, Gomes, Matthews

FANCY FREE – Salstein, Hallberg, Carreño, Abrera, Murphy

Sun. Eve., Oct. 28, 7:00 P.M. THE LEAVES ARE FADING – Reyes, Saveliev

MEADOW – Kent, Gomes

FROM HERE ON OUT – Company

SECOND WEEK

Tues. Eve., Oct. 30, 7:30 P.M. BAKER’S DOZEN (Company Premiere) – Company

SINATRA SUITE – Gomes, Paris

NEW ELO BALLET – J. Reyes*, Reyes*, Abrera*, Salstein*, Radetsky*, Hoven*

FANCY FREE – Salstein, Hallberg, Carreño, Herrera, Murphy

Wed. Eve., Oct. 31, 7:30 P.M. THE LEAVES ARE FADING – Abrera*, Radetsky*

MEADOW – Kent, Gomes

FROM HERE ON OUT – Company

Thur. Eve., Nov. 1, 7:30 P.M FROM HERE ON OUT – Company

NEW ELO BALLET – J. Reyes, Reyes, Abrera, Salstein, Radetsky, Hoven

FALL RIVER LEGEND – Kent*, Saveliev*

Fri. Eve., Nov. 2, 8:00 P.M. BAKER’S DOZEN – Company

SINATRA SUITE – Carreño, Copeland+

MEADOW – Abrera, Hallberg

FALL RIVER LEGEND – Murphy*, Radetsky*

Sat. Mat., Nov. 3, 2:00 P.M. BAKER’S DOZEN – Company

SINATRA SUITE – Cornejo, Lane

THE LEAVES ARE FADING – Kent, Gomes

FROM HERE ON OUT – Company

Sat. Eve., Nov. 3, 8:00 P.M. BALLO DELLA REGNA – Murphy, Hallberg

BAKER’S DOZEN – Company

SINATRA SUITE – Gomes, Paris

FALL RIVER LEGEND – Kent, Saveliev

Sun. Mat., Nov. 4, 1:30 P.M. BALLO DELLA REGINA – Lane*, Cornejo*

FROM HERE ON OUT – Company

FALL RIVER LEGEND – Wiles*, Stappas*

Sun. Eve., Nov. 4, 7:00 P.M. BAKER’S DOZEN – Company

SINATRA SUITE – Carreño, Paris

NEW ELO BALLET – Copeland, Kent, Boone, Cornejo, Gomes, Matthews

FALL RIVER LEGEND – Murphy, Radetsky

*Please note: First time in a role:

Wed. Eve., Oct. 24 – Gomes in The Leaves Are Fading

Thurs. Eve., Oct. 25 – Herrera and Carreño in Clear; Wiles and Beloserkovsky in Ballo della Regina

Fri. Eve., Oct. 26 – Reyes and Saveliev in The Leaves Are Fading

Tue. Eve., Oct. 30 – J. Reyes, Reyes, Abrera, Salstein, Radetsky, Hoven in New Elo Ballet

Wed. Eve., Oct. 31 – Abrera and Radetsky in The Leaves Are Fading

Thurs. Eve., Nov. 1 – Kent and Saveliev in Fall River Legend

Fri. Eve., Nov. 2 – Murphy and Radetsky in Fall River Legend

Sun. Mat., Nov. 4 – Lane and Cornejo in Ballo della Regina; Wiles and Stappas in Fall River Legend

+Please note: First time in a role in New York:

Fri. Eve., Nov. 2 – Copeland in Sinatra Suite

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*Please note: First time in a role:

Thurs. Eve., Nov. 1 – Kent and Saveliev in Fall River Legend

Really? Kent? This is surprising. I guess FRL has been dormant for longer than I thought.

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:off topic: I'm so frustrated and thought I could get some advice from readers that attend more performances than I. I bought tickets for one evening of the fall ABT season based on the pieces being offered and hoping Hallberg was dancing. I bought them as soon as they went on sale before casting was announced. I was prepared to buy another evening if I was unlucky in my wish to see Hallberg. Well no luck, no Hallberg so I bought a second evening of tickets for Oct. 31st after seeing casting listed. Now I see Hallberg isn't dancing that night either. Instead I'll see Meadow twice, both with Kent/Gomes. Not that I don't love them but not twice in the same performance. Now I have to decide if my wallet can handle yet another set of tickets. (My outlay is double since I always buy tickets for my daughter to join me.) If I'd known I was buying tickets for 3 performances I could have purchased them at the same time and saved a little money. Certainly I realize that casting is subject to change but I'm feeling very unlucky. So my question to you all is this: Do you wait until casting is announced before purchasing tickets risking inferior seats? Do you purchase early to get the best seats and don't mind who is cast? And finally - Is the ABT website the best place for casting info? I'm afraid I took as accurate listings I'd seen in the NY Times. Thanks for any advice about strategic ticket-buying!

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I've had bad luck with seeing a cast I wanted. Usually I selected the performances based on the ABTweb site calendar, called up, ordered a bunch only to find out, often the night of the performance that there was a cast change.

What I find curious is WHY can't they organize this sooner? What is actually going on which prevents the ABT from announcing as soon as they set up which ballets they are going to stage which casts will perform them? When some is ill or injured we can understand a last minute change, but why drive balletomanes crazy when this simple bit of planning might even boost ticket sales?

Is this simply being lazy? Or being smug? Or incompetent? I can tell you, like Barbara it is very frustrating to be psyched up to see X and have to see Y regardless of how talented Y is. In a sense you are NOT getting what you paid for. Don't they get it?

The next strategy is to just go the day of the performance and hope to find good seats at the BO. At least you have a better chance of being assured of the cast, if not the seat. And with the fact that there always seems to always be seats available you won't be sitting in a coffee shop banging your head on the counter.

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:off topic: I'm so frustrated and thought I could get some advice from readers that attend more performances than I. I bought tickets for one evening of the fall ABT season based on the pieces being offered and hoping Hallberg was dancing. I bought them as soon as they went on sale before casting was announced. I was prepared to buy another evening if I was unlucky in my wish to see Hallberg. Well no luck, no Hallberg so I bought a second evening of tickets for Oct. 31st after seeing casting listed. Now I see Hallberg isn't dancing that night either. Instead I'll see Meadow twice, both with Kent/Gomes. Not that I don't love them but not twice in the same performance. Now I have to decide if my wallet can handle yet another set of tickets. (My outlay is double since I always buy tickets for my daughter to join me.) If I'd known I was buying tickets for 3 performances I could have purchased them at the same time and saved a little money. Certainly I realize that casting is subject to change but I'm feeling very unlucky. So my question to you all is this: Do you wait until casting is announced before purchasing tickets risking inferior seats? Do you purchase early to get the best seats and don't mind who is cast? And finally - Is the ABT website the best place for casting info? I'm afraid I took as accurate listings I'd seen in the NY Times. Thanks for any advice about strategic ticket-buying!

Hey, Barbara, they haven't announced any casting for the new Millipied piece yet; so there is still that chance that Hallberg may be dancing on Oct. 31st. With regard to your first performance choice, if it's Oct 25th -- you won't be paying much attention to Meadow anyway, having just spent a half hour watching JM Carreno cavort around in Clear with his shirt off!! Trust me.

It is frustrating how ABT holds back the casting on the rep performances. But I guess there are just too many variables to pin it down any sooner. To make things more difficult for us, there is no longer an exchange privilege that goes with the City Center packages.

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Hagland,

Just what ARE the variables you refer to?

I'm thinking I run a company of professionals and I call in the AD and set the program and select the dancers. Then call them up or send them an email and tell them when they are expected to dance, organize rehearsal schedule as necessary and publish it on the web site.

Did I miss something?

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Hagland,

Just what ARE the variables you refer to?

I'm thinking I run a company of professionals and I call in the AD and set the program and select the dancers. Then call them up or send them an email and tell them when they are expected to dance, organize rehearsal schedule as necessary and publish it on the web site.

Did I miss something?

I'm not Hagland, nor do I know to what precisely he was refering, nor have I run a company, all that notwithstanding, I think there are more variables than you've allowed for.

1) injuries. Injuries are frequent in dance companies. Most of the last minute switches (including one that was really heartbreaking for me during the MET season) are due to injury.

2) scheduling. Remember, these aren't full-length, evening-long works. That's great right? More opportunities to see more dancers!

But given that they are not doing the same program on multiple nights, but rather mixing and matching the works, the casting has to balance out so that one dancer isn't working in all 3-4 pieces one night.

It seems to me that this sort of programming inevitably leads to more variables, and as they scramble to cover for one dancer who is injured, instead of just replacing him or her in one ballet, shifts all up and down the programming need to be made to accommodate the replacement.

3) With the new works, those that are being set on the company right now, they simply may not know yet who is best in the piece, and again, who is cast when can cause changes throughout the programming.

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And even if a dancer is listed to appear in certain ballets, an injury during the rehearsal period may prevent adequate preparation time for a new role. That would require shifting some dancers around, making sure replacements aren't overworked, a whole chain reaction of rescheduling, as aurora notes.

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Hagland,

Just what ARE the variables you refer to?

I'm thinking I run a company of professionals and I call in the AD and set the program and select the dancers. Then call them up or send them an email and tell them when they are expected to dance, organize rehearsal schedule as necessary and publish it on the web site.

Did I miss something?

I was referring, as Aurora points out, to the two new works on the bill that seem to hold the casting hostage for so much else. And then there is that odd set of circumstances wherein the brochure clearly showed Stiefel and Dvorovenko as performers, yet Stiefel has lined up his Kings of Dance gig for all but the first few days of the City Center season, and he, as well as Irina, are no where to be found on the schedule.

It's really very stingy and consumer-unfriendly of ABT and/or City Center not to allow for a free exchange. Honestly, how much of a problem would that really cause them?

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Hagland that seems to be my point here. In this day and age of email and blackberries and email enabled cell phones... oh and I forgot the telephone it would seem that making schedules mesh is something we should have learned in being in business 101.

You have a email contact list and you broadcast the schedule and anyone with a conflict needs to RSVP immediately. OK 24 hrs. How do people set up business meetings today? And it's not as if these principals are not IN THE COMPANY and ON THE PAYROLL. It's as if no one knows that they are doing. Is this possible?

When you examine the number of people involved in a MetOpera production, it must number up to 1,000 with the stage hands, costumers, singers, dancers, orchestra and so on. Yet the MetOpera issues a schedule / program and unless their is a health related matter the show goes on as listed. Why can't the ABT do this? And the Met DOES new and challenging productions each season.

I really don't get it.

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Like the original post on this thread, I too pay double (sometimes triple) every time I go to NYC to see ABT because I have to factor in 8-hr transportation and hotel costs in addition to my ticket. And because of work schedules (and distance) I usually can only attend on weekends, which makes chances to see X or Y more limited as well. So I try to second-guess casting, or wait till it's announced. When I had exchange priveleges, it was nice, but not lately.

Once, though, what started off bad eventually turned out ok...

I had just purchased a ticket (and being last-minute, it wasn't cheap)at the CCtr b.o. to see a dancer perform , and as I was leaving, bumped into that same dancer on the street, where I was informed they had just cancelled. (Nice of the b.o. to forget to inform me!) But perhaps seeing my disappointment, I was assured that they were dancing the next night (unscheduled of course)--and luckily I also had a ticket for that performance. So as someone posted, it may not be what you expected, but sometimes it works out ok.

Unfortunately, this past MET season, I lost the price of three center-GTier tickets due to last minute cast changes, or cast changes that occurred and then were reversed at the last minute, and consequently AFTER I had already "donated" my tickets back to ABT. Now I'm just wondering if those "donations" are also tax deductible or am i really out the $$$? An instance of NOT ok.

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4Mr..

I can get my but down to the Met lickity split..usually, so think of selling those tix to me perhaps rather than turn them in to the Met. There may be other BTers who would pay you for a ticket on short notice.

The problem may be the actual transfer of the ticket unless the BO can facilitate it. I tried like crazy to get Netrebko I Puritani Tix and located a good pair in Rhode Island! No way could I get them in time. I got a balance seat from a scalper on ebay who met me at the door.

I don't bail when I find out about a cast change, but I do get disappointed. Perhaps BTers need to have their own ticket exchange? Is that legal?

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It's really very stingy and consumer-unfriendly of ABT and/or City Center not to allow for a free exchange. Honestly, how much of a problem would that really cause them?

I would hazard a guess that it has to be City Center, not ABT, as the ABT season at the MET allows ticket exchange.

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I don't bail when I find out about a cast change, but I do get disappointed. Perhaps BTers need to have their own ticket exchange? Is that legal?

Maybe someone else knows for sure, but I think as long as one doesn't sell a ticket for more than face value (ie, trying to turn a profit on the ticket) you can do it.

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. . . as the ABT season at the MET allows ticket exchange.
For single tickets? I know they do for subscriptions (which City Center doesn't offer, at least not formally) but was under the impression that non-subs were final sales.
I think as long as one doesn't sell a ticket for more than face value (ie, trying to turn a profit on the ticket) you can do it.
As a matter of fact, New York's scalper laws have recently changed. There is no limit on what you're allowed to charge for a ticket, but you are not allowed to sell within 1500 (?) feet of the venue. I don't know if it's illegal to sell at face value smack-dab in front, but my guess is that as long as no one complains, it's not a problem.

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For single tickets? I know they do for subscriptions (which City Center doesn't offer, at least not formally) but was under the impression that non-subs were final sales.

you know, you are probably right, I've done subscriptions (+ additional tix) for the last bunch of years so I wasn't even thinking that they might not allow it for non-subs.

woops!

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When you examine the number of people involved in a MetOpera production, it must number up to 1,000 with the stage hands, costumers, singers, dancers, orchestra and so on. Yet the MetOpera issues a schedule / program and unless their is a health related matter the show goes on as listed. Why can't the ABT do this? And the Met DOES new and challenging productions each season.

I don't really see the comparison is an apples to apples one.

It isn't like the MetOpera lists all those 1000 people on a schedule/program.

They list the top performers, no?

Which is what ABT does, and they switch them out if someone is sick or injured, and the schedule needs to be adjusted accordingly.

I'm not disagreeing that it is REALLY frustrating when you want to see performer A and get stuck with performer B; it is!

But part of the reason ABT's schedule changes more is due to the fact dancers are injured with a greater frequency than Opera Singers, and also that ABT, especially when doing mixed bill programming is having to do a more complicated balancing act.

Furthermore since they are listing a greater number of performers per evening, there is an increased likelihood that someone will be unable to perform.

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Aurora,

Point well taken about injuries. Are these the kind of injuries that can be very temporary and then the dancer is good to go perhaps in a day? I don't know because I don't know the nature of dancer's injuries and what causes them. I would hope that they have the good sense not to "over do" something right before a performance which could lead to an injury. If that's the main cause of the cast changes - injury, we need to cut the company some slack... and pray that they don't happen. How vulnerable these strong dancers are.

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Every injury is different. Some require a few days of rest, but a dancer needs a few more days to make up for lack of conditioning while recuperating. It's not like laryngitis where once the singer's voice comes back, they're ready to perform immediately. More like a pitcher. Once he returns after an injury, he starts by throwing a few balls with the pitching staff, then a few games in the minors to really pull it together before he's back in the rotation. Same with dancers. They come back gradually. A serious sprain can take six weeks before a dancer can take a full class, but they won't be in performance shape for a while yet.

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If there is plenty of time to post, at minimum, I can't think of one good reason ABT wouldn't list a TBA on public Internet or newspaper casting, knowing one dancer is out due to injury (not last minute) and another dancer is rehearsing/planning to perform the part.

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Every injury is different. Some require a few days of rest, but a dancer needs a few more days to make up for lack of conditioning while recuperating. It's not like laryngitis where once the singer's voice comes back, they're ready to perform immediately. More like a pitcher. Once he returns after an injury, he starts by throwing a few balls with the pitching staff, then a few games in the minors to really pull it together before he's back in the rotation. Same with dancers. They come back gradually. A serious sprain can take six weeks before a dancer can take a full class, but they won't be in performance shape for a while yet.

Oh yes, don't I know that, having dealt with torn ligaments, "frayed" tendons, ankle sprains, and possible stress fractures. Six weeks is good, 4-6 months seems to have been my average. And then, the weakened joint, ligament, tendon can be prone to re-injury of lesser or greater severity, until finally surgery may be necessary, requiring an even longer recovery period. (Ethan Steifel a case in point.) So yes, pray for minor injuries with minor recovery times.

Note to SanderO: I once offered my unused ticket on BT, and was willing to overnight mail if necessary. But I don't "bail" just because my favorite dancer is not dancing as originally scheduled--I don't come because I am saving myself the extra $300 it costs me (in addition to my ticket) EVERY time I come to see an ABT/NYCB performance in NYC other than a matinee.

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What sz said.

I think they just don't care and cynically think it doesn't matter to the general audience and don't want to refund any money.

I like to be a fly on the wall of some of the meetings of these company honchos.

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:) I'm so frustrated and thought I could get some advice from readers that attend more performances than I. I bought tickets for one evening of the fall ABT season based on the pieces being offered and hoping Hallberg was dancing. I bought them as soon as they went on sale before casting was announced. I was prepared to buy another evening if I was unlucky in my wish to see Hallberg. Well no luck, no Hallberg so I bought a second evening of tickets for Oct. 31st after seeing casting listed. Now I see Hallberg isn't dancing that night either. Instead I'll see Meadow twice, both with Kent/Gomes. Not that I don't love them but not twice in the same performance. Now I have to decide if my wallet can handle yet another set of tickets. (My outlay is double since I always buy tickets for my daughter to join me.) If I'd known I was buying tickets for 3 performances I could have purchased them at the same time and saved a little money. Certainly I realize that casting is subject to change but I'm feeling very unlucky. So my question to you all is this: Do you wait until casting is announced before purchasing tickets risking inferior seats? Do you purchase early to get the best seats and don't mind who is cast? And finally - Is the ABT website the best place for casting info? I'm afraid I took as accurate listings I'd seen in the NY Times. Thanks for any advice about strategic ticket-buying!

Hey, Barbara, they haven't announced any casting for the new Millipied piece yet; so there is still that chance that Hallberg may be dancing on Oct. 31st. With regard to your first performance choice, if it's Oct 25th -- you won't be paying much attention to Meadow anyway, having just spent a half hour watching JM Carreno cavort around in Clear with his shirt off!! Trust me.

It is frustrating how ABT holds back the casting on the rep performances. But I guess there are just too many variables to pin it down any sooner. To make things more difficult for us, there is no longer an exchange privilege that goes with the City Center packages.

Haglund's, I'm going to adopt your positive line of thinking and hope that Hallberg will dance in the Millepied. Also, of course you're right - my mind will probably be reeling from a shirtless Carreno! :blushing: I'm still toying with the idea of another set of tickets, maybe Nov 3 to see Murphy/Hallberg in Ballo. Thanks to everyone for your replies. I guess there's no way to see everything/everyone you hope to in a given season. If I won the lottery I'd buy the entire season, fall and spring.

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