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Roster Changes at ABT


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It would have been a news story if she was NOT promoted this year, coming off the Time 100 cover, and a very ugly one at that. Hopefully Misty will bloom further as an artist and a dancer in years to come.

This is the very reason Copeland's promotion will always come with a question mark for me and many dance fans that I know. She positioned herself so that not being promoted would generate news.

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This is the very reason Copeland's promotion will always come with a question mark for me and many dance fans that I know. She positioned herself so that not being promoted would generate news.

If Copeland's interpretation of O/O and Juliet, and other classical roles deepen, will there still be a question mark? A promotion to principal is not always the acknowledgement of a finished product - it is also an investment in a dancer.

Not sure about your last sentence either. The classical ballet scene in New York is not the center of the universe, and I feel like most Americans don't know the difference between the dancer ranks anyway. Misty's promotion will probably be out of the news cycle by tomorrow night.

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This is the very reason Copeland's promotion will always come with a question mark for me and many dance fans that I know...

Just your taste. Just like mine cannot accept an Aurora who bombs the Rose Adagio or who bombed the Flames of Paris pdd at the Kennedy Center (with Simkin) a few years ago. "Many dance fans" witnessed that and chose to look the other way but when Misty breathes incorrectly, she is smacked her down. All of this stinks of racism.

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Just your taste. Just like mine cannot accept an Aurora who bombs the Rose Adagio or who bombed the Flames of Paris pdd at the Kennedy Center (with Simkin) a few years ago. "Many dance fans" witnessed that and chose to look the other way but when Misty breathes incorrectly, she is smacked her down. All of this stinks of racism.

I have to admit I am not as knowledgeable as yourself Natalia and many others on BA about the qualifications for promotions, so I am curious if these are merit based as what I have seen with some competitions. Since several of the recent promotions, other than Stella's, seems a bit odd to me. Just based on what I have seen and read, IMO, one or two of the recent moves are a bit sooner than I would have thought, just based on experience. With one or two well presented and danced roles/parts IMO doesn't warrant the moves. Does height or need come into place for considerations? Then again perhaps this will give opportunities to further coaching and hopefully improvements, however, there are a few left behind whom would have done likewise as well if they were given the same opportunity.

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I agree with Natalia. Sarah Lane has not necessarily proven herself as being ready for principal status at this time. Her work in SB was overall very good, but she simply has not been given enough roles to demonstrate the consistency of her work. That's McKenzie's failing, not Sarah's. But, McKenzie has also promoted others who also were, in my opinion, not ready for principal status. Hee Seo is one example, although she has improved a lot since the time she was promoted. Ditto Cory Stearns, who has also improved over the years.

It is unfortunate that McKenzie has gone out and hired Kochetkova for a permanent place at ABT, which, I believe, will significantly diminish Sarah's potential opportunities for roles. In my opinion, Kochetkova's presence will probably end up being a permanent barrier to Sarah's potential advancement. The roster of short, small ballerinas for lead roles is now pretty full. Without Kochetkova, I might have guessed that Sarah had a chance for promotion in a year or two, depending on how things went. Now, I believe there is no real chance that she will end up with a promotion at ABt in the next few years. The guest artists strike again.

Lane has done some excellent work and given many excellent performances, and I hope Lane will be given some more chances at additional lead roles so that her signficant talents can further develop and emerge. I do like Lane's dancing very much, and will always come to the theater to see her whenever she is cast. I would love to see her given a chance at Lise, Giselle or O/O. That wish probably won't come true.

McKenzie has difficulty seeing the value of people who are right in front of his nose, and Sarah is the victim of that myopic view. If the confluence of events had not resulted in a situation where (a) Abrera was ready to perform Giselle due to her recent guest appearances elsewhere and (2) Polina's absence left a spot open for a Giselle, I have a feeling Stella might never have been elevated either.

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I have to admit I am not as knowledgeable as yourself Natalia and many others on BA about the qualifications for promotions, so I am curious if these are merit based as what I have seen with some competitions. Since several of the recent promotions, other than Stella's, seems a bit odd to me. Just based on what I have seen and read, IMO, one or two of the recent moves are a bit sooner than I would have thought, just based on experience. With one or two well presented and danced roles/parts IMO doesn't warrant the moves. Does height or need come into place for considerations? Then again perhaps this will give opportunities to further coaching and hopefully improvements, however, there are a few left behind whom would have done likewise as well if they were given the same opportunity.

It depends on the company. NYCB tends to push talented corps members, giving them principal roles and a lot of responsibility right off the bat (Finlay, Mearns, etc). Their rep is also huge, and they also perform a number of mixed bills.

At ABT, the process is usually more gradual. Because of all their full-length story ballets, dancers usually work their way up through the corps/soloist roles in these ballets before receiving a principal role. Sometimes, an AD only needs to see 1-2 successful principal roles in order to determine that all promotion is in order.

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It depends on the company. NYCB tends to push talented corps members, giving them principal roles and a lot of responsibility right off the bat (Finlay, Mearns, etc). Their rep is also huge, and they also perform a number of mixed bills.

At ABT, the process is usually more gradual. Because of all their full-length story ballets, dancers usually work their way up through the corps/soloist roles in these ballets before receiving a principal role. Sometimes, an AD only needs to see 1-2 successful principal roles in order to determine that all promotion is in order.

Thanks for the explanations Pique Arabesque smile.png much appreciated! Seems to be that NYCB has a bit more fair playing field if that is the case? Since my question would be how would any AD see successes if some of the talented corps is not even given the chance to audition for the roles? Perhaps roles are given based on height and need? Then again, how does Martin do what he has done to nurture his corps or dancers?

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Thanks for the explanations Pique Arabesque smile.png much appreciated! Seems to be that NYCB has a bit more fair playing field if that is the case? Since my question would be how would any AD see successes if some of the talented corps is not even given the chance to audition for the roles? Perhaps roles are given based on height and need? Then again, how does Martin do what he has done to nurture his corps or dancers?

No companies have people "audition" for the roles. They take company class every day. In any company issues of need (height, rep, etc.) are going to play a role. This is not particular to one. NYCB has an advantage in their rep in having more "featured" roles available to give people a shot in.

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No companies have people "audition" for the roles. They take company class every day. In any company issues of need (height, rep, etc.) are going to play a role. This is not particular to one. NYCB has an advantage in their rep in having more "featured" roles available to give people a shot in.

Thank you for the response aurora smile.png

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Not sure if anyone on BA saw this video put out by the Time 100 issue about Copeland on changing the face of ballet:

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One quote within the video puzzles me, she says she wants children to know that you don’t “have to be a white woman that’s rail thin” to make it in ballet. How shoud a white woman take this? First, I wouldn't think there is anyone overweight who can get into ballet, I would think all those dancers have to be in shape? Plus as I see it there are "thin" black dancers in other companies as well as one in mind at ABT, Lavine?

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Ballet is stereotypically, and historically seen as being for thin, white dancers. Misty is saying you don't have to look like that to be successful in the art form. I don't really see what's so confusing or offensive about the video.

Btw, per Forster's Instagram, it was Leanne's last performance 5 days ago during the Swan Lake run. Sad to see her go and sad that she didn't get more opportunities. She was a lovely dancer. Wonder if she'll continue elsewhere or if she's retiring from dance entirely.

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Not sure if anyone on BA saw this video put out by the Time 100 issue about Copeland on changing the face of ballet:

<

One quote within the video puzzles me, she says she wants children to know that you dont have to be a white woman thats rail thin to make it in ballet. How shoud a white woman take this? First, I wouldn't think there is anyone overweight who can get into ballet, I would think all those dancers have to be in shape? Plus as I see it there are "thin" black dancers in other companies as well as one in mind at ABT, Lavine?

"In shape" is different from, aay, thinking that only the Sylvie Guillems and Svetlana Zakharovas can make it in ballet, and considering how many white girls are in ballet, I'd say they won't think much of this statement at all.
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"In shape" is different from, aay, thinking that only the Sylvie Guillems and Svetlana Zakharovas can make it in ballet, and considering how many white girls are in ballet, I'd say they won't think much of this statement at all.

Ballet is stereotypically, and historically seen as being for thin, white dancers. Misty is saying you don't have to look like that to be successful in the art form. I don't really see what's so confusing or offensive about the video.

Btw, per Forster's Instagram, it was Leanne's last performance 5 days ago during the Swan Lake run. Sad to see her go and sad that she didn't get more opportunities. She was a lovely dancer. Wonder if she'll continue elsewhere or if she's retiring from dance entirely.

Thanks to both your thoughts about this as I can easily explain to my grandchild about weight and ballet issues. Much appreciated.

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No companies have people "audition" for the roles. They take company class every day. In any company issues of need (height, rep, etc.) are going to play a role.

That is not true uniformly: depending on the stager or choreographer, dancers have been asked to audition beyond company class. Plus, once chosen as part of a subset of candidates, work in the studio -- whether in style training or the actual choreography -- the dancers are often auditioning to be cast or to keep the role. A documentary aired on CBC on the making of Ratmansky's "Romeo and Juliet" for National Ballet of Canada shows this.

An AD can push for dancers if there is a guest stager or choreographer, but an AD uses company class plus other factors -- whether the dancer picks up steps easily if needed, whether she or he works compatibly with or is appropriate physically for a dancer who is already chosen, his assessment of work ethic and current physical condition, etc. -- to cast.

Many dancers are in a perpetual audition.

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That is not true uniformly: depending on the stager or choreographer, dancers have been asked to audition beyond company class. Plus, once chosen as part of a subset of candidates, work in the studio -- whether in style training or the actual choreography, the dancers are often auditioning to be cast or to keep the role. A documentary aired on CBC on the making of Ratmansky's "Romeo and Juliet" for National Ballet of Canada shows this.

An AD can push for dancers if there is a guest stager or choreographer, but an AD uses company class plus other factors -- whether the dancer picks up steps easily if needed, whether she or he works compatibly with or is appropriate physically for a dancer who is already chosen, his assessment of work ethic and current physical condition, etc. -- to cast.

Many dancers are in a perpetual audition.

Good points!

I should have said that formal auditions are not the general norm (though as you point out, do happen on occasion). But yes, your performance throughout is how you are being judged and thus are certainly a kind of constant audition! That is what I meant by mentioning company class, and of course, what you do on the stage!

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Ballet is stereotypically, and historically seen as being for thin, white dancers. Misty is saying you don't have to look like that to be successful in the art form. I don't really see what's so confusing or offensive about the video.

Btw, per Forster's Instagram, it was Leanne's last performance 5 days ago during the Swan Lake run. Sad to see her go and sad that she didn't get more opportunities. She was a lovely dancer. Wonder if she'll continue elsewhere or if she's retiring from dance entirely.

She had a severe injury/surgery which she never fully recovered. She was wonderful in Giselle(Moyna?) and was scheduled as the Lilac Fairy in the old SB.Good Luck to her. She will be missed.

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I'm sorry that I'm late to this discussion. Brava and congratulations to Misty for her promotion to Principal Dancer flowers.gif ! Thank you everyone for your vigorous debate in this thread, and in the thread that bears her name. My takeaways are that her promotion will encourage more diversity not only in ABT, but other major (and lesser) companies, schools and academies, as well as more diversity in the audience. These are the positive outcomes that are already bearing fruit.

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Helene, I'm glad you mentioned the topic of picking up steps easily. I've scratched my head quite a few times wondering why other dancers with what I would determine to be equal if not similar flaws have been moved up to principal, but not Sarah Lane. That's why I asked a question somewhere on these boards about a month ago as to whether or not Lane's outspokenness about her dance role in the film "Black Swan" could have turned McKenzie off.

But I've also wondered about how quickly she picks up choreography. I've read here on the boards that Hee Seo learns very quickly. Does anyone know if Lane does? Perhaps that's what's holding her back?

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She had a severe injury/surgery which she never fully recovered. She was wonderful in Giselle(Moyna?) and was scheduled as the Lilac Fairy in the old SB.Good Luck to her. She will be missed.

I'll miss Underwood too: she had a wonderful feel for the audience and the word "luminous" really fits her. I regret that we never saw her Lilac Fairy.

During the Fall season a few years back, ABT performed Cunningham's Duets under the worst of circumstances: it was the first piece on the bill, the audience was not prepared for it, and the first duet (a deer-in-headlights performance) had received an icy reception. Underwood's performance with Patrick Ogle in the second duet was the most gripping thing I saw on stage that year (totally in Cunningham style, to boot), and they actually got the audience back on board.

Cold stage. Second-string Cunningham. Unsympathetic audience. And she saved it. That's a real stage animal.

I always looked forward to seeing her in the demi-soloist and character parts that she appeared in more recently. I hope that her next steps are happy ones.

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