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NYCB Winter 2015 Season


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I'll be attending the Dancer Chat on Friday evening, January 23. Do they normally announce ahead of time who is being interviewed? I've never been to one before and am looking forward to it.

Never mind, I see it's been posted now, Friday's Dancer Chat is with Alexa Maxwell. This will be a nice way to begin a full weekend of ballet!

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Well, tonight was opening night. Before I get to my thoughts, LOPATKINA WAS THERE!! With her coach and Andrei Yermakov. They were very gracious when I spoke to them.

Since we had members of the Mariinsky in the audience, I hoped NYCB would pull out all the stops. Unfortunately, to my eyes, the first piece-Serenade-was a bit of a mess. The corps looked especially ragged. Everyone's arm was at a a different height, spacing between the corps girls was off as was their musical timing. I am not a big Hyltin fan and I did not like her as Waltz girl. Nothing was big enough, not her jumps, her low arabesques. I also didn't like Peirera as the 3rd girl (same complaint). I did, however, very much like Tess Reichlen as the a Russian girl. She held her arabesques, did very clean pirouettes, had a deep, smooth backbend. Robbie Fairchild did an adequate job as the main male but didn't look in the best of shape. I think the SAB kids did a better job in their workshop than what I saw in this performance,

Luckily, NYCB turned things around with Agon. I thought it was pretty masterful (maybe not as good as 20 years ago but for now). Maria K, Andy Vyette, Amar, Megan LeCrone, Lauren King,Ashley Laracey, Daniel Applebaum and Devin Alberda danced. Maria and Amar were especially wonderful in the PDD. Her penchées, split legs when lifted, balances, everything was wonderful. And Amar was a masterful parter, making sure she had her balance before letting go of her hand, lifting her, supporting pirouettes. Their rapport was evident. Similarly, the two PDT (Andy, Lauren, & -Ashley; Devin, Daniel, Megan) went very smoothly, very little evidence of the transitions between the poses. I love Stravinsky but have no idea how anyone dances to this music, since it has no melody or consistent rhythm. All the more credit to these dancers. And Devin Alberda is a personal favorite of mine. It's time to promote him to soloist.

Finally, the evening concluded with the gorgeous Symphony in C. The great Ashley Bouder (in, I think, a debut) did the first movement with Chase Finlay. She came out like the energizer bunny, all attack, quick passées, pirouettes, jetes. This is just the right role for her. She completely kept up with the music's fast tempo. I loved her. Chase was fine as her partner but you can tell he still has more work to do to go to a higher level of technique and artistry.

The second movement looks like it was made for Sara Mearns and she danced it that way. She does dramatic adagios best and here she has them: swooning back bends, high attitudes en derrière,6 o' clock penchees where she touches her face to her shin, everything stretched out like a piece of taffy. And with her expressive body and face she makes the most of every moment. Jared Angle, her kind of invisible partner, does everything right to show Sara off and be unseen. Lifting her is no mean feat. He should be commended.

Lauren Lovette danced the third movement (which is speedy but the briefest), partnered by Gonzalo Garcia. Upon entering, she immediately slipped but luckily didn't fall. Garcia is a good partner and, I think, helped her look better than she is. She did get through the rest of this speedy movement fine but it was nothing to write home about.

Finally, the fourth movement with Brittany Pollack and Adrian Danchig-Waring (his debut). This is the fastest movement in the Symphony and Brittany got through it very well, no flaws in sight. I like Adrian a lot and was happy for him to get this debut. There is not as much partnering in the beginning of the movement so you can really appreciate both Brittany and Adrian's crisp dancing. But shortly, after their work, the other leads enter: first the first movement, then the second, then the third. Then they all dance together. This is where Ashley truly excelled. She was the only lead who not only kept up with the music but had time to play with it a little. For me, this extra musicality is really distinguishing her as an artist (though I still love her tricks and jumps). Unfortunately neither Lauren nor Sara (especially Sara) could keep up with the tempo and were about half a beat behind. For me, this kind of detracted from Sara's overall performance. She is a great dramatic and adagio dancer but, like Polina Semionova (well not as bad as Polina) she can't dance too fast. And that's a problem when you are performing Balanchine. Still, the finale, was basically danced well by everyone: leads, demis and corps. And with the glittering crystalline tutus, it looked beautiful. It was a great ending to a good night.

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Amour, you might consider Balanchine's view of Stravinsky's music (and he was referring to Agon) when he said Stravinsky was the master of creating time in very small units. In other words time is compressed, the melodies are short and angular, but a pulse is always present. So different from Tchaikovsky's music, where time is created over large expanses.

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It was Brittany Pollack's debut in the 4th movement of Sym in C, not Danchig-Waring's (I've definitely seen him dance it before, and always very well - he has the best line of any of the male dancers in the company and does everything with wonderful amplitude). I thought Brittany had a great debut, she had no problems with the tricky turning, making it look seamless (whereas Lauren King always has issues with that). I didn't like Lauren Lovette in the 3rd movement -- she's not really a jumper, I'm not sure why she was cast. Gonzalo had a great night, though next to his Lauren's jumps looked even more meager. Ashley Bouder danced very well, too, but I'm not so sure this is the right role for her. She is so fast that she's always a beat ahead of everyone else -- especially in the finale, with the 4 principal women doing the same steps, it becomes distracting. I miss Ana Sophia Scheller in that role. Sara Mearns's adagio has only gotten better, it was gorgeous. I don't think she's incapable of dancing with speed -- I recall her just flying through Walpurgisnacht. I think that was more of a problem with Ashley not being able to sync with the rest. Chase Finlay was disappointing, again. It always seems to me that the corps men have better double tours and technique than he does. I've never quite gotten him. He always seems gassed halfway through a ballet.

Agon was the strongest ballet of the night. Maria and Amar were perfection, and Andy Veyette always brings so much personality to a tricky role. Everyone was great. They should give Laracey more role opportunities, I love her dancing.

Tess Reichlen was the standout in Serenade, but Dark Angel probably has the least dancing of the 3 main roles. She has done a great Russian girl in the past, too -- wish they would give her that more often.

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Serenade was a bit of a mess. The corps looked ragged, weak, but had lots of energy. They didn't dance with a lot of passion, but rather with the "I don't want to be fired" high energy. It's not attractive. It just looks forced....

What was that dead rag of a bun on Hyltin's neck?! Looked so awful bouncing around. Why hasn't she figured out that she can use one, big, brown clip when it's near the time to let her hair down? I am not a big Hyltin fan, and I have never liked her as the Waltz girl. Her dancing technique is just not big enough, not strong enough, to hold that lead. She's a sparrow when a hawk is needed.

Partnering Hyltin, I thought Robbie Fairchild was excellent, and looked very much in good shape almost taking attention away from all of the ladies. He moves with such expansiveness and he has a stage presence that few can match. He's not a perfect ballet technician but he's got that masculine, poetic, sensitive, sexy, charming, handsome, attractive qualities, as well as a solid craft executing movements. It all works so well. (Wouldn't want to see him dance a piece like Theme however....).

I thought Peirera as the Russian girl did a good job. Not very special, or interesting, but she did a good job. She's pretty, and can handle the choreography well. Tess danced the Dark Angel. She's never my cup of tea, but her lines, natural height, and confident technique work well for that part. The revolving arabesque, rotated by Ask LaCour holding her supporting leg was a bit bumpy. And btw, he is much too tall for Hyltin while she's on the floor, and he is standing above - those interactions were awful. When she reaches up to him, her arm should reach his lower chest. At this performance her hand was just above his dance belt!!! Yikes!

Agon started off very well. The men (Vyette, Amar, Alberda, Applebaum) were all interesting and different in their approaches to the music and choreography, yet they worked well together, in unison with strong musicality.

Maria K. has gorgeous lines, but tends to hit the lines and then rest in them. Wrong! She seems too weak to me and her muscles too soft to keep the energy, tension of Agon alive at all times. Andy Vyette and Amar were the stars of last night's Agon. Megan LeCrone in second place, I loved her in Agon. Still, she is another example of being too weak technically to carry off her part as well as it should be done. She has an interesting way of moving, an interesting presence on stage, long gorgeous arms (contemporary port de bras). Agon is the perfect ballet for her style of dancing. I'd very much like to see her do Maria's part someday soon. I think she could carry off that pas de deux better being supported by a strong partner.

Finally, Symphony in C!

Ashley Bouder did debut in the first movement and was brilliant from the beginning of the ballet to the very end. Her partner Chase Finlay was just trying to keep up, often not quite there for Ashley's attack. His own dancing joined others who looked not in top form for the big roles.

Sara Mearns in the second movement was stunning, soulful, dramatic in her sensual way. So full of the music. I loved it. Her lines are gloriously big, and Jared Angle gave her all the partnering support she could possibly need to totally give it her all. Sara did struggle to keep bright and on top of the speedy tempi for the finale. I wonder if that was just not being in the season's top shape yet.

Lauren Lovette. She got through the third movement! She's not much of a jumper. A short girl, with a huge hair bun and a body with big breasts. She's not my preference for a tutu ballerina. Garcia partnered her well. Nothing went wrong, nothing was exciting.

Brittany Pollack and Adrian Danchig-Waring did a good job of the fourth movement. He's far too interesting in his contemporary style to flash through such a quick classical, allegro, part. But they were both just fine. He's far better in a ballet such an Agon. Brittany is lovely, sparkly, and danced well the tricks of the fourth movement. Not easy to be shot out of a canon at 100 miles per hour for a brief flight through some of the most demanding pirouettes.

I didn't save my program, but I'm curious if the first movement demi, the brunette, was Meagan Mann.... She was wonderful. Strong, musically crisp, all sparkles and joy. A very lovely dancer. I want to see more of her soon.

The corps certainly perked up for Sym in C. Their high energy and joy seemed full of genuine love for Mr. B's masterful creation. It's an amazing ballet to watch and dance.

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With the probable nor'easter coming through on Saturday, I don't think I'm going to make the 2 hour commute into NYC for the matinee. If anyone wants my ticket, which isn't a very good seat (2nd ring side), feel free to PM me your name and I'll call the box office and transfer it over to you for free.

Pretty bummed, was looking forward to it, but I have tickets for the 31st and Feb 14th. Plus the Bolshoi Swan Lake in cinema is Sunday.

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Casting up for week 3. Savannah Lowery in Concerto Barocco?! I liked her in Serenade last season, but I find this hard to envision.

I don't expect much this year--she's a slow burner like Kowroski--but I wouldn't be surprised if she were great after she's had the role a few seasons. I remember seeing one performance of Barocco when Lowery was paired in the corps with Saski Beskow that was the best thing I saw that season...and Wendy Whelan was one of the leads!

I think Lowery has been less enjoyable as a soloist, because the powers that be keep trying to show off her jumps in tall girl roles (and she just seems to lope). She's actually way more interesting in really reined-in or delicate roles...given her height/power, there's a controlled tension.

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I'm very excited for the Justin Peck premiere on Feb. 4. Mearns, Ramasar, Ulbricht (Hallelujah!), Garcia &Vyette. Sounds great! I'll be happy to take another look at Pictures at an Exhibition but it won't be the same without Wendy (especially if it's Hyltin taking her place). Still I'm looking forward to it.

BTW, replacements now seem to be on the casting sheets.

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I took a break from the Mariinsky tonight (really Skorik and Parish) to see NYCB and I'm glad I did. This is the program Lopatkina should have seen; it's so different from the Mariinsky rep.

The evening started out like gangbusters with Ashley and Joaquin in Donizetti Variations. All I can say is OMG, AMAZING, FANTASTIC!!!! I have no words to describe how wonderful it was. The piece is very fast and virtuosic and these are the 2 to do it (same program and cast repeats at the Saturday matinee). Ashley has échappés, pirouettes, Italians, and jump whose name I can't remember (1 leg tucked under, the other extended), chainees, etc all done at incredible speed. Joaquin has tours, pirouettes, split jumps in the air, pirouettes where his momentum comes from his standing leg going on relève, and more. These two virtuosos executed all these very fast, virtuosic moves perfectly (I was in row F orchestra which is close enough to see mistakes). Amazingly, Ashley was fast enough to still play with the music, holding a balance a little longer here, speeding another movement there. To me this is a sign of her growing artistry. Joaquin really didn't have time to do this except to speed up his turn from a la second or his pirouettes. What's more, these two seemed to be having great fun. The crowd roared every time one of them completed a solo. By the end of the pieces there were cheers, bravos and loud whooping from the audience. They deserve it.

I would also like to mention the corps dancers were no slouches. One girl stood out in particular but I can't figure out her name (I initially thought it was Lauren King, but she didn't dance in the piece). Of the 3 men. Devin Alberda stood out for his musicality and improving ability to partner. I know it wasn't Alina Dronova, but that leaves Sara Adams, Emilie Gerrity, Magan Johnson, Claire Krezschmer or Kristm Segin. If someone sees the matinee please post.

As for La Valse, I love the piece but not Hyltin in it. As sz said up thread, Hyltin is a sparrow when they need a halk. Certainly, Sterling does not embodyt the dualities of frailty and strength the way Janie Taylor did. The next time I see the piece will be lead by Sara Mears and I have every confidence she will dance it great drama, depth and artistry.

Finally, Chaconne. This piece seems to reference court dances (though the program doesn't say so). It is set to music by Gluck that neither I nor my husband found interesting, Maria and Tyler as the leads, were lovely in their lines. So, I might add was everyone, including apprentices Baily Jonces, Preston Chamblee and Clara Miller. But coming after two such great ballets, it was a little soporific). This could also be due to my nightly commutes to BAM. In any case, i look forward to seeing it again.

I took a break from the Mariinsky tonight (really Skorik and Parish) to see NYCB and I'm glad I did. This is the program Lopatkina should have seen; it's so different from the Mariinsky rep.

The evening started out like gangbusters with Ashley and Joaquin in Donizetti Variations. All I can say is OMG, AMAZING, FANTASTIC!!!! I have no words to describe how wonderful it was. The piece is very fast and virtuosic and these are the 2 to do it (same program and cast repeats at the Saturday matinee). Ashley has échappés, pirouettes, Italians, and jump whose name I can't remember (1 leg tucked under, the other extended), chainees, etc all done at incredible speed. Joaquin has tour, pirouettes, split jumps in the air, pirouettes where his momentum comes from his standing leg going on relève, and more. These two virtuosos executed all these very fast, virtuosic moves perfectly (I was in row F orchestra which is close enough to see mistakes). Amazingly, Ashley was fast enough to still play with the music, holding a balance a little longer here, speeding another movement there. To me this is a sign of her growing artistry. Joaquin really didn't have time to do this except to speed up his turn from s la second or his pirouettes. What's more, these two seemed to be having great fun. The crowd roared every time one of them completed a solo. By the end of the pieces there were cheers, bravos and loud whooping from the audience. They deserve it.

I would also mention the corps dancers were no slouches. One girl stood out in particular but I can't figure out her name (I initially thought it was Lauren King, but she didn't dance in the piece. Of the 3 men. Devin Alberda stood out for his musicality and improving ability to partner. I know it wasn't Alina Dronova, but that leaves Sara Adams, Emilie Gerrity, Magan Johnson, Claire Krezschmer or Kristm Segin. If. Someone sees the matinee please post.

As for La Valse, I love the piece but not Hyltin in it. As sz said up thread, Hyltin is a sparrow when they need a halk. Certainly, Sterling does not embody the dualities of frailty and strength the way Janie Taylor did. The next time I see the piece it will be lead by Sara Mears and I have every confidence she will dance it great drama, depth and artistry.

Finally, Chaconne. This piece seems to reference court dances (though the program doesn't say so). It is set to music by Gluck that neither I nor my husband found interesting, Maria and Tyler as the leads, were lovely in their lines. So, I might add was everyone, including apprentices Baily Jones, Preston Chamblee and Clara Miller. But coming after two such great ballets, it was a little soporific). This could also be due to my nightly commutes to BAM. In any case, i look forward to seeing it again.

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I saw Wednesday night's performance and my kudos go to Lauren Lovette in 'The Cage'. It has been many years since I have seen 'The Cage' and my recollection of Nora Kaye's performance still lingers. She was not quite as gut-wrenching as Kaye---but this was her debut performance. Brava, Lauren! The evening got off with Martins' "Symphonic Dances', a ballet with numerous climaxes----surely, it will end here---but No!--it just went on and on--to where I could not fathom. I am still 'on-the-fence' about Sara Mearns. I know she is popular and receives glowing reviews, but stylistically she seems out of place with NYCB---too much facial emoting for me---a bit of cool elegance would be welcome.

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Sun. Mat. - I went knowing who was cast. I opened the program and was shocked by the number of changes, before realizing I was given the playbill for Sat. Eve. My husband was also. He went to the usher to get new programs. She shrugged as she took the ones we'd been give and said - "It's the same ballets." Husband asked "Is it the same cast?" The response was "How should I know." She gave him the correct programs. I have to wonder if this has happened to others.

Serenade - I enjoyed it. Sara Mearns knows how to make a moment full. Megan LeCrone had a bit of a shaky moment with the arabesque promenade when the man turns her by the thigh, but she hung on. Over all she brought a softness to the ballet that doesn't come naturally to such an angular, leotard-ballet dancer. I feel she is going in the right direction and will improve in time. Dancers improve by trying things that are a bit off type and out of their comfort zone. My shock was that I really liked Erica Periera's Russian Girl. Periera has for years now seemed underpowered, amusical and bit studentish. She certainly isn't cast much. Today I thought she danced with great freedom and generosity. She went for things, used her upper body fully and was in the music. I hope to see more of this.

Agon - Unity Phelan & Ashley Hod (corps ladies) did the 1st trio with Anthony Huxley. Huxley danced with wit and musicality. Hod and Phelan more than held their own. I particularly liked Phelan. She has a way of squeezing out a movement that lends texture and musicality.

Savannah Lowery did Bransle Gay. It was fine. She is a big mover with a go for it attitude but I prefer more of an air seduction in the movement. Anthony Scardato is a bit too small to be dancing with Lowery. He & Allen Peiffer were the two men.

Reichlen & Danchig Waring did the pas. She has those mazing legs and lines. Her arabesque has extraordinary amplitude but I found her too cautious especially in the opening of the pas. It works best for me when the opening is pushed to the limit in terms of extreme movement and covering space so the sudden stop, when she wraps her leg around him makes you gasp.

Symphony in C - Bouder & Vayette (1st movment) were the stars of the ballet. What can I say other than it couldn't be better. Her artistry had grown to match her technique & he is simply one of the best men on stage anywhere.

Kowroski & Tyler Angle (2nd movement). She had a really rough performance. In the pas, when she developed a la second she couldn't let go of her partner. When she finally had to she almost fell over. Then her turns were a disaster and her jump not there. I hate to say it but it might be time to give up this role.

Lovette & Joseph Gordon (3rd movement). Gordon is not long for the corps. Beautiful jumps, tours, turns and nice presentation. Lovette doesn't seem to take naturally to fast footwork (unusually for a short dancer) and I wish she had covered more space, but I think she has it in her to develop more in these areas so I'm glad she's being given a chance to do this. I always enjoy her stage manner and this was pleasant to watch.

Lauren King & Taylor Stanley (4th movement). I've seen King in this twice before. It sure isn't easy for her but she's improved some every time. She is not much of a turner but got through the turning OK and was good in the rest. Her glowing presence is always a pleasure.

All in all a very enjoyable afternoon. From what I could see, the house was full and the audience appreciative. I hope everyone had the right program! Oh I liked the art installation. Very interesting.

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In case anyone was planning on attending tonight's NYCB lecture at the Koch Theater scheduled for 6 PM, the NYCB website indicates that it is cancelled due to the weather.

As an aside, everything here in NYC seems to be shut down for tonight. Carnegie Hall, the Met Opera's premiere of Iolanta and all Broadway shows are cancelled tonight. Blizzard time. Stay safe!

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NYCB performed tonight although (undoubtedly because of weather) the orchestra was about half empty. There were rows of empty seats so we moved from the back to row J center.

The first piece was Martins' Symphonic Dances. I really like Rachmaninoff's piece but Martins's choreography in no way visualizes the music as I see it. He uses some of the dramatic emphasis to have men do things like circle their arms around their heads. Really? It felt very sophomoric. However, Andy Vyette was the lead man (Hyltin the lead woman) and anything he's in can't be all bad. Hyltin wasn't too bad; she had nice arms and feet. But she need some more power to her dancing. I also appreciated that the piece has a large cast and that tonight all the demis were corps member (O'Hara, Phelan, Hod, Woodward, Ball, Hoxha, Gordon and Walker).Still, the piece really is a dud, IMO. I'd love to see the Ratmansky version created for Miami City Ballet.

Lauren Lovette made a strong debut as the Novice in The Cage. She danced with strength and ferocity. She was helped along by her fellow creatures, especially Savannah Lowery as the Queen. And Craig Hall was excellent as one of the Intruders. It is really good to see him on stage and know he will still have a career even though Wendy is gone.

Tiler Peck and Gonzalo Garcia were lovely in Andantino but this seems kind of a minor Robbins work. I mean is Tiler is never not good in something? It's just this work is relatively short and seems undemanding of its dancers.

Finally, there was Cortège. I'm not sure I have ever seen it before although I've seen Raymonda lots of times (especially the third act). It took me awhile to adjust to the choreography or to see Balanchine using parts of it (the solo with the claps) and filling the rest in with his own choreography. Cortège is very pretty and the choreography, when different from the Petipa, still fits the music. However, I still prefer the Petipa; maybe I'm just used to it. I do think the star of the piece was the exuberant Georgina Pazcoguin as the head female czarda. She was lively, fast, musical and joyous in her dancing. Ask was pretty good as her partner. In fact, the czarda sections are some of the strongest in the piece. Like Symphonic Dances, Cortège has a big cast and I was pleased to see that apprentices Clara Miller and Preston Chamblee were dancing (though I still can't pick them out). Some of the non czarda girls are in longish skirts while others come out in tutus. As for the lead parts, they were danced by Sara Mearns and Tyler Angle. I think Tyler did ok, especially with the partnering. But after some batterie, it looked like he was getting tired. And, I'm sorry to say, I didn't like Sara. First of all, she just didn't seem grand enough (maybe I've seen too much Lopatkina the past 2 weeks). Second, when she comes along the diagonal, clapping her hands, then doing a pirouette that land in a jete to fourth, she just didn't look on her leg. And during that clapping section (Balanchine does away with most of the claps) her head looked like it was in front of her body. Finally, having just come from seeing the Mariinsky, (where everyone is thin and looks pretty similar height and weight wise) I was very aware that Sara is quite a bit broader and heavier than most of the other female dancers. Similarly, corps member Silas Farley sticks out because he about a head taller than all the other men. Nevertheless, despite these complaints I thought Cortege was the most successful piece of the night, thanks to the outstanding ensemble work.

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I was at last night's performance -- Symphonic Dances, The Cage, Andantino, and Cortege Hongrois. I've never seen Symphonic Dances before, and I have to agree with Amour about the merits, or lack thereof, of this ballet. However, Andrew Veyette showed why he's a principal dancer -- dancing with tremendous authority, assurance, and commitment.

I was surprised by how much I enjoyed Lauren Lovette in The Cage. Seems so much against type for her, but she showed a real affinity for drama, narrative, and character. You could see the transformation happening in her very fluid body. It was a tremendous performance. Savannah Lowery also excellent.

Andantino... enjoyable and fluffy.

I had not seen Cortege Hongrois before. Interesting. To be studied further. Georgina Pazcoguin was wonderful leading the folk dance section. This doesn't surprise me, as she always holds the stage with her intensity. I would love to see more -- lots more! -- of her. I thought Sara Mearns was wonderful, nuanced, and impassioned.

On another note, isn't it around this time that they announce the Levin award? Does anyone know if it has to be a first-year corps member, or can it be from the past coupe of years? Any speculations for who this year?

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Fourth week casting up. Surprisingly Tiler Peck is not cast in Juliet.

Seems like Martins is sticking with his original Juliets. I'm surprised he is still casting Sterling H. It seems he's always wanted youth not developed artists. At least that seemed to be his original idea. Personally I always thought that idea a bit wacky.

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