A pulls-no-punches piece in The NY Observer by Robert Gottlieb -- a long time observer of the company -- on the New York City Ballet's current roster.
City Ballet's Casting Crisis A Key to the Company's Values
The biggest story at City Ballet this season wasn't the Diamond Project'that was the saddest story; the biggest story was casting. An entire generation of dancers is fading or phasing out: Margaret Tracey into retirement (there's a rumor that she may teach; teach what?); Miranda Weese still out with a serious injury; Kyra Nichols only slowly coming back after an extended maternity leave; Yvonne Borree gone for the first weeks (but then why is she there in the first place?); Darci Kistler less and less like her former wonderful self. And halfway through the season, Heléne Alexopoulos followed Tracey into retirement?but with what a difference! Tracey long ago not only undermined her talent but betrayed it, while Alexopoulos is a textbook example of a dancer who understood her talent, never overextended herself, and made a singular contribution in the dramatic roles that were right for her. On her final night, she danced both an icy Siren in Prodigal Son, radiating antiseptic viciousness, and a ravishing "Gold and Silver" waltz in Vienna Waltzes . Alexopoulos, with the company 24 years, is one of its last dancers to have worked under Balanchine, who died in 1983. Seeing them vanish one by one is like watching Agatha Christie's Ten Little Indians.