California

I'd be happy with Kingdom of the Shades. Interestingly, on the ABT site, they list Makarova's full-length Bayadere, which premiered in 1980. No mention of Act II alone. I'm sure I saw that at ABT in the 70s. And note that the opening scene of Turning Point (filmed in fall 1976) is the Shades entrance. https://www.abt.org/ballet/la-bayadere/ According to this Post review, Makarova staged Kingdom of the Shades for ABT in 1974. That explains why they could include it in Turning Point. But I wonder if Makarova would agree to that. https://www.washingtonpost.com/archive/lifestyle/1980/12/20/spectacular-skimpy-la-bayadere/40f0ca8e-638e-49fa-9854-35645ad963cb/

Very interesting! Their Swan Lake is by Mikko Nissinen, their artistic director. https://www.bostonballet.org/performances/swan-lake/

People might remember that La Bayadere was scheduled for 2020 by ABT, but was a victim of COVID cancellations. So much has changed since then. Olga Smirnova and Kimmin Kim were going to be brought in as guests. I think the cultural objections to the ballet hadn't yet surfaced. I'd be happy to see Kingdom of the Shades as a stand-alone now. https://www.washingtonpost.com/entertainment/theater_dance/how-natalia-makarova-changed-the-ballet-world-with-this-landmark-production/2020/05/26/f708f3ba-9a07-11ea-89fd-28fb313d1886_story.html Hurlin and Bell were going to debut in Bayadere. Brief rehearsal clips in "Debut Deferred" on the ABT site: https://www.abt.org/event_dates/debut-deferred-5-20-20/

I've been to Philadelphia and the Academy/Doubletree many times in recent years (conferences and ballets). To your questions: (1) 30th street station: always a long line of taxis waiting. No problem getting one. They all take credit cards. (2) Academy of Music/Doubletree: I don't actually remember seeing taxis after a performance and there's no official queue. But Uber drivers hover all around Center City as there are so many hotels. I'd suggest calling one from inside the Academy/Doubletree after the performance. On a recent trip, I got one at 6 am at the Doubletree for the trip back to the airport and many were in the neighborhood. (3) Suburban station: don't be tempted to continue over to Suburban Station by City Hall if you're coming in by train or plane. I made that mistake once - no cabs stop during the day. I ended up wheeling a suitcase over to Broad Street. Ugh! (4) Ground from the airport: I didn't mention this before, but the city has a great Regional Rail Service from the airport to 30th Street Station. Buy the ticket with a credit card ($6.75) before you board. Clearly marked outside the baggage claim area.

Cab fare from 30th Street station to the Academy of Music is about $10, depending on traffic. https://www.taxifarefinder.com/main.php?city=Philadelphia It's possible to do that on the subway, but I wouldn't recommend it. I was at a conference recently at the Doubletree (across the street from the Academy of Music). These were the subway instructions they gave us: From 30th Street Train Station via subway: take the Market-Frankford subway line east to 15th St. Free Transfer to Broad St line south. Exit Walnut/Locust. Hotel is one block south on Broad Street. Fare: $2.50 (cash only-exact fare) https://www.septa.org/maps/

Way back when, there was speculation that R&J was on the schedule again to provide an appropriate vehicle for a Copeland retirement. Let's hope it doesn't come back in 2025 for that reason!

Didn't Jaffe say she was fond of Manon? Haven't done that in a while (2019?).

Thanks for the heads-up on ABT's Minnesota visit. Looks like it's just two performances April 18-19, followed by a fundraiser. Not enough to warrant a trip for an out-of-towner. I wish ABT would announce their tour schedule on their web page, They must know it by now. https://www.northrop.umn.edu/upcoming-events?page=2

I expect I'll be going to more Philadelphia Ballet performances in the coming years! I suspect that those who have seen the company in recent years will agree that they are first-rate in rep and performance. They were scheduled to do Bayadere in March 2020 (I'm not sure if any of that was cancelled due to COVID) and they're doing Corsaire this October. I plan to see their Etudes (programmed with La Sylphide) next May. They have a Raymonda Suites (as does Boston Ballet). I'll be curious to see what ABT brings to Segerstrom next spring. I hope it isn't Crime and Punishment!

Balanchine is widely cited telling Robbins, after watching 25 minutes of Dances at a Gathering: "Make more, like popcorn." https://www.dancemagazine.com/the-lore-of-aeuroedances-at-a-gatheringaeur/

The Kennedy Center just announced their Dance Series for 2024-25. Here's their dance brochure: https://secure.viewer.zmags.com/publication/5f6bea6c#/5f6bea6c/1 Here's the ballet subscription: Philadelphia Ballet: George Balanchine’s The Nutcracker® WED. NOV. 27, 2024, 7:30P.M. National Ballet of China: Chinese New Year (A Ballet in Two Acts) WED. JAN. 29, 2025, 7:30P.M. American Ballet Theatre: Crime and Punishment WED. FEB. 12, 2025, 7:30P.M. Complexions Contemporary Ballet THU. MAR. 20, 2025, 7:30P.M. New York City Ballet: Coppélia TUE. MAR. 25, 2025, 7:30P.M. Birmingham Royal Ballet: Black Sabbath – The Ballet WED. JUN. 4, 2025, 7:30P.M.

The Washington Ballet just announced their 2024-25 season via email. I don't yet see it on their web site, but assume it will appear soon. EDITED TO ADD: This is now also on their web site: https://www.washingtonballet.org/2024-25-season-home/ THE WAIT IS OVER! Announcing our 2024.25 Season We are thrilled to unveil our captivating 2024.25 Season, meticulously curated by Artistic Director, Edwaard Liang. This season promises to be a mesmerizing journey through the artistry of dance, blending classical elegance with contemporary innovation. Keep scrolling for details on our transformational ballets that will move and inspire you in new ways. It is a monumental time to be a part of The Washington Ballet, and we invite you to join us as a Season Subscriber and get early access to seats, plus even more perks. Becoming a TWB subscriber isn’t just the best way to experience ballet – it’s a powerful declaration of your support for the performing arts in our city. Join Us Today! when WE take flight October 24-27, 2024 The Warner Theatre A soaring journey through emotive solos, celebratory rhythms, and starling-inspired movement. From the innovative choreography of George Balanchine's "Stravinsky Violin Concerto" to the thought-provoking narrative of Gustavo Ramirez Sansano's "18 + 1," and the breathtaking imagery of Edwaard Liang's "Murmuration," this mixed repertoire production is a celebration of artistic intersectionality and creative synergy. The Nutcracker November 30–December 29, 2024 The Warner Theatre The 20th Anniversary of a charmingly DC version of a holiday classic! Set in the heart of DC, this reimagined ballet features a George Washington Nutcracker who leads a heroic battle against the evil Mouse King. Amidst the charming streets of Georgetown and cherry blossom trees, stunning dance performances and nods to DC's rich history make this an unforgettable experience for all ages. Plus, don't miss the return of Septime Weber this season as he adds his artistic touch to modernize this beloved production.  transcenDANCE February 20-23, 2025 The John F. Kennedy Center for the Performing Arts A genre and artform bending trio of thrilling, emotional ballet works. Experience the raw emotion and timeless beauty of Ulysses Dove’s Vespers, a work that explores the powerful spiritual movement of both the living & lost. Delve into the innovative fusion of Hip-Hop, R&B, and Pop with a live DJ in Jennifer Archibald’s groundbreaking world premiere. Plus, take a journey with Artistic Director Edwaard Liang’s evocative exploration of time in his original work titled Seasons. A truly unique and inspiring evening celebrating the transcendent power of dance. transcenDANCE is an external rental presented in coordination with the Kennedy Center Campus Rentals Office and is not produced by the Kennedy Center. ALICE April 24 – 27, 2025 Capital One Hall in Tysons Corner Magic, Laughter, and Dancing Rabbits: ‘ALICE’ for the Whole Family! Take an enchanting and captivating journey alongside Alice as she tumbles into the whimsical wonderland, encountering curious creatures, magical transformations, and the elusive White Rabbit. With stunning choreography, evocative music, and mesmerizing visuals, this production promises an unforgettable escape into a world where imagination knows no bounds. Don’t miss your chance to be part of this extraordinary adventure! Sign Me Up For A Subscription

I stand corrected. I did some digging around on the company's web site. They did Rubies in February 2004 when Martin Feldman was the Artistic Director. It was on a triple bill with Rodeo and A Little Love, performed at the Paramount Theater. But it doesn't appear on their rep list again until this year.

It's possible they did it in the early 2000s. Gil Boggs has been artistic director since 2006. I have been attending their shows for 15+ years and they haven't done it in that time period.

This afternoon I saw the seventh and final performance of Masterworks, the final program of the season by Colorado Ballet. They always end their season with Masterworks, three ballets that are by far the best for serious ballet lovers -- and the most poorly attended. A few days ago, they advertised on Facebook: "all remaining tickets: pay your age." Yet they still had many, many empty seats and very few younger people. I chalk this up to Denver not being a "ballet city." Kudos to the company for trying to raise the taste level of Denver audiences. Three Views of a Mountain was made last fall for this company by Lauren Lovette. It's described as ". . . three movements that all represent a different perspective of what the mountain represents depending on one's state of mind." The movements were called "The Climb," "The Clearing," and "The Descent." Denverites see the glorious tableau of the Rockies every day, and I suppose everyone has a different sense of their meaning, especially non-residents like Lovette. It's not fair to jump to conclusions on one performance and I might see more connection between the labels and the choreography on more viewing. So I'll just note that Lovette came up with some very imaginative lifts, especially in the first movement, and provided some thrilling opportunities for many of the men in the company to show off their technical prowess. Of special note was Kenny Allen, a new corps member, who proved a powerful, technically astonishing soloist in the final movement. Rubies opened the program. As far as I know, this was a company debut, nicely executed in style and technique. Ariel McCarty was a not-so-tall Tall Girl. Artistic Director Gil Boggs seems to enjoy giving promising junior members of the company (like McCarty and Allen) great roles to see how they work out and she was just fine. Principals Jennifer Grace and Jonnathan Ramirez were the leads, aptly capturing Balanchine's style. This company does one Balanchine each season and it's nice to see this addition to their collection. (The others are Prodigal Son, Serenade, Concerto Barocco, and Theme and Variations.) Bolero by Yoshihisa Arai was performed for the first time outside of Chicago. You knew it was going to be different from the strange opening. The orchestra seemed to tune up, then tune again, then tune again. The curtain goes up on a lone dancer (Jennifer Grace) in a silky white shirt and soft shoes. A row of low lights lines the back of the stage. Four men appear from the back curtains, bare chested with billowing black pants/skirts. Another four men joined later and then six women. As the pulse of the movement swells inexorably, the ensemble pursues energized and usually interesting patterns. Then Grace seems to start having a nervous breakdown, in her contorted expressions and anguished movements. That threw me for a loop -- is this a nightmare? an insane asylum? an emotional collapse? I have no idea, but I think I would have preferred a non-narrative finale.

I had a long conversation last year with an expert on Baltic studies, working in the US. I asked her opinion on boycotting a professional association or university in Russia, as it was presumably state-sponsored/affiliated in some way, vs boycotting individuals working at those institutions. She was adamant that we should be boycotting everybody and everything. All Russians in Russia must realize they need to somehow pressure Putin to withdraw. I recognize that publicly criticizing Putin in any way is dangerous for Russians and I don't know whether boycotts of individuals in Russia helps at all. But the urgency and intensity of her feelings on this stayed with me. I don't share the view that all cultural heritage from Russia must be boycotted (e.g., refusing to perform Swan Lake), but I do remember Ratmansky's comment when he was helping the United Ukrainian Ballet. He was asked why Giselle was chosen for their first performances. "Because it's not Russian."

2018 - yes. But what an odd coincidence! I doubt we'll ever know the whole story, but it's more and more puzzling. Why was Kim given a visa, when he never publicly criticized the war and hasn't performed in the West since the invasion. Were these visa decisions rushed through by the state department without taking time to check things out on all of them? Did somebody say, well, we denied visas in 2018, must be something suspicious?

Here's the BBC story about Smirnova leaving Russia and criticizing the war. This one is the most baffling in this episode: https://www.bbc.com/news/entertainment-arts-60767490

Two more sources on the YAGP gala: two Bolshoi dancers were denied visas - Smirnova and Tissi. https://pagesix.com/2018/04/18/acclaimed-russian-ballerinas-denied-entry-into-us/ Kimin Kim got a visa but did he perform? The On Pointe story says he did. Chloe posted a picture of her with Kim a few days ago. I don't see anything on her Instagram this morning with Kim, just Bell. https://pointemagazine.com/bolshoi-dancers-denied-us-visas/

On this morning's Instagram stories from Chloe, there are pictures of her performing with Aran Bell at the YAGP gala. No Kim. Nothing in the morning NY Times. But I did find a story from a NY state assemblyman objecting to the performance of Mariiinsky dancers in NYC. Not at all clear who ordered the cancellation. I hope the story comes out. Here's the letter:

I'm looking at old calendars from 2018, 19, 21, 22, 23: Yes, ABT always followed immediately after the NYCB fall schedule at the State Theatre. Of course, past performance is no guarantee of the future!

One of my favorite clips of Robison rehearsing Manon with Houston Ballet. He waits until the absolute last second to catch her under her arms. A bit of daring I find myself watching for in other performances. Note the gasps from the dancers seated at the side. https://www.instagram.com/reel/6ux3nBxdMz/

According to her Stories today on Instagram, Chloe and Kimin are doing Don Q at the YAGP gala.

Phil Chan and Doug Fullington did the modernized Bayadere for Indiana that was live-streamed recently. They were going to post on YouTube, but I'm not finding it. https://www.dancemagazine.com/friday-film-break/indiana-university-livestream/ I had trouble following the Hollywood story that replaced Act I (my fault), but Kingdom of the Shades was familiar (with some interesting changes in steps and tempo from the original score). I saw Mariinsky do Bayadere at the Kennedy Center in 2017. Tereshkina and Kim - Oh my! There was a local bou-ha-ha when the Kennedy Center demanded there be no blackface. But when they travelled to Berkeley after that they brought back the blackface. Ugh. https://www.washingtonpost.com/entertainment/theater_danc/the-ballerina-who-fights-back-in-la-bayadere-she-wont-be-manhandled/2017/10/18/fc0ee978-b41d-11e7-99c6-46bdf7f6f8ba_story.html

I am most excited about Rojo's modernized Raymonda. I was expecting to see it in London in January 2021, but it was cancelled due to COVID. Mixed reviews, but a worthy endeavor. (Now do Bayadere!)