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About cinnamonswirl

  • Rank
    Bronze Circle

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    former ballet student, currently a balletomane
  • City**
    Washington, DC
  1. 2017-18 Season

    Do we know the reasoning behind casting etoiles as Cupid in Don Q? Gilbert has only 2 Kitris, but 5 Cupids, and Ould-Braham has 3 of both. I don't remember Cupid being cast with etoiles (or even first soloists) before.
  2. Tudor/Ashton/Stiefel @ KC - 5/25-27/17

    I think it's very interesting the different reactions the change in repertory direction elicits. I thought Webre's programming was sort of "poor man's NYCB." While I think he did wonders in revitalizing the dancers, his mixed bills tended to favor unremarkable contemporary pieces, very few of which I can recall anything about now, and which I generally appreciated more for the dancing than for the choreography. For example, last season there was a Bowie/Queen evening—a great concept—but the ballets themselves were not memorable. At any rate, Kent has specifically stated her goal is to move the company towards a more classical rep. I like the concept for Frontier (the set design and lighting are amazing, the music is interesting), but the choreography is incredibly boring! The astronaut's solo on the planet seems to consist of only 5 steps repeated over and over. I would encourage Stiefel to keep the concept, but rework the choreography. In terms of Friday night's cast, Venus Villa lacks the innate introspectiveness necessary for Caroline in Lilac Garden—the quality that made Kent, and above all Amanda McKerrow, so great in Tudor's ballets. Tudor isn't just about acting. Eunwon Lee and Gian Carlo Perez were absolutely beautiful in The Dream—although it was really Andile Ndlovu who stole the show as Puck.
  3. 2017-2018 season: Washington Ballet

    According to the Washington Post, everything next season will have live music except Nutcracker: "Additionally, as a measure of the standard of sophistication that Artistic Director Julie Kent has set for the company, all of next season’s performances (except the perennial “Nutcracker” run) will feature live music." https://www.washingtonpost.com/entertainment/theater_dance/washington-ballet-unrolls-a-season-of-world-premieres-and-masterworks/2017/05/19/89f6bb92-3973-11e7-b9e3-606b45ad1e5b_story.html?utm_term=.ce930fbefe77 This season we had a mix of live and recorded for the non-Nut performances.
  4. 2017-2018 season: Washington Ballet

    Looks like it's going to be a great season! I'm especially excited for Cranko's R&J. I'm thrilled with the classical direction Kent is taking the company.
  5. NYCB in Paris

    Yay! Crazy NYCB has to go all the way to Paris for us to get a recording.
  6. Oh dear. As Merrill Ashley told Sara Mearns when she was first learning SL, "you have to have a plan" for when the fouettés don't work out.
  7. ABT 2016 Nutcracker Casting

    The jump makes the lift a lot easier on the man, but it also makes the timing more critical. I wonder if the ABT couples just don't get enough time to practice together to make it that smooth.
  8. ABT in Paris (Opera Bastille) 9/2016

    The last act of Paquita has the children's mazurka.
  9. Live streaming of NYCB in Paris

    I'm curious if there's any AD who doesn't get criticized by observers for under-casting certain talented dancers and over-casting other "lesser" ones.
  10. Ratmansky's Swan Lake at La Scala

    I liked that he escorts her too. That soft tutu must be killer to turn in. I thought they seemed a bit leaden too, but I wonder if it's partly the close-in camera angle. When you can see more of the stage it can make dancing seem more exciting. The échappés at the end are a waste of a great music! However, I think they're meant to echo the entrechat quatre/échappé sequence Odette does at the end of the lakeside scene.
  11. Thank you for posting that. It's electric! I wish they could release the whole thing. The attack evident in that clip was completely missing when the company did the ballet recently (last season?).
  12. NYCB Spring 2016 Spring Season

    The Times had "on point" in the article about Kowroski and it drove me nuts. That means something different! I would use "on pointe" or "en pointe" depending on how Frenchy I wanted to be. French speakers also use the phrase "sur ses pointes," but that's more as "on her toes" (or his toes) and it's always plural.
  13. NYCB Spring 2016 Spring Season

    Fairchild probably is out of shape. He dances in AiP but that schedule is not as taxing in terms of dancing stamina as taking company class and rehearsal 6 or 7 days a week. His sister talks about this in one of her podcasts. She really had to work to maintain her technique and get back into shape when her Broadway run finished. She also had to drop a couple of ballets when she first came back because she was not up to them yet.
  14. Kathryn Morgan

    No, there were no bios of anyone in the program (which seemed like an odd omission IMO). But when I googled him after he originally appeared on Morgan's instagram a few weeks back, I found this article: http://bleepmag.com/2016/01/27/sean-rollofson-from-ballet-to-broadway-and-back-again/
  15. Kathryn Morgan

    I attended the second performance. I was disappointed to see that the theatre was only about half-full, but the attendees were very enthusiastic. Lots of young (tween/teenage) dancers in the audience. The program was: 1. Don Q (Morgan & Sean Rollofson) 2. A video about Morgan's childhood 3. Princess Florine variation performed by Emily Hain (a young dancer from I think Cleveland) 4. Except from the musical To Dance (Morgan & Jesse Carrey-Beaver) - Carrey-Beaver sang and Morgan danced. 5. Video of Morgan's Sleeping Beauty wedding Pd2 with Tyler Angle at NYCB from a few years ago 6. Liza & My One and Only from "Who Cares?" (Morgan & Carrey-Beaver). 7. Balcony Scene from MacMillan's Romeo & Juliet (Morgan & Rollofson) 8. Of Melting Snow - original work by Carrey-Beaver for himself & Morgan 9. Video about Morgan's YouTube videos 10. The Red Shoes (10-minute piece created for Morgan last year) I thought DonQ was an odd choice. Morgan has the technical chops for it, but not the personality - she's not spunky enough onstage. Her My One and Only was very good - no changes or substitutions on any of the diagonals - very impressive. It didn't have the sharpness that I would have liked to see, but I also don't think she had anyone from the Trust coaching her, so that's not surprising. Carrey-Beaver was very good in Liza as well. MacMillan's Romeo & Juliet really requires a top flight male partner, otherwise the lifts looks as hard as they are, and Rollofson wasn't quite up to the task. Morgan is also a little heavier in the torso than most of the other ballerinas I've seen as Juliet, which adds to the partnering difficulty. She is a good actress, very expressive and very sensitive. I liked the Red Shoes a lot. I think the voiceover at the start is unnecessary, but it's a nice solo ballerina role. The video segments were too long, but I realize they were inserted to give Morgan a break between works. Overall, I agree with YouOverThere. It was a good performance, but she really needs more stage time. She's lost the ease and natural command of the stage that was evident in the SB video that was shown. I do think she'll get it back once she's regularly performing again. She's a complete dancer - technical ability in spades, natural turner, expressive, beautiful port de bras and use of the head. The really crazy thing is how good she was when she was 15-16 (they showed a lot of home videos and school performances). She would be a good fit for Washington Ballet, especially since they typically do at least 2 full-lengths each season and Morgan seems interested in acting roles. She is still a terrific dancer, and I think she'd be an asset for many different companies. I've been watching her since her first season with NYCB, so it was great to see her live onstage again.