BalanchineFan

This may be helpful for those trying to identify particular dancers. It's an SAB story highlighting the Capstone (graduating) class of 2024. https://www.instagram.com/stories/sab_nyc/3389582070919511128/

I was at the rehearsal for Workshop on Friday and I think Kylie Vernia danced Dark Angel then, too. She's tall, long limbed and has auburn hair parted in the middle - does that describe the dancer you saw? Becket Jones danced the soloist in TPC2 then, which makes me think it was the same cast you saw. Becket is easy to identify with her pale blonde hair. Very strong technically. She does a nice series of fouettés in Serenade. The dancers are so good. I still have my programs from other workshops and a lot of talent, even dancers NYCB hires for apprenticeships, is in the corps de ballet of these programs. Kylie Williams looks to be of Asian descent, perhaps Chinese. She may have danced Russian Girl at the rehearsal, but there was no program. That dancer was excellent. Great jump, quite musical. Edit: I now believe it was Jaiya Chandra. Serenade seems particularly well chosen for them. So many women's parts, so many small solo and duet moments. It was originally choreographed on students in a similar stage of life.

I was there Saturday evening and I heartily agree with everything you said @cobweb ! According to the program, Becket Jones, Alexander Perone and Kylie Williams will begin apprenticeships at NYCB this summer. Becket danced a lead in Serenade, I think the role is Dark Angel. Alexander danced the ppd in Scenes but not the evening I was there. You may have seen him, @cobweb (a SAB employee sat behind me that evening and said one page of the program had the afternoon's cast listed). They were all Mae L Wein awardees and so had bios in the program. I’ve heard there may be more dancers who have NYCB apprenticeships but nothing in official, forward facing media. Other students were invited into Carolina Ballet and Ballet West 2. Others are going to Columbia University, Fordham and other colleges. It was a fun, celebratory evening with beautiful ballets amd LOADS of young talent.

Judging by how long it took for Alexa Maxwell to be promoted to soloist that’s unlikely. Maxwell had had a great success as The Novice in The Cage, danced leads in Copeland Dances, Fancy Free, and Voices, MSND’s Butterfly, demi in the Bizet and a few other Balanchine demis, if I remember correctly. Still, Maxwell stayed in the corps for nearly a year with all of those roles. I haven’t seen MacGill lead anything except a movement of the Bizet. She danced Butterfly and demi in 4T and a few other demi-soloist roles (please remind me). She’s a lovely dancer and she’s being given opportunities but I’m not surprised she hasn’t been promoted yet

I saw that too! Jacqueline Bologna danced the Divertissement (6 couples) and took a quick solo bow when the company was onstage Sunday. I thought it meant that she was leaving the company.

Kudos to you! That is an all important job, and I know first hand that you all do your best to keep things running smoothly. One of my first jobs out of college was to usher and the (then) State Theater. I later worked at the Metropolitan Opera House. I loved it, except for the rude patrons.

Many of the pauses are short, and many in the audience are slow (and have a long way to go to find their seats). Some start at the right time but don’t realize that the slowest (and most annoying) part is when all the people who got there on time have to stand and let you into your row.

Sara Mearns danced beautifully tonight. Full and radiant, daring at times. I love the spritely quality of Taylor Stanley’s Puck and the incredible technique that Anthony Huxley displays in Oberon’s solos. The whole production is so delightful. I go numerous times, every year they do it and I still laugh at all the jokes and leave floating on air. Emilie Gerrity and Aaron Sanz are developing quite a partnership. I remember their connection dancing in DAAG, and now their Hermia and Lysander (who wore a blue vest and red-ish tights). Mira Nadon and Peter Walker (all in red) were a good pair as Helena and Demetrius, though she far outshines him. The cat fight between Hermia and Helena was also very well played, including Puck carrying one of them off overhead, struggling and kicking her legs. Mostly, I love Balanchine‘s command of all the elements; fairies, adults, children, love stories (and lovers’ quarrels) and the magic of it all. The guests from Miami City ballet were lovely. He seemed a bit more at ease than she did. (With his nice, clean quadruple pirouette!) Perhaps it was his experience dancing on this very stage as a child.

Thanks! What a nice article. Nadon says so many things that remind me of Suzanne Farrell. I also thought the Darci Kistler connection was interesting.

It strikes me that many dancers have molded themselves after Baryshnikov, but there are far fewer who have followed in Makarova’s footsteps. (Or perhaps it’s just that way at NYCB!). What a singular and inspiring artist she is!

I meant that there are moments that reference such dancing. The flexed foot. The crossed arms, the tapping of the foot behind the dancer. The rhythmic stamping at the beginning of Baryshnikov's first solo. Baryshnikov and Makarova had experience with those movements and it evoked something from their shared past.

Thank you both! Was anyone at Midsummer? At the rehearsal today there was a Repertory Director that I didn't recognize. It wasn't Deena Abergel, or Arch Higgins. Not Kathleen Tracy, Glenn Keenan. or Lisa Jackson. I don't think Rebecca Krohn was there, and this wasn't her either. It was another woman, she seemed about the same generation as Wendy Whelan, who lead her to the orchestra mid-rehearsal. She has shoulder length brown hair and looks to be post-menopausal. Susan Pilarre was rehearsing the company in Symphony in 3 movements earlier this season. Rosemary Dunleavy doesn't seem to be around at all. I hope she's not ill.

Both were TRULY in their prime. There must be a good film of Baryshnikov and Makarova because I can’t imagine I saw them in person. I thought Murphy and Bell were lovely in this and so different from NYCB. It seemed more courtly. The bows in the middle of the piece seemed emphasized. One barely noticed them with Peck and Mejia. It was more like a hand off - ok, your turn rather than -and now, my esteemed colleague. When Makarova and Baryshnikov danced it, the folk dance elements came out more. I always had the feeling they knew exactly which Polish or Russian folk dance was being referenced, and even which national dress the folk dancers would have worn. Other Dances has never struck me as a love duet. Originally it seemed to borrow its meaning from the two original dancers; two expats, two exiles recalling the culture of their former lives. There’s a wistfulness to it. It’s always interesting to me to see what other casts can make of that. Where they find the drama and the subtext.

Here is Quinn Starner in Love Letter. I can't see how she would be confused with Olivia Bell, but I don't know who danced what on the evening in question. https://www.instagram.com/stories/nycballet/3376620806661087352/

I was at a Donor's Preview for the 24-25 season and Wendy Whelan told the audience that the full length ballets sell out; Swan Lake, Midsummer, Coppelia, Nutcracker. I wonder if that was always true, even back in Balanchine's day.