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  2. The reporter was Bill Whitaker, and I'm sure he knows how Broadway shows are produced. But assuming ignorance is a technique often used by television journalists, because they try to ask the kinds of questions that viewers who may know nothing about the subject might ask. That said, this was a puff piece, not a review, more public relations than actual reporting.
  3. Very glad to raise the profile of this book -- while I loved revisiting familiar authors, I was most tickled by the people I'd never read. I agree, though, that there should be a collection of Kisselgoff's work for the NYT, alongside colleagues like Jack Anderson. They were writing during the dance boom of the 1970s and beyond -- their work is a fantastic record of an incredibly fecund time in American dance. Here's hoping that someone will take that project on!
  4. Today
  5. Oh dear -- Varna has been an institution for many years, and this is a sad piece of news.
  6. I didn't dislike the movement I could see in the 60 Minutes report, but I didn't feel I could judge the overall staging from the snippets we could see. I'm not a huge fan of multi-screen productions, but I imagine there are plenty of folks who are. In most stagings of the musical I've seen, they've had a difficult time "placing" Maria's bedroom -- the remote camera might make a good job of it here, when they get the technical stuff worked out. I can't say I was impressed with the depth of the interviews. Honestly, the show didn't seem to be in bad shape overall for that point in the process, but the interviewer (I apologize -- I cannot right now remember his name) seemed pretty clue-free about how Broadway shows come together.
  7. Krysanova is performing with Maillot's company on the 21st in Novosibirsk, nearly 3,000 km away, which made her participation practically impossible. And I don't think height had much to do with it, since Smirnova is shorter than Stepanova. @Preston, it's impossible to answer your question, because the Bolshoi will never go public with the behind-the-scenes haggling.
  8. After much of my harsh criticism of the production, let me be truthful and add the other side of the equation. In all fairness, I truly loved the lakeside acts, particularly the intricate crisscrossing of the maidens and patterns formations. It comes very alive and looks magnificent from upstairs. And because the lakeside acts don't really require too much of scenery-(in most of the productions it is just as what we saw...a mere backdrop)- the acts really gain lots of weight with the strong choreo for the corps and the beautiful white costumes. There's a moment at the end of act IV where a row of black swans crisscross a row of white ones at full speed to form a cross and it looks amazing. The transition from the drawing room to the lakeside is quite successful too with the moving scenery. Sometimes this compression of four acts into two and two can be problematic during such transitions. One I really felt didn't work was in Ratmansky's Bayadere in Berlin, for instance. The false finale made me cringe.
  9. I've added some more casting above to the closing evening of the Festival, March 22. It would appear that Alina Somova will be dancing the beautiful duet from George Balanchine's Symphony in C. This could certainly be another Festival highlight. Also Yekaterina Osmolkina and Renata Shakirova should be excellent.
  10. Yesterday
  11. Well one thing about the Martins' Swan Lake I like is the fourth act. I find the ending with Odette retreating back into her flock of Swans very powerful.
  12. Some say that Bolshoi was considering Yulia Stepanova as Odette/Odile (who paired with Artem Ovcharenko in Swan Lake in the last two years). But out of uncertain reason, she went out of the game. So they got a different pair instead of filling in Nikulina or Krysanova with proper height to pair up with Ovcharenko.
  13. Sure! Here it is: https://www.bolshoi.ru/en/performances/36/roles/#20200221190000
  14. Yes, my evening show ended around the same time! I guess they just do really long intermissions.
  15. Lopez already acquired the rights to the Ratmansky SL (see thread link above). It will debut in "2020" which I assume means sometime next season.
  16. That if Lourdes Lopez doesn't move first in Miami! 🙏
  17. Given your knowledge of both Swan Lake and NYCB's dancers, I'm going to trust you on this! Presumably the company has enough of a connection to Ratmansky to give replacing Martins' version with his legitimacy.
  18. I would love to see what Sara Mearns could do with Tzigane! I really think they might bring it back as Farrell has now come back multiple times. Plus Whelan in particular seems keen on bringing back lesser known Balanchine. By the way, you can find the full version of the ballet here - it's quite short:
  19. I think Veronika Part at ABT did clean single fouettes every time I got to see her. My favorite Odette/Odile.
  20. I would be happy with just a snippet of video somewhere of Merrill Ashley dancing Ballade. She talks quite a bit about the creation of the ballet in her book.
  21. I say it would be a perfect addition. Swan Lake has become a lethargic, unmovable K. Sergueev realm, and sometimes even unrecognizable, ending wise. Act II is usually an endless slow showing of the Adagio, to the point that the music gets lost in translation. If there's something Ratmansky is instilling in his reconstructions is a quicker, brighter, petite allegro baseline, and I'm more than convinced that no one better than NYCB to honor this quicker tempi. It is also a "new old" entity, so much of the mime, steps and general portraying is quite new. Which better company than NYCB to have a "non traditional" approach to our current Soviet swan inheritance...? They should grab it before someone else's does.
  22. Whelan danced Ballade a long time ago w. Robert Tewsley. I hope Whelan revives Ballade. I also hope they get Tzigane - which I've only seen in excerpt on video.
  23. Really? I guess I'm a sucker Carabosse and the Lilac Fairy.
  24. Ideally, I'd prefer this course as well, but ballets like Swan Lake, Sleeping Beauty, and Romeo and Juliet do get droves of people into the theater; newly-commissioned story ballets mostly don't. It's a version of the battle that opera companies and symphony orchestras have been fighting for decades, if not an actual century in the case of opera. (Go to the Metropolitan Opera Archives and click on "Repertory Report" in the left-hand sidebar. It's a list of operas in the Met's repertory sorted by total number of performances given. You have to scroll way down that list to get to an opera composed after the 1920's.) I don't think NYCB will likely become a home of 19th century or full-length ballets—it's just not in the company's DNA—so I'm not going to begrudge them doing one a season to put butts in seats if it means 1) filling the coffers and 2) expanding their audience. But yeah, I'd like to see them chart a different course if they could.
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