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  1. Today
  2. I actually know of people who got vaccinated just to attend a one-off concert so you're not alone.
  3. I got the vaccine just to attend NYCB performances, that's actually the only reason. Had a pretty bad reaction, ended up in the hospital. Really hoping boosters aren't required in the future to attend because I don't want to experience that again.
  4. Many dancers have been very outspoken about how they think the lack of vaccinations caused them to be out of work and threatened their livelihood. Herman Cornejo: https://www.instagram.com/p/CVVxZqkJRb9/
  5. Again: keep the conversation to how this impacts performers, companies, and audience.
  6. No. That honestly isn't the point. The very scary point is that medical professionals only did what is scientifically proven to protect not only them, but also their vulnerable patients, under duress.
  7. The point , and a VERY scary one-( at least for the free world)-, is that they did it out of fear of losing their jobs. Out of fear of not being able to provide for their families. Out of fear of management retaliation. Out of fear of being fired. We were heroes as long as we followed their rules. Now many of this heroes are mass killers.
  8. Yesterday
  9. The FDA is approving vaccines for 5 to 11 year olds. Hopefully that means more little kids can attend, just in time for Nutcracker season.
  10. Will Heinrich in the Times has a good analysis of the paintings of Suzanne Valadon (1865-1938), now at the Barnes in Philadelphia. In some ways Valadon seems to be throwing the ball of who's looking at who back to Manet and Matisse quite forcefully. You could perhaps say that her painting career might have some parallels with Colette's as a writer. Interesting how her reputation as a painter was eclipsed for a while by that of her son, Maurice Utrillo. A comment from one of the readers tries to set the record straight about when Valadon began painting: https://www.nytimes.com/2021/10/20/arts/design/valadon-painter-barnes-philadelphia.html
  11. I notice that the new website doesn't seem to have any mention of the Janice Levin award. They used to have a specific listing of past winners, I believe on the "Meet Our Dancers" page. Now I don't see it anywhere. Wonder why not!
  12. I considered the possibility that Copeland may be pregnant, and that's why she has not danced and is not scheduled.
  13. I've been wondering that too and also think it's possible for Murphy to retire, in addition to Paris and Fang.
  14. It's not really fair to dismiss technical ability as irrelevant to ballet and something we should just go watch on youtube. When Murphy starts flapping her swan arms in Act III, she is referencing Odile while performing Odette. It is integral to the performance, and the fact that almost nobody can do that while performing perfect fouettes is that much more impressive. Kitri is a headstrong girl with spirit, so when Murphy is able to change her arm positions with her fan while performing perfect fouettes, this is also an integral part of her characterization. Her technique adds to characterization and enhances her story. I do agree that Murphy is a very fine dance actress, and look forward to seeing her Pillar of Fire again this week.
  15. I would be very surprised if Misty doesn't retire after the spring season. She isn't even dancing Nutcracker. Maybe they'll give her Romeo and Juliet with Calvin as a farewell performance... they were supposed to dance it for the 2020 season together.
  16. Copeland is also not cast in the Ratmansky Nutcracker at Segerstrom in December, although his choreography is not a great fit for her. https://www.abt.org/performances/the-nutcracker/ When the spring Met schedule comes out (soon, I hope!), perhaps we'll learn more - a retirement performance, perhaps?
  17. She did pull out of her last Giselle prior to the pandemic, I recall (Skylar Brandt replaced her in DC). Misty Copeland is in town. She was there attending the Saturday matinee, as I saw her outside immediately before the performance.
  18. Keep the discussion to policies and how they affect you and the performers.
  19. I wonder what’s going on with Misty Copeland. She’s the only principal not cast in any performance. I looked on her IG, and she’s heavily promoting another book, but I didn’t see anything about injury or anything.
  20. I saw Gillian Murphy dance Swan Lake a few years ago. I was moved beyond belief. I find her to be a true artist and her appeal, for me, has nothing to do with her technical mastery. If I want pyrotechnical physical feats I can watch teenage ballet students all over Youtube. Gillian Murphy can tell a story through dance and make you feel what the character feels.
  21. I went to the Forster Murphy Giselle. For me, Murphy will always be a more natural Myrta than Giselle. There is nothing girlish about Murphy, particularly at this stage of her career. (In contrast, I thought Kent always looked waif-like, even as she aged.) However, I thought that the pairing of two mature dancers - Murphy with Forster - worked well. I also liked the fact that Murphy did not overplay the mad scene. Some of the ballerinas like Shevshenko,have chosen over the top acting. (There was one point when Shevshenko was shaking so much it was like she was having a seizure.) Murphy does not go for broke technically in Giselle in either act. (Example, she did a lovely job with the hops on pointe, but she ended several beats before the music ended. In her whirling in the beginning of Act II, she also stopped a little before the music ended.) Her technique was fine but not dazzling or on the stratospheric level that we have observed throughout her career. I thought she captured the Romantic style nicely, especially in the use of her upper body. Forster has never been a dazzling technician, but his characterization worked well. He was a very attentive partner and he tried to add as much detail as possible to his portrayal. As an example, at his entrance in Act II he decided to stroke the flowers he was holding. At the graveside, he didn't just kneel; he stretched his torso over the grave area. Going forward, I'm not sure what to expect from Murphy in the Spring Season. Her hallmark has always been daring technical abilities, like doing triple fouettes while changing arm positions with her fan as Kitri, and flapping her swan arms while doing her whiplash fast fouettes in Act III of Swan Lake. It's not clear to me whether she will regain that level by the Spring.
  22. I also saw that Fall for Dance show, though on Saturday night, and agree Mejia has it all. I had no idea Fandango had originally been commissioned for a female dancer; it appeared as if it had been designed for him. It's wonderful, both the dance and his performance. He's delivering on the high expectations set in his first years with the company. The Bloom piece was a delight - besides the joyous dancing of Peck and Cornejo, I very much liked the simple costuming and the melodic music by Caroline Shaw. ( I'm not much a fan of the look of bare knees with point shoes, but that's probably just me not keeping up with the times.) They are a beautiful pair together, both so musical and free - and fast. There were many tricky changes of direction and momentum in Justin Peck's choreography and it looked easy when they dance it. The music for the tap number was outstanding: the blues singer, Crystal Monee Hall, was sensational. I found the tap number a little overlong, and my mind wandered to debating whether the notoriously difficult problems of amplifying taps had finally been solved. They roamed all over the stage with no difference in sound quality, so it couldn't be stationary mics. Maybe technology had evolved to wearing tiny mics in their shoes? (All the classic Astaire and Gene Kelly films had the tap sounds added in by foley artists after filming.) But that marley dance floor isn't going to make a good metallic tapping sound, and tap sounds we heard during the tap dance performance were both crisp and amplified to the point of being quite loud. I spent a lot of time trying to figure out if they were "foot-syncing" and eventually decided that yes, the tapping sounds were not live but had been pre-recorded. I may be wrong but it certainly seemed that way. It didn't detract from the live performances at all - it likely made them more engaging.
  23. Thank you @Barbara--I have been eager to read about Forster's debut.
  24. Last week
  25. I’ll jump in with a report. I specifically chose my one and only Giselle ticket for Tom Forster’s debut and I thought he was fantastic. From his first appearance on the stage he was authoritative and elegant. I thought he and Gillian had a lovely rapport. Hers was a tradition interpretation and in the first act I especially appreciated her controlled roll downs off point. Her diagonal hops might not have covered the entire stage but were strong and musical. In the second act Forster did the entrechats six, which were impressive in their height and sharp beats and the fact he held his arms in a low port de bras not using them to help him gain height. Can anyone do bourees better than Gillian? At one point she flutters off stage backwards in a blur of fleet movement. By the end Forster had me tearing up. I’ll leave it to others to address more technical or aesthetic issues but for me it was a magical and emotional return to watching ABT. And of course bravo to the wonderful corps of Wilis!
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