cobweb

That is interesting. Audiences have probably changed too. Back in 1926, maybe a lot of the audience didn't have a regular job to get to the next morning, or wasn't trying to get home to New Jersey or an outer borough.

... while I'm on the topic of complaints, I wish they would be more consistent about no late seating. In recent years they've really loosened up on people entering after the music starts. It almost seems like they made a policy decision that seating is allowable during the overture, up until the curtain goes up. But this past winter it was even worse, I was at several shows where people were coming in, at the beginning and after intermisisons, while dancing had already started. So disruptive.

I didn't have an issue with 8:00 curtain on Friday and Saturday (I definitely prefer the earlier time on weeknights), but I am glad to hear about fewer intermissions. I hope they also cut all speeches. I also wish they would make the running time more readily available. Sure I can ask the usher when I get there, but they could also put on the website. Lots of people have to follow a train or bus schedule to get home, and it would help to be able to plan more in advance.

Taking a look at the overall upcoming year, while I have some complaints there is also a lot to be happy about. The Fall season is perhaps the least interesting of the three seasons, but at least it starts off with a Balanchine bang with Mozartiana, and Coppelia should be interesting as well. The Winter season has some all-Balanchine and all-Stravinsky programs, and I love the idea of the Tallchief Centennial! It will be an honor to be cast in those roles (Scotch Symphony, Firebird, Sylvia pdd). And Divertimento No. 15, fab, fab fab!!! I will probably be skipping out on Carnival of the Animals again, which is annoying. Then for Spring, another great-looking all-Balanchine program with both Ballo della Regina and Chaconne! Followed by another all-Balanchine program of Divertimento and Vienna Waltzes... wow!! Hope I can hold out till then, that's over a year away. Concluding with another run of A Midsummer Night's Dream, I can never get enough of this. So some blah in there, but also a lot to look forward to.

Perusing the Fall schedule, I am very glad to see Mozartiana and Tchaikovsky PC#2 returning. They will need at least one new principal for Mozartiana. Please -- not Unity. I could see Woodward doing this, but would also love to see Nadon and/or Kikta.

Chaconne is listed for spring... so a year from now. That seems really long to wait! I too am surprised at no more retirements listed. Maybe they will happen as the year progresses.

Would love to hear any more reports!

I like your way of thinking, miliosr! I would love to see this happen, and sooner rather than later.

Some of the more talented young ones might have options in Europe and find that appealing. And what about National Ballet of Canada? I can see where Aran Bell might not want to leave a company where he's already a principal, but for someone still up and coming like Roxander or Curley, they must at least be looking around at the other options.

I worry the same about Jake Roxander and many of them!

Thanks again for the help, @wallis. If you, or anyone, sees casting for The Dream posted on PB's social media, please post here!

Can anyone tell me when does PB usually announce casting, and where can I find it on the website? I'm not seeing a link for "casting" on the website, and when I click on info for The Dream, it just takes me to buy a ticket.

Back from a very fun arts weekend in Philadelphia, where I saw the Saturday evening performance of the "Dance Masterpieces" program -- The River, In the Middle Somewhat Elevated, and In the Upper Room. I had never seen either of the first two pieces before, and had barely seen the company before, so my comments are very general. Overall, IMO the company looks great. The level of dancing is very high and everything looked highly polished and well rehearsed. The roster of talent looks impressively deep, and notably, Corella seems to have assembled, or trained, a large contingent of powerful, athletic male dancers. I loved The River, but had mixed feelings about the Forsythe piece. I might have enjoyed it more had it not been quite as loud -- I saw a couple of people around me plugging their ears, it was so loud. I find In the Upper Room a real joy. After seeing the Tharp staging a year and a half ago at City Center, I was worried I would never be able to enjoy it again since seemingly those performances can never be equalled. Happily, that was not the case, and I succumbed to the exhilaration of the piece. I'll hold off on making comments about particular dancers until I know the company better, the exception being that I was on the lookout for Ashton Roxander, being curious about Jake's brother. Ashton is a beautiful dancer with an intriguing, compelling stage presence. I may make the trip to see The Dream next month just to see him (honestly I would be glad to see him in anything)! And I definitely envision a trip, or two, to see next year's programming. With Philadelphia Ballet looking so good, with ABT at a low ebb, and with Philly being so close to NY and such an attractive place to visit for the arts lover, Corella has an opportunity to grow the audience.

Just in from the Dance Masterpieces program. I will write more when I get back to NY on Monday and can type on an actual keyboard instead of my phone, but for now I’ll just say that this was a terrific program, the company looks great, and I will be back for more! And I fell in love with Ashton Roxander. What a beautiful, thrilling dancer.

Thank you for that tip about checking the casting sheet, @wallis! I am excited to be going tonight. OT, my partner and I are spending an arts-filled weekend in Philadelphia, and last night saw The Lehman Trilogy at the Arden Theatre. (We missed this when it was in NY.) What an inspired work of art the play is! We greatly enjoyed the production and the performance… highly recommend!