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  2. There's also the whole D.C. hotel damage incident and inability to perform due to substance abuse. I think it's possible NYCB could have made the case for firing Finlay. It seems Catazaro has found rep that better suits his abilities. Of the three, he seemed the least involved in all of this (at least based on the Waterbury filing and what was reported in the press), so I'm glad he's been able to move on. I can't imagine what it will be like for Ramasar to return to the company, with the leadership apparently not wanting him to return and some dancers presumably still uncomfortable with his presence. I suppose the company has no obligation to cast him, only to cut him a paycheck... If you're texting nude photos of colleagues and explicit messages with your colleagues, it has something to do with work.
  3. You dont need to do something illegal to be fired on the job.
  4. Had Finlay texted derogatory comments about his colleagues and peers based on their race, religion, or sexual orientation, and, had the recipients of those texts willingly participated in the conversation, would we think he—and they—should be allowed to remain in the workplace?
  5. There are no criminal charges against Finlay. Ms Waterbury has never gone to the police with her allegations. The claims against him are for non-criminal conduct which had nothing to do with work, just like Ramasar and Catazaro.
  6. Today
  7. There I disagree. On what grounds would Finlay be reinstated? What he did is illegal and possibly criminal.
  8. Well, this is something that I never thought that I’d see so soon ! She danced Giselle. It happened at a recent Gala and she performed the Act II duets. (It’s on video) Just one of the wonderful things that she can do is seemingly stop motion and still go on dancing, suspend time and continue her phrasing. Being lighter than air, she simply floats. And — she’s Precious. Hopefully we’ll be able to see her do this and much more on the Mariinsky stage as soon as possible. Until then, I’ve never watched the Corps de Ballet more carefully.
  9. Just a side note—more “free-riding” I guess: Royal Swedish Ballet is where onetime Atlanta Ballet ballerina Alessa Rogers landed this season (2018-2019) after a season with the Ballet du Rhin. (In Atlanta, Rogers originated the lead role in Tharp’s adaptation of The Princess and the Goblin and also danced Juliet in Maillot’s Romeo and Juliet. I found her, season after season and role after role, one of their most compelling dancers.) I hope she finds artistic fulfillment wherever she is....
  10. Studio Spotlight attendees were given a peek at portions of Ballet Arizona’s upcoming premiere of Emeralds tonight. I have to say that I’ve watched the POB BluRay version and enjoyed it, but seeing it live and up-close in the Dorrance black box theatre really sent chills down my spine. Despite the lack of costumes or set, watching the elaborate pointe work of the corps and hearing the lushness of Faure’s Pelleas and Melisande during the Prelude was captivating. Arianni Martin and newcomer Luis Javier Corrales (both originally from Cuba) danced the lead roles. (It seems that AD Ib Andersen often gives leading roles to new arrivals – perhaps as something of a ‘sink or swim’ tactic?) The Nocturne was danced by a wonderfully ethereal Mimi Tompkins, who was partnered by a most attentive Randy Pacheco – I always find it engaging when the guy looks like his only reason for existence is ensuring that everything goes perfectly for his partner. To me, these two were perfectly matched for this very reserved section of the ballet. Also performed were sections of Theme and Variations, with Jillian Barrell and Nayon Iovino in the lead roles. In a post-performance interview, Ms. Martin pointed out that she had exposure to Theme and Variations at Ballet Nacional de Cuba, this being the only Balanchine ballet that was performed there - apparently because Alicia Alonso had danced it for Ballet Theatre during her time in New York. Ms. Martin will also dance the lead role in T&V. Also on the All-Balanchine program will be Square Dance. May 2-5, 2019 at Phoenix Symphony Hall.
  11. It can't help that SFB has to keep reminding the audience that LM is not for children. Romeo & Juliet is equally intense, but I can't remember if there was ever a warning about children attending that ballet. Helimets was excellent as the Prince. Earlier in the season, Tiit complained about not being given enough to do, and we've certainly been seeing that. It's hard not to wonder what's going on. Tomasson has been giving lots of opportunities to the younger dancers, and that's great, but appearances by some of the principals/soloists has been more spotty. If SVP, Chung, Scheller, and Strongin were not out for the season, the opportunities to see any particular female principal/soloist in a lead role would have been relatively few. Except of course for The Little Mermaid, which we knew would likely be all about Yuan Yuan. As things have worked out, the season has been great for De Sola and Froustey fans. Now it seems clear that the mixed rep programs are essential for providing lead opportunities to all the dancers who will not be Aurora/Kitri/The Little Mermaid, etc. I personally love all the different cast opportunities with the mixed rep ballets.
  12. If Finlay had waited to be fired like the other two rather than resign, I think there would have been a pretty good chance that he would have been reinstated too.
  13. I didn't mean to suggest that she's angry, only that her game face is one of stern, imperious hauteur -- which I think she uses to great effect!
  14. I didn't want to create a new thread for this so I'm free riding on this one . . . The Royal Swedish Ballet has announced its 2019-2020 and, in some respects, its more French than what you will see at the Paris Opera Ballet: Giselle (Makharova production) All Stravinsky: Noces (Angelin Preljocaj)/Agon (George Balanchine)/Rite of Spring (Maurice Bejart) Nutcracker (Par Isberg) wings of Wax (Jiri Kylian)/Woman with Water (Mats Ek)/Minus 16 (Ohad Naharin) Don Quixote (Nureyev production) Les Ballets Suedois - 100 Years - a Tribute: Skating Rink (after Jean Borlin)/La Boite a Joujoux (Jean-Guillaume Bart)/Carmen (Roland Petit)
  15. I was torn about these 2 men getting fired. Mostly, I thought it was premature. A suspension always made sense to me. Catazaro, I believe, was truly wronged. Yes, he was boorish, but from what I've read, didn't deserve to be treated so severely. I think Ramasar's situation is a bit different. From what I've read, I don't think he should have been fired, but a long suspension, such as what he's effectively experienced, along with the counseling requirement, makes very good sense. I also think that he now has to earn the respect of the other dancers. Some may refuse to perform with him. That's what happens when, no matter how it becomes public, people learn that someone has been a boor. I hope he's learned from this experience. I hope that, rather than feeling victimized, he's learned that being a man does not include the behavior he exhibited, outside of work or not. I hope he's truly learning how to respect women. If he can, his life will be enriched. The "bad boy" life wears thin eventually. He's been given a great opportunity. Let's see what he does with it.
  16. Yesterday
  17. In an interview he gave to Dance Europe in the recent past, Catazaro indicated that he was interested in appearing in things like Manon and Onegin, which he certainly wouldn't get to do at City Ballet. So, for him, he wins the arbitration case and gets to pursue his other artistic interests in Munich.
  18. I second the ???. This is a guy who shared nude photos of a company member with other company members. The only reason he is not in the same boat as Finlay is that his particular much younger girlfriend whose photos were shared is for whatever reason defending him. Of course coworkers are going to be uncomfortable around him! And to say that they should just “state their case” is unhelpful.
  19. ??? We're not talking about people working in separate cubicles or offices, with next to no direct interaction. it's all 'interaction' at a large dance company. How individual dancers conduct themselves in class/rehearsals/backstage/at special events, etc. all counts towards making the company environment a positive one, or a poisonous one. And then there's all the time spent around company members outside of work. For the majority of dancers at a large company, there isn't much escape from the world of dance. Problems do get magnified in that kind of environment precisely because there are few opportunities (or much time) for escape.
  20. While I applaud the outcome, I believe that the stipulation that Ramasar undergo "counseling" is unnecessary and insulting. And if some female dancers are uncomfortable with his return, they can state their case if he behaves in an unprofessional manner at work. Otherwise the conduct of his life is of no legitimate concern to them.
  21. I remember hearing about a new production, but I must have missed the announcement about De Keersmaeker. Interesting indeed!
  22. I tend to agree, BalanchineFan. The decision seems well reasoned and justified. It’s important for all employees to be protected against arbitrary dismissal by an employer, non-profit or otherwise. Many if not most American workers have no such protections; Catazaro and Ramasar are fortunate in that they have such rights and they were enforced. Firing people for private and non-criminal conduct is truly a slippery slope and the company should have taken greater care. The union has to balance the needs of all its members, and the dancers who are unhappy about this decision today may well appreciate -- and benefit from -- the protections they have in future.
  23. dirac

    Friday, November 19

    Dance Theatre of Harlem visits Seattle.
  24. dirac

    Friday, November 19

    An interview with Victoria Morgan.
  25. dirac

    Friday, November 19

    A longer article from The New York Times on the reinstatements of Catazaro and Ramasar.
  26. WOW! I am so excited to hear that Ramasar will be returning to NYCB!
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