Jayne

that might win the award for BT "most detailed" review of the year.

Is past prologue? The NYCB Artistic Director will wear many, many hats, and selecting choreographers will be different, just because it's NYCB. Some choreographers will really want to work with them, others won't. But it is a brand name. Based on what I saw of Whelan's staging of Ratmansky's Pictures at an Exhibition in Seattle, I think there was a lot of care and thought put into that assignment. and I think she would put the same qualities into any potential management of NYCB. If, in fact, she is the final choice.

Sometimes I find my own mood going into the night very much affects how I see and hear the performance. Also where I am sitting. But that Sanguinic review, goodness! A smiling Sanguinic??? The best version I saw was Ariana Lallone, no smile during those performances! Here is a short clip of her describing the role from 8 years ago:

Let ABT hire Huffalt!

Wow, four performances each for the first cast!

WB has done Le Corsaire and La Bayadere, so I do think they try to cover the "classics" as well as Webre's "showman" aesthetic. Maybe this is an indication of a changing population in the greater DC area? It has become uber-expensive, and as the Capital City, the population is always moving in and out (political and military types). The traveling troupes do well because Russians living in the greater DC area come to see Russians perform, New York transplants come to see NYCB, ABT attracts various nationalities to see their "stars" (Argentine, Russian, etc), African Americans are going to turn out to see DTOH and Ailey, etc. The same population is going to look down its nose at WB, so they cultivated a different audience altogether. EDIT to add: Maybe Brooklyn Mack should be the new AD?

I watched the RB Jewels in Cinema and I didn't think their corps or their tall girl danced Rubies to convince me they were at the same level of neo classical finesse as NYCB, PNB, MCB or AZB. Of all the European companies, I would expect the Brits to be the best at ballets that are close to musical theatre, but it wasn't the case. I also think their stage is too small for Diamonds. But I also thought they danced the most evocative Emeralds that I've ever seen. That said, I don't think NYCB dancers would pick up Ashton works tomorrow and be adept at the style 10 weeks later. Viva la difference!

I'm glad to see that she is growing, and with growth comes some emotional turbulence.

You know, if he had simply stuck to posting videos with the occasional anecdotes, we would all sing his praises for providing this valuable contribution to the public's video library on youtube. He would continue to book staging contracts, and might even be invited by the current or newly appointed NYCB AD(s) to help stage, or as a featured speaker. But with these posts, I think he has hung himself by his own petard. My goodness, social media can really kill careers.

American politics was already making my heart very heavy this Friday night, this just weighs it down further. I hope both victims (and any others out there) find solace in the growing support of the #metoo movement.

I've always wondered if "Auntie Mame" would work just fine if the Ito character would give his lines in a deadpan serious tone, still with occasional English grammar mistakes, but adjusting the character to be more like the maid in "Boeing Boeing".

What is missing is an acceptable path towards healing. The Catholic Church requires confession and penance prior to reconciliation and forgiveness. I'm not sure they really live that, given the child abuse they are still coming to terms with. But for a case like Louis CK, where he was awful towards women in his professional life, is there ia path back? I felt like his initial statement was looking towards that. But his recent appearances in comedy clubs didn't really show the steps that would lead toward genuine repentance. Can all three ex-NYCB dancers forge a path towards rehabilitation and reconciliation? What does that look like?

I think you have to frame this correctly in your brain. There is so much on YouTube now that shows Symphony in C and Diamonds danced by different companies. But non-neo-classical companies often dance both at a turgid pace, to give their dancers the time to line up perfectly. Balanchine intended his dancers to look like starlings during a murmuring on the stage. Fleet of foot, fast turners, quick turns, sprightly jumpers - and length, always long and lean, those are all part of the Balanchine style.

I didn't think he was critiquing the Monogasque Royal Family, so much as he was critiquing the Monogasque wealthy class who are often not even citizens, but residents to avoid taxation in their home countries (the Green Family which owns TopShop as an example). He is going after their extreme plastic surgery, fashion choices, etc. Regarding the Robbins pieces, I think we can honor him (and even include Peter Martins in the documentary) without applauding misogyny. Hitchcock will still be honored for his masterpieces, but some of his portrayals of women appear in 2018 to be terribly sexist, and his obsessions with his female stars were entirely unprofessional and grounds for termination in the modern sense. Regarding RaKU, it's a fictional story, but I didn't think we were in Charlie Chan territory. OTOH, I still love "Breakfast at Tiffany's" and "Mame" even though the treatment of an Asian characters is appalling. I'm not sure how I will reconcile this in the future, but it's worth thinking through. I love dancing around the house to Michael Jackson's music now, and I rationalize it by thinking that the radio royalty funds go towards his kids, not him. The list is long if we are going to ban stories where women are badly treated.

The best critics also tell a story, sometimes a great story, sometimes a car wreck story, but at their best, they inform us of what they saw in a story telling format.