Jayne

I am going to somewhat disagree with you.  The future for students who do not have strong school-to-company feeder connections will do well in these competitions.  So yes, the kids frim Asian, South American and other places with minimal local prospects of full time dance employment flock to these competitions.  Maybe Africa, India and the Middlle East will be the hot beds in 10 years?  

Students who are already at Vaganova, School of American Ballet, Paris Opera Ballet School, etc will get noticed by ADs teaching their classes, and ADs attending their school performances.   

How long did the Maria Bjornson sets and costumes last?  Those were awkward to be sure.  

Ahem, Yinz, for the Pittsburghers.  But now I am discussing the discussion.  

I’m going to use the male pronoun until Chase announces otherwise.  

I am worried about Chase in the current American medical environment.  He has resigned, and lost his employer paid medical coverage.  How will he pay for transition medical?  This will be a long process.  

I do wish the Trocks would reconsider hiring him back.  But maybe he will start his own company once he makes the changes that make him feel comfortable in his own body.  

The Bolshoi position has different expectations than the AD at NYCB.  The government relations, pleasing billionaire patrons (and their spouses’ favorite dancers), the legacy of choreographers, etc.  

Vaziev has inherited most of his principals.  The Bolshoi has always been known as the “redblooded” company, and Mariinsky as the “blueblooded”.  

In his favor, I think his working relationship at Mariinsky and La Scala with Ratmansky helped bring the choreographer back to Moscow to stage R&J.  And a Ratmansky festival was mentioned at one point.  I hope it comes to fruition.  

The relentlessly negative criticism (and threatening to yank roles) on Alexandrova backfired.  Artists are sensitive souls, and I profoundly dislike this treatment of any professional.  

I have no way to evaluate Vaziev’s government or donor relations.  But mire scandals have not erupted, Tsiszkaride is far away in St Petersburg, and the Nureyev ballet seems to have threaded the needle of pleasing artists and conservatives.

Surely there is a better way to set up principals for retirement?  An exchange with other Russian theatres that would give Bolshoi stars every opening night, worshipful applause and gala fees?  

Looking forward to Ms Murphy’s O/O too!

Thrilled to see Sarah Ricard Orza get an O/O.  And her partner is corps dancer Dylan Wald.  Clearly he climbing the role ladder!  

I’ve thought for a while that Ricard Orza would be a splendid Odette.  Her Odile is the wild card.  

Like it or not, well executed balances (long or short) are necessary for a successful Aurora.  Just like Odile’s foettes Swan Lake.  I’m ok with some panache in 19th century story ballets.  Who is offended by slowly luxuriating the famous solo of Raymonda?  Not I!  

Froustey sounds like a fun performance to witness.  

The over extensions reported at PAB for Serenade bother me much more. 

I haven’t posted in a while but have some time today.  I’m interested to see if NYCB hires an AD from a regional company, if it creates a ripple effect.  

I think Lourdes Lopez has a good shot.  The #metoo movement may inspire the board to hire a woman.  She danced for Mr. B and rose through NYCB’s ranks.  

She has run two companies, commissioned interesting work, hired the best modern choreographers, fund-raised, won significant grants, and she peograms a lot of neo-classical works.  

If she gets the job, who does MCB hire?  

If Peter Boal gets the job - who gets the PNB job?  And isn’t it weird that he might be out of the running because his spouse was one of Martins’ complaining witnesses?  

Does the same logic apply to Damian Woetzel because his wife may have been physically abused by Martins?  

Could Nikolaj Huebbe be chosen?  Can you believe he appeoaches his 10 year anniversary at RDB this year?  RDB had a long string of short term directors.  Maybe he’s interested in the post?  

There are progressive troupes in Western countries that would hire him.  A lot of modern work is already gender-bending.  

I think a company like LA Dance Project, Nederlans Dans Teatre, or even Les Ballets Monte Carlo would hire him just as a phenom dancer, and create meaningful work on him. It would make media headlines at first, but the media would move on. 

Surely there is more to evaluate in Vaziev’s term than the circumfrance of a dancer’s thighs?  

A woman, playing a man, playing a woman?  If Julie Andrews could find comedy gold, I think the Trocks could too.  

I think they should go, and speak their minds.  This is a platform with great media attention, glamour, and prestige.  Use it to defend the arts!

10 hours ago, California said:

 

Here's Salstein teaching last class at the Met season -- he had them finish with cartwheels. He does seem like he's quite experienced at teaching. (Note that Hallberg skips the cartwheel.) He also taught the company class on stage for Friends in June.

 

The music is "Carousel" and there are cartwheels in the Wheeldon version of this.  Really inventive stuff.  

Could they get rid of the plastic recycling chandelier?  It's ugly and always dusty.  I loathe that thing.  All that gorgeous glass art in Seattle and we have to look at that trashy eyesore.  

Move the iconic dancing girls statue out from the lower orchestra entrance and out to the lobby.

leave the wine in the lobby.  

That's quite a name for a company that hasn't done a thing to earn the title.

NYCB was saved by adding classics? I agree that they are box office gold but NYCB's golden goose is Mr B's 1954 Nutcracker.

NYCB was saved by it's amazing stable of exciting dancers: Tiler Peck, Sara Mearns, etc.  

I would go further on the Lacotte comparison: it's like asking Pina Bausch to judge the proficiency of Bolshoi dancing Bournonville, rather than asking a Danish stager.  

If Edward Villella or Allegra Kent says a Russian company is dancing Balanchine well, that I would believe.  

Back to Joy Womack -- she does have injuries, and time off will help heal them.  I suspect she is on her parents' ACA health insurance as a 23 year old.  So treatment getting covered is possible.  But I really think a year off to get perspective would be healthy.  

I do like the idea of a social media advisor.  It worked well for Misty Copeland.  Anyway, Atlanta Ballet is hiring!  Maybe she would do well under Gennadi's tenure.  They have similar Moscow training. 

For her own future employment (in or out of ballet) I think she needs to take down the vlog.  And maybe take a year off dance.  

I wonder if a costume museum would want to buy them?

I am fascinated by the contrast between Gnossie's reviews of Dorothee Gilbert's dancing qualitities (quite negative) and the other posters' reaction to her lead in Emeralds at LC (quite positive).  

Perhaps we are looking for such disparate qualities because we are exposed regularly to styles of dance that emphasize those qualities?  Would Gilbert be better served dancing for a neo-classical company? 

I thought the 20th century POB was much more of a hybrid, influenced by various Soviet satellite dancers (Lifar, Balanchine, Nureyev) and Americans and French-Americans (Tallchief, Verdy, Robbins, Forsythe, etc).  

Gnossie, what do you think it would require to recapture the french style at POB?

I thought Melissa Hamilton was too short for Tall Girl when RB broadcast earlier this year. Now I know why.  

Last booing at a ballet that I recall was PNB's Forsythe work banging on tables.  We get it back for the 3rd time next season.  Since I know what to expect, I'll peobably get a drink during that performance. 

I do enjoy hissing the baddies (Carabosse, etc) and I think the dancers "get it" and enjoy that form of appreciation.  Sort of like Alexis Carringtin on Dynasty: the baddies we Love to hate. ;)

Beautiful pic.  I was fired once, about 12 years ago.  In retrospect I can see that it was a poor fit for my personality, and a poorly run organization.  It was a shock to get the news, after I had poured my heart and energy into the position.  

In the weeks that followed I definitely went through grief stages and I wasn't myself at all.  

(edit) 

So I have a lot of sympathy for her, and I hope no one holds her emotional turmoil against her. 

Would the Nureyev set fit inside the War Memorial?  I am fairly certain the Bolshoi scale is quite different. 

Could you give us the jist of remarks about his ballet career?