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About bcash

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  1. The partnering was surprisingly well done, but of course Mozartiana isn't particularly heavy on partnering. And I was so glad to see Huxley dance that part! Really the cleanest technique and execution. The last Tchaikovsky program last night was probably one of the flattest evenings I've witnessed at NYCB. Everything was done with competency but no spark, aura, fragrance. Orchestra sounded tired throughout. Much of Serenade looked like a student work; The male solo role in Mozartiana felt so sleeply (and with that awful period costume), Sara Mearns was all steps and no interior depth, and the use of children just puzzling. Piano Concerto, with the reliably reticent and cold Reichlen felt like it dragged on forever. Three men were the stars Huxley--never a foot wrong plus the partnering, Sanz--noble and elegant line adding much needed poetry to Serenade, TAngle--although he's losing hair and can look out of shape sometimes, his beats were clear and jumps had ample elevation last night, with his usual reliable, self-effacing partnering. First time seeing this "new" Serenade costumes. They look like they have two stripes of yellow stain in the front. New costumes for Piano Concertno No.2 don't work. They look muted and dusty as if they've been used for ten years. Awful, shallow art installation in the hall---silly messages and the white surface already showing tracks of people's winter boots.
  2. I'm a little worried about that too, because I remember Craig Hall coached/talked about a Balanchine role (maybe Apollo) at one of those rehearsal/demonstration events last year, and a long-time City Ballet goers who attended later said to me, referring to Hall: "He had no idea what he was talking about."
  3. Sebastian Villarini-Velez and a new corps member Davide Ricardo.
  4. I definitely found that worrying too, although I think the reasoning Taylor gave for his consideration of leaving didn't point to lack of clarity in the artistic direction as the main element. It sounds to me his internal probing has more to do with ballet itself. It would be a major loss (graver than the loss of Finlay of late, Catazaro, on par with Ramasar) if he leaves. He's certainly the most well-rounded and articulate dancer among the male principals of now.
  5. Laracey in CB last spring was very beautiful and sweet but I'm not sure there was enough depth or expansiveness. But then again, I was sitting in the fourth ring and maybe from that distance very few can project expansiveness. I mean it was certainly a much better performance than the frustratingly reserved and flat one Reichlen gave in the Fall. I was more struck by her dancing in Emeralds in the Fall, which I thought was superior to Unity Phelan's.
  6. From what I know, Stafford was (and likely still is) in the running. He was, to a certain extent, groomed by Martins, yet during the interim team's tenure has shown openness to new approaches, including bringing in more past Balanchine dancers for coaching. That might be the incremental mindset that this board is most comfortable with. As for the type of conflict touched on in the 1985 NYT article, I think the overall funding structure/culture for the arts in America (especially beginning from the Reagan era) created this unavoidable conflict. I'm curious if there was another route not taken back in the day, in terms of governance and operation of arts organizations.
  7. I saw him a couple nights ago as the host of a talk/screening series on Robbins. No visible hindrance or extra care in his movement---he even danced some steps from NY Jazz Export on stage in his regular pants and boots. I guess it wasn't healed in time for rehearsal. And he may still be going through PT now. though probably at a late stage.
  8. I got a quite positive impression of Millepied from Releve. Charismatic and sincere, with substantive ideas. After all the fuss surrounding his departure, almost all of his ideas are carried on by Dupont---the fund-raiser gala copied from NYCB, more Balanchine - Robbins ballets, casting decisions (that gorgeous mixed-race dancer) and promotions (at least three of the young dancers he used for his statement piece are now etoiles).
  9. I caught a glimpse of Peter Walker in the first Pas de trois. To be honest I was really not impressed by his last outing in this part.
  10. Because they are artists whose work audiences shared in, and whose careers and lives people have watched for long. To be concerned with their feelings and their embarrassment is a natural reaction, and by extension that concern also touches somewhat on our own mixed feelings. People don't know Waterbury. As of now nothing is proved in a court of law, nothing that suggests the firing is fully justified.
  11. I would love to see Hyltin dance the 2nd Movement. Tiler Peck, through various comments she's made, seems also eager for the opportunity to explore roles like this.
  12. Lauren Lovette is only a young principal and has only choreographed a couple pieces for the company. Ashley Bouder may feel more confident in speaking out but that still doesn't mean it's repercussion-free for her.
  13. That quote at the end of NYT's article struck me as emotionally manipulative the very first time I read it. Using the imagery of innocent, eager, young female ballet students to blur the specifics of her case. Who did she expect to "protect" her, given that her relationship with Finlay started after she left SAB and that she was never associated with NYCB? And what Finlay was alleged to have done he didn't broadcast it for his company to know. How can she extrapolate from her sense of not being "protected" to the absence of "protection" for actual students of SAB, and by logic of her general reference, all the other ballet schools?
  14. I would love to see Coll and V-V getting promoted. The last three names however do not excite me in any way. Come to think of it, the male corps ranks is not rich in talent either, certainly so compared to the female corps members.
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