California

Some small casting details for the Segerstrom Nutcracker. Seo and Stearns were originally cast for opening night (Dec 10). Now it's Boylston-Whitehead and they say on Instagram that this is a late substitution. Meanwhile, Brandt is shown rehearsing with Stearn on the Segerstrom stage on her Instagram stories. So I wonder if Seo can't perform for whatever reason and Brandt will sub on the matinee on the 18th. I'm travelling to see the second weekend (mainly because I wanted to see Bell with Hurlin and Shevchenko). Being able to see Brandt, too, would be a real treat. Another interesting change: Originally Shevchenko was scheduled with Forster on the 17th. Now moved to 18th with Bell. No Forster on the schedule now. I never saw this version on the east coast and normally avoid Nutcrackers. But I did see this version at Segerstrom in 2015 and found it really interesting, so I thought it was worth another visit now that the company is performing again. PS. Still eager to see their June Met schedule. Perhaps in January?

With three babies at home, I imagine guesting for other companies is a bridge too far for Fairchild!

Earlier in the fall, Simkin posted what seemed like a week-long visit to New York City on IG-stories. No way to save that, unfortunately. At first I thought perhaps he's homesick and showing old pictures, but I started to wonder if he was in town to work with somebody like Ratmansky on something we might see at the Met next June. Did anybody else catch that? He posts amazing rehearsal clips on his regular IG. Makes me really miss him! I'd go see anything he does if he guests with ABT.

The Guggenheim has announced their spring series for Works & Process for spring 2022: https://www.guggenheim.org/event/event_series/works-process? NYCB has a program April 24 (https://www.guggenheim.org/event/new-york-city-ballet-silas-farley), but nothing from ABT. Seems odd, as this would be a good way to promote whatever they are planning for the Met in June.

I saw the two opening performances of the new production on Saturday, November 27, of the Colorado Ballet's Nutcracker and another Sunday night, from different vantage points in first tier and first row orchestra. New Sets: There has been extensive publicity about the all-new sets and costumes. I especially liked the scrim at the beginning of both acts and at the end, with clever lighting to make details appear and quickly disappear. The first act is the Victorian living room, as before, but fresher to those familiar with the older sets. The tree is bigger and more effective. The sled is truly gorgeous. New costumes: A rich palette of vibrant colors throughout was welcome. A few surprises: Masks: The production uses a huge number of young children, as it always did. But the masks actually seemed appropriate elements in their costumes. The angels had gold sparkly masks. The Polichinelles had bright red masks. Soldiers and Cavalry all had masks matching their costumes. It probably helped that the new costumes were designed in the midst of the pandemic, but I'm wondering why other companies aren't using this solution. Denver is doing well in taking COVID seriously and the differences elsewhere might have to do with city regulations. Denver Center for the Performing Arts uses the same restrictions as Lincoln Center for the audience, viz., proof of vaccination and indoor masking. All over 2 years must show a negative test if they are not eligible yet for vaccination. No masks on older children or adults on stage, although all are masked in rehearsals on social media. Chinese: This seems to be the most problematic for all companies. The one Chinese dancer had a bright red top and gray pants and hat. You wouldn't guess that this was Chinese if you didn't see it in the program. Okay, if that eliminates the criticism over cultural insensitivity. Sugar Plum Fairy and Cavalier: Their costumes were a mix of wine, deep blue and some green. In an interview the designer said the wine was an allusion to the mother's dress in Act I, but it seemed dark and puzzling. Dew Drop has a short pink tutu and the Nutcracker Prince is in white with gold trim, so the dark colors did make for a clear difference. Performances: This is such a huge cast that I'll only single out a few of special note. Sugar Plum Fairy and Cavalier: Jennifer Grace and Mario Labrador: I saw both of their weekend performances, as I was eager to see the two new principals after an impressive Giselle in October. He has so much presence that he sometimes overshadows Grace, although their partnering was fine. No torch lifts, which I thought they might try given their Russian training and performance experience. His captivating and genuine smile seems to reflect his sheer joy in dancing. Dana Benton and Yosvani Ramos: The two long-time company members and veterans were satisfying, as always, with still-solid techniques. They have never tried a torch lift and I assume they never will. Clara and Nutcracker Prince: These are very substantial roles for adults, with plenty of interesting choreography and partnering in both acts. Mackenzie Dessens and Jeremy Studinski: They substituted at the matinee (for unknown reasons). Very serviceable, although I might wish for more presence from both. Jessica Payne and Bryce Lee: Substitutions in the evening (again for unknown reasons) for Leah McFadden and Jonnathan Ramirez, one of the other new principals, someone I had hoped very much to see. Lee has been a corps member since 2015 and brings a commanding presence to all his roles, so this was a nice treat for him and for the audience. Dew Drop: Melissa Zoebisch (matinee) and Jennifer Grace (evening) both knocked out four solid Italian fouettes and were captivating, lyrical presences. Russian: Kevin Gael Thomas and Sean Omandam are long-time company members who always knock this out of the park. Thomas' Revoltade 540 and Omandan's gymnastic walk-over and airborne split jumps never disappoint. Marzipan: Chris Moulton once again showed his great comedic presence, which we saw in 2020 in Cluedo before the shut-down.

Just to note my annoyance, as someone with an annual membership in Marquee, that I have to pay extra for the NYCB production. The subscription incudes two versions of Royal Ballet's Nutcracker and one from Australia Ballet. I assume NYCB required that, but still... Medici.tv has numerous Nutcrackers (Royal, Zurich, Mariinsky, Bolshoi, Berlin, Amsterdam). It also has the 2011 NYCB, with Fairchild and deLuz - no extra charge!

I have tickets to the premiere and look forward to it. The extensive discussion about offensive cultural appropriation is much-discussed in other artforms, but not nearly so much in ballet, although we have plenty to discuss. And while I'm in town, I get to see Osipova in R&J, so looking forward to it all.

The outfit Copeland wore to a Glamour gala last night doesn't rule out the possibility that she's pregnant: https://www.instagram.com/p/CWD-sM-pE9-/

If you're a Friend of the Kennedy Center, tickets for ABT and Mariinsky are on sale today. Heavy traffic, but not too much of a wait and lots of good seats. They must be optimistic that the Russian dancers will be admitted to the US in April. I noticed at the Skate America competition last week that there were plenty of Russian skaters. Somehow they are being admitted with the proper vaccinations! EDITED TO ADD: The ABT site does not include any casting for this engagement on the master calendar. It does list Don Q for Tuesday and Wednesday nights, while the Kennedy Center site lists "ABT forward" with Ratmansky, Lang, and TBA. I suspect the ABT site is incorrect. https://www.abt.org/performances/master-calendar/ https://www.kennedy-center.org/whats-on/explore-by-genre/ballet/2021-2022/american-ballet-theatre/

It appears San Francisco Ballet continues to have some administrative struggles. Last week, I was rummaging around the site and discovered that I COULD now buy additional tickets before November 17 when they go on sale to the general public. Was that because I already had a "choreograph your own" or a subscription a few years ago or am a Friend? I don't have a clue. Today I received an email notice that, as I am a friend over $200, I could now buy single tickets. It just seems odd that they change settings on access to single tickets, but forget to notify the people they are trying to benefit.

Now that ABT's fall season is complete, we should be hearing soon about the Met season next spring. At least, pre-pandemic, we could expect that. I'm hoping some on this site will get a news release and share! I'm guessing Swan Lake and Ratmansky's new Of Love and Rage. With the shorter 5-week season, I'm guessing Giselle (from fall) and Don Q (from the Ken Cen in April) won't make the schedule. Skylar and Aran have been rehearsing Manon excerpts with their wonderful coaches on Instagram, so I'm hoping that's on the agenda. Perhaps retirement performances by Copeland and Murphy?

ABT posted several shots of Bennet. He definitely went backstage. On a 60 minutes piece with Lady GaGa, they explainned that he has Alzheimer's but seems to respond well to music. https://www.instagram.com/p/CVqsPk2J-eR/

When the Denver Center for the Performing Arts (home of Colorado Ballet, Opera Colorado, touring Broadway, live theater, Colorado Symphony) announced their policy of proof of vaccination + indoor masking on Facebook and elsewhere, I saw a few comments complaining that they will never attend under those circumstances. But most were like me: this is the ONLY way I'll attend anything at DCPA. At actual performances of the Ballet, I didn't pick up any resistance at all. Ushers were reminding people to wear masks properly and leave it on during the performance and nobody made a fuss. This is all anecdotal/unscientific; I haven't seen any official data on resistance or refund requests. But these audiences have more in common with Lincoln Center audiences than, say, Grand Old Opry (no offense intended!).

Colorado Ballet just announced promotions from soloist to principal for Jennifer Grace, Mario Labrador, and Jonnathan Ramirez. All are recent hires during the pandemic who were outstanding in principal roles in Giselle earlier this month. So the company now has six principals. https://coloradoballet.org/Dancers

The dress Copeland wore to the ABT Gala does not exactly rule out the possibility that she might be pregnant. https://www.instagram.com/p/CVjf9mYq-HV/

Copeland is also not cast in the Ratmansky Nutcracker at Segerstrom in December, although his choreography is not a great fit for her. https://www.abt.org/performances/the-nutcracker/ When the spring Met schedule comes out (soon, I hope!), perhaps we'll learn more - a retirement performance, perhaps?

Having Albrecht enter first and go into his "house," followed by Hilarion's entrance, gives him time (dramatically) to change, even though he is wrapped completely in a cape on the first entrance.

Fascinating history on that set. The 1977 version (as seen in Live at Lincoln Center) does have a very different set. Baryshnikov enters with his cape wrapped around him and only briefly leaves the sword in his house. No time for a real costume change in there. It's at 3:56.

Does anybody have a program handy from their previous performances at the Met (spring 2019?). I wouldn't be surprised if they just used the same program note and didn't notice this change in the current production. Willard is carrying the cape, sword, and horn, isn't he? In the film, Baryshnikov enters Act I with his blue velvet top, knee-length pantaloons, cape, and matching hat with a feather. Then he disappears into the side house and re-emerges with the peasant costume. I suppose ABT could have duplicated that but were tempted to cut that corner and hope we wouldn't notice.

Assuming it's the same costume I saw Wednesday and Thursday, Albrecht does consider that brown top to be a peasant outfit. That's clear when Bathilde re-enters and looks at his outfit scornfully. He gestures like he was hunting with bow and arrow as that explains it to her.

So sorry I missed this one. Bell is one of my new favorites and I can't wait to see him at the Met next spring. He regularly joins Brandt's coaching sessions, for Black Swan and Manon, on her Instagram stories. ABT Instagram shows him working on the entrechats.

Katherine Williams and Blaine Hoven are scheduled for the Saturday Peasant PdD

I took a look at the film Dancers (1987) today to see what the sets and costumes looked like there, as those are the ones being used by ABT this week. Several things of note: They filmed in a small Italian opera house with a stage that seemed no bigger than the Koch. Both acts started with a scrim showing the set design in black and white. It lifts to reveal the same thing in color. Much earlier in this thread, somebody mentioned that the original production in Paris wanted to give the sense of being lifted off the page. They are very effective and I wonder why they weren't used. (cost, most likely) Baryshnikov managed six brises on one pass and five on the other, even on the small stage. But he starts way back in the corner almost out of sight, and the final one is compressed as he seems about to run into Myrtha. Giselle has a very elaborate grave with her name on a large cross. It's a platform that turns around to reveal her and later to take her away. But I imagine that would be expensive so we saw the substitute wooden cross brought by Hilarion from earlier ABT productions. They used some silly gimmicks with Giselle appearing on tree branches that lower and return. I don't mind that ABT left those out. Giselle's first act costume has a deep blue top. It's possible it's faded after 34 years or perhaps it was remade in that light color. Albrecht's first act costume is a white loose blouson top with those silly little pantaloon shorts the men in the corps wear. Very glad they changed that. The Willis corps numbered only 18, as at ABT, perhaps to accommodate the small stage. I had forgotten how cloying the plot is with Julie Kent, but I am grateful that we have a recording of this final performance by Baryshnikov of Giselle. He was 39 when that was filmed and it's amazing how extraordinary he still was.

Cornejo posted a very touching note on Instagram, thanking us for getting vaccinated but also (in his comments) explaining the extreme care he is taking to avoid any chance of getting COVID despite his own vaccination: https://www.instagram.com/p/CVVxZqkJRb9/

I don't disagree with any of the rave reviews of Skylar Brandt and Herman Cornejo. She is really one to watch. She posts extensively on her Instagram coaching sessions with Irina Dvorovenko and Maxim Beloserkovsky. I assume they were in the audience. Did anyone see them? One welcome detail: no masks on dancers at this performance. Whew! I thought the timing/phrasing was a little odd in some of the partnering. E.g., right after Albrecht's solo, she appears and he "floats" her to the other side of the stage. It seemed rushed and way off the music. But that's haggling over details.