nanushka

If it’s not too much trouble could you link to the article? I’m curious to read it and can’t tell which it might be (one of the ones under “News” I’m guessing?).

Thanks for the explanation. Johnsey himself certainly doesn't seem to have viewed those factors as being central to his troubles, but your hypothesis doesn't strike me as being out of the realm of possibility. Also, the two explanations — yours and Johnsey's — are of course not mutually exclusive.

Thank you for clarifying. This (above) is the part that confuses me, then. What is your basis for asserting this? Is it something Johnsey has said? something representatives of the company have said? something you've witnessed in performances or elsewhere? Because this (as far as I know) isn't the reason Johnsey has given for his fallout with the company; quite the opposite, as I got the impression that he loved his work and was very good at it. (Of course I wouldn't suggest we should take his word as the sole, complete truth.) So where does your idea about this particular "clash" come from? Because very much in line with @Helene's comments above, I don't see a clash there at all — particularly in light of the Trocks' repertoire and the particular ways in which they achieve their drag comedy. I think someone like Johnsey, who took being a ballerina very seriously, actually fits in quite perfectly.

But what your comments here have been suggesting — and I think it's important to articulate it, and please tell me if I am incorrect in my summary — is that Johnsey offstage was too feminine, insufficiently butch, not manly enough, too womanish despite his biological maleness, to be a successful drag performer.

Drag is gender fluidity. By definition. Drag is the performance of a performance. And yet again I ask: What evidence is there that Johnsey’s performances were not considered sufficiently comic? What history is there at all of company dissatisfaction with his performances? As you, @On Pointe, wrote:

We’re talking about professional employment here. Somehow I don’t think “my mom and dad told me it was ok to wear / act like this” is going to be viewed by anyone at all as an appropriate citing of authority. Maybe in your workplace; not mine. And in any case, that’s still confusing sex and gender identity/expression. To “dress and act like a man” is simply to be biologically male and to have on clothes. I’m pretty sure Johnsey fit those criteria for his employment.

No, it wasn't all male, and nor did it have a role for a male dancer performing in drag and on pointe, as far as I recall, so I'm not sure how it's relevant to Johnsey's case. Again, I don't recall hearing any complaints that Johnsey couldn't play the gender humor that the Trocks are known for.

Drag has almost always been both, I believe. (It has a long and complex history.) And the two are not in any way mutually exclusive.

There's some serious confusion between sex and gender identity/expression going on here. The Trocks bill themselves as "The World's Foremost All-Male Ballet Company." They do not sell themselves as a company of stereotypically butch/manly/masculine men. Johnsey, so far as I am aware, is indeed biologically male and expressed no interest in transitioning (though he was told by he company that, should he choose to, that would be a problem). He is not and never has been, so far as I am aware, "a female performer." He was still performing in drag, as part of what is indeed a drag troupe. Drag can be far more complex than just big butch men with chest hair peeking through their bodices and wigs on. Are there any sources indicating that Johnsey's performances with the Trocks were no longer humorous or were lacking in "caricature of female appearance and mannerisms"? I don't recall seeing any evidence that the company found fault with his performances. As far as who gets to set the boundaries of what it means to "dress and look like men offstage," I'm at a loss.

What is the aspect of their "mission" that he couldn't "stick to"? What are the "wishes and desires" that management had "no obligation accommodate"? (Genuine questions.) Well yes. When someone chooses to publicly define their identity in a particular way — especially if that puts them in a category that is commonly subject to prejudice, discrimination, misunderstanding, animus, etc. — I find it's usually best to take them at their word.

Yes yes yes

I'm afraid I can't offer any illumination on that! Just found the Shostakovich quote to be interesting.

Based on the info on the Marquee app, even Shostakovich didn't seem to think the plot was worth much. He is quoted thus:

I was responding to your earlier post, where you seemed (to me) to be expressing doubt that some "whole concept" was "pure satire": I apologize if I misconstrued your tone or intent. Now I'm not sure what you meant.

Johnsey's clash with the Trocks was "professional" and did not "have...much to do with his personal identity"? That wasn't my impression at all. What is your view based on? In the interview cited at the top of this discussion thread he says the following:

Agreed, and I think it'd be nice if the New York companies started sharing any new (or even recycled but freshly or more officially available) performance content at this time, as so many other companies (especially abroad) have done. I'm sure they have their reasons for not doing so, but if there's ever a time to work past those, now is it. So far their offerings (e.g. social media features with dancers) have been disappointingly meager. If they want to maintain public engagement and encourage financial support, I think it would be very wise of them to consider sharing more. Unfortunately, I doubt that will happen.

Gender certainly can and has been the object of satire at times (including by the Trocks), but I don't see or hear anything that suggests Johnsey's gender identity — in either life or art — is or ever has been "pure satire," no. I hope that was not here on Ballet Alert that you got a not very kind response — but would also emphasize that disagreement is not the same as unkindness.

It's not just the performances, though — it's also the rehearsal time that would need to lead up to the performances. With dancers coming back after months away from their usual routines (even if they are taking daily online classes and staying in shape as best they can under current circumstances), they will need a lot of work to get back into performance shape. That will take significant time, so even after the shutdown is lifted no performances could happen for quite awhile.

This is terribly disappointing — but not at all surprising — news. I so hope that all the dancers who were set to get exciting new opportunities this season will be given the same (or better) chances next year. It's also sad that we've now likely seen the last 8-week Met season of ABT.

Thanks so much for the Frau link, @volcanohunter! Just from skipping around through the video a bit briefly, I'm looking forward to watching more of it.

One of my favorite operas. Is that still available to watch?

Enjoy! I’ve been working my way through the late 80s Ring cycle on video about a scene per night over the last month and really finding it very diverting.

I strongly recommend the Met On Demand subscription for those so inclined. The catalogue is very extensive, particularly if you’re into audio as well as video. I have the app on my Roku TV and use it pretty much daily. I think it’s around $15/month.

Oh dear yes, that was supposed to be the downfall of civilized society, I believe! (This was 1961.)

This photo couldn’t be lovelier: