nanushka

Great point. The Hugo Niebeling film of Mazzo and Martins really reflects this — for instance in its opening sequence.

Duo was cast tall last time they did it at ABT as well, at least in the case of James Whiteside, who danced it with Paloma Herrera. I can't say I recall very much about his particular performance, though. (Mostly I remember he was wearing too much makeup.) It was my first time seeing the piece and I rather disliked it based on that performance, though I've since come to appreciate it more (with certain definite reservations — and it'll never be a favorite, I'm sure).

Exactly. Just because he may not be ready yet doesn't necessarily mean he couldn't get there with the right opportunities. Maybe it shouldn't happen first at the Met — but then Ahn is debuting Solor there, which is a very big role, not just technically but also in terms of dramatic/narrative weight.

For a short Balanchine work to fill out 1/3 of an otherwise too-short program, my preference would always be Tchaikovsky PDD. I could see that over and over. Speaking of such works, how long has it been since the company last performed Valse Fantaisie? The repertory page for that work shows a fairly recent image, but I wasn't following the company closely enough until a few years ago to know when it was last done.

Yes, that’s it. Thanks so much!

Thanks, and then the second listed couple comes on first for the Tomasson/Yourth parts? Yes, I can't wait!

Question: In the casting lists, are the three Symphony in 3 couples listed in the order in which they appear? (i.e. the middle couple does the PDD?) Thanks!

In Macmillan's R&J, the Capulet parents especially can often have a decent impact and a decent degree of individuality, if performed by the right dancers/actors.

It does seem worth pointing out (without intending to suggest that Drew was unmindful of the point) that the skill set of a successful scenic designer for a dance production is not one that every (many? most?) serious contemporary artist who otherwise doesn't work in that medium is going to possess. When choosing such an artist, I think it would be essential to keep that in mind, and to look for one who not only creates the type of work that could translate to effective scenic designs but also who is adaptable enough to create work that does work in that very different medium. In other words, being a respected serious contemporary artist is not a sufficient qualification for success as a scenic designer. (That probably goes without saying, though.)

LadyBubbles, I say go for it. Big difference being another level down. And you’ll still get the total benefit of being higher up. (I go for orchestra, but I hear you nonetheless.)

Especially since it’s been awhile since we’ve seen them together here, and since their partnership was such a topic in his book. The anticipation that night will doubtless be quite palpable.

If so, that’s really unfortunate. How much better it would be to stay home and recover, go to class somewhere else if up for it.

I'd be curious to hear what opinions there are of the POB dancing Balanchine. (I don't know the company well but know they have a lot in their rep and have seen a few things on video.) His works are so varied — are there certain ones that are felt to be better fits for the company than others? What does their approach tend to be? Any other thoughts? Thanks!

In light of this comment, it's also very interesting to see her on YT in a 1973 video doing the Agon PDD with Arthur Mitchell.

The date is further upthread, but I'm pretty sure it was March 25. Always a Sunday, at noon I believe, both online and box office. Enjoy, and tell us all what you think if you get a chance!

Great news! And wow: ...that's a prospect I'll be very interested to hear more about!

I'm curious why that would be. And the mixed programs have been selling better? In most markets, one so often hears that full lengths sell better than mixed programs. Why might Philly be different? Could it be an adjustment period? Dissatisfaction among the general public with the direction of the company? Other reasons? Just curious, since it doesn't seem to fit (what one thinks of as) the norm.

There are people at the front doors who scan the tickets of those who exit and reenter during intermissions, so I'm sure they can scan you in when you arrive. (You may just have to kick someone out of your seat if anyone's moved in for a better view during the first two parts of the program.)

To put the question a bit differently, when does it stop being considered "newsworthy" that that's the reason he resigned? Rightly or wrongly, I'd guess that'll be quite some time yet.

PM me if you have trouble finding it. Don't like to post links for YT rarities here and I forget how easily searchable that one is.

I only know it from the PDD with McBride and Tomasson that's on YT (and there are a lot of great unique moments in that), so very much interested to see it.

Speaking of... https://www.nytimes.com/2018/02/20/arts/dance/balanchine-divertimento-from-baiser-de-la-fee-new-york-city-ballet.html

Oops I missed that, thanks!

Excited to see Tess in Agon; a bit surprised to see her paired with Chase Finlay in that, though. Also excited to see Tiler in Baiser. Has anyone seen Anthony Huxley in that before?

Sounds like a mess! The story may highlight the importance, for choreographers and other creative artists, of recognizing that their work is really a craft composed of distinct (if not always separable) skills that need to be practiced, developed and eventually (ideally) mastered. Much of that development can and should happen in lower-stakes environments. When, for instance, choreographing for a premiere at NYCB, one should probably stick within the realm of skills one has mostly mastered. None of which, of course, is to say that one shouldn't take risks. But there are risks and there are risks...