cobweb

It would seem there are promotions. See the website. Joseph Gordon to principal. Coll, Villarini-Velez, Applebaum, Sanz, Walker, and Kretzschmar to soloist.

I just spent some time in the Jerome Robbins exhibition at the Performing Arts library. There is some archival footage including Kay Mazzo and John Jones in Afternoon of a Faun. Makes me sorry I missed seeing it last week, especially with the new casting (Kennard Henson, Lauren Lovette, Joseph Gordon). If anyone saw it, I’d love a report.

My goodness. She will be missed too. Anyone else?!

I felt the same, and also seeing Anthony Huxley paired with Megan LeCrone. But the characters don’t really dance together that much, it’s not like there’s any complex partnering. And I guess they don’t want to be rehearsing two new Effie’s, especially when both King and LeCrone are so good at this role. Who else did it last time? I missed Indiana Woodward’s sylph last time and was sorry she wasn’t cast again.

Yes. Totally agree. Thanks for the reference to The Crucible. The Scarlet Letter also occurred to me.

Megan Mann will definitely be missed. She is a serene, gracious, shining presence. I hope she can pass those qualities on to the next generation.

If anyone attends tonight’s performance I would love to get a report on the Pereira-Huxley Allegro Brillante.

Abatt, it seems like that must be a typo, but it's an odd one. Maybe all the injuries are necessitating a change in programming. That's rare, but I guess it does happen. Last time I can think of was a couple of years ago when Claire von Enck was suddenly thrown into Tarantella (although I can't remember what it replaced, or why).

That makes a lot of sense, abatt. Thanks for the explanation. If that was the case, however, then they definitely should have axed "See the Music." I agree about the noble Tyler Angle being an odd choice for the rough and rude Billy Bigelow.

A few thoughts about yesterday's performances of La Sylphide. At the matinee, I thought Sterling Hyltin was the most perfect sylph imaginable, lithe, quicksilver and otherworldly, teasing without being coy. In the evening, I didn't expect to like Ashley Bouder, but she toned down the grin considerably (to be fair, very considerably) and turned in some stunning dancing with a soft, lilting quality that I don't think I've ever seen from her. Both Joaquin de Luz and Anthony Huxley were engaging as the dreamy James, although I found de Luz warmer, and therefore, his ending felt more tragic. Huxley's crystalline dancing was beautiful. Both Lauren King at the matinee and Megan LeCrone in the evening, as Effie, proved to be absolutely wonderful, subtle actresses. Harrison Ball, as Gurn in the evening, also surprised me. He had none of the noble hauteur he does so well, and instead appeared as a warm, humble youth, in love, earnest, and even goofy. So great to see Ball back on the stage! Daniel Ulbricht, who doesn't dance nearly enough, also did a warm Gurn. I find some aspects of the production confusing. I don't know if it intends to be a comedy or a tragedy. James' end is poignant enough, although it's tempered by the relief (in me, at least) that Effie dodged a bullet and wound up with the right guy. There also seems to be a comic, mocking element, such as when Gurn is imitating the Sylphide, or Madge is pushing Gurn to propose to Effie. This is played for laughs, like it's not serious. Thanks to vipa for that footage of the lovely Debra Austin as the Sylphide. What a beautiful, ethereal, springy quality she has.

Just back after the all-day project of both matinee and evening performances. Allegro Brillante, Easy, Carousel, and La Sylphide. First off, this is a long program. I’m not sure Carousel adds anything except for making the program too long (with an extra intermission and all). I don’t think I’ve ever seen this before, and as someone fresh off several performances of the Broadway show, which I found intense and moving, I found this ballet totally dull, a lifeless exercise. I missed the lush orchestrations and, especially, the singing of the Broadway show. I don’t need to see this one again. I chose these two performances based on the casting of Allegro Brillante. Mearns and Tyler Angle at the matinee were riveting. In the evening was Tiler Peck and the (for me) must-see debut of young sensation Roman Mejia. Tiler was everything we have come to expect from her – astonishing. Mejia mostly looked terrific. He is short but he dances really big. Despite being distinctly shorter than the tall male corps contingent, not to mention much younger and far less experienced than those guys, he looked totally at his ease. Great form, great command of the stage. There were some noticeable partnering glitches, including one where I thought he was about to let Tiler drop to the floor. But, I got the feeling that while he’s still working out the timing and technique of partnering, he has no evident inhibitions or anxiety about partnering, the way so many young guys betray. I look forward to seeing more of him. I see that Pereira and Huxley are debuting this piece on Tuesday. I would love nothing more than to see Anthony Huxley, but I have low expectations for Pereira (if it were Indiana Woodward debuting, I would definitely be there), and I don’t really need to see this overall program again. But I look forward to any reports. Finally, Easy. I'm on the same page as vipa and her husband. This was my first time seeing it. Inter-Export-Story is a perfect way of describing it. And I too would not seek this one out again, but I wouldn't avoid it either. And, I'll add that I enjoyed meeting vipa and her husband. As for La Sylphide, I’ll try to post more tomorrow.

No new casting up. Adrian Danchig-Waring still listed for tonight and more. Please reports from tonight. Maybe just wishful thinking, but I certainly hope last night was not as bad as it seemed. I always hope to see him perform. Before he went out, I thought he and Kowroski looked absolutely fantastic. At this age, I like her better in leotard roles versus tutu. She looked limber, fresh, and commanding. A few other random thoughts from last night. Troy Schumacher in the fourth movement of Symphony in C, who/which I saw for the second time, looked totally bright and sharp. To me this looks like a new high for Troy, vindication of his promotion (which I questioned), and promising more for him. Villarini-Velez again looked incredible in the third movement, performing way beyond his pay grade, and begging for bigger roles. I was thrilled to see Mearns and J. Angle in the second movement, which is why I bought this ticket after seeing a couple of performances of this program, and glad I did. Finally, as I've said in previous posts, I'm in love with Joseph Gordon, first movement. As sappho said up-thread, Tiler Peck and Joaquin de Luz seemed to get a little sloppy. They looked sentimental, very fond of dancing with each other, and a little teary. The audience sentiment sent them over the edge. But I think everyone went away happy.

Adrian DW did not dance the finale or appear for the curtain call.

A few quick notes about last night's performance, before I head to tonight's. I saw the new cast of Emeralds, with Lauren King, Megan LeCrone, Andrew Scordato, and Daniel Applebaum. I didn't think any of them brought anything new or special to the role, although Scordato was elegant and courtly. I'm not sure if Harrison Ball is new to the pas de trois, but he looked great, and boy is it good to see him back in action. I loved Lauren Lovette and Gonzalo Garcia in Rubies. Reminiscent of his very fun performances with Megan Fairchild (last year?). Lovette and Garcia seemed to be having a lot of fun, great rapport, and both so so warm and sexy. Kretzschmar making the best of Tall Girl, but I just think she's miscast. Do they tend to cast corps women in the role? Where in the ranks were Reichlen and Lowery when first cast, anyone know? Because I'm trying to figure out why they thought Kretzschmar would be a good fit for this role, overlooking someone who seems a much more obvious choice - Emilie Gerrity, tall and fierce. Reichlen and Janzen were cool, composed, and serene for Diamonds. I loved them, although if I had to choose favorites, I prefer the warmth and human-ness of Mearns and Joseph Gordon. On to tonight...

Week 4 casting is up. I'm intrigued to see new debuts in Afternoon of a Faun: Lauren Lovette and Kennard Henson. This may tempt me to see a program I would otherwise skip. Henson seems very promising. In my past week of marathon performances, I've noticed his elegance, and the especially wide and elegant line of his arms.

I was also there last night, the third performance in 24 hours. I'm just in love with Joseph Gordon. Most striking is the grand, confident, self-possessed way he is carrying himself. Harrison Ball, who I was very happy to see after his long absence, has something of the same bearing (although he is a little more cool and remote). For all those talented corps men, and I have been heartened to see several over the past week, who might aspire to bigger roles and promotion, they would do well to cultivate that grand, confident bearing. Talent and technique are essential, of course, but that grand bearing goes a long way toward making you look like an inevitable principal. Kowroski was in trouble, but she and Tyler saved the day. I wasn't necessarily going to go to the final performance of this program, but I really want to see Sara Mearns in this role, so maybe... As for the corps of Concerto Barocco, I'm trying to remember if I've seen Miriam Miller in the corps here, or is she new to this piece? She stood out, and not in a good way. Noticeably taller than the others, and she at times seemed to be having trouble managing her very long limbs and keeping up the the timing of the other women.

Thanks for this concise summary On Pointe. I also question whether this is justification to fire Catazaro. If you have the time and energy to provide an equally clear summary of the charges against Ramasar, I would be interested to hear it.

Just back from the matinee of Jewels. A beautiful performance of “Emeralds.” I love the world it creates, but it doesn’t leave me in an applauding mood, maybe because of the feel of being spellbound or in another world, quiet and somber. Also it’s fairly long without a lot of variety. However, I do love it. As for “Rubies,” I liked Sterling Hyltin way more than Ashley Bouder earlier this week. Bouder always looks to me like she’s trying to show or prove something to the audience — as if she can’t trust her talent to speak for itself. Hyltin relates to the audience in a much more natural way. Her partner was Andrew Veyette. His technique is diminished from past years, noticeable in stiffness and heavy landings. But he is still a great partner and he knows how to command the stage like a principal. As for Claire Kretzschmar, I was sitting further away than the other night so I didn’t get as much of the cheerleaderey vibe, and once I get past her lack of tallness, maybe I can warm up to her version of this role. “Diamonds.” Mearns was mesmerizing, powerful, individualistic. Commands the choreography, but seems spontaneous and improvisatory as well. (Mr Cobweb says she comes across as more adult than anyone else in the company.) Joseph Gordon looked great in his solos. The partnering was not as assured as he was last night in Symphony in C, he is no Tyler Angle yet. But something about him just makes me love him. I missed Wednesday night, and I’m sorry there’s not another performance with this cast!

What a terrific night at the ballet, and a company brimming over with talent. Tiler Peck and Joaquin de Luz brought the house down with Tchaikovsky pas de deux, with the raucous audience demanding multiple front-of-curtain bows (Mr. cobweb, swept away with excitement, swore it was 11 curtain calls, but more realistically, I counted five). For me the highlight was Symphony in C. Last time I saw Joseph Gordon, in Dances at a Gathering in the spring, he looked wonderful, but I still had the sense he was young and was solidifying his partnering skills. So I was thrilled to see him tonight, full of confidence and grandeur, partnering with calmness and pride, dancing on a large scale, and taking ownership of the stage. Wow. I can't wait to see more, including tomorrow with Mearns in "Diamonds." Then there was Sebastian Villarini-Velez in the third movement, who really outdid himself. I don't know how I totally failed to notice him in the corps for years, until his breakout performance as "Melancholic" in the spring, but really, he has the technique and he has the stage presence. I look forward to much more of him, and what a shame for both him and Gordon if they are not doing promotions in the foreseeable future. They are ready. Troy Schumacher also looked very bright and sharp in the fourth movement. Only sour note for me was Erica Pereira in the fourth movement, she makes no impression at all and I don't understand the opportunities she's getting. I look forward to seeing this same program and casting again tomorrow. Maybe I can shift my attention from an inspection of Joseph Gordon and focus on Aaron Sanz, soloist in the first movement, who also looked very sharp.

Presumably the person she would be replacing is Reichlen (since both Kowroski and Mearns danced Diamonds after LaFreniere was pulled from Rubies). Any indication from Reichlen’s Instagram that she is injured? She is after all scheduled to dance in Concerto Barocco tonight.

If this is true, I count on alert Ballet Alert-ers to post the news the instant it becomes official.

I decided to go tonight at the last minute and glad I did. Another dose of Balanchine is just what the doctor ordered for my beleaguered mind. Kowroski and Tyler Angle delivered a seamless, majestic pas de deux in Diamonds. When the corps came on for the final promenade, led by Aaron Sanz with his stunning arabesque, all seemed right with the world. Beauty, hierarchy and geometry, chivalry, discipline and training, and the many beaming and eager faces of young dancers new to the company - all a balm to the soul. On a less exalted note, I was disappointed in Claire Kretzschmar’s Tall Girl. She’s not tall enough to give the choreography the intended impact. The arabesques penchee were tentative and not fully articulated (presumably that can be improved). And I found her too cheerleaderey, smiling and spunky. Emily Kikta the other night was totally badass. She glared at the audience and used her legs like deadly weapons. She was dangerous, and I loved it. In Emeralds, Ashley Laracey was a vision. Indiana Woodward’s phrasing was thrilling. She holds herself like a star. I was going to say that I love the pas de trois, then I was going to add I love the “walking solo” role, and then the solemn ending... I guess what I’m saying is that I love Emeralds. Get well soon Emily and Isabella!!

Wow, I'm not sure what happened, but does this mean she's out for tonight? And LaFreniere out too? Casting has not yet been updated.

That is great news about the successful debuts, and I can't wait to see Joseph Gordon and Sara Mearns. But *what a bummer* about Isabella LaFreniere not dancing! This comes a few years after she had to miss her Firebird debut, too. Wow. I hope she dances on Saturday. ETA: the substitution of Kretzschmar for LaFreniere must have been very last-minute, as the online casting sheet has not even been changed.

No doubt you are right, JuliaJ. However, I wish the Stravinsky Violin Concerto opportunity had gone to a corpsman who, while he might not be the most exciting dancer in the world, would be more capable than Jared Angle is looking right now. There are some experienced corpsmen like Daniel Applebaum and Devin Alberda who can be relied upon to handle complex partnering and won't be fazed by being in the spotlight.