cobweb

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.

I don't know what a roofie is, but yes, I was trying to sort out the relative significance of the allegations. The texting seems to me of much less significance than the photo sharing, but as they say, I am not a lawyer.

I have not been able to keep up with the volume of posts on this topic (now over 1300!), so this may already have been mentioned. But putting aside the photo sharing allegations, and focusing strictly on Ramasar and Catazaro's texting comments, I don't see how this is relevant to their employment or what they could be sued for. If they had expressed crude or sexualized comments to female colleagues and it was unwelcome, then sure, that's their workplace behavior. But expressing it to each other should be their own business.

The costume may be unflattering (let's face it, white tights are not flattering to anyone, although some people do have the body to look great in them), and I know Angle's physique is not tall and slender. The extra weight would not bother me if the dancing were better. But it was so poor that honestly, I agree with FoF that he should have been pulled, and I cannot imagine what he'll be like in Symphony in C and Stravinsky Violin Concerto (a debut). I don't know if this is due to injury, age, lack of discipline, or some combo. Good luck getting back up to speed, Jared!!

Canbelto, thanks for the note about Giovanni Villalobos. Glad this is just a normal move. He says “we” are moving. Presumably that means him and wife Sarah Villwock. They will be missed.

I noticed this as well! You didn’t specify, so to be clear this is Diamonds. And if we’re going to get really nit picky, Lydia Wellington appeared very sunburned.

I found much relief and solace in this performance, not that it was the greatest performance of Jewels that I ever saw, but I needed the dose of beauty, of Balanchine, and spirited individual performances. I was also heartened by the raucous support of the audience, as fondoffouettes said, with a burst of applause when that annoying taped announcement drones “Ladies and gentlemen, welcome to New York City Ballet...” and the rest of it was drowned out by applause. I’ve also never seen Emeralds get such hearty applause, usually it’s way more tepid. It encourages me to think the support is there and the company will make it through. Performance highlights include Ashley Laracey and Indiana Woodward in Emeralds, and in Rubies Emily Kikta (fantastic, I thought) and the incredible Joaquin de Luz, who had the audience laughing as he casually flew along, outclassing the guys less than half his age. Kowroski was majestic, but definitely slowing down, looking tired and sloppy toward the end. Performance lowlight: Jared Angle. I have loved him in many many performances, but I have no hesitation in saying he was awful. Weight gain, absolutely no elevation, and very sluggish. Also while Spartak Hoxha did a fine job in Emeralds, boy did I miss the pristine Anthony Huxley. Finally, Aaron Sanz caught my eye as one of the soloists in Diamonds, with some beautiful grand jetes and some stunning arabesques during the final promenade when the corps all enter. Thanks all. I needed that.

Thank you, Royal Blue. My unsettled mind is in dire need of solace, which I have counted on Balanchine and NYCB to provide. I look forward to tonight.

My question about Wendy Whelan is, does she have the experience it takes to lead a large organization like this? Does she have experience with leadership, administration, and long-term artistic planning? In many ways she is an appealing candidate, especially if the dancers like and respect her, but I can't see someone with no experience running a huge organization, just thrown in and surviving, let alone thriving.

That is certainly true, and assuming the allegations are true, is evidently what Ms. Waterbury is experiencing. I would certainly not want what appears to have happened to her, to have happened to me when I was that age (or ever, of course, I just mean that I was really young at that age and way more vulnerable than I would be now). I’d just point out that some women may not be bothered, let alone traumatized, by having topless or intimate photos shared. I can imagine that the variables affecting one’s reaction include things like: what exactly the photos include, the circumstances of how/ when one was photographed and by whom, one’s relationship with the person doing the sharing and with the recipients (for example, these may be people you have slept with previously/ hope to sleep with/ have danced with closely since you were a teenager and figure they already know your body pretty well), whether you knew the photos possibly were being shared (you may have had a vague sense and not exactly given consent but not cared much either), whether one has exhibitionistic tendencies and/or enjoys showing off one’s body, whether one has one’s own intimate pictures of the guy/s in question and may or may not have shared them with girlfriends, one’s age and rank relative to the sharer... and more. The point being that there could be a range of responses from intense shame and anger and betrayal, to indifference or even possibly pride. Obviously I have no information about what the reactions are of any NYCB women involved. Just pointing out that the allegation of photo sharing leaves out a lot of highly pertinent details and that women (or men for that matter) are likely to vary a lot in their response depending on those details and their own personality and circumstances.

I was there for one last performance Friday night. Ramasar performed as scheduled, and looked like his usual self, a confident and noble performer. Have to add, after seeing several performances of Carousel, that Joshua Henry's utterly committed, physical performance as Billy Bigelow, along with his sumptuous, rich and resonant voice - are truly incredible. I saw several performances of this production, and it was a very moving and rewarding experience.

That is a great idea.

The triple bills will fare better in a smaller venue. I could see this being a good thing if it pushes them to add a few extra weeks either in fall at the State Theatre, or perhaps three weeks at some other, smaller, venue. And of course, also if they get more imaginative with the mixed rep programming.

Thanks for posting this. I saw the news about the Met extending into June and was wondering what it would mean for ABT. Given that the news about ABT's reduced schedule comes from Peter Gelb, I wonder if it is definitive (hope not). But I don't know what else ABT could do. If they can't start till mid-June, an 8-week schedule would take them into mid-August. I can't picture what other venue they might use at that time period. Maybe they will make up the lost weeks in the fall season?

... or has attempted to do it. Not always successfully.

“Inner life” - my most favorite ballerina attribute. I have not been viewing the NY ballet scene for nearly as long as many of you. In that mystical category, Veronika Part, Kowroski, and Laracey come top of mind. As we all wait for performances to begin, who else in recent years populates this category? Also I echo CTballetfan’s call to Megan Fairchild: come back soon!!

Yes, agreed. I'd say the same for LaFreniere - she could use a little more nuance outside of that megawatt smile. Hopefully both will get there. Gerrity shows some very promising development recently. This will surprise no one who knows how much I love Ashley Laracey, but of this group she is IMHO most ready for these roles, poetic, individualistic, and luminous.