cobweb

I imagine it is very expensive to put on. The wardrobe budget must be huge (first section). I don’t know how much it costs for the pony, but there’s that. Plus to pull off the first section well must demand a ton of rehearsal time.

Wow, that is really disappointing. I was very excited to see Union Jack, which I have not seen nearly enough and which I find thrilling.

Thanks for your comments on this program, cubanmiamiboy! I have not seen Firebird since it premiered, and my impression was very similar to yours. I had some hopes it might improve with age, but apparently not. Memorial Day weekend is looking a little bare, ballet-wise, but I guess I won’t be seeing this program.

Probably I should read the article before I comment, but WTF?? What have they been doing all this time?? As for promotions, they will have to take on the promotion of apprentices to corps, as well as selecting new apprentices. Maybe they will do a few other promotions as well. If not, what terrible morale for the dancers.

Yes, Agon will be fine. I wouldn't have appreciated it when I was 11 (I love it now), because of its formal, abstract qualities, but there's nothing inappropriate about it. (I think the person who mentioned it was probably referring to whatever other ballet was on the program with it.)

I believe it was Arlene Croce. I can't provide a citation, but I recall reading it here on BA, in another forum.

I also love Markle's second dress, way more than the first one. I love the concept of a very simple dress focused primarily on a fine fabric, but as others have said above, it seemed poorly fitted around the neck and arms and was not flattering.

That is a great idea. I have the same feeling about Goldberg Variations and would love some help in figuring it out. canbelto, will you continue to post on BA? Hope so!

I enjoyed last night's performance of DAAG, although Finlay's partnering of Mearns was even shakier than it was on Friday night. I'm not sure what that shoulder lift exit is supposed to look like, but the movement had the feeling of being aborted and incomplete. Even if he got it right, it was extremely shaky. And I agree with California about Joseph Gordon's future as a principal, although I hope they give him a little more time to consolidate his skills before burdening him with the responsibilities of a principal. He's definitely on his way, but IMHO he is still developing. On both Friday and Saturday night the section (don't know the names of the different sections) with Joaquin de Luz and Tiler Peck was luminous, humorous, musical, and touching. Just beautiful. Seeing de Luz and Tyler Angle in this piece (in the sections each had with Tiler), made me deeply appreciate fine partnering. It is satisfying and wonderful to watch, an art form all its own. It took Russell Janzen awhile but he got there, and I think Gordon is getting there too. Finally, I totally love all the dramatic, unexpected, partnering exits. Shifting to Glass Pieces, this season Russell Janzen is stepping into the shoes left by the injured Adrian Danchig-Waring. He has a more mature quality than he used to, has a grand presence, is dramatically compelling, and looks completely at home carrying around the company's august senior ballerina. Anyone who can do right by Maria Kowroski gets a thumbs up in my book. Awhile back we had a discussion about the unflattering white leotards in Symphony in 3 Movements. If there is any costume that is even more unforgiving, it is the pastel unitards in the first section of Glass Pieces. The fabric sticks to every curve and crevice of the body and seems to have a textured surface that glistens in the harsh light, highlighting absolutely every bulge and sinew, even more than if the dancers were nude. Fortunately, the six dancers assigned to wear this item all filled it out admirably. Despite it looking a little ragged, I love the male section in the final movement of Glass Pieces. I get so pumped up with the pounding male energy, that I feel a little let down when the music shifts and the ladies come on. I will miss Cameron Dieck. He seems a prime candidate for promotion to soloist. I enjoyed him in Opus 19/the Dreamer and Glass Pieces, not to mention the opening movement of Symphony in C from the company's Paris tour (on video), and many other roles. Good luck in your new career, Cameron!

I’m not on Facebook so I don’t know if missing anything but does it say where the Harliquinade photos/videos were done? Curious about the locale.

Not to mention that many of us would prefer/love to see promising corps members spontaneously thrown into these roles.

With all the hubbub and excitement last night about Hallberg and Osipova, I was seriously wondering if I should bail out on the evening performance of NYCB, and instead score a standing room ticket for Giselle. Not wanting to waste a perfectly good ticket (it was too late to exchange), I went to the all-Robbins program of Opus 19/the Dreamer, Dances at a Gathering, and Glass Pieces. And so glad I did! Enjoyed it so much, in fact, that I bought a ticket to see the program again tonight. Let me just say that Dances at a Gathering is an utterly beautiful piece. Humble and modest, laced with humor, and studded with unexpected, heart-wrenching moments. Tiler Peck and Tyler Angle were particularly beautiful, especially in that lovely quiet pas de deux near the end; and also in the earlier section where he carries her offstage upside-down. I haven't seen much of Lauren Lovette recently, but she was wonderful as the girl in yellow. The playful, partnering-heavy section between her and Joseph Gordon was thrilling and very well-received by the audience. He looks great in his solos and pulled off all the partnering with aplomb, but it had an edge of uncertainty that leads me to think he is still developing his partnering skils. Sara Mearns and Chase Finlay were an unfortunate pairing. She is so big and she moves with such power and decisiveness, that she needs a strong partner who can offer total assurance, and Finlay is not that partner. It was a little worrisome. Still, she is an incredibly compelling dancer. The three-men-tossing-three-women went off powerfully, with Lovette landing dramatically upside-down in Catazaro's arms. And beautiful, rich, deeply lyrical piano from Cameron Grant. I was sitting way house left, close to the piano, and it was tempting to watch him rather than the stage. Just overall a lovely, lovely performance and a very enthusiastic audience. Opus 19/the Dreamer. I'm sure I've seen this before, but have almost no memory of it. Taylor Stanley's debut in the lead. He was magnetic, compelling, and authoritative. What a spectacular artist he is. Seeing him in such an exposed role, all in white, it got me thinking - how would he be as Apollo? Glass Pieces. Not an especially distinguished performance, but enjoyable anyway. The final section was disappointingly lackluster. I don't find Preston Chamblee the best choice to lead the male section. His elegance shines in other roles, but he lacks the sharpness and angularity for this role. Also, there has been a lot of casting turnover since we last saw this piece, with the male section filled out with new corps and apprentices. They looked ragged and under-rehearsed. Overall, though, a very rewarding night and I look forward to more of same tonight!

Thanks to all for these detailed reports! I am not seeing Giselle this year, due to lack of interest in most of the casting, unable to get to the performance I most wanted to see (Lane-Simkin), doubt that Hallberg and Osipova would actually perform, and the call of the Robbins programs across the plaza. However, I am loving reading the reports.

There is standing room in the back of the orchestra which is not so far. (However, unless you’re tall you should be certain to be in the first rung.) Sometimes they also open other levels to standing room. For the Carreno farewell I stood in the parterre (or was it grand tier??).

ABT Fan, did you consider standing room? I have had good luck with this.

I returned to Carousel for a second viewing, and so happy to get to see Amar Ramasar (he was out the night I saw it the first time). I found his acting convincing, but the only problem, if that's the right word, was his dancing -- it's so inherently noble that I found it impossible to believe him as a total low life. Agreeing with the previous posts about the lack of chemistry between Julie and Billy. On the other hand, the Carrie Pipperidge-Enoch Snow pair were absolutely totally delightful.

Week 6 casting is up. Some exciting debuts in the final performance of the season, including Ashley Laracey debuting in the lead role of Concerto Barocco!! Savannah Lowery dances the second lead as her final performance with the company. And Silas Farley debuting as well. Can't wait!!

Indeed! Glad to see I have a ticket for a Bouder-Gordon night. Can't wait to see him. But rather than Erica Pereira, IMHO they should have tapped Sara Adams for this.

This is a late report from the show last Friday, May 4. It was the Robbins-Bernstein program - Fancy Free, Dybbuk, and West Side Story Suite. I had a guest in town who wanted to see NYCB; otherwise I probably would have skipped this program, or at least chosen a performance with the all-new cast of Fancy Free (Coll, Mejia, Villarini-Velez, along with the long-missing Alexa Maxwell). I found Fancy Free moderately entertaining; especially glad to see Joseph Gordon. In this role and others this spring, he seems to be gaining in confidence and authority. He was also charmingly rakish and boyish in this role. I look forward to seeing more of him. I found Dybbuk to be dreary and way overlong. Tiler Peck and Joaquin de Luz brought a real sense of intelligence and authority to their roles, but that's the most that I can say for this piece. Would not see again. West Side Story Suite is seeming outdated, or maybe I've just seen it too many times. I enjoyed Georgina Pazcoguin and can't help but wonder why she doesn't dance more often. I was curious about the singing. Can anyone inform as to whether there are particular roles that are always done by the dancers, always done by guest singers, or does it depend on whether the dancer can sing?

Thanks for the report, wallis! I agree about the corps - when I saw them in Swan Lake two months ago, they were highly impressive. Sorry I won't get to see Jewels, as I can't make the trip this weekend, but I totally plan on more trips to see Pennsylvania Ballet. I can't wait for the chance to see Lillian DiPiazza.

Totally agree about Harrison Coll, and also the frequently-injured Harrison Ball.

I don’t think the are in denial, I think they are seriously short of bravura men. This is why Catazaro is being pushed beyond his natural limits. The male pipeline is looking sparse right now.

Any reports??

I saw Carousel last night and was *so bummed* that Ramasar did not dance!!! 😞 It was fun to see Pollack and Craig Salstein, but very disappointed about Ramasar. Hope no injury, and can't wait to see him back at NYCB. I am someone totally unfamiliar with musical theater and I went into the show knowing nothing except what I've read about the production and "metoo" etc. Yes the central relationship is problematic, and I wondered about the portrayal of Billy in this production. He just seemed mean. I didn't sense any moments of tenderness between him and Julie, didn't get a sense of what she saw in him at all. Wouldn't there be a way to portray him where he's deeply flawed, but more sympathetic, at least some of the time? Like with a scruffy charm, or someone who has tender moments. Maybe we're supposed to be baffled at Julie's choice, but it would be more relatable to me if I could at least understand something she saw in him. But he just seemed brutal and mean. Otherwise, however, I absolutely loved it, and left thinking I've really been missing out by focusing exclusively on ballet and opera. Theatre, here I come!! The music, the singing, and the production were all totally ravishing, and I was awash in weepy tears at the end. I'll be eager to see it again when it shows up on TDF.

Thanks for the info on Dybbuk, Olga and liebs!