cobweb

Interesting discussion about the changing interpretations of Liberty Bell, and/or our changing attitudes towards patriotism. Nadon definitely brought elegance and glamour.

Thanks! I watched the snippet from Square Dance. Huxley and Fairchild look great.

Okay, I have to take back my criticisms of this program. I felt I didn't need to see Western Symphony again, but once there I couldn't resist feeling the fun of it. And Stars & Stripes -- wow, I had forgotten how much great dancing there is in this. I see they're bringing it back in the Winter, as they should! Tarantella is in tune with the fun mood of the evening, and the only discordant note is The Unanswered Question, which seems to have slipped in from some other program. Gilbert Bolden looked terrific in the first section of Western Symphony -- dancing large, his smile lighting up the stage, and clean and elegant. He really looked great -- hope this is a breakthrough moment for him. In the second movement, Jovani Furlan was dreamy and charming, again showing a sly humor like he did in Rubies, and letting the audience in on the joke. In the last movement, I don't think this role is a great fit for Unity Phelan, she doesn't come across like a showoff and a flirt. Roman Mejia, on the other hand, is a GREAT fit for this flirty showoffy role, and he and the audience both enjoyed it tremendously. Emma Von Enck was terrific in Tarantella. You'd never know it was a debut, so comfortable and assured did she look. Playful, spontaneous, and musical. And she always includes the audience, with what I read as a demeanor that says she is eager to please and eager to give us a good show. She is a very, very likeable performer. Finally, Stars & Stripes ramps up the fun even more. Erica Pereira continues to come across as wan and unfocused with little attack and less technical facility than she used to have. Alexa Maxwell (who was sitting near me in the audience) would be terrific here. Emily Kikta was a dominating Amazon with charm, if that makes any sense, in the second movement. She is such a confident, polished performer -- it's a mystery why she wasn't in the recent batch of promotions to principal. The movement with all the men was fun, and Daniel Ulbricht looked terrific. Finally, El Capitan and Liberty Bell, Peter Walker and Mira Nadon. I don't think of either of these two as having bravura technique (but maybe they do have it, I just haven't seen them in roles calling for it?), and in truth neither of them looked completely comfortable. They kept their sense of humor, though, and both looked great anyway. I have to say that I love that teal-colored tutu bodice with the gold accents and tassels, and the little yellow feather. Glamour and charm! The finale was fun. Good show!

I am no fan of the See the Music programs (at least on weeknights), but it seems really unfortunate things have come to this. It also seems unprofessional of the musicians to wear the t- shirts. Does anyone know if their contract specifies attire?

Thanks for an update from the scene, abatt! Bad news about Aaron Sanz.

Interesting, the casting sheet for this week looks like it was updated yesterday -- it is dated 9/25. But, I don't see any substitutions actually listed, for Laracey or anyone else.

Despite heavy duty rain, it was a lovely afternoon inside the theatre yesterday. The lobby was packed coming in, so much so that they were stopping the inflow into the lobby every so often, letting the "will call" line progress and the lobby clear, before letting in another group of people. Many former dances to be seen. Russell's farewell was fairly brief as retirement celebrations go, but fond and affectionate and well supported by the enthusiastic audience. Wonderful performance as well. Indiana Woodward gave an elegant, sophisticated, and richly detailed rendition of the Violette Verdy role in Emeralds. I liked Emilie Gerrity better than I did when I saw her earlier in the week; she looked more relaxed and less tense to me, more soft and gentle. Sara Adams in the pas de trois was, as always, crisp, airy, and charming. It's long been a mystery to me why she is a somewhat underused soloist. Mira Nadon ruled Emeralds. Agree with @pirouette that the arabesques penche were riveting. Huxley and Fairchild brought their "A game." I don't love having the portions of Jewels pulled out of context, but now I'm looking forward to seeing Rubies in the spring, since we have three outstanding casts -- Huxley/Fairchild, Peck/Mejia, and Von Enck/Furlan. My only wish is to see Alexa Maxwell too. Russell and Sara were beautiful together in Diamonds. When they were taking in audience applause after the pas de deux, Sara looked like she was trying not to cry. With Janzen retiring, I'm losing hope of seeing Davidsbundlertanze again anytime soon. Much appreciation to him for many lovely performances!

I was there again last night to see the all-debut (except for LeCrone) cast again. As he was on Thursday night, Aaron Sanz was out and replaced by Adrian Danchig-Waring. I really love Sanz' tall, elegant dancing and hope he's back soon. In Emeralds, Nadon once again was amazing. I've been trying to articulate to myself something about how she relates to the choreography. To me, it's as if she's speaking to herself as she moves, or thinking, or expressing some organic thought as she dances. As if every turn and every little movement of her arm carries the weight of a thought she just had, or is having as she moves. I can't quite get my mind around it, but I think I'm trying to get at what @bellawood said above, it's as if the movement is natural to her body. What an amazing gift Nadon has. I was excited about Davide Riccardo getting a big opportunity in Emeralds. Seeing him in this role twice now, he has all the makings of a danseur noble. But he didn't seem present enough, was perhaps nervous, not taking command of the stage or addressing the audience. Even during the curtain call, while others appeared relieved and joyful, he looked quite subdued. I know he has the talent, maybe with more experience he will gain confidence and authority. I always enjoy the pas de trois. The music is so catchy and the choreography for three is similarly "catchy," it lingers in the mind. India Bradley is wonderfully fluid, has an expressive face and a beautiful smile. With those fluid arms, I wondered if we might see her in the "walking solo" role one day. Mary Thomas MacKinnon again danced with a passion and musicality that I found really moving, and I want to see more of her. Rubies - again, Emma Von Enck danced huge, with verve, wit, and musicality. I love how open she appears onstage, as if she's just delighted to be there with her partner and with us, the audience. As someone said up-thread, more, more, MORE! Jovani Furlan often seems serious and intense, so it was great to see him having fun here. He and Emma had a good rapport. And he looked delightful in the section where he leads the four guys jogging along after him. Dancing with tremendous power, his elevation soaring above the heads (so it seemed) of the other guys, and slyly gesturing toward the audience to let them in on the fun as he led the youngsters down a path he knew they couldn't follow -- all great fun! Christina Clark again, was a fairly subdued Tall Girl who couldn't consistently nail a grand jete or arabesque penche. I have my doubts that she has the right qualities for this role. Diamonds -- Chun Wai Chan was beautifully noble. Isabella LaFreniere -- hmmm. In a way I loved it, I find her moving, expansive, and she doesn't have trouble with the choreography. But I kept feeling like something was missing - some interior quality that she is holding back, something that keeps her from fully unleashing grand expansiveness. Hard to articulate. Somehow the memory of big past performances she's had also color my view of her -- the dicey Sleeping Beauty debut, and the grand excitement of her Chaconne debuts. All adding up to a very talented dancer who is still pulling it all together. I can't always get to as many performances, night after night, as I've been able to do with this run of Jewels. (And depending on the programming, don't always have the interest. Looking at next week, I find it so frustrating that they are bringing back Western Symphony and Slaughter on 10th Ave, two pieces that I'm weary of.) Seeing a piece several times, night after night, really helps me get a deeper grasp of its structure and complexities. Looking forward to the matinee and Janzen retirement.

I did not hear any boos. In fact, she got an enthusiastic welcome from what sounded like lots of young people/students(?).

... after 3 nights in a row, I took a night off (and enjoyed a surprise impromptu flute concert in my building!!). Any reports? How were Mearns & Janzen?

Emma von Enck not only stole the evening, she may have stolen the whole season! Like others above, a friend and I were sitting at intermission wondering what other big roles they can put her in. I see she's debuting 3rd movement of Symphony in C, MHO they should give her the first movement. How about Stars & Stripes? For this season, only the final week's casting has not come out yet, so I pray for Serenade, Russian girl. In addition to everything others have said above, I really enjoyed her facial expressions. She let go, uninhibited, joyful, sexy, and unafraid. Loved it!! I have to add, Jovani Furlan was fantastic as well, fun, intense, and beautiful. In Diamonds, I found Chun Wai Chan really, really beautiful. His tours are so clean, the positions and rotation are so clear in the air, nothing is smudged. He is a GEM. I find this kind of noble, restrained, clean, and committed dancing to be an inspiration -- not to wax too poetic, but it makes me feel good about life in general. Joseph Gordon, with a similar nobility, made me feel the same the night before. Isabella LaFreniere inspires more mixed feelings, but at least she is never boring, as I found Unity Phelan the night before. LaFreniere danced very large and expansive, and something about her also comes across as vulnerable and touches my heart. TBH, I loved her! I remember her first year of Firebird which looked very good, and the second year she added tremendous confidence and authority. I imagine the same for Diamonds. She has room to grow here, but this is an excellent start. I am convinced she is a very special dancer (note to @vipa!), and I am glad they gave her this important opportunity. A note on the pas de trois in Emeralds. Spartax Hoxha looked good. India Bradley is wonderfully fluid and airy. Mary Thomas MacKinnon gave it her all, she is a dancer with passion and imagination, and it made me want to see more of her. Agree. Her temperament is not right for this role. This is a missed opportunity for some other deserving corps member, or the most obvious choices, Ashley Hod or Miriam Miller.

I found her a very un-impactful Tall Girl. It’s a mystery to me why they thought she was a good fit for this role. She doesn’t have the kind of bold, dynamic movement quality, nor the dramatic presence, called for here. At times it seemed to tax her technique as well.

… and Emma was fabulous in Rubies!

Another comment about last night, I wanted to add that I really enjoyed the pas de trois in Emeralds, with KJ Takahashi, Baily Jones, and Alexa Maxwell. Takahashi had a beautiful restrained nobility, while Maxwell danced the heck out of her variation, musical and so passionate and animated. I would LOVE to see her in bigger roles.

Agree with a lot of the comments about last night. Ashley Laracey was absolutely exquisite in Emeralds. This is a perfect role for her one-of-a-kind carriage, articulate neck, beautiful arms, and the inner poetry she conveys. Just seeing her walk around on demi-pointe is poetic. Chan looked his usual noble self, and I think Peter Walker did well, but I was mainly focused on Laracey and didn't notice him so much! I found Bouder did reasonably well, with some technical limitations, but did not bring anything special to the role. Rubies was indeed tremendous. Peck and Mejia were on fire with daring and dazzle. Kikta was Amazonian. As someone said up-thread, all three got audience gasps at different points. Mejia's accelerating exit into the wings was showoffiness at its best. For Diamonds, all I could think was why is Unity in everything, and not getting time to really absorb or work on her interpretations. As with Vienna Waltzes and other big recent debuts, the steps are all there and her personal beauty makes her very watchable, but there is nothing more to it. Joseph Gordon on the other hand has matured into a dancer of great beauty -- authoritative, technically dazzling (also showed off with some different arm positions in his turns, done with ease and poise), elegant and pristine, I could go on and on - and relates to the audience with confidence, nobility, and a touching vulnerability. (The combination of nobility and vulnerability reminded me of, and made me miss, Harrison Ball.) Going back to opening night, Mira Nadon let loose with the Tall Girl, going all out for sexy and showy. She was terrific, but I find her a little too loose and sloppy with form sometimes. I guess if you're going to let go of classical form this is a role for it, but I'm hoping she can be her dazzling self with a more scrupulous attention to form.

Is that Suzanne Farrell in the white jacket? I notice that she alone remains impassive in the midst of the celebration.

On a more negative note about last night, I could do without the speeches, no matter the occasion. I find these self-serving and cringey. Also, the company seems to be loosening the standards for weight, and in some cases technique as well. I for one don't like it.

Just in from tonight and I have mixed feelings about the current state of the company, which I’ll have to sort through in my mind. But initial thoughts, it was a great idea to have the alumni night. They all wore special pins, and you could see people greeting old colleagues and friends, or sometimes introducing themselves and being greeted with affection. It was very heartwarming to see them all onstage. I would love to see if anyone did a video and IDs some of them, like the woman in the wheelchair. I felt like saying to my seat-mates — thank you for your service! Mearns and Janzen gave an absolutely beautiful performance in Diamonds. Full of depth, ardor, and beauty. Adrian Danchig-Waring, Anthony Huxley, Megan Fairchild, and Mira Nadon all look in great great shape to start the season. And if the orchestra was trying to prove they’re worth it (I take no sides, I have no idea about the issues), they succeeded. Especially in the Tchaikovsky, the oboe and horns and overall grandness just melted my heart.

They’re making a big ruckus with megaphones etc, and passing truckers blowing their horns in support. I see at least one news truck. I’m not sure it’s getting a lot of interest from people passing, who all seem on a beeline to get in the theatre.

I am sitting on the plaza before the performance. They have some giant scrims set up across the front of the theatre, showing different ballet moments in very, very slow motion. I see symphony in C second movement, with what appears to be Aaron Sanz and, I think, Unity Phelan. It’s kind of hard to make out. Has Sanz does second movement before? Would love to see him!

I am looking forward to the week of Jewels! Just a few thoughts as I mull over casting and debuts for the first two weeks. Some interesting, against-type choices. For example, LaFreniere in Diamonds and Nadon in Stars & Stripes. I would think that LaFreniere, who excels in big bold movement (eg, Concerto Barocco 2nd violin) and has a huge sunny smile, would be a more obvious choice for Stars & Stripes, rather than Diamonds. On the other hand, Nadon with her sultry air of grand mystery, would be a more obvious choice for Diamonds rather than Stars & Stripes. Both could be great, however -- will be interesting to see. Also, Peter Walker in Stars & Stripes -- wow, does he have the technique? Not sure I've ever seen him in this kind of all-out bravura role. On the other hand, I have high expectations for Emma von Enck in Rubies. After being disappointed by not seeing her in Sleeping Beauty and Square Dance, I am excited to finally see her in a role that brings her talents front and center.

I took an entire semester of Virginia Woolf in college, many years ago. I remember The Waves as being mostly impenetrable except for a few memorable lines that registered and stayed with me even after so long. Dipping into it a bit is probably the best bet. Mrs. Dalloway was easier going, but still not easy. Orlando on the other hand is entirely readable, delightful, funny and very, I would say, au courant. I re-read it a few years ago, I can't remember what prompted that, but I was laughing out loud (quoting loosely: "... so that illicit love on a pleasure ship... but we omit the moral"). On another note, I have been refreshing my knowledge of ballet history over the summer, and it was interesting to hear that the grandmother of Vita Sackville-West (Woolf's sometime lover) was Pepita de Oliva. She was a Spanish dancer renowned in Europe at the time, although not entirely admired by critics including Auguste Bournonville. I have been dipping into several volumes, I think I got that from Apollo's Angels, but don't quote me on that.

Lots to look forward to in the new casting. I’m kind of surprised to see Christina Clark as the “tall girl” in Rubies. She is probably the tallest woman in the company right now, but I think of her as more languid, without the force needed for this role. Ashley Hod and Miriam Miller seem much more obvious candidates, as well as some others I would pick from the corps (MT MacKinnon, Corti). But wishing her well! I’ll be there and look forward to it.

Thanks for these well researched comments, @volcanohunter! Very interesting to see the different approaches to this issue.

Just curious matilda, who you have in mind. I assume one is Sara Mearns, whose body type is decidedly un-Russian-ballerina. Who is the other one?