NinaFan

My first reaction was that he is just retiring the role, however now I'm not so sure what he meant. 

canbelto - I just saw your posting about your ankle getting worse.  It must be so frustrating to be missing performances etc.  I hope the doctor(s) can come up with a plan soon so you can finally get this resolved.  Please keep us all posted.

59 minutes ago, Leah said:

I thought Peck was doing the choreography for the film? Or is he just staging the Robbins? (Hope it’s the latter)

Oooops my mistake, Peck is doing the choreography.    While I would have preferred Robbins, Peck works for me as I enjoy most of his work.

57 minutes ago, FPF said:

Won't the Broadway version  have about a year head start on the film? The film could even increase the audience for the show--lots of people seem to want to see the Broadway Disney musicals when they could easily stay home and watch the movies and just by generating more buzz about WSS in general. 

Also, isn't Justin Peck the choreographer for the movie?

Yes, and yes.

1 hour ago, Peg said:

But this production of WSS has Anne Teresa de Keersmaeker as the choreographer. It could be very strange to say the least . But I’m assuming the Robbins Trust had to approve it. 

Good point.  I just hope it's not too weird.    At least the film with have Robbins choreography.

54 minutes ago, BLalo said:

If the critics and a “large segment of the public” consider it a triumph, is the show then not a success? Is longevity the only factor in determining something’s success? 

If that was the case, only a handful of shows would truly be successful. 

I agree. 

22 hours ago, canbelto said:

Ask La Cour also implies that a retirement is imminent:

 

Hopefully he'll hang on for a bit longer as he's still dancing beautifully.

10 hours ago, On Pointe said:

For Ramasar's sake I hope West Side Story has a decent run,  but I truly doubt that it will succeed.

Why do you truly doubt the show will succeed?  As far as projecting whether a show which has not premiered yet will have a decent run, it looks like the the advance sales are very high.  I already have tickets for the show, but decided to get another set for an earlier date, and I'm having trouble getting anything decent before February. 

11 hours ago, On Pointe said:

With the Spielberg film version coming,  could be that the public is not in the mood for yet another WSS,  especially since there's nothing wrong with the original. 

While I agree that there is nothing wrong with the original film (which I love and have watched a million times),  what's wrong with having another version with today's dancers?

Film and stage are two completely different forms of entertainment.  I attend Broadway shows much more frequently than the movies.  Also, movies can be seen worldwide, but this show is in NYC.   So while they are being done simultaneously, IMO it's unlikely that they'll be competing for an audience.

22 hours ago, mille-feuille said:

Yes, I agree that the tone implies more than just a temporary leave. If that's the case, I look forward to seeing more of the up-and-coming men.

 

Ramasar has not been holding up and coming men so you should have been seeing them anyway.  If the AD deems fit to cast them, then he will.   I just saw Preston Chamblee in a principal role a few days ago, and he was gorgeous. 

5 minutes ago, nanushka said:

Perhaps, though what he wrote in that IG post sends a pretty strong message that this may not just be a temporary leave.

I agree.  I'm looking forward to seeing him in West Side Story, but will certainly miss him at NYCB.

6 hours ago, canbelto said:

Well I havent been to as many NYCB performances as I usually go to because of a bad ankle injury but I did go to some and reviewed for bachtrack and my season wrap-up is here:

https://humbledandoverwhelmed.blogspot.com/2019/10/nycb-fall-season-wrap-up.html

I am so sorry to hear about your ankle sprain.  

I enjoyed reading the reviews of the performances that you did manage to get to this season.  

Feel better and Get Well Soon!

On 10/1/2019 at 4:51 PM, JanLevNYC said:

And right now there are dancers that are doing a great job but there are problems with many dancers and their technique, their performance quality (or lack of) and this casting the same people night after night.  The theatre is half full more days than not - why go if it's the same dancers and same show - how boring.  The new Liang piece was pleasing - the partnering was very beautiful and danced exceptionally.  But the new Lovette's piece was so bad it's not worth discussing.  Poor Mr. B, in his house.  Why not being in Tywla if you want a woman choreographer - you cannot do better!  To make matter worse, some NYCB dancers are performing with their faces looking like they are angry or scared or in pain or even talking to themselves (Olivia MacKinnon, and they keep casting her up the ladder?? really?) which is a sign of an immature performer!  Alastair questioned the daily training.  Maybe that is it.  But honestly I believe there is no fear of competition to do better.  You can review the casting posting and feel like the administration is going to cast the same people over and over.  So why try harder?  The company has a several corp members whose technique is outstanding and their faces shine every show who are not being cast - Ghaleb Kayali, Christopher Grant, Laine Habony, Isabella LaFriennere, Alton McGill come to mind immediately.  And why are they passed over for featured roles?  There is no doubt the company as a whole is amazing and most definitely ballet has matured over the course of my lifetime.  But NYCB is better than this and should be.  I wish them a great remainder of the season and let's hope we see a quantum leap for Nutcracker season.

I haven't noticed any issues with technique.  Obviously some dancers have always been better than others, but as a whole the dancers appear to be in top form.    I prefer some dancers over others, but don't we all.  I keep seeing my least favorite female principal this season, but at least she is mixed in with far superior dancers. 

As far as outstanding corps members getting a shot at featured roles...let's hope the new leadership gives them ample opportunities.  Martins did this all the time with promising corps and apprentices, so I certainly hope the practice continues.

My only gripe is that the same rep is being repeated way too much.   Starting with this fall season, I see them performing the same program as much as five times in a four week season.  In the past, a particular program was never danced more than three times per season.  So this may be why you're getting bored, and why the theater is less full this season.  

1 hour ago, Helene said:

Even though I think the Farrell sections are the weakest* in Union Jack. it is in my top five favorite Balanchine ballets, and I've been thrilled to read reports about it.

30 minutes ago, cobweb said:

Glad to hear, Helene! Top five favorite Balanchine ballets... that's a tough one, but same for me with Union Jack. 

OT. Another time I was buying tickets at random with no idea what to expect was when I was first getting into opera. I bought a ticket for an opera totally unknown to me, by the name of "Rigoletto." Somehow I had the idea it would be a comedy. I kept waiting for it to get funny, till the very end when Rigoletto opens the sack. Um... 

Helene and cobweb - Union Jack is one of my favorite Balanchine ballets as well.   Western Symphony and Stars and Stripes also make it to my top tier.  

cobweb - My very first opera was Rigoletto!  My dad had recommended it as a starter opera, so I figured how bad could it be....

15 hours ago, Peg said:

Seeing the Costermonger pdd performed with so well by Megan Fairchild and Andrew Veyette and knowing that they went through a painful divorce—and have obviously come out on the other side—certainly added subtext and humor, and a bit of pathos!  Fairchild has terrific comic flair.

I kept thinking the same thing throughout their pdd! 

2 hours ago, fondoffouettes said:

Is Union Jack the longest plotless work by Balanchine in the repertoire? It certainly felt long. I agree that Mearns and Reichlen were sensational, but for me, there were just too many sections that weren't very interesting, with the Costermonger PDD being the most notable example. Has that section ever actually been funny? It certainly wasn't funny yesterday, and it didn't even elicit very many polite, obligatory chuckles. I admire Balanchine's ingenuity in working with so many dancers, but much of the choreography didn't even feel close to his best work. To me, the ballet felt bloated and dated (and I'm very hesitant to apply the word "dated" to any Balanchine ballet, as they generally hold up so well).

It looks like we could not be on more opposite ends of the spectrum with regard to this ballet.  I've always loved the dancing and the pure spectacle of Union Jack.  I saw the Saturday matinee and it blew me away as usual.   The entire cast was superb and the ballet was danced brilliantly.  None of it felt dated to me.  It’s all pomp and circumstance with a military tattoo a la Balanchine.  These military tattoos still go on today.  As far as the Costermonger pdd, it was never meant to be contemporary.  It’s a take off on 19th century British music hall period piece humor which Balanchine captured perfectly.  But to each his/her own.   I can never get enough of this ballet, and hope it’s not too long before they perform it again.

On 9/18/2019 at 6:03 AM, KarenAG said:

Why, NinaFan? Is ABT’s Met season shortening? 

Hi Karen.  Sorry, I haven't been on BA and just saw your message.  Yes, as you can see from fondoffouettes response that the opera is going to be taking over three weeks from ABT's spring slot starting in 2021.   Here's hoping the remaining five weeks are used wisely and they find another venue for an additional three weeks in NY.   The Koch seems like the best bet as the stage is big enough to perform full lengths as well as mixed bills.

The ballets mentioned so far sound like a great start.  Don Q would be nice as well.  Let's hope they make good use of the 2020 season since it's their last eight week season at the MET. 

17 hours ago, nycvillager said:

I attended programs B and C and then program D twice. Of the 3, I think I enjoyed Program D the most simply because of the dancers. I couldn't get enough of the four of them, especially Sarah Lamb and Edward Watson. I'd only see Watson once in 2015 and loved him.

Overall, the programming as a whole did not blow me away, but reminded me of how little we actually see these dancers here.  I am overdue to return to London again to see as many performances of The Royal Ballet as I can jam into a long weekend. It was a treat to see Robbie Fairchild in NYC, as I hadn't seen him since Brigadoon at City Center in 2017 after he retired from NYCB. As David Hallberg is barely at ABT anymore, I thoroughly enjoyed watching him dance with Joseph Gordon in the Bejart piece. At this point, I'll take anything in which I can see him.

Of B and C, I was very impressed by Marcelino Sambé and Lauren Cuthbertson in "Two Sides Of" and Cassandra Trenary. I attended an event at which Trenary noted how much she loved MacMillan, so I was excited to see her in "Elite Syncopations" and she was great. Both of the Bond pieces that I saw were elegant and enjoyable, but not particularly memorable. The last piece in Program D was "Cristaux" and it reminded me of a magic show with the glittering crystal costumes, music and lights.

Welcome to Ballet Alert!  

I only saw two of the programs (B and D), but loved them both.  As you say we get so little chance to see the Royal Ballet in the states, so while the choreography took second place to the dancers, I was fine with it. 

Like you, I was very taken with Sambe and Cuthberson.  Balanchine would have had a field day choreographing for her.

I enjoyed Program D yesterday, but agree that the choreography was uneven.   That being said,  I absolutely loved all four dancers in everything they performed.

Congratulations to Herman and Maria!

39 minutes ago, Xiaoyi said:

According to the podcast interview, she will be back to studio in September or October. She will probably miss the fall season.

Yes, I agree that it sounds like she'll miss the fall season.  Hope to see her back in the winter season.

On 8/10/2019 at 5:37 PM, Royal Blue said:

 Three of these eight dancers from The Royal Ballet on this visit to New York are principals; the rest come from the lower ranks. What a hub for ballet must London be right now!

According to the London Times,  Marcelino Sambé  has just been promoted to principal!  London Times

I saw yesterday's program B and it was marvelous.  Sambé danced a pdd with Cuthbertson and the audience went absolutely crazy.   I was so pleased to see so much of Cuthbertson on the program as she totally blew me away.   Teuscher/Bell pdd did themselves proud in a new Gemma Bond piece.   Can't wait to see my next performance (program D)! 

On 7/23/2019 at 5:44 PM, Leah said:

Have people received their tickets for this yet? I ordered mine in early July and they haven't arrived.

Yes, I received mine weeks ago as well.  The Joyce is usually very efficient about mailing out tickets.  You may want to give them a call if you ordered them in early July.

16 hours ago, DeCoster said:

It wasn't a fall season performance.  It was one of those July 4 matinees at the Met, a mixed bill.

Edited: I found it.  (Not July 4, Memorial Day!)
"  The Memorial Day matinee at 2:00 P.M. on Monday, May 25 will feature Diana Vishneva's ABT debut in Tchaikovsky Pas de Deux."

My mom and I front row grand tier seats.  It was a memorable performance. 
 

Wow, and thanks for the update!   It must have been a very exciting performance.  I am wondering if there was any chance I was there too, as I vaguely remember attending a Memorial Day matinee of a mixed bill some years back.  Now, I'm determined to go through my playbills as soon as it cools down a bit  as they're in the hot attic. 

1 hour ago, CTballetfan said:

Box office opened today but there are no cast listings. Does anyone know if and when those will be posted? Not that the cast listed will still be the same dancers in October as announced in July or August! I am hesitant to buy tickets until I know who is expected to dance. 

It last year is anything to go by, it was announced at the end of August.   Like you, I'm also hesitant to buy tickets until casting is out.

Congrats to Ashley and Troy!  Like everyone else on here, I had no idea she was pregnant when she danced in the spring season!  I wish them both all the happiness in the world!

I just remembered buying tickets for a Broadway musical which closed before my performance date.  Because I bought the tickets in person at the Box Office, I was not notified that my performance was cancelled.

So I'm guessing this is pretty much the same situation with SPAC. I wonder if there is a way to avoid this by theaters asking for voluntary e-mail addresses, as long as no one is forced to comply.   It sure would have come in handy.  I'd have been very upset if I'd made a long trip in the heat to a performance which had already been cancelled.

1 hour ago, liebs said:

All tickets for SPAC are sold by them, not by NYCB.  NYCB's website irects you to SPAC to buy tickets.  The responsibility is their's.

I totally agree that the venue who sold the tickets is responsible.