KarenAG

I'd say that Sarah's problem is that she's not really a Met 8-week season kind of ballerina. The Met is a huge stage, huge auditorium, and favors dancers that "dance big." Sarah's kind of dancing (fast, precise, skilled at petit allegro) is probably much better seen in smaller stages and auditoriums. She also doesn't have the kind of stage face that can project to the auditorium either -- she's very pretty, but her features aren't very distinctive in the harsh lights and the extremely tall proscenium of the Met auditorium.

The Met season also heavily favors dancers who can carry the "classics" like Juliet or O/O. I bet if the ABT started performing more pas de deuxs and repertory programs Sarah would be cast more.

As a soloist, isn't Sarah on the stage alot? Has Hee Seo commanded an 8-week season without problems? In Bayadere, Hee was swallowed up by the stage, in my opinion. In fact, I think she was seriously miscast as Nikiya because she had very little stage presence in that role and definitely did not 'dance big', which I define as being able to reach the audience on many levels. As for the classics, throughout this ABT season, many posters commented that Sarah Lane should have had opportunities to dance Juliet, a very lyrical part for Sarah's strengths. And I think she would have been a lovely Nikiya, as well.

Many congratulations to Stella, Misty and the corps dancers who were promoted to soloists. I'm very happy for both Misty and Stella for different reasons, but I'm sad about Sarah Lane; in my opinion, she should have been promoted rather than Maria Kochetkova. I don't agree that Sarah hasn't proven herself to be principal-ready. I think the same could be applied to Misty, whose dancing yet may not be principal quality but will as a principal, have opportunities to hone her technique and art. I don't think for one minute that Sarah would do otherwise had she been promoted. I think she should cast about for a principal position with another company. Not sure how she would fare at NYCB as dancerboy90210 contemplates, but who knows? I definitely do not like how she's been treated at ABT. She deserves better.

Thank you, Helene. Quickly because I'm getting ready for work, a ballet dancer with acting chops!

I'm so shocked to read this right now. How tragic and so very sad. Albert Evans was one of NYCB'S most brilliant dancers; a great artist and, by all accounts, a gentle and beautiful soul. My heartfelt sympathy goes out to his family and friends and his ballet family at NYCB. Rest in Peace, Mr. Evans.

Im hoping that maybe, just maybe, she'll want to visit her friend Angel in Philly and come guest next year. That would be awesome!

Really, that whole pas de trois is fantastic. I was very impressed with Erica Cornejo as well. I've never seen her dance live, but if she's a principal at Boston, she's obviously done pretty well after leaving ABT.

Hi Kaysta! I'm finally getting to BA to post a few thoughts. Regarding a stint at Pennsylvania Ballet, how great would that be!! I find Xiomara's dancing to be incandescent - that's the word I was searching for when I posted June 5. And yes that pas de trois is lovely. The Cornejo siblings indeed dance beautifully, as well. Sigh.... missing Ms. Reyes very much. So hope she'll guest!!!

Feeling very sad over Reyes retirement right now.

I am watching the ABT Swan Lake video from 2005 where Reyes and the Cornejos do the pas de trois.

Her performance in that video sums up why I love her dancing. Not only is she technically strong, she dances with such a lightness and pure joy, that you can't help but feel happy watching her dance. (Her Cinderella had the same impact!). It's beautiful to watch, and I'm glad this was filmed so I have at least one of her performances to remember her by.

Kaysta, I love Xiomara's dancing and I'm so glad to hear you echo my thoughts about her. She is a pure heart! It was apparent to me in the the Swan Lake pas de trois, which is the first time I ever saw her dance (ABT video), in The Moor's Pavane and most significantly, in her farewell Giselle. I'm very sad I won't see Ms. Reyes dance with ABT, but she has expressed that she isn't retiring from dancing and I hope that means her fans will see her again, perhaps guesting with other companies.

Karen, if you learn anything when you call, please share!

Greetings! I called SPAC's administration and spoke to a marketing rep, Laura, who advised me (by a return call on my voice mail; I didn't speak with her directly) that New York City Ballet is indeed contracted to perform at SPAC in 2016. She did not specify the dates; perhaps SPAC won't release that info yet, but it's good news to know they will be there next summer! It's a shame (but not the end of the world) that our company won't grace the stage on July 9, 2016, it's 50th anniversary. It will be wonderful, nevertheless!

Karen, if you learn anything when you call, please share!

I will, rkoretzky! I read this article, too, a few days ago, but when I saw this topic, I completely forgot about the Peck commission. So all is not lost, I hope! For those of us who've derive their significant NYCB experience from SPAC, any news that the company may not summer here is cause for distress.

Or maybe NYCB isn't coming to SPAC at all. If so, those of us who are devoted to NYCB at SPAC, we'll be crushed. This could be a terrible loss for us.

It's possible.....June can be cold here (or hot, July too, who knows what the weather will bring anywhere?). And I shouldn't make assumptions about what anyone can afford either, but rentals here during track season are ridiculous.

Philadelphia orchestra has been at spac in August for decades, but many of the musicians own homes here or at one of the nearby lakes. And if the orchestra is here, the ballet can't be.

July 9, 2016 will mark 50 years since NYCB inaugurated the SPAC stage with a performance of Midsummer. Of course our expectation has been that our company will celebrate here with us.

Oh no! It was my understanding (and, as rkorestzky notes), everyone's expectation that the company will perform at Saratoga for two weeks, in 2016. As long as I can remember, they've began their summer residency the Tuesday after July 4. Maybe they are having their residency in June.

Thank you, Neryssa, for this information. Looks like a great DVD! I'm sure to purchase it at some point (just bought some goodies on Amazon through this forum last week .

I thought it would be interesting to compare, now that we are all worked up and in full blown mood.

These are great, Cristian, thank you!

I made it extremely clear that what you said was the "truth." I just pointed out there was a way to very easily express that at least in the case of Bayadere and any possible further withdrawals, there was a clear and unfortunate reason for it. Given how incensed people have been over changes to casting, using 2 extra words to make that explicit would just be a nice thing to do.

There are many comments in this sub-forum and the other ABT sub-forums about ABT's casting changes and its management and my impression is that people are not incensed as much as they are disappointed. I mentioned this in the La Bayadere sub-forum; it seems the company is in a state of disorganization, disarray, whatever, if it won't cast some of its talent (referring to the Sarah Lane situation), but overcasts others (Hee Seo).

I know that this is crazy and has nothing to do with money but I wish they'd give it to Sarah Lane. She learned it. Has an amazing look for it. I just don't get why they don't give it to her.

I absolutely second that! I've heard mixed comments about Sarah's dancing in the sub-forums, but the three times I've seen her, most recently Wedneday night's Giselle, she's quite lovely.

I just saw the 'On Stage' interview - Leann and Robbie were indeed very sweet. The Sardi's caricatures are nice, too, and a very lovely honor. Thanks, abatt and meunier fan, for the information.

(And Laurel: I just looked up Edmund Dulac. Wow!)

Though Hudson based his designs on the work of Bakst and his orientalism, the costumes reminded me very much of the work of Edmund Dulac, early 20th century illustrator of fairy tales who was strongly influenced by Bakst. Actually, I thought Hudson’s use of the Bakst color palette was rather conservative (I really love deeply saturated hues) but he has a great sense of balance and knew where to draw the line. What a pleasure not having to sit through yet another parade of lollipop-colored tutus! I never want to see that McKenzie production again. As you can see, the dancing was almost an afterthought for me today. This production deserves multiple viewings. Very happy I’ll be going to see Lane & Cornejo again in June and hoping they’ll be over their technical jitters and have a bit more joie de vivre by then. For me, this production belongs to Richard Hudson.

I looked up Edmund Dulac, too, and his illustrations are gorgeous. Thanks, Laurel, for bringing him up in your post and Bakst's influence on his art. It sounds like, despite mixed feelings and reviews, this production has a lot to offer. Perhaps I can squeeze in another ABT performance and see this SB, after all! Thanks to all for your excellent comments.

It is not always like this. The season has had an unusually large number of cast changes. I have been coming into NY for years to see ABT for clusters of performances, and from time to time one of the ballerinas or male dancers I hope to see is out. But I have never experienced any thing like this year with tickets for a cluster of performances in which practically no originally announced cast is left standing. My dates in NY are set, so I cannot just trade tickets.However, whatever concerns I may have about this or that ABT policy, I do not blame the company for what seems to have been a perfect storm of leading dancer injuries.

Hi Drew,

Thank you for your response. I certainly don't blame anyone for dancers having injuries and maybe I didn't articulate well in my post that you commented on. What I mean is that perhaps the decisions being made aren't well thought out. Isn't Hee Seo being cast in all of Semionova's Bayaderes? What if she becomes injured as a result? Perhaps the roles should be spread among more dancers. Also, all the talk on the forum about certain dancers not being cast much, etc. So it seems to me that the company may be in some disarray, that's all.

Eh, NYCB has its share of replacements...and similarly fails to supply dancers with similar qualities. For instance, I attended last Tuesday's NYCB Goldberg Variations/West Side Story bill specifically for Sara Mearns, Ashley Bouder, and Joaquin de Luz all of whom received last-minute replacements. (Who were all accomplished, but not my cup of tea in this work.)

Hi Choriamb,

Thanks for your comment. I'm sure NYCB does have its share of replacements and I don't see the company in NYC more than 3-4 times a year, but I do in Saratoga and it's just not been my experience to have casts change on me.

Thanks, abatt, I'll be sure to watch tonight.

Laurent Hilaire, Alessandra Ferri, Deborah Bull (her cross-cultural expertise)... just about anyone interested in creating new narrative ballets and finding a balance between homegrown talent and guests ;-). I don't think it will be an easy company to turn around though. The board don't appear to have any problems with how McKenzie runs the company - probably because ADs of major cultural institutions are always puppets.

I just posted under the Giselle sub-forum about this, tomorrow. I voted for Ratmansky for the reasons stated by fondoffouettes, but I do like your choice of Alessandra Ferri.

When I saw this topic quickly I thought KM was actually leaving.

Feeling disappointed right now.

Me, too

For some reason, the side boxes on every other level except the Parterre level are officially listed as partial view. I don't know why they refuse to classify the Parterre level side boxes as partial view as well. Having sat in a side parterre box one season when I first started going to ABT many moons ago, I feel that they are definitely partial view. For the opera I don't mind, but for ballet where the visual component is crucial, the boxes are a disaster in my opinion. (Not to mention that people move so close to you in their chairs to jockey for a position that you feel they might as well be seated in your lap.) Obviously the center parterre boxes (front row especially) have a great view, but those are the "high roller" seats which most "regular" people cannot even gain access to.

Thanks for weighing in, abatt. The box I was in most certainly was partial view, for everyone, even the front row seats. About 1/4 of the stage is not visible, so you miss everything happening and entering from those wings, including half the wilis entering the stage. A disaster is the correct word and to charge $110 or whatever it was! And as I mentioned up thread, there is no room behind those front row seats - you are breathing down someone's neck, straining to see and you may as well sit cross-legged because there's no place for your legs. I should write my complaint letter right now!!!

I believe, just my opinion, that KM is trying to lure Kochetkova from SFB and will offer her a principal contract. I've seen her dance a few times and she is a good, good dancer but IMO she is no reason to deny in house dancers opportunities. Her name can't be a ticket draw. It's painfully obvious that he has no interest in offering Sarah Lane opportunities. With the departure of 3 principal women some replacements will happen even if it isn't 3 for 3. I figure it will be Copeland and Kochetkova (if she accepts}. Stella is a maybe after her Giselle. Lane no way. I would love to be wrong.

If you are correct, vipa, that is just so wrong. I know that what I'm questioning may reflect my opinions or may have been discussed in past threads, but doesn't the AD first and foremost have a responsibility and duty to develop, nurture and promote his in-house talent? What kind of identity does this company have if the perceived 'valuable' dancers are ones coming in from the outside, the guests? And what does he have against these home-grown dancers, anyway? All this wonderful talent and he can let them languish? Does the board have any say in how he promotes or shapes the company? Yes, vipa, I would love you to be wrong, too. It is not, in any way, fair, and I would really love to see a change.

I generally enjoyed the production. No expense was spared. Costumes must have cost a fortune. Very interesting to see the differences in the choreography from the productions I'm used to seeing. I wish the Prince had more to do. I also wish Lilac had more dancing. It's now largely a character part. Great work from Gillian and Marcelo, as well as Boylston, Trenary and Simkin. I was hoping that the precious metal dances would be even more extensive, as they are at NYCB. My only criticism of Murphy is that her vision scene lacked mystery and a sense of longing. Perhaps its the nature of this choreography in this production that diminishes the effectiveness of the vision scene. The Marge Simpson wig for the Queen must go. Wigs for the fairies are also very distracting and ugly. In particular, one fairy had what looked like an antena on her headpiece, and every time she moved it bobbed up and down. So distracting. This was certainly a grand spectacle ballet.

From the the coming-in BA reports and news articles, it seems quite lavish. I hope it's a significant work and lasting. I wish them well!

Yes, Karen and Aurora. I confess it was a bit of a shocker to see every chainee turns segment on demi pointe (Gillian only did them on pointe in her solo during the wedding grand pas). I am on my phone right now, and my tablet crashed, so I will be posting mire in detail when I am back in Miami (oh, I miss the beach..!! :-)). Still...this is definitely a HUGE improvement since Kirkland`s.

Yes, demi-pointe must be quite a shock. Ballet is, on some levels, all about those exquisite pointes.