ABT Fan

Kent will be 44 on July 13th.

Messmer cheekily said in the interview that she wasn't sure which finger she'll be giving during her variation! Wish I could be there.

YES! They're bringing back “Les Sylphides”!

Messmer says in the article that her last performance will be the last SB (which is also the final ABT performance of the season) when she'll dance the "finger Fairy".

This is definitely sad news but I'm happy that she'll hopefully get bigger and better roles at SF. I'm so glad I got to see her one last time last week in SL. Another negative interview for ABT. Geez.

I would say she is.

I couldn't agree more. Lane has danced w/ Cornejo before so she could have filled in. Also, Boylston is the right size, and like abatt, I agree that it would be great to see her in this role. But, if she was replaced in a minor role last night, she might be injured so that of course would take her out of contention.

I loved this film and the social dance scene. I'm also partial to Mikkelsen and his fantastic portrayal of Stravinsky in 2009's Coco Chanel film.

Yes she was. That's unfortunate she won't be performing, but Abrera is glorious in this part.

That first video is impressive. Not to mention the hops on point in arabesque and penche. Wow!!

Jared Matthews will be purple Rothbart. Let us know how Cornejo does at his debut.

"New York City Ballet Announces Fashion-Focused Fall Gala". More focus on fashion for NYCB?

But, I would argue that ABT has a greater conflict of interest w/ the Bolshoi than with POB, given ABT's roster of Russian principals and guest stars and among those who did/still do perform with the Bolshoi. As most of us know, Russian dancers (and their companies) are huge box office draws for very good reasons (and has been discussed at length on this site), and not everyone can afford to see multiple performances (i.e. see ABT one week and the Bolshoi the next). Who knows if ABT is really doing SL next season or not, and what will prompt that decision (maybe they need to retire it for a few years so they can do some other full-lengths). I just don't think that how ABT scheduled its season when POB came to town is the same barometer that should be used to determine how they'll react to the Bolshoi's upcoming season.

Absolutely. Especially, since the Bolshoi will be coming immediately after ABT's season at the Met ends. I can't imagine this would be happy news for McKenzie.

I went into last night’s performance with high hopes and I was so impressed by most of the dancers! I was especially rooting for Boylston - a young, developing soloist - and she was just lovely. Act I: Simkin has improved a lot! He has a more commanding stage presence and continues to refine his technique (he no longer looks like a boy wonder just doing tricks). He has great control, breathes through his movements, adds wonderful nuances, and his transitions between steps can be breathtaking. He winds himself up before multiple pirouettes too much. But, his line is gorgeous, especially in arabesque, and he has beautiful control coming out of turns (in several spots he slowed down just a bit while ending the pirouette and then finished on his knee with controlled ease). His partnering keeps improving! But, and this isn’t his fault, he looks SO young especially when he’s smiling, Act I looked like his sweet-sixteen birthday party and all of his guests were adults. Simkin and Gorak (as Benno) are a good match though, and as many of us have said, Gorak is wonderful – beautiful legs/feet, glorious technique, elegant, good partner. He looked so joyful and dances like a confident soloist (hint - hint). I agree with nanushka that Misty Copeland needs to tone down her perkiness. It doesn’t work at all in SL. She finished every movement with a “snap” and every step had a forced energy; she looked like she was trying too hard and had a way-too-big smile on her face for much of her performance. Maybe she’s overcompensating because she’s not 100% following her injury. But, last night was the first time I did not enjoy watching her. Especially when you compare her to the sublime Simone Messmer – what a different picture they presented in the pas de trios. Messmer is strong but supple; nothing is forced, just an easy elegance and loveliness. Act II: Boylston was simply lovely. She needs to improve her acting, but that’ll come I believe. When she first sees Siegfried, her face didn’t register any fear or trepidation but her body did. A bit of a disconnect. Simkin’s partnering has made significant strides – the overhead lifts he did looked easy and secure (whew!). He’s a very attentive partner and in the more somber Act II – IV he looks more mature. Boylston’s legs/feet/arms/back are gorgeous. But, when she bourrees offstage with her back to the audience and she’s fluttering her arms, she needs to engage her back muscles. There were some bobbles – in some of the supported turns, they weren’t in tune with how many rotations Boylston was doing and Simkin either stopped her too soon or not soon enough. The four little swans were excellent. I knew Lane and Kajiya would be and was fairly certain Paris would be great; Brandt was a wild card for me since I haven’t seen her dance any soloist or demi-soloist roles. She held her own. They were the best I’ve seen in this part. Act III: I didn’t see enough of a character change from Odette to Odile, but Boylston’s dancing was terrific. Simkin/Boylston seemed more comfortable in this act. Simkin’s jumps and turns were awesome – but, again they were NOT tricks, but gorgeous, extended, controlled, fluid movements with wonderful ballon. I have to say it again – he has improved so much! I nearly missed the beginning of Boylston’s 32 fouettes because I couldn’t take my eye off of Simkin. He was downstage knocking off several pirouettes, which he slowly (and with masterful control) came out of and finished on his knee facing Boylston with his back to the audience with his arm outstretched to her as she was beginning her fouettes. I gasped it was so gorgeous. Boylston knocked off her fouettes without embellishments (some doubles thrown in) but they were great and she finished them cleanly and without traveling much. Once Siegfried has declared his love for Odile and everything implodes, I thought Simkin displayed his tortured realization at what he had done brilliantly. Here his youthful appearance really worked to his advantage; when he runs downstage to his tutor, you really believe he’s pleading with this father-figure for help/guidance. Simkin’s acting was spot on – and it was wonderful how he threw himself against the closing doors as Rothbard/Odile leave. His grief was believable. Jared Matthews was very good as purple Rothbart (but not brilliant). I needed more character out of him; more covert mischievousness and sexuality. But, his dancing was impressive (he also has improved a lot). He exploded into one passage with a high leap, legs fully extended beautifully. Wow. Grant DeLong nearly lost it during Neopolitan; his stamina wasn’t up to par. Blaine Hoven was ok. Act IV: Simkin leapt to his death with a beautiful, high plunge. He and Boylston look very good together. I look forward to seeing their SL in a year or two from now. I think it will be extraordinary. So glad to hear that Hee Seo's debut was such a success. She could not have had a better partner to make that debut with than Gomes. Wish I had seen it.

Very interesting! Never would have predicted that.

Just a quick note to say I was quite impressed with Simkin/Boylston tonight. Simkin just keeps improving. Yes they both made mistakes but given their youth and realitive inexperience carrying a ballet, I can easily overlook those. Some truly wonderful moments from them. So much potential! And very lovely performances from soloist roles: Gorak, Messmer, Lane.... Will post more tomorrow.

Did anyone go to the matinee today? I'm very eager to hear how Hee Seo's debut went. Am seeing Boylston/Simkin tonight. Very excited.

I wish they'd bring back "Les Sylphides" (I could see Simkin, Gorak and Tamm as the Poet). And, "Citizen" that premiered a few years ago at City Center (though I don't know if that would play well in a larger theatre like the Met).

Getting back to Romeo & Juliet - did anyone see the performance last night? How did Whiteside do? I believe it was his debut as Romeo. That performance was dedicated to Frederic Franklin. Did they do anything special, say at the curtain call, to recognize him? How I'm going to miss his Friar Lawrence.

In the 2009 film " Coco Chanel & Igor Stravinsky", they reenact the Rite of Spring debut with part of that performance, audience reaction and backstage preparations/actions/reactions. From what I've read, the movie's interpretation of events was fairly accurate. Watching that play out gave me chills. I can't remember if it was Stravinsky or Nijinsky (definitely one of them) who said to the dancers and musicians "just keep going....".

My vote is for Joseph Gorak, Eric Tamm (long overdue) and Christine Shevchenko.

Jayne - thank you for posting the 2 photos together. Really puts his condition into perspective. I've not been following this situation daily and haven't read every comment here on it (just too much info and drama). But, sure hope he can recover his eyesight and get back to his work; and the idiot(s) who are responsible are caught.

I wish that were every choreographer's MO. Wonderful point. Very funny (and insightful) interview. This is probably my favorite part: "Do older dancers bring something that younger dancers don’t? I like working with grown-up dancers much better, because there’s somebody to talk to at the airport when you’re delayed."

But, I don't think you're "supposed" to recognize supernumeraries. This is the oddest casting announcement/press release I've ever seen. I'm wondering why this was issued (rhetorical question here).