Rick

I looked at the casts and saw Alessandra Ferri in Woolf Works but not Misty Copeland in any role. Carlos Gonzalez is dancing the lead in Like Water for Chocolate, but no lead roles for Jake Roxander or Jarod Curley. Maybe next season! I'm excited about the Chloe Misseldine/Aran Bell Swan Lake.

3 hours ago, California said:

I couldn't believe the announcer actually said "Is there a doctor in the house?" I assume it's expensive to keep medical staff on site, but with all the theaters at Lincoln Center, nothing?

I think the Met Opera gives free tickets to certain doctors for this reason. I’m surprised that ABT doesn’t have a similar policy. 

9 hours ago, ABT Fan said:

The suspense is killing me! 😂 How was Roxander’s Puck tonight? 

Absolutely astonishing. I completely forgot about Camargo when Roxander was on stage. 

Megan Fairchild acknowledged on Instagram that last night’s T&V was not her best. I did wonder about Huxley’s abbreviated double tour/pirouettes, but nevertheless I was enchanted by their performances. Perhaps because their “problems” brought a human dimension to such grand choreography. 
 

I also struggle with Orpheus for the reasons articulated by California. Towards the end I was wishing for Gluck’s score instead of Stravinsky. 
 

Serenade is a classic though not one of my personal favorites. I enjoyed it but can’t really bring anything new to the conversation. 

1 hour ago, abatt said:

IATSE is threatening a strike starting this weekend, potentially shutting down all Broadway shows.  Are the stagehands employed by ABT through the Met part of that union.  

Yes. 
“ABT Crew is represented by IATSE.”

https://www.abt.org/the-company/staff/

Did Nina invent the rippling arms in the Act 2 exit? Or did someone else do it before her?

And Nina’s farewell remains my benchmark Odette/Odile. 

Hurlin got an amazing review from NY Times for her Swan Lake debut last year. 

Macaulay made a comment on IG describing Boylston’s Odile in terms of “Soviet kitsch distortions and textual alternations.” I’m wondering if anyone can explain what he means?

Agreed. Boylston did not move me as Odette, but her Odile was truly exciting. Camargo - what can I say. It was such a privilege to see him as Siegfried. 

Truly beautiful R&J last night - Murphy’s Juliet was more restrained and thoughtful than most, but had such depth and nuance in the second half of the ballet. Forster’s Romeo - what can I add to the beautiful observations of fondoffouettes - he embodied the role and was born to dance it, with his ardor, supremely elegant line, and gracious partnering. The tomb scene was overwhelming and I’ll never forget it. 

Did anyone see last night's program with Hee Seo and Daniel Carmago?

Justin Peck is choreographing the Spielberg version.

Sharks and Jets invade Harlem as Spielberg remakes ‘West Side Story’

Amar will play Bernardo in the upcoming Broadway revival of West Side Story, scheduled to begin previews in December 2019. I think this means he won't be in NYCB's winter and spring seasons? The new Ivo van Hove production will also replace Jerome Robbins's choreography with that of Anne Teresa De Keersmaeker.

'West Side Story' Broadway Revival Cast Unveiled

Curious that no one has posted about Prodigal Son on Wednesday night with Joaquin de Luz and Maria Kowroski. It was so amazing. I didn't think that the partnering would work due to the difference in their height but Joaquin seemed so young, vulnerable, and powerless against Maria's femme fatale siren. I'll definitely be there on Sunday for joaquin's farewell.

I plan to see Swan Lake. FWIW the Wagner Society of New York has a promo code on their Facebook page.

38 minutes ago, KayDenmark said:

As I've said before, Finlay is responsible for his own bad choices that made him the central character in this drama. If I were him, I'd leave the ballet business. Perhaps his partying and unimpressive dancing represented a man at war with himself - someone who on some level wanted to quit but on another level wouldn't allow himself to.

There's certainly a self-destructive element to Finlay's behavior, especially his dissemination of the photos/videos to a wide group of recipients and the loan of his laptop to Waterbury. It's almost as if he wanted to get caught.

Macaulay seems to be giving Finlay, Ramasar, and Catazaro the benefit of the doubt. In fact he seems to be implying that the furor over Waterbury's lawsuit is overblown. I wonder what the female dance critics are thinking.

http://slippedisc.com/2018/09/new-york-times-loses-its-best-critic/

4 minutes ago, Quiggin said:

Steichen. A little over the top. He claims that Balanchine (completely is implied) destroyed Farrell's career.

From a review of Farrell's autobiography:

It was true that she (Farrell) didn’t have to sleep with Balanchine to be cast in his ballets, but that didn’t mean that the person she chose to sleep with instead would be cast in his ballets. Mejia did not have a large repertory, but what he had he began losing. Finally one evening when Mejia was not given a role that he felt was his due—Symphony in C, third movement—Farrell issued an ultimatum: if Mejia didn’t dance in Symphony in C that night, they would both quit. To her utter astonishment, Balanchine took her up on it. Not only was Mejia not added to the casting sheet for Symphony in C, but Farrell, who was to have danced the second movement, was stricken from it, and as she was sitting in her dressing room preparing for the evening’s performance the wardrobe mistress, weeping, came to take her tutu away. Her resignation had been accepted.

She seems not to have believed it at first. She told The New York Times that Balanchine was being bad, and that was what the problem was: “All of a sudden he’s acting unadmirably and I can’t dance for him when he’s acting that way.”¹⁰ She also went—with Mejia—to the theater one night to use a studio to practice in. They were turned away. Eventually it dawned on her. “I was a dancer without a job, and I felt as homeless as any bag lady.”

What is the deadline for defendants' response to the amended complaint?

Macaulay addresses the Waterbury case in his review of Jewels. 

https://www.nytimes.com/2018/09/19/arts/dance/review-city-ballet-in-turmoil-shows-the-value-of-whats-at-stake.html

3 minutes ago, fondoffouettes said:

One of the most interesting new items (I think it's new) is that the complaint claims there were no established rules or code of conduct for how NYCB dancers should be interacting with SAB students. That seems like a big mistake on NYCB/SAB's part, if that's true.

Yes, I was wondering if "former SAB students" implies that they were SAB students at the time their photos were distributed via email (e.g. paragraph 83).

Surprisingly, there are a lot of seats still available for tonight's opening performance. I wonder if the vacant seats are the result of the recent publicity.