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> Who decides which music are used? I'm assuming, since the pros choreograph the dances, that they also pick the music.

> I have to say I loved both of musical guest Jennifer Lopez's > songs, especially the pro dance set to her song "Let's Get >Loud". Usually the musical guest and the pro dancers act >like they are on different planets but J.Lo's performance >with the pros on Tuesday night worked like crazy -- for >once, the musical guest, the pros, the band and the audience >all appeared to be on the same wavelength. It was fantastic, "Let's Get Loud" -- that song and the professional dancers giving what seemed to be their favorite performance in years. It was great energy and really great dancing by the pros. Thank you J. Lo for taking time from her tour to make this unforgettable performance happen for a TV audience. I was at ABT's gala last night, but taped "Dancing With the Stars" just to see what J. Lo would do. Wow! What a talent, and although she sang, and didn't really dance, I know she can (dance).... it was a dynamite number. Yes, overall, the amateur "stars," I agree, were/ARE very much lacking this season. Last season was far better.

I'm with Carbro.... Ballo looked to me very ragged though I loved Hallberg, Seo and Copeland's dancing. Murphy had this frozen smile and very turned-in with bent-leg lines nearly the entire time, though Murphy was extremely strong (giving it her all).... Still it lacked a joy at brilliant risk taking that Ashley Bouder seems to capture much better for this role. Thought Merrill Ashley, taking her bow, looked more radiantly beautiful than ever in her long, elegant dress and newly sun-kissed haircut. Merrill also looked so tall which reminded me that City Center's stage is indeed tiny. Also thought DonQ pas was pretty dull until the final codas with Paloma's fouettes in high gear with many doubles thrown in, and Carreno's turns finally waking up to the huge challenge of the evening. Both looked as though they were taking it easy until the finale. I totally agree with Carbro that it was one of the most spontaneous (it seemed) and charming moments when Paloma's solo tempi slowed down just in time for her to perfectly balance in echappe, second position, with her most exquisite legs and feet. A perfect balance, with perfectly stunning lines, for what seemed like an endless pause in the music....but Paloma looked as though she could have stayed sur les pointes all night if she wanted to..... and that was thrilling rather than unpleasant to see. It didn't seem as though Paloma was expecting it from the conductor, but if she had, she ought to have flashed a naughty smile back at him when the tempi returned to normal.

Mimi Paul and Susan Hendl too.

I wouldn't be surprised to see Rolando Sarabia in Rubies soon.

If there is plenty of time to post, at minimum, I can't think of one good reason ABT wouldn't list a TBA on public Internet or newspaper casting, knowing one dancer is out due to injury (not last minute) and another dancer is rehearsing/planning to perform the part.

No, and the new costumes are ok but not as rich (they look much cheaper).

Getting back to Sara Mearns.... Oh yes!!! In Emeralds, she is divine. Lush, womanly, beautiful, huge sweeping lines and movements. Sara gets better and better each time I've seen her. In Emeralds, she definitely gets/IS the music (Faure).

>Of the ones currently dancing Bouder has already >been mentioned for good reason. I'd make more decisions >when the casting goes up... Casting comes first, most of the time, for me as well. Bouder is on fire in Rubies, but also look out for Tess (Teresa) Reichlen as the tall female, second lead, in Rubies. Tess, in that role, is a real Balanchine-type treat. Do hope to see some new casting in the lead parts overall in Emeralds and Diamonds this upcoming season....

The surprise of Friday, the 28th's performance was Yuriko Kajiya replacing Xiomara Reyes in ABT's Corsaire ppd. While I've always been impressed with Yuriko's big jumps and fresh, clean look, Corsaire demands a different sort of female (IMO). I knew it would be a big stretch for Yuriko to become very sexy, earthy, daring, with huge Kirov-like extensions and plenty of risky, dazzling turning combinations. She didn't come through for me. Yuriko looked so nervous, lovely but cold, and approached her performance with too much caution. It was nice, but not Corsaire, though her first 16 fouettes were effortlessly, strikingly beautiful. Without comparison, Yuriko's male partner, originally scheduled, Herman Cornejo, was the thrill of the evening. A youthful, handsome, Latino, sexy male with huge, powerful jumps and turns galore while at the same time maintaining his amazingly clean classical lines. I loved Herman, as always, in this sort of role!

>Thought Taylor's group.....I especially liked one guy in the >group with wavy brown hair (don't know his name). Ah! This guy, Sean Mahoney's picture is included with Clive Barnes' review.

I was there on Wednesday too -- staying only for the first half -- sitting in Orchestra BB or CC (I forget). Really close up... but could see the feet just fine, as well as every tiny thing else! My new 2nd favorite seats at City Center. Thought Taylor's group did an excellent job. His dancers are so strong, so muscular and had, as usual, tons of high energy. Very powerful dancers. I especially liked one guy in the group with wavy brown hair (don't know his name). This dancer had a slightly different sensuality and sensitivity, almost balletic, to his movements when grounded. In the air, he was as wildly free as the others. Also agreeing with Carbro's comments re Annmaria Mazzini. She's always lovely, very emotional and physically strong. But I bought my tickets especially to see Middle Duet with Kondaurova. While there were a lot of gummy movements involved, I was totally mesmirized by Kondaurova's gorgeously long, strong legs, arms, and body, overall. Perfectly curved, not skinny. She has a beautiful jump -- there were a few leaps among the gum... Her pirouettes looked a bit nervous, but I assumed she probably just got off a plane and didn't have much time to adjust to a non-raked stage. I loved Kondaurova's interpretation of Middle Duet, and immediately wanted to see her in something more classical, eg, tonight in Corsaire!!!! But I'll be plenty happy to watch Cornejo in the male role.

>....for example, a ballet such as "Raymonda Variations." Watching that used to be like walking through some fantastic >garden - each of those beautiful, brilliant solos a different flower given full color and perfume by casts that seemed to >understand as well as dance the choreography. Lately, except for one or two exceptions, most of the dancers can barely >get through the steps... >.....NYCB dancers in the 50s-70s really understood what they were doing Dancers in the 50s-70s were developed and nutured by Balanchine and other artists who lived solely for their art. I caught the tail end of that era. I can only imagine what fine dancers Suzanne and Marnie, Mimi and even Gelsey (to name a few) would have created if given the opportunity to live well/work with the large pools of talent at SAB, NYCB. If Velella, Ludlow, Blum, Clifford, etc., were also living well/teaching/coaching at SAB/NYCB. Yes, when they danced, it was a very different time in ballet's history -- not only within NYCB/SAB but in NYC. NYCB was in full bloom with people who didn't want to be any where else (ditto other fine artists in NYC). To be a dancer and a part of NYCB was then a great dream come true. Working with Balanchine on a daily basis... and all the many other great artists involved. And a dancer at NYCB in those days could afford one's own apt, etc., in NYC while still putting some savings away. In the last 10-20 years, many other opportunities / smaller USA companies with some Balanchine rep have opened doors. Pros and cons of that situation, less concentration of talent, dilutes the biggest USA companies. Then there's the realistic truth of the ridiculous costs of living well enough... for example NYC and SF/CA, and mentors drilling dancers to take college courses seriously even more so than dancers' careers...so dancers can afford a future... All of this has created dancers who have far less commitment and desire to work as hard at their dance careers (personality and technically)... to produce the quality once seen in the 50s-70s.

>....and the original, though not a masterpiece, was quite good in many ways. >I don't see it as needing a remake. Must agree with you there..... the original is quite wonderful. (Though I'll try anything once with Hugh Jackman.... ) But it seems to be the trend (in ballet, theater, film).... that if you don't have anything new that audiences love enough to see over and over ($$) again, bring back an oldie, make it slightly different, and reap mucho buckos.

>"Carousel" will be interesting if Hugh Jackman can get it off the ground. If???!!! Have you ever seen anything that Hugh Jackman wasn't fantastic in??!!!

>I couldn't find Lane/Cornejo in the Ballo casting. Am I missing it? I check the individual profiles/bios with pics to see who's dancing what and when. The calendar seems always the last to be updated.

more re Danny: http://content.hamptonroads.com/story.cfm?...6&ran=95143

The attorney should know better....

I wonder if Ben Brantley liked Bernadette Peters or Tyne Daly as Mama Rose. I've seen both women in Gypsy on B'way and then Patti Lupone's (on opening night) at Encores', and Patti was absolutely sensational while I only liked (but didn't love) Peters and Daly. No wonder Patrick was so excited writing his comments. Patti's performance was absolutely fantastic in her 200% style. If Ben Brantley saw Ethel Merman as Mama Rose, then I might understand how hers probably was vocally the best, but as far as acting and an overall exciting and totally, freshly convincing performance with singing, I mean BELTING...., I don't think anybody will ever match Patti's recent performances.

>Now I'm looking for a Sabra-Danny pairing.... In the "contemporary" style, YES!!! For me, it probably would not be a good pairing for a sexy latin dance, or any of the more classical Ballroom styles such as Waltz, Quickstep or Foxtrot. If the show is smart, they'll put "contemporary" in the hat with these two somehow..... Both excel in the "contemporary" style. I haven't been watching the show until very recently... Has Sabra danced any Ballroom yet?

>Danny dances the samba with Lacey... And their Samba was HOT! Best couple of the night, I thought, and the best couple of the season. Lacey gives Danny a flashy, earthy sexiness, while Danny gives Lacey elegance and mystery. Together, their energy is top-quality professional looking even though Danny doesn't yet have much of a Ballroom vocabulary and Lacey doesn't have Danny's amazing technical background. Doesn't matter, you get swept away in the wonderful fun of the choreography. I do hope the show will (they SHOULD!) replay this performance again tonight before any cuts. It's that good.

There is a rather large Cuban community in Miami.

Rolando Sarabia is fantastic. If you can find time to go to Miami and Eddie's company, don't miss him!

I would like to see that on blogs too, but anybody can invent whatever on blogs... To do so in the written media would be highly difficult to get away with I'd think... Ok, bios for both!! Why not?! One looks in a Zagat often before trying a fine restaurant, one hopefully checks backgrounds on doctors before walking into an office. In today's world, it should be all too easy to link to info/resumes of critics via the Internet. Maybe Gia ought to start interviewing some of the top dance critics of today for NYC's Time Out.... open them up to the public... I'd be interested....

Now there's an idea I'd like to see implemented. How about a link available/attached to every critic's review to a bio/resume giving the reader an opportunity to know the critic's background, years of professional experience, ballet experience, dancer training, theater, music, journalism training, books written, etc.