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More mean spirited than usual.....My response to Alastair was that he not only doesn't realize how difficult it is for regional companies to sell tickets without razzle-dazzle programing, but that Alastair seems to write for audiences who think all ballets look the same in their steps, just wearing different costumes. No way did any of the pas de deuxs presented by PA Ballet resemble each other except for some of the technique exhibited by the men solos in Black Swan and Tchai pas. But neither were step for step the same. An arabesque in one ballet is never the same in another if you are watching a true artist. I considered this event (a gala of sorts) a fantastic treat, a feast of great small ballets with lots of different flavors and lots of very talented dancers. I was there for two performances, and considered them both better than some galas I've seen lately in NYC. Dancers not to be missed in the future: Arian, Daysei, Peter Weil, Sterling, Nayara, Lily, Etienne. Very sadly Mayara was not cast in the performances I attended but I'd run to see her in anything in the future. She is bright, charming, beautiful with killer technique. She does not have hyper extended legs or arms, but they are gorgeous with power and fullness in lines, along with heartfelt musicality. She is a lovely, passionate performer. I've seen several videos, as well as live performances in Corsaire.

I was at Sunday's matinee as well. Tiler Peck was at her very best with brilliant, sparkling musicality and artistry. Yes, she dances the steps too(!)..... with utmost, amazing confidence and joy. And what a great surprise to see Harrison Ball command the stage with such artistry and ease in the very exhausting, very demanding third movement of Sym in C of endless jumps, large and small, turns, tours in the air all with unforgiving tempi speed. Harrison struggled with nothing! He's a fine partner too. I'd love to see Tiler and Harrison perform Allegro Brilliante or any other allegro type Balanchine ballet very soon. Sigh....Maybe in Saratoga.....Maybe next season..... Not soon enough for me.

I was at the Bocca Gala too. Hernandez danced with Tamara. She was incredible! A firecracker at 42 years old! Triple turns inserted in every third fast and furious fouetté! So many personal touches and style added. Loved her!

Did anyone notice that Sergei Polunin is back? He is. Check out the Dancers on the RB website. Not sure what or how much he'll be dancing, but Sergei is not listed as a guest artist as Roberto Bolle is. Sergei is listed as a Principal Dancer. I'm very happy for the RB and for Sergei. I only wish I lived closer... sigh...

Saturday, March 11th matinee -- Wow! I'm so glad to have been there. Arian Molina Soca is a star(!), elegant, sensual, with killer technique. Arian wore what I believed were Angel’s former slave pants.... so that was, for me, absolutely perfect! Mayara Pineiro as Medora was also a star(!), absolutely gorgeous! Mayara is a turning top with fantastic jumps, firecracker technique along with beautiful lines, with lovely, always very feminine acting. I couldn't believe my eyes when she began her fouettes series with a quadruple or five turns…. adding triples along the 32 way without ever looking stressed/nervous. Her stag leaps flew so lightly and high with only the music reminding her to land. As for the production, sets and costumes were very impressive if a bit over the top, loud, for my taste. But that’s Angel, so over the top always with tons of high energy. There is a lot of that energy now from all of his dancers. Nobody holds back. There's much Balanchine coming up in 2017-2018. I cannot wait to go back.... and this time for more than one day for sure to see Sterling Baca, Aleksey Babayev, Etienne Diaz, Jack Thomas, Peter Weil, Dayesi Torriente, and others, but especially to see Mayara and Arian once again.

You can purchase it via Amazon.com.

In "Dancer," it was wonderful to see so much footage of Sergei's very young days as a dancer. I thought the background music in the film was excellent, and I appreciated Sergei being so honest about his youthful decisions, both good and bad. I thought the film needed more of Sergei's Royal Ballet career dancing, but perhaps that was not possible re unions and because he walked out suddenly from the Royal. If the film makers had waited a bit longer, they could have had footage of Sergei on his way with new career choices such as dancing for Zelensky's companies, dancing at La Scala, et al., with Osipova, and pursuing his new venture, The Polunin Project. He is also cast in upcoming films "Nureyev," "Midnight Express," and "Red Sparrow," as well as continuing with modeling engagements. This could have made the "Dancer" film end on a more "up" note. "Take Me to Church" was certainly a blessing for Sergei, but it was also for us who could not visit the Royal Ballet when he was starring there.

Sunday, I also went to see the Bolshoi reprise of Swan Lake with Zakharova / Rodkin. Ekaterina Novikova was the warm and lovely hostess translating comments in three languages. I loved the huge production with lots and lots of pretty swans, various excellent court dancers and soloists, also loved the large sets. I thought Zakharova's White Swan solo was incredible with such strong, extreme and beautiful lines. Her refined technique and queenly, but sad, quality was breathtakingly. Her adagio with Rodkin was a bit too cold for me. The way the Bolshoi used the Evil Genius I thought was perfect. Not too menacing but still a strong, very much a dancer presence. The costume was not distracting as with other productions I've seen. This was the first time I was fortunate to see Rodkin perform on a big screen. He is tall, long limbed, very handsome with a sweet, youthful face. His jumps were gorgeous and huge. Where Zakharova was often too cold, almost self absorbed, as the Swan Queen, Rodkin radiated such happiness and love to be with her. His grande jetes in Black Swan covered the stage so easily it seemed the huge stage was too small. Rodkin's turns were clean but not as wild and numerous as with other Russian and European stars I've seen lately. Didn't bother me as Rodkin was a generous, passionate partner to Zakharova and a fine actor throughout. While the quality of the filming could have been better, I left the movie theater happy to have seen this ballet with these wonderful dancers.

I too loved Yulia Stephanova as the Lilac Fairy. She radiates such warmth and elegance, and her technique was flawless.

I thought Smirnova was fascinating and beautiful, but not an Aurora. She was so refined and technically stunning, but Auroras for me require to be human(!), eg, sweet, frisky, girly, grounded, confident in the first act and then grow into a matured womanly wedding pas. I've rarely seen this done well. Smirnova was more of a fairy with very light, brilliant movements. Stunning lines. At times I thought she barely touched the ground, her jumps were so airy and gorgeous. She did seem nervous especially in the first act. Then again, who wouldn't be dancing the brutal Rose Adagio being filmed for the world and library records?! That's scary. One can adapt fouettees for nerves, but one cannot change the strength, stamina and timing skill needed to get through a Rose Adagio. Bluebird's solos were shortened, simplified.... but the Rose Adagio (I'm grateful) was not. Chudin was totally in his element as the regal, beautiful Prince from head to toe with complete confidence. He dances so expansively and is always a real prince, not an unapproachable fantasy. His dancing with his female companion (financee?) was just as touching as his kissing Aurora. Smirnova was so fortunate to have his sensitive, strong, expertly done partnering. I think they connect better in ballets where Smirnova is a dream type, not of this world. Swan Lake or Diamonds. Chudin was a real prince, she was on another planet. Didn't quite work for me though I loved their individual dancing abilities. What a grande production and awesome orchestra! Seeing the inside quarters of the "leaders" box seats was a thrill. Gotta love the Bolshoi for the no expense spared with big corps, large sets, beautiful costumes, dancers moving freely with abandon. I was not a fan of the distracting floor, but wow what a huge stage! Although there were edits to the choreography I've become used to seeing, it didn't really matter. Dancers were not restricted in any way.... I'll be curious now to see and compare this production with NYCB's upcoming version. Was anyone else a little disturbed by the camera angles yesterday, eg, under the tutus?! The camera work could have been more straight forward, but it also made Chudin's jumps look as though he was about to fly into the sky.

>> I DO go for the "DO NOT DANCE THE PART IF YOU CAN'T HOP ON POINT" mantra. Dancers with very flexible limbs and especially those with very archy, flexible feet have lots of problems with hops on pointe. It's a physical issue, not a lack of technique. Marzipan is especially difficult for dancers with the above mentioned, gorgeous, flexible feet because the choreography demands that she hop on one foot/leg and move around in a circle without coming off pointe. Some choreographers, directors are willing to alter the steps a bit to allow a chosen dancer to look his/her best in whatever part. Others don't realize there's a prob until a performance goes poorly. I think dancers tend to give any challenges their best attempts rather than admitting, I shouldn't be dancing this part.

The Sunshine Cinema on 143 E. Houston Street in Manhattan will showing Royal Ballet's Anastasia tonight at 7pm. Marianela Nunez has the role of Kschessinska.

Canbelto, I enjoyed reading your review. Thank you. I saw a different cast for the Divert, et al. program. There were excellent moments, dancers, but I was very unhappy with how fast the tempi was for everything. The dancers looked rushed or even behind the music, especially during VW. The only section that benefitted from a faster tempo was the first section of Episodes with Megan LeCrone and Zachary Catazaro in the leads. Megan LeCrone is absolutely fascinating in this part with her mix of girly and tom boy accents, gorgeous lines, long limbs with a combo of both angular and feminine movement. For me, Tiler Peck's solo in Divert was stunning - bright, perfectly on top of the speedy music with her little flourishes here and there. But her other movements, adagio, larger jumps requiring leg extensions, seemed stiff. (I've been watching so many Russians over the summer.....) It was a joy however to see this ballet once again after (5?) years in the closet. Ana Sophia Scheller, one of the Principals, was confident, warm, radiant, a true classical, tutu, ballerina beauty throughout. Ashley Hod also stood out for me in the corps. She needs work on her upper body (stiff) but this Ashley has an amazing quick, out of nowhere, big jump with full, sharp extensions. She's also very pretty, seems tallish in her dancing, with long limbs. Now I'm thinking of some (several) ballets I'd like to see her dance as a soloist or principal. Cannot leave this page without mentioning Sara Mearns in the Der Rosenkavalier section of VW. So gorgeous! It was conducted too fast, but she made a wonderful, dramatic role live with womanly lush arms and upper body.

All the best Orchestra level seats are already sold out!

Agreeing with mimsyb re the projections and billowing silk curtains, special effects. I too thought of how Corsaire at ABT would greatly benefit from Basil Twists' designs. The sailing ship alone was so beautifully executed in this theater piece. I also loved how the bear and the statues were used. So well done. From a staging view, this is definitely one of Chris' best productions. Act One was especially clever and brilliant.

Excellent review by Poision Ivy! Full review here: http://poisonivywalloftext.blogspot.com/2016/07/a-winters-tale-in-summer-festival.html I was there too. I didn't hate Chris' ballet, I just probably wouldn't want to see it again...haha! The first act seemed so promising....staged so well... Then, for me, it started dragging....This ballet could have been done in two acts if the second and third were shortened. I think the music was the biggest problem....quite repetitive. It worked well at times, but didn't throughout. And Chris isn't that great with groups of dancers. He's a good stager, but not a great choreographer. Loved Evan McKie though he is no Ed Watson as Leontes....But Evan has a very special radiating beauty from the inside, out, that makes his madness in this role very fascinating. Also his huge beautiful lines, dancing.....amazing. Also loved Dronina as is wife, she's a warm, charming, stunning actress, as well as dancer. Perfectly cast in this ballet. Couldn't believe she was required to do six arabesque turns in a row (a la Bayadere minus the scarf)! This repeated in the third act in case you missed it in the second..... Seriously difficult choreography there.... Lunkina was generously gorgeous as the head of the household. I was sitting in row B orchestra, prepared in advance that there would be many acting details I did not want to miss, so I saw every detail of all three principals' fine acting and dancing. Wow, especially Evan's.....

Sarah Lane has been very busy with Roberto Bolle's touring group, and she'll also be dancing gigs with Danny Ulbricht's "Stars" group. She's plenty busy!

Sara Mearns was at her best ever in Walpurgisnacht aka Faust. I'm always a fan of Adrian although he didn't dance that much in Faust, he was a rare beauty. I so loved Tiler Peck in 1st Movement of Sym in C along with Andy Veyette. It was complete magic from NYCB in this beautiful program in such a pretty theater, and the Paris audience was greatly appreciative.

There is lots of video here of Sarah's dancing. Made me happy to see that..... although this version of Sleeping Beauty is not my cup of tea.

Amy, Why shouldn't Igor Zelensky bring Osipova and Polunin and Zkorik into his company along with Shklyarov and Shirinkina?

This reviewer and I were at the same performance! http://dancetabs.com/2016/06/american-ballet-theatre-le-corsaire-new-york-2/

After reading Zobeide's comments, I'm ready to run over to ABT again to see Gillian and Daniil this weekend. I wasn't sure from ABT's casting / calendar if Daniil would be dancing Ali or if it would be Heymann's turn. Now I know! Can't wait! I'll also be very curious to see Stella in a Principal role.

"Smooth" is a bit exaggerated, imo. I was sitting in the second row (to the stage) of the Orchestra, and I could see the tension and nervousness from both Simkin and Lane every time he had to partner her with anything rather difficult. Yes, he can lift girls high off the ground, but the landings can be a bit unsteady (for the girl). Also the partnered turns were good, but not the most confident and flashy..... This is Corsaire! Yes, Simkin's partnering has improved at no sacrifice to his incredible dancing.... but Herman Cornejo's partnering has greatly improved! He looks very ready for R&J! Cornejo handled the partnering demands, the dancing demands and acting with Masha as if they had danced this ballet together for years. There were nerves here and there.... but that kind of trust takes time. The guys all danced beautifully and with such masculine power. Cornejo seems to have a more mature, calmer, sexy power these days. It's just a different style from the others, not worse, not better, just different. I loved him. It's got to be difficult for anybody to dance next to or after Simkin. Simkin's a beauty in addition to being a fantastic dancer and wonderful, fully engaged actor. I thought Shevchenko was gorgeous in the Act 1 (trois girls). She came off pointe during one of her amazing turns, but it was the exception to a very lovely performance from her. Sarah Lane was lushly beautiful opposite the more schooled, perfect performance of Masha (Maria K.). Masha has all the amazing technique, but, imo, she doesn't radiate joy or act believably, beautifully. She's a wonderful dancer but she doesn't thrill me or make me feel her story. Sarah, like Shevchenko, also came off pointe in a solo or two during a difficult turn sequence, but it didn't ruin Sarah's full of quality performance overall. Thoughts of Osipova with Vasiliev kept entering my thoughts during intermissions.... What a huge loss to ABT that they no longer dance / guest with this company. Their Corsaire made the house scream with joy so recently. I missed them.

I was hoping they would give Tiler Peck and Robbie Fairchild a Duo Concertant.... sigh.... but hopefully Wheeldon's new Gershwin will be a big success.

Canbelto, re JK and AC are banned from entering the opera house. What is your source for this info? What a mess, is an understatement.