MarzipanShepherdess

7 minutes ago, Helene said:

They are far more than rumors: they are the substance of a legal complaint. 

To add to what Helene says--it is more difficult to file a frivolous lawsuit of this ilk than some may believe. Anyone can make accusations, yes. But Ms. Waterbury, as I recall, is claiming to have hard evidence in the form of copies of the messages quoted by her lawyer. I find it impossible to believe the lawyer would not have insisted on seeing that evidence before agreeing to proceed with the lawsuit.  In these types of cases, lawyers for the plaintiff are usually paid ONLY if a settlement or court victory is achieved. Therefore, the lawyer has a vested interest in not filing a suit without due diligence and a belief in the validity of the evidence, because s/he stands no chance of being paid for all the work the lawsuit entails if the suit is obviously baseless.

Furthermore, City Ballet's own statements state pretty clearly that they acknowledge misconduct by Finlay, Ramasar, and Catarzzano occurred--all they are disputing is that City Ballet itself is culpable in any way. 

23 minutes ago, abatt said:

I don't think the behavior here can necessarily be attributed to alpha male overcompensation of straight men who are in a profession where large numbers of men are gay.  There are examples of men behaving like infantile, disgusting  idiots in their dealing with women in every occupation.   Finlay and the others don;'t get a free pass in my book based on some psychological analysis of their occupational stresses.

I certainly agree they don’t get a free pass! Finlay and co have behaved reprehensibly, and I think that City Ballet’s response hasn’t been strong enough. What I was trying to say in my previous post was, I think this is both an individual problem (several specific men behaving badly) and one that reflects larger social problems (in both the ballet world and more broadly in our culture), and needs to be addressed on BOTH levels. It is important that individuals are held responsible, but also that the cultural conditions that enable or influence their behavior are addressed. 

7 hours ago, wonderwall said:

During graduate school, I remember reading a few ethnographic studies on male sports teams regarding gender norms, masculinity, etc. One of the interesting observations made was that male teams in sports typically viewed as a "softer" or "more feminine" often had cultures that endorsed toxic masculinity (I remember a particularly shocking one about a male volleyball team, but interesting nonetheless). Of course, ballet is not a gendered team sport in the traditional sense, but reading through this, it makes me wonder whether their profession causes some male dancers to feel the need to overtly demonstrate macho masculinity/womanizing behavior (compensating in some way). While ballet is already entrenched in gendered roles/power structures, it is just interesting food for thought.

I watched this after reading this thread and thought it was very interesting--especially 2:52 through the end.

 

Fascinating! I agree that given the homophobia/gay-bashing we know male dancers of all orientations can face, a similar dynamic could be operating here. It is a sad irony that men who may have been bullied for being “feminine” because they pursued dance grew up to bully women themselves in attempt to assert their own fragile sense of masculinity. Sexism and homophobia hurt everyone. 

3 minutes ago, fondoffouettes said:

E The "pissed" quote is actually attributed to Finlay:

"There are text messages between Mr. Finlay and Ballet Principal. Mr. Ramasar, during which Mr. Finlay acknowledges that these women who were unknowingly and unlawfully photographed "might be a little pissed" because they were "taking it to the level of showing each other pictures of other women."

But it does implicate Ramasar as the recipient of photos taken without the subject's consent.

 

Yes you are right that Finlay, not Ramasar, said the women would be “pissed”—I misread squinting at the complaint on my tiny phone screen! 

It is certainly a very poorly written complaint, which makes it difficult to have all the clarity one would wish for given the seriousness of the subject. However, if Ramasar was told by Finlay the subjects would be upset about he and Finlay (and others) sharing the images, I do think that indicates they both knew what they were doing was wrong. 

At this point, I’ve decided to write a letter stating that my husband and I will not be attending any performances (even those for which we already have tickets), or making further donations, until City Ballet takes meaningful steps to address their ongoing sexual harassment problem. We are also going to request to withdraw our fall gala donation. Reading this thread has helped me decide that this feels like the right course of action for us to take. I really appreciate being able to read the many thoughtful responses here, from the variety of viewpoints they represent. 

In articles 57-61 of the complaint, it is indicated that the men (Ramasar is named) to whom Finlay’s revenge porn images were sent WERE aware this was being done without Waterbury’s consent, and that they also knew she would be distressed to learn such images existed and were being shared. It is also indicated these men sent images in return which were also acknowledged as being shared/captured without their subjects’ consent (Ramasar acknowledges the subjects would be “pissed”). At least one such image was taken non-consensually of a dancer at work, while changing. 

To me this goes far beyond “describing sexual wishes” and “image-sharing”, and indicates that Ramasar and co knew they were receiving and/or sharing revenge porn with Finlay. 

It’s also worth noting that all the victims are described as being lower in company rank than the perpetrators—it sounds like these men knew who the company would let them get away with abusing. 

My husband and I attend City Ballet regularly and already have tickets to the upcoming Fall Gala (which we also attended last year), as well as another fall performance. We are disgusted by the allegations, of course, but also by what we consider to be a shameful response from City Ballet. Given that City Ballet's statement (via Scharf) does not seem to dispute the validity of the allegations, we feel only placing the perpetrators on suspension for a single season is inadequate given the severity of what occurred. We also are troubled that the statement did not indicate that the donor in question had been barred from further involvement with the organization. And beyond this, it is of course disturbing that these allegations follow on those against Martins, painting a picture of a pretty sickening institutional culture of exploitation of female dancers (and students!) After that episode I would have expected the institution to have done a lot of soul-searching and to have treated Ms. Waterbury's case more appropriately--but it has not. 

I would love to hear from any other City Ballet fans/supporters as to what they plan to do this upcoming season, or what you'd do in our shoes! Given the current situation, we are strongly considering writing to City Ballet and asking to withdraw our gala donation, with an explanation of our rationale. We aren't sure what to do with the tickets we have already purchased for the other performance either (we were taking friends, who would certainly be as horrified with the current events as we are)--just not use them? attend the other performance anyway but not go to the gala? Go to the gala but write a letter stating our outrage? 

14 hours ago, ABT Fan said:

Zimmi Coker, an apprentice that a few of us have noticed during the Met season, has been promoted to the corps along with a few of the other former apprentices. I noticed this in tonight's R&J program. The roster on the company's website hasn't been updated yet.

Yay! Well-deserved. Happy we can look forward to seeing Zimmi develop with ABT. 

Ok, yes, Hallberg/Abrera would have been my dream pairing—but I agree with BalletFan and ClassicBallet that Hallberg and Boylston were great together! I saw the Wednesday night performance but haven’t had time to post until now. 

I haven’t been a huge fan of Isabella historically, but I was impressed by this performance and it gave me a new appreciation of her as an artist. I have always admired her technique, but had not seen her ever create a character so fully as she did with Juliet (I may be late to the party because I don’t see her perform often). Her acting was very, very strong all throughout and she managed to capture emotional nuances while still projecting on a grand enough scale to be readable at the enormous Met. She did this magic for both comic moments (like when she bounds into the ball scene full of girlish excitement which suddenly shifts to girlish anxiety about being at her first ball) and tragic ones (like the final act, where her Juliet startled after stumbling into a tomb and then discovered Romeo—upon which she wrung her hands and “screamed”—completely heartbreaking). 

She looked really secure with Hallberg and the lifts were very impressive. In the balcony scene and the “morning after” scene especially, I was sometimes bothered by her port de bras (sometimes awkward/less than fluid), but overall her dancing was lovely. Great jumps and bourées .

This was my first time seeing Hallberg “really” dance this season (Pierrot not counting IMO as it’s almost all mime). He was wonderful. Great acting, so much ardor and passion and heart. Beautiful, elegant lines as always. Rock-solid lifts. Great in the fight scenes—both with the sword-fighting and evoking the Act II inner conflict that accompanied the fighting.  He and Isabella really have chemistry, which is sadly lacking at ABT these days. It was so great to see actual spark between principals.

I thought cirio was an excellent Mercutio. I can often find Act II muddied and less than engaging, but he really drew me in. Amazing jumps and turns that got a lot of much deserved applause.

Overall, the supporting players looked great—I feel like Romeo and Juliet is really one of the ballets ABT does best. 

2 hours ago, kbarber said:

I found Boulud Sud overpriced for what you get. Before the theatre they force  you to order their three-course prix fixe for $65, which when  you add something to drink and tax and tip is getting perilously close to $100.

I also really like Le Pain Quotidien for a more casual meal.

During the summer, if you sit in Boulud Sud’s outdoor seating, you can order a la carte! I’ve done so multiple times this season. 

I alternate between Bar Boulud and Boulud Sud—enjoy both but Boulud Sud is my favorite. my sole meal at Fierello’s was AWFUL, would never go back. 

5 minutes ago, alexL said:

Thanks everyone for the detailed reviews! I will be seeing Brandt/Simkin and Lane/Cirio this week. Seems like Simkin is a good fit for this role with his dramatic acting style and big jumps.

Seeing it tonight, I actually thought I would have enjoyed it more with simkin! Aside from the lifts, it definitely plays to his strengths. 

Just saw the lane/cirio abrera/Hallberg cast. 

TL;DR—charming but slight. Would not see it again. Audience reaction was tepid.

My partner compared this ballet to a cream puff—enjoyable but insubstantial, and not satiating. I left feeling underwhelmed. 

Abrera really stole the show, despite not having the “wow” choreography (those devilishly difficult hops on pointe that columbine does in both acts). She was just so sparkling, charming, and pitch-perfect, and all her interplay with Hallberg was great. I enjoyed him as Pierrot—he doesn’t have a lot to do dance-wise, but he was funny, especially playing off Stella. I thought their partnership had more spark than Cirio and Lane’s.

Cirio was very good in his mimes, but his lifts were unsteady and his solos didn’t quite have the oomph and bravura quality I was hoping to see. Because the ballet has so much mime and light dancing, you really want those solos to wow and Cirio’s just fell a bit short of the mark for me. 

Lane was cute and acquitted herself admirably with some VERY difficult choreography, but didn’t quite nail it like Stella did. Like with Cirio, I was left wanting a bit more.

audience response seemed pretty tepid. Lane’s hops didn’t get any applause, which surprised me, and there was just one front-of-curtain bow with light applause. People seemed very ready to be out of the theater—it’s a short ballet, but it feels longer than it is I as there are some sections like the kids’ dances in Act II that drag.

I left feeling that this was a ballet that must have been much more engaging to make then it is to watch. The whole history of the piece and learning about the reconstruction process was more interesting to me than the ultimate result. I don’t think this is a winner for ABT—I think the appeal is pretty limited to people who have a significant amount of interest in ballet history and in Ratmansky as a choreographer. I’m not a parent, but it didn’t seem child-friendly to me (it’s totally G-rated but I think most kids would be bored).

curious to hear more of what others thought! 

A little late, but adding to the chorus of praise for Kimin Kim and Hee Seo's Friday night performance. I attended with my partner, who doesn't see much ballet and is not usually effusive about it, and he was raving about how "even he" could tell that their dancing was really extraordinary after just the first act. 

This was my first time seeing Kim and I was absolutely blown away by both his technique and artistry. So princely! His jumps made me literally gasp with delight. He really brought out the best in Seo--this was the loveliest performance I've ever seen her give. Some of her Act II variations felt under-powered and a bit less than compelling to me as well, but overall Nikiya is a role that really plays to her strengths (lyricism, fluidity, lovely use of her arms and hands). It was not as dramatically rich an interpretation as my favorite Nikiya (Veronika Part), but it was a great performance nonetheless.

Seeing Kim and Seo's wonderful chemistry made it quite stark, by comparison, how so many of the current ABT partnerships lack the same excitement. I saw Giselle with Stella Abrera and Cory Stearns earlier this season and despite my enjoyment of Stella's dancing, the performance overall fell flat for me because Stearns is so inert.  I fully support the current tack management is taking to be less dependent on guest stars and to develop their talent pipeline from within the company, but at the same time I feel starved for the kind of breath-taking dancing that Kim delivered, and that ABT used to offer in the days of Diana, Marcelo, Veronika, Nina, Malakhov, Carreno, pre-injury Hallberg and co. I think there is an argument to be made for bringing in guest stars judiciously but more frequently than this current season--especially ones like Kim who can help an ABT dancer develop via partnership. I really hope he'll be back next season. 

With everyone reporting that the Shades were much better Friday than earlier in the week, I can't imagine how awful they must have looked earlier because to me they still looked pretty ragged on Friday. I found the wobbles and lack of synchronicity to be distracting. I do agree with those who mentioned Zimmi was a standout despite being one of the least experienced dancers on the stage. I noticed her in a rehearsal I attended earlier this season and have been following her since then. If ABT doesn't give her an offer to join the corps, they're crazy!

It was noticeable to me too that Gillian was not as steely in her technique as in the past  (it seemed like she skipped balances I used to remember her doing--she is after all human and 20 years into her career), but I'd still rather see her as Gamzatti than anyone else at ABT. Her fouettés were impressive and her acting was impeccable. She brings a nuance and depth to Gamzatti, especially in Act III where we saw her experience guilt and uncertainty. Even in side-stage moments, like when she and Kim were watching Seo's Act II solo, she was compelling to watch. It's easy to play Gamzatti as a one-note villain, but Gillian gives her humanity while still preserving her hauteur. 

1 hour ago, NinaFan said:

 

My guess is that they are trying to encourage subscribers to buy a standard subscription.  I don't think it has anything to do with a cast change as they are still advertising them dancing together.   Single tickets go on sale tomorrow, and you should be able to grab tickets.   Hopefully Hallberg will recover in time, but as with any performance, there is no guarantee when it comes to casting.   And as many have noted on here,  it is unlikely that Osipova would dance with someone else from ABT, however they could always import someone. 

Thanks for your reply NinaFan! That makes sense that they are using that specific performance as a carrot to get people to just buy the Friday night series rather than mixing and matching as I like to do. 

I purchased a subscription today and was distressed to see that despite the fact that the Osipova/Hallberg Giselle is still listed on the performance calendar, it was the only ballet you couldn't purchase as part of a subscription.

Is this something they've done in the past with performances they anticipate selling very well, or is this an indicator they don't think the Osipova/Hallberg performance is likely to happen and don't want to deal with a lot of subscribers who are angry about a cast switch?

I saw last night's performance with Simkin, Boylston, Lendorf and Lane and came away totally charmed. 

Whipped Cream is, IMO, a great addition to ABT's rep because it offers treats for devoted ballet fans and those who are new to ballet alike. The sets, costumes, and choreography are visually delightful and clever in a way that even a child can immediately grasp, but the production is also rich enough to reward the more knowledgeable eye. This is definitely a ballet I will see again next season as a night out with friends who aren't regular ballet goers. ABT doesn't have many productions that are well-suited to that, so I'm pleased with the addition of Whipped Cream to the roster on that count alone. 

Another thing I like about this production is that it's really an ensemble piece: there are a lot of great chances to see newer dancers at their best, the focus isn't just on two or three stars as with, say, Giselle. Standouts to me last night were Catherine Hurlin as Madame Chartreuse, and Blaine Hoven as Don Zucchero, in addition to the principal cast. 

The Boy is a perfect role for Daniil Simkin--I can't really imagine anyone doing it better.  Stunning leaps, turns, and jumps, and he captured the spirit of the character well. Isabella was lovely as tea flower, and I really enjoyed her partnership with Alban. 

If you're on the fence about whether to see this during the run later in the season, go for it! It's a really enjoyable ballet. 

Attended last night's Don Quixote with Herman and Maria. I agree with the earlier poster who felt Maria was under-powered in the first act. Her lack of brio and energy was noticeable in comparison to Herman and Blaine, who both were firing on all cylinders right out of the gate, and especially next to Devon who was dancing Mercedes. Devon seemed to be having so much fun with the role, and brought all of the flair that seemed missing from Maria's Kitri. She might be a great Kitri someday herself. Maria was better in Act II and III, with super-impressive fouettes, but I never really felt like she had the spirit of the role. 

It was a wonderful night overall, though-- other standouts for me were Zhiyao as lead gypsy, with his glorious leaps, Skylar Brandt as a twinkling, nimble Amour, Craig Salstein as an actually, surprisingly entertaining Gamache, and of course Blaine who was fantastic as Espada. 

What happened in Act III with Herman's injury was truly unsettling. After completing the part of the pas de deux with the 2 lifts, he never returned to stage. He seemed to struggle with the first lift but complete the second without trouble. Maria seemed rattled though she finished the final bit of the Act with Blaine smoothly. It seemed like many in the audience did not initially realize Blaine wasn't supposed to be partnering Maria ( credit to both), but then when Herman didn't appear for what was clearly the final moment of the ballet everyone seemed to get it. Subdued and rushed curtain calls, with a burst of applause for Blaine and Devon. 

Really hope Herman will make a speedy recovery and return to the stage soon! 

Did Stella get a good welcome at her performance today? I wish I could've been there to scream a few extra bravas for her! Hope someone posts the bows on YouTube.

Stella was enthusiastically and deservedly applauded during her 2 before the curtain bows, but I don't think most in the audience were there to see Stella specifically or were aware it was her first performance as a principal. From what I observed the audience was mostly parents and grandparents treating their kids to an afternoon at the ballet.

I am often very critical of ABT's management, but hats off to them for really nailing it with this set of promotions.

I'm over the moon about Stella. Yes, it's overdue, but better late than never! I can't wait to see her be given the chance to expand her repertoire and to see her again in Giselle.

Considering it purely from a dance standpoint, IMO Misty's been promoted too soon. She is a charismatic dancer who can bring a really delightful brio and individuality to some of her roles, but I don't think she has yet acquired the depth and polish that should define principal ballerinas. But of course with Misty to consider it from a dance perspective only is to miss the point. She is not just a dancer; she's also an inspiration to many, a symbol of black American achievement, and a major box office draw. Taking those factors into account I think ABT was right to promote Misty this season.

It would have been a news story if she was NOT promoted this year, coming off the Time 100 cover, and a very ugly one at that. Hopefully Misty will bloom further as an artist and a dancer in years to come.

Any reports on the Abrera-Gorak Cinderella?

It was really lovely! It felt a bit poignant for Stella to dance this role for her first performance as an ABT principal. I think she has had a bit of a Cinderella story with ABT: a modest, gracious hard worker who was overlooked and denied opportunities to shine for many years, but who has now FINALLY gotten to step into the spotlight.

Stella brought a lot of dramatic expressiveness to the role, and her mimes were particularly vivid. She was especially good in Act III where she really showed the full range of Cinderella's emotions after the ball: elation as she relived her memories of the ball, sadness that it's over, uncertainty over whether it was really a dream or not, and then joyful relief when she finds her glass slipper. She also really nailed that tricky Act II variation, where she did the most dazzling, high speed sequence of turns and leaps in a manege around the stage. I also loved way she so beautifully conveyed how Cinderella is both happy and grateful through her gracious Act III port de bras.

Gorak was good but didn't particularly shine for me. But in fairness, I was very focused on Stella.

Gabe Stone Shayer was a nice surprise as the jester. He needs to acquire some more polish and authority (there were points were he seemed a bit uncertain, he comes across as very young), but some of his jumps and kicks were pretty stunning and he has good stage presence.

Sarah Lane was the standout amongst the fairies, as Spring. April G also very good as Winter.

Looking at the overall casting for this week, I have to say I don't think I've ever been less excited about a Swan Lake week at ABT. (And I usually consider it one of the highlights of the season, despite its ubiquity.) I'm depressed about the prospects for this company.

I feel the same! I don't think I've missed an SL week at ABT once in the decade I've been attending their performances. I was tempted to see Veronika tomorrow, but I've seen her do SL with Corey before and been deeply disappointed. I'd rather cherish my memories of her dancing O/O with Marcelo and David, so I'll be seeing the RB tomorrow instead.

How deeply, deeply sad.

I have treasured memories of Albert onstage (especially as Puck and in the Four Temperaments). But my most indelible memory of him is an off stage one. Many seasons ago I had the privilege to go backstage at City Ballet, where I saw Albert in the wings. He had the most amazing, distinctive walk: purposeful and confident but at the same time slinky and sensual. I'm not evoking it well, but I was so struck by how much charisma and grace he radiated, even when he was off stage. He caught your attention without calling attention to himself--a star even amongst all the stars that were there that night.

Such a terrible, tragic loss.

Mazurka, I would really encourage you to see Stella. She is an extraordinary dancer but, unfortunately, she is not frequently given the opportunity to dance principal roles. Seize the chance to see her, especially when she is firing on all cylinders this season and coming off a triumphant NY debut in Giselle. I've seen Ashton's Cinderella at ABT and think the lead role should suit Stella perfectly. That being said, I've never seen Nunez so I can't speak to how she compares to Stella. But, I can assure you Stella is wonderful!

Hee Seo is certainly not Vishneva but the level of vitriol directed at her seems quite unwarranted. From reading some of the comments here, one would think she was a total hack---but she actually can be quite lovely (as she was last night).

I was VERY disappointed to learn of the substitution via my program last night, as I'd bought tickets specifically to see Vishneva with Gomes and would have purchased tickets to see Obraztsova instead had I known Diana wouldn't dance. But, I still enjoyed the performance and agree with those who say this is Hee's best role.

To get the obvious and uncontroversial out of the way--Marcelo was wonderful as always. His performance was ardent and tender, and his interactions with even minor characters like the harlots were richly nuanced. He really brings out the best in all his partners, and certainly deserves some of the credit for what Seo was able to do on stage. He didn't have that extra dazzle and passion that he has when he dances with Vishneva, but seeing him dance with a crash test dummy would still be a treat.

The other standout man last night was Craig Salstein, who was a very compelling Mercutio.

Okay, now here it comes--I liked Hee last night [runs for cover]. No, she is "Not Vishneva". But she was lovely. I disagree with those who say she mechanically toggled from happy to sad. I thought she convincingly conveyed Juliet's emotional journey from being a playful child in Act I to being a passionate wife in Act III. I loved how she blossomed in the balcony scene, throwing herself with abandon into the pas de deux (very much enabled, no doubt, by trust in Marcelo as a partner). She has a very beautiful lightness and quickness and delicacy to her dancing, which is perfectly suited to the Act I choreography and which contrasted wonderfully with the fierce love she showed in the "morning after" scene. She conveyed that her Juliet had a premonition something terrible was about to happen and that she wouldn't see Romeo again and I found that very affecting.

She was weakest, unfortunately, at the end. Her poison scene was muddled and didn't pack the emotional punch it should have. She made it seem as though Juliet was afraid of some ghostly presence rather than wrestling with her own thoughts.

It wasn't a performance that sent me into raptures (as Ferri's Juliet did) but I enjoyed it very much.

I very much agree with the consensus here that ABT needs to better develop, promote, and support the home team and I think it's a shame that KM has burned so much of the audience on Hee Seo by leaning on her so heavily. Don't write her off--she is a dancer worth watching.

"I think it is a bit of both. Those ballets are probably technically challenging for her now (or rather, it is challenging for her to perform the classics up to her standard, as I can't imagine her ever omitting the hard stuff or marking the steps a la Kent/Cojocaru), but also that she doesn't like the ABT productions, so it's not worth the effort.

I think there's a possibility she might do Ratmansky's SB, since they seem to have a good relationship, and she seems to like to do his ballets (she's dancing his "Psyche" this weekend at POB, then his "Cinderella" in London, and she did "Lost Illusions" at Bolshoi earlier this year). I guess it will depend how much he changes the traditional choreography.

Also, I think she'd only do it if she can dance with Gomes. Ratmanksy has used Gomes as the male lead in the premiere of all his ballets for ABT ("On the Dnieper," "The Bright Stream," "Firebird," "Tempest," and arguably "Nutcracker" too). Would Ratmansky cast Vishneva & Gomes as the opening cast? My feeling is that Ratmansky might go for a "home-team" ballerina or an up-and-comer instead..."

You've given me hope, thank you Batuschan!

The difficult Petipa ballets like SL and SB are now, I believe, outside Vishneva's comfort zone. I don't believe we will see her do those roles again. .

I thought perhaps Diana just disdained the current ABT productions of these works as much as I do. ;)

But what you say makes sense, sadly!