Olga

I agree, except I think there is more to criticize about Justin Peck's choreo, And to cast him as Robbins' successor, as seems to be in vogue these days, is to take an extremely limited view of Robbins. Peck is a lucky guy.

Dorrance will be choreographing a show for Lincoln Center Theater in the Fall -- Flying over Sunset.

This is awful. Have there been other instances like this at PNB?

I give Ezra a very large portion of the credit for Colorforms.

The calendars are back! They’re in the subscription section.

I really hope they restore the Calendar. It’s the easiest way to keep track of things, particularly if you have a lot of tickets. Also it’s a quicker look at what is running when. Huge omission! Please fix!

Many thanks to Fiddleback for alerting us to this and the other Arizona streams! Wonderful to see, and to learn about the company.

Her mother was an English teacher but then stayed home to raise children. Her instagram is in fluent English. I have wondered if her English fluency is partly responsible for her freuquent pairing with Parish.

I don’t think so. It’s a pretty obvious omission given that it’s a premiere of a ballet. And she knows and has worked with the choreographer. Strikes me as another one of her weird, indirectly hostile posts. I love her dancing but I’m getting turned off to her.

Thanks for posting, California.

It was a treat to watch Boris Akimov. Fabulous. I didn’t see Maria Allash.

All absolutely right Aurora.

My comment had nothing to do with my or anyone else’s viewing pleasure. It was a point made about the way Lane may POSSIBLY be managing her career.

And with a biblical reference.

There are many kinds of jobs, many kinds of dangers, many kinds of intimacy, and many kinds of oppression. Some of them are far worse than ballet. We don’t know the facts here. Lane has a history of being impolitic. Just possibly (quoting myself) this was another instance. Maybe not.

Just possibly someone in Lane’s position with the company should have done whatever it took to keep her partnership with Cornejo alive. There is nothing that suggests he is such an ogre that it would have entailed something truly odious. I too think Lane is one of the best female dancers on the ABT roster and we don’t know the facts but you have to wonder. Most people put up with a lot in their jobs.

Practice waa a flippant and unfortunate choice of words, reflecting perhaps my skepticism and frustration with the company — and how far from performance ready I found the 2017 foray into Balanchine. But I will be seeing both Balanchine ballets. I look forward to Cornejo’s Apollo and I hope Theme and Variations is better than the Balanchine performances I saw two years ago.

Agree, of course they have a right. Too bad they don’t have the caliber of dancers they had for the premiere of Theme and Variations (relative to the respective time periods). Sure they might get better with practice but I would rather not watch and pay for the practice period. And as you said in your first paragraph, there are many other ballets which could have been programmed and would have made better use of the limited run. My guess is that ABT is so out of it they actually think programming Balanchine in NY will increase their audience. But I agree with others rhat many of the other ballets they are doing are less appealing. I am also very much looking forward to Seasons!

ABT’s performance in 2017 of Balanchine’s Tchaikovsky Pas de Deux was cringeworthy and the Mozartiana they did the same season was off the mark. I think Cornejo may have wanted to do Apollo, I think he will do well, and I plan to be there. But two Balanchines? I agree they are tone-deaf. And they have a major vision problem.

McKenzie needs to go before the company is run so far into the ground that it can’t recoup. There may be others in top management who also need to go. Don’t they see from the half empty theater and the barebone male principal roster that something is very wrong? Adding a costume fee is foolishness. They need to be building good will, not destroying it. These sorts of charges are like regressive taxation in that they are borne in the same amount by expensive and cheap ticket holders. But in the end the costume fee, while indicative of their problems, is actually the least of them. There are other more urgent ones.

A memorable Lane/Cornejo performance in Manon last night. I agree another Giselle and Swan Lake would be great.

I see it now - under the Master Calendar. I kept noticing how the performances disappear elsewhere on the site. Thanks!

Is there a place on ABT’s website where they list who is being replaced? At NYCB they will say “Dancer B (replacing Dancer A).” Also, they keep the whole casting sheet up on their website for the whole season and slightly more. So the information and its trajectory are clear. At ABT it seems once a dancer is replaced there is no record of him/her having been cast originally. Also, once the ballet is over there doesn’t seem to be a record of who danced it. Perhaps I am missing something?

I don’t think there is much point in comparing any one aspect of City with ABT. It’s apples and oranges. The problems with ABT run much deeper than any of these points, valid as they may be individually.

Single tkts for most regular programming go on sale Aug 4 at noon. Nutcracker and a few other tickets go on sale later.