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its the mom

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  1. This certainly was a trip down memory lane. Plan to B is iconic Elo, and while it was enjoyable, my favorite iteration of this ballet was performed by Sabi Varga, John Lam, Whitney Jensen, Lia Cirio, Jeffrey Cirio, and Bo Busby. They were, for a long time, the cast to see in the many places this ballet was performed. Their performances were electric. But, I digress. There was much to see here, including Elo's Bach Cello Suites and Close to Chuck, two of my favorites. I hope we get to see Close to Chuck once again at some time in the future. Additionally, a portion of Elo Experience with Lariss
  2. Season starts tonight! https://www.bostonballet.org/Home/Tickets-Performances/Subscription-Information/Virtual-Subscriptions
  3. David Hallberg just announced his new Directorship at Australian Ballet on his Instagram!
  4. I just looked at my program, and you are right, Amy. The casting in the program was all mixed up.
  5. Funny, Agon was probably best received as a whole that first evening. I think the blonde was Dawn Atkins the second evening, but I do believe that the casting for Agon was correct in the program. I could be wrong. The two men in the pas de trois are probably a little more inexperienced, hence the toss not quite as successful as the previous night. You are so right about the movement quality in Agon - that’s a great way to put it. “Not punched or muddled.” On another note, I am sad that PA ballet has changed rather drastically. I know there are those who prefer it now, but I miss the d
  6. I saw opening night and Friday night. Glass Pieces is one of my favorites, and paired with Balanchine and Forsythe ... well, for me, it does not get much better. The first night of Glass Pieces felt a little under rehearsed, but the second evening did not disappoint. I could watch that ballet time and again and not tire of it. I love the patterns and that music! It was also good to see John Lam dance the central pas. Agon was beautifully danced on opening night. Cirio and Arrais (back on stage after a long injury recovery) danced the pas. There was audible gasping in the audience w
  7. One very major difference is ABT’s large lay-off period which enables the dancers to pursue other projects. In most other companies, these larger periods of lay-off are not common. With class, and six-hour rehearsal days, and with some companies working 5-1/2 to 6 days a week, pursuing outside coaching would be a challenge. During the summer, when most companies are on lay-off or holiday, there would obviously be more time to pursue outside coaching. However, most dancers are working other jobs - summer projects, teaching, etc. Brandt is blessed with that luxury. Good for her, but I don’t beli
  8. I don’t think it’s typical for a dancer to float possibilities of leaving a company in a promotional piece for her debut of an iconic role. This tells me a lot about McKenzie’s management style. Obviously, he has to balance casting between his principals and up and coming soloists. He told her to keep her eye on Giselle, she gets no help at company to do that, so she gets outside coaching, and then she basically has to plead for one show. That’s ridiculous. If she had not gotten outside coaching, she would not be performing that role most likely. She is obviously paying for this coaching, some
  9. I just checked and the questions are there. They just did not reply. And I doubt they would on Instagram, as others have indicated. Additionally, the person who asked the question follows nobody and has no followers. Take what you will from that.
  10. I rarely get to NY to see this company. They do not perform much that interests me, although I am hoping to catch Jane Eyre this time around. I am astonished, like many, at casting. Blaine Hoven deserves better. And does Sarah Lane. Both would be welcome additions to any company. And both have years of dancing left if they so choose. I wish they would go elsewhere. Sarah could do well in Europe. I would love to see her in Berlin or London (with Simkin or Cirio respectively.)
  11. Just a couple of responses, Amy (and in no particular order) I saw several shows of this at Boston. The costumes and sets were borrowed from Pittsburgh Ballet Theatre. I agree with some of your complaints about the props, but shouldn't Ponomarenko (who adapted it for the company) have changed some of this? I didn't know whether Myrtha's "sprig" was rosemary or asphodel, but whatever it was supposed to be, it was way too large and cumbersome. Additionally, the lilies were too loud as they hit the ground (I am assuming they were plastic.) As you said, Amy, it was just a number of littl
  12. She has certainly benefitted from the fact that Kuranaga is gone. Dunn needs a very small partner. Additionally, many of they young dancers have benefitted from departures from the company this past year.
  13. Instagram and Facebook are both full of dancers’ posts about this. It’s been all day. Ms. Spencer’s instagram is filled with angry comments, as well.
  14. Lendorf is no longer listed with the company. Would love to have seen Hoven or Whiteside in Apollo. Both have danced Balanchine.
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