its the mom

I have to agree with you there.

Beauty truly is in the eyes of the beholder. I was not disappointed with Hallberg's performance, especially when it came to the third act pas. Each dancer portrays their character in a bit of a different way. While many on this board love Marcelo's portrayal, I do not. It is overboard for me. I think as far as the characterization goes, Bolle wins. I never go expecting Seo to knock my socks off in the acting department. But I would rather see her than some of the others. I was also impressed with Forster's partnering last night and look forward to more. I love the connection that Brandt and Cirio have, and I think their partnership should definitely be developed.

Hoven should not have a problem. He trained at NCSA under Melissa Hayden.

Agreed. Once I saw the role, I really could not imagine her in it. But, perhaps she will surprise us.

She did more than half in her shows of Don Q this season, did a few piques and then a jete off the stage. I was sitting with a dancer who said that they needed a better exit strategy for her (one that would look deliberate and polished), knowing that she usually cannot complete them. Not sure why they don't coach that.

Can we not just concede that Boylston can do the fouettes, but was injured and chose not to do them? Can we also not agree that, at ABT, the principal dancers get to do maybe one or two (if lucky) of a ballet's principal role per year? They may not have a chance to perform that ballet for another year, sometimes more. It is difficult to give up their chance to dance it. I can't imagine the anguish. Do I try or do I not? Obviously, the company had enough confidence in her to perform the role without the fouettes. Frankly, I have seen them done with doubles, triples and quadruples and I can't stand it because they tend to be unmusical. Additionally, how do we know she didn't say, "I can't do the fouettes, so maybe I should not do the show?" We do not know what goes on behind the scenes. As we know, there are several injuries in the principal ranks, and putting more pressure on the already pressured soloists may have been a consideration.

Yes! Promote Leta!

I do remember the film and her opportunity at RNZ. But with proper coaching earlier, might she have been able to dance that role? It just seems that dancers lost out in the last 10 years because of the guest artists.

I have not consistently attended ABT performances over the years, so I am not as knowledgeable as those of you who are long-time audience members. Prior to Rachel Moore's tenure, was there a large guest roster? Or was this something she initiated? I know with the roster of stars ABT had - Stiefel, Corella, Cornejo, Malakhov, et al., there was no need for guests. As those dancers started to wind down, were there enough dancers waiting in the wings to take their place? Hallberg and Gomes, for sure, but had enough dancers been developed to step into the big roles? I believe the guest artist policy hurt the company in many ways. There were young dancers waiting for opportunities who never got them. Examples: Men: Gray Davis, Thomas Forster, Blaine Hoven. Women: Katherine Williams, Zhong-Jing Fang, April Giangeruso And there are numerous others who have left the company. These were all young and talented dancers who were never developed. They missed their chance over the last 8-10 years while guest artists were being used. Additionally, the whole guest artist policy was demoralizing to the company dancers, in my opinion. There is no earthly reason that a principal dancer like Gillian Murphy was dancing her NYC debut of Giselle this year. With the departure of Moore, I think the company is trying to develop from within. This is going to take a few years, for sure. There are some very talented dancers in the corps. Hopefully, they will get opportunities. Additionally, some of the soloists and principals are young enough to develop into true artists. Gorak, Teuscher, and Schevchenko in the 27-28 year old range; and Brandt, Trenary, and Cirio in the 24-26 year old range.

https://artsair.wordpress.com/2017/06/07/arts-air-exclusive-patricia-barker-named-artistic-director-of-royal-new-zealand-ballet/

Wow. http://hkballet.com/en/Media/Press-Release/Septime-Webre-Named-New-Artistic-Director-Of-Hong-Kong-Ballet.html

Agree with most of the above. Was a really fabulous show. Only a few comments: I think Simkin was a little more subdued, which I actually liked. He did his usual 540's, but he seemed more controlled than usual. (I also like Lankendem with the deep plies, but realize how hard that can be on a dancer's knees.) I was sitting with another dancer who commented that it was more enjoyable to see him this way - less is sometimes more. Herman looked a bit reserved at first, but I agree that he and Skylar looked beautiful together. Skylar had an amazing debut and I believe she will only get better. Her joy was palpable. Cirio slipped in one of his jumps in the coda, but made up for it. His variation finished with a triple saut de basque. Sarah Lane was lovely and even better than last year. I would love for her to perform the Medora role. Cassie was my favorite of the Odalisques - clean and beautiful technique. My biggest complaint about many of the women in the corps de ballet is their arms. I felt that both of the other Odalisques could have improved in that regard. Overall, this was a wonderful performance. I, for one, am excited about the future of the company with so many wonderful up and coming artists. P.S. Gray Davis was back on stage as a Pirate. Good to see him back!

Has Perdziola done costumes for ABT before? I know he did Boston Ballet's "The Nutcracker" and "Swan Lake." Beautiful designs and work.

I was at the final show of Don Quixote and spoke with some of the dancers about the situation. They do have understudies, but felt that it was best to go this way. They will prepare the others for the later run. Cirio is not dancing Albrecht, but will still be dancing in Golden Cockerel. Dreamer, I was told that although the dancing may not look hard, the variation for "The Boy" is very difficult. In fact, in the initial run-throughs, each of the "boys" struggled with it.

I was at Copeland's performance. I thought she did a fairly good job of it, actually better than I expected. She did not fall anywhere. She had difficulty holding herself up in the one-handed lift, making it difficult for Cirio to suspend her in the air for a length of time. She seemed a bit nervous going into the grand pas de deux. Her solo was fine, not amazing, but the audience (surprisingly) was tepid in their reaction to it (not the usual cheering reaction). She started her fouettes upstate left and traveled down center, doing singles. She didn't quite finish all of them (maybe 28), piqued out, and did a jete to the side of the stage for Cirio to start his turns. Once again, I do not think she is a natural Kitri, so I think it was fairly good considering that.

I have been told that they are very difficult, especially for those with hyperextension. I suppose that is why both the above-named dancers might find them challenging.

Yes, my reasoning for using the word, "classical." (Sleeping Beauty, Swan Lake, Paquita) I also think she works well in quirky contemporary pieces, ala Ekman.

Not in total agreement, but I would certainly add Oksana if we are talking about classical dancers. Also, the young Jack Thomas seems very promising. I was impressed with him at the Prix.

That is very common in the Cuban version of Black Swan. I find it distasteful and circus-like. Lorna Feijoo used to do it that way in Boston. Obviously, it is just an opinion. I will be honest, my issue with Mayara is that her bent knees in general are a problem.

I wish I had been able to go to the shows. But Macaulay was not too positive in his review: https://www.nytimes.com/2017/05/12/arts/dance/pennsylvania-ballet-angel-corella-changes-academy-of-music.html Even worse was his comment on instagram: "I was in Philadelohia last night to see Pennsylvania Ballet's final program of the 2016-17 season, "Re/Action". This included the world premiere of Matthew Neenan's "Somnolence", the company premiere of Christopher Wheeldon's "Rush" (2003), and four pas de deux - two by "Petipa" (whose estate, if only it existed, should sue), two by Balanchine. The "New York Times" has posted my review; I've tweeted it. The photo, showing "Somnolence", is by Alexander Izilaev. Friday 12 May."

Harrison is leaving to go to Miami.

Many of those students did not originate in her studios. They spent time in her studios, training with her for specified periods of time.

I wonder if they feel comfortable sitting in the space.