its the mom

Perhaps Brooklyn is going the way of freelancing/guest artist. There are several of those listed as guest artists at HK Ballet. It can be quite lucrative and dancers are able to pick and choose what they would like to do. Certainly not for everyone, but it appears there are a few who have been quite successful at it. http://www.hkballet.com/en/About-Us/Guest-Artists.html

Interestingly, when looking to see if Brooklyn had joined Septime at Hong Kong Ballet (since he was performing Alice with them), I noticed that Venus Villa is now at Hong Kong Ballet, and no longer listed on Washington Ballet's site.

Brooklyn has never been married to Alicia.

Maybe there are some from this thread?

Woetzel just started his contract in July. I realize he was working in tandem with Polisi for a year, but officially just started. https://www.juilliard.edu/school/about/office-president

I cannot even imagine what this costs the presenters of this gala.

Yes, I was surprised she was leaving Zurich. It seemed as if she was pretty much a star there.

Derek has been a great addition to this company. However, he is fairly short, and there are only a few women he can partner in classical works. Nezha joins his wife, Petra Conti, in LA. Lorieux will be missed. He is beautiful on stage. It will be interesting to see how Kapitonova fits into the company.

I agree. She might draw the line in other places. I remember when Boston Ballet did Kylian's Bella Figura, several dancers would not dance in it because of the nudity.

Well, ABT is on their way to Vail. Maybe McKenzie will see something he likes there and insert it into the program. Or, maybe he will use Bond's "Depuis Le Jour" which several of the dancers have used for festivals this year (Sun Valley and Fire Island), especially because he is highlighting women choreographers.

Ahn is not that young, not like Bell. He is probably in the 24-25 year old range. Having said that, I was surprised he was given the Solor role after seeing his Corsaire last year. But because he is tall, McKenzie will probably bring him along to partner Devon and Christine.

I saw that. Quite a number going into Royal this year.

Yes, for "some" Studio Company members. However, there is no dorm situation for those in the school.

Agree with everything you said, FauxPas. I thought Copeland and Cirio had great rapport, and it looked like they were enjoying the evening. I will give Trenary a pass, as it was her first Dryad Queen, and from what I understand, this show has had very little rehearsal. I would add that I hope Forster gets some more leading roles before it is too late. In terms of the fouettés, it could be a matter of just being too tired at the end. Swan Lake and Sleeping Beauty are stressful for the ballerina. Don Q just seems easier to handle for some reason maybe because it is faster paced? I know I am in the minority (no pun intended) when I say that although Misty may not be the quality everyone would like her to be, she does do an awful lot for the future of ballet. Whether that is inspiring future ballerinas or just future ballet-goers, there is something to be said for that. Check out this instagram and the voice. Just adorable.

Whiteside performed numerous Balanchine ballets while at Boston, as did Cirio (but Cirio won’t be around.) Hoven trained at NCSA under Hayden, so he has done a good amount of Balanchine work as well.

Can you blame him? Which tells me that McKenzie needs to hire or resort back to guest artists, maybe not for the fall, but definitely for the Met.

I feel that way about In the Upper Room. I know I am probably in the minority, but it's been overdone. And another Lang work? Depressing fall.

I am certainly not a historian, but found this on wikipedia: "The character of Odile was not a "Black Swan" at all in either the original production of 1877 nor in the revival of 1895, and she was not performed as such for many years - she was simply Rothbart's evil daughter until sometime in the late 1930s or early 1940s. As Odile, Pierina Legnani appeared in a glittering multi-colored costume with no feathers to be found - obviously to appear more as an enchantress than as a "Black Swan." Later performances at the Mariinsky Theatre of Swan Lake used similar costume designs for Odile throughout the late 19th century and early 20th century. It is unknown when the tradition of having Odile performed as a "Black Swan" began, but most historians point to a 1941 staging of the third scene (the "Ballroom Scene") performed by the Ballet Russe de Monte Carlo at the Metropolitan Opera in New York. This production was staged by Alexandra Fedorova-Fokine under the title The Magic Swan. Odile was danced by the great Ballerina Tamara Toumanova. At the time the only part of Swan Lake that was known in the west was the famous second scene (or the "White Act" as it is sometimes called). In an effort to have the audience distinguish Odile from the more well-known Odette, Fedorova-Fokine had Toumanova perform in a black costume, and almost by accident Odile began to be referred to as "The Black Swan." Though Toumanova was not the first ballerina to wear such a costume when dancing Odile, her 1941 performance set the tradition in motion and soon Odile became "The Black Swan," a tradition that quickly spread everywhere, including Russia."

Yes, there is a stipend for Studio Company, but not for those in the school, at least as far as I know. However, I am sure that with whatever stipend they get, it is still very financially difficult to live in NYC. https://www.rentcafe.com/average-rent-market-trends/us/ny/manhattan/

I do not believe they advertise a tuition free men's program. I do know that merit scholarships are given. Part of the problem for JKO is the fact that there is no dorm. For most people not living in the city or in close proximity, moving their child to the city for training is cost-prohibitive.

She did the hops on pointe last year.

There are traveling fouettes in the coda of some versions of The Nutcracker, but it is only a few:

With Simkin and Cirio gone next year (and Cornejo no longer performing it), someone else had to learn it. (I am assuming that Whipped Cream and Harlequinade will be done on tour, but I could be wrong.) Perhaps they were not sure Klein would be back in time from his injury and did the substitution. The boy role is actually harder than it looks.

Roman is truly amazing. He was my favorite Tybalt last week.

Not sure what you mean by his artistic vision not matching US companies? Have you checked the rep of most companies? There is a huge diversity in rep in most companies other than ABT, NYCB, and possibly Miami. Even PNB, with Peter Boal at the helm, does a diverse rep. Cirio is going to a company which does a large amount of classical ballet and came from a company (prior to ABT) which does a good amount of classical work. Cirio performed most of the classical leads before coming to ABT. The article below spells out his reasons for leaving Boston. https://www.nbcnews.com/news/asian-america/american-ballet-theatre-s-jeffrey-cirio-looking-challenge-n647726 As far as Rojo's comments in the video, I think her choices in rep speak for themselves. The company is performing a number of full-lengths next year. Just because she wants to give artists a chance to revisit the classics in a new way, does not mean she doesn't respect the past. I think Cirio mentioned it in his instagram post - respecting the classics, but also moving ballet forward. Why can't a company have both?