its the mom

Sorry to hear that, but I am sure Dylan will be successful in anything he does.

I think you probably hit the nail on the head. He was not cast in principal roles.

But then he says this on instagram:

While I understand the dilemma with the tall women, Tedaldi could certainly play a leading man with the right woman. He is no shorter than Cornejo or Simkin at ABT, and he certainly has the ability to carry a leading role, unless something has happened since he has been at NBoC. I knew him as a student in Boston and in Hamburg.

It is shocking to me that Dylan Tedaldi would not be promoted. Technically, he is amazing, and so strong at both classical and contemporary work.

Well, it seems that Stella was happy with her partnership:

Because of my work schedule, I have been attending Tuesday evening performances. It was a wonderful show last night. Juliet is probably a better vehicle for Misty. Herman was a heartthrob Romeo, and teamed up with Cirio as Mercutio and Gorak as Benvolio, it made for a very entertaining evening. There was a mishap during the crypt scene. I didn't see it, but one of the monks fell from above. I am not sure if it was when they were descending the stairs or just at the entrance. He was there throughout the whole scene, apparently. (All of this I heard after from some of the dancers.) When it came time for bows, we were wondering what was happening because there were no open curtain bows. They did two sets of page bows instead. I always find the storytelling of R&J somewhat weak and that bothers me. Nevertheless, I am hoping to see Hallberg on Saturday night, if I can make it.

Klein did perform the Boy in Whipped Cream on tour earlier in the season, I believe (at least in D.C.?)

Nice interview. I know he will be missed by so many. Thanks for sharing that.

The problem, especially this Met season, is that the company was presenting two new ballets which took up a tremendous amount of rehearsal time. Both choreographers were working up until near performance time on their ballets. This eats into the rehearsal times for other ballets. Additionally, ABT, in my opinion, has far too many lay-off periods. The company is laid off for the whole month of November after the Koch season. They come back for a very short rehearsal period for Nutcracker, and then have another several week lay-off. After every tour (or almost every tour), there is another lay-off week. Those weeks could be valuable in beginning to rehearse some of the warhorse ballets. The schedule as it is puts a tremendous amount of pressure on the dancers. Right now, they are rehearsing Romeo & Juliet during the day and then performing Harlequinade in the evenings. It is nearly impossible to perfect something like the Shades scene under those conditions.

Thanks for letting me know that. I do hope she continues. She, Leta, Noelani, Carrie - all those from CPYB - are beautiful to watch.

Fille is one of my favorites!

I would not say I loved this work, but I found it an extremely enjoyable night at the ballet. I would say two is enough for me this week. Generally speaking (and I know there are exceptions), I find that Ratmansky's first casts fare better. They benefit from more closely working with him while he is setting the choreography and they tend to have more rehearsals. Having said that, I actually really liked the sweetness of Cirio and Lane. It was charming. I felt their interpretation was less over the top, but I actually preferred it. Boylston is having an amazing season and she seems to just go from triumph to triumph. She and Whiteside have a wonderful connection. I have always loved James since his days in Boston, and this role was a good one for him, not requiring him to be the prince. One complaint I do have is that I find his arch padding very distracting and I wish he would change that. I preferred Murphy to Abrera in this one, which is unusual for me. The role of Pierette is a much easier role than Columbine, so both Murphy and Abrera were able to shine. The Columbine choreography is devilishly difficult, and both Boylston and Lane handled it well. Not much to say about Hallberg other than what has been said. It is always good to see him on stage, but I prefer seeing him dance, as most would probably agree. I adored the children's sections. It was fun to see the parents reacting to their children on stage, something I always relish at Nutcracker. They were very well-rehearsed. I sat very close to Misha the second evening, and he was clapping very enthusiastically for Cirio and Lane which was nice to see. This is one of those ballets (like Nutcracker and Whipped Cream) I would see once a year and that would be enough.

Yes, not a coincidence. He and Ana have dated on and off for several years, as evidenced by social media. Agreed, PeggyTulle.

Yes, I noticed that abatt. It goes right from the Italian fouettes to the regular ones. She fared better on Thursday night with her fouettes. Trying to gather my thoughts to post on the La Bayadere thread after seeing a few shows.

Nicolai Goridiskii was hired as soloist at PA Ballet for the 2015-16 season, but then was gone from the roster after a few months. I am not sure what happened or where he went after that.

Does anyone know if Carli will continue to dance? I hope so. I mostly saw her as a student, but always appreciated her beautiful technique.

It is certainly not the same thing. She is dancing two Juliets, two Swan Lakes, two Whipped Creams, and another Bayadere in LA. Not everyone loves dancing Ratmansky's work. Cornejo is no longer dancing Whipped Cream. He did dance Firebird, and although filled with ridiculous partnering, the solo work is not as taxing as that of Harlequinade and Whipped Cream. I am not some huge Misty fan, and I do not know whether she can dance the role or not, but making it sound that admin took her out is wrong.

Yes, but that does not mean she was taken out. We cannot assume that. She could have taken herself out.

How do you know she was taken out?

I have to admit I have been a little worried about the hats and whether or not they would interfere with the dancing (or make it even more difficult for the dancers.)

While I was not fond of many aspects of this reconstruction, I don't think it was cheap or cheap looking. Wendy Perron states that it cost $6 million (to be split with La Scala). http://wendyperron.com/a-new-sleeping-beauty-but-why/

Sometimes, as you know, dancers are nursing injuries and feel it is better to pull out of certain performances to save themselves for others. I think we saw that last week with Trenary who did not dance the peasant pas in Giselle, but danced this week in McGregor's piece and Firebird (I think.) Nursing injury is quite common during Met season, I would think.

I agree. Many in each cast have stated on Instagram that working with McGregor and performing this ballet have been highlights of their careers. As far as Ferri and Cornejo deserving a better vehicle, I am not sure they look at it that way. Both stated at the Guggenheim (and on Instagram) that they were honored to work with McGregor and loved being pushed in a different way. Saw it again last night and noted even more that I had not seen before. Cirio is a sympathetic character. I noted that when they are all served (a la holy communion) what I assumed to be a drug, he very obviously took it out of his mouth and placed it on the ground. The dancers danced with more intensity last night than the first time I saw it. I wish I could be there today to see it one more time.

Last night it got a standing ovation.