its the mom

I thought it might be helpful to see some of the comments from the dancers:

That's exactly what I took away from it. It was not humorous at all. Like many of these works (i.e., The Lottery, Lord of the Flies, as I mentioned above), it is a comment on our inhumanity (at least in my opinion.)

I mentioned both books. I did also see as a young person a performance of The Lottery. What is your opinion of The Hunger Games, The Matrix, Blade Runner, Maze Runner, or The Divergent Series? I would venture to say that young people today would not find the ballet shocking since many watch these types of movies. To be clear, I am not opposed to ABT mentioning it in their literature. I never saw Tetley's Rite. I am sure there are those here who saw it. I read from the Playbill, "Unlike the original, Tetley cast a man in the leading role of the Chosen One, or victim of the rite. In a harrowing, inexorable progression, the work built to the sacrifice of the chosen youth, and in a final coup de théâtre, he was drawn aloft in an explosion of energy." Not exactly sure what "drawn aloft in an explosion of energy" means. Can anyone shed light on that?

I remember watching "The Lottery" in 9th grade and realizing how dangerous herd mentality can be. Val Caniparoli turned it into a ballet, which I have never had the opportunity to view, but I imagine it would evoke the same feelings I felt last night. Parents allow their children to read "The Hunger Games" and watch the movies. My son read "Lord of the Flies" in 6th grade. Not sure if this ballet is any worse than those. Neither did I. The ballet gave me much about which to think. I am going back to see it on Friday. The dancers were committed to the work and several were real standouts. It was evident this was some sort of post-apocalyptic, dystopian-type setting. The playbill article makes that clear. I am not sure what people expect when they hear "Rite of Spring" or a take-off of Rite. I expected fully some sort of sacrifice. I had already read the spoilers so I knew what was going to happen, but, to be perfectly honest, as soon as one sees the young girls enter the chamber, it becomes evident something will probably occur. My one complaint is I felt that pas at the end was too long. It was apparent (at least to me) that Ferri was tiring. About the "beating," I felt that it ended with her triumph when she pushed Cornejo to the ground and the curtain came down. Euro-trash? Why do we refer to choreography this way? Additionally, this choreographer's bio reads like a dream. Aside from his work with ballet companies, "He served as Movement Director for Harry Potter and the Goblet of Fire, The Legend of Tarzan and Fantastic Beasts and Where to Find Them. He has choreographed music videos for Radiohead ("Lotus Flower"), Atoms for Peace ("Ingenue"), and The Chemical Brothers featuring Beck ("Wide Open"). " His award list is unbelievable. From Wikipedia: https://en.wikipedia.org/wiki/Wayne_McGregor I ran into a dancer I know in the audience and she said, "How lucky are the ABT dancers to have worked with Wayne for more than five weeks! I am so jealous."

I agree that artists have a right to respond to contemporary (or past) issues. I recently read the following, and was saddened. I doubt whether most of those polled know what is going on in Syria either. https://www.cbsnews.com/news/holocaust-study-millennials/ This is one time I applaud McKenzie for having the guts to do something different. I know I am in the minority, but everything isn't always beautiful at the ballet. The Rite of Spring itself was controversial. I think of works like The Judas Tree which I recently saw at the Royal Opera House. I note that Macaulay mentioned the Dorrance piece would be better served at the Joyce.

Interesting that McGregor's Obsidian Tear ("The imaginative world of the ballet is both archaic and futuristic in its exploration of the tribal behaviour of its all-male group. From the ballet’s opening duet, tender and innocent, the dancing becomes darker and more turbulent as the group plays out a dynamic of conflict and challenge, loyalty and rejection.") and other ballets could be performed and well-received at the Royal Opera House, but his work doesn't belong at the Met.

I know you did indeed see it correctly. I have spoken to several of the dancers about the piece, and each has said the ballet is a commentary on the state of our society and world. Perhaps thinking of Syria might give some insight? I will see it this evening so I will be able to comment more. What I do know is the dancers loved working with McGregor, found him inspirational, and love(d) dancing the piece.

Article in the New York Times about AfteRite which gives a little more insight into the ballet: https://www.nytimes.com/2018/05/18/arts/dance/wayne-mcgregor-afterite-american-ballet-theater.html?mtrref=www.facebook.com&gwh=B266ECFF363C5940CBAA64FDEF2F8327&gwt=pay And this: http://www.playbill.com/article/wayne-mcgregor-choreographs-his-first-work-for-american-ballet-theatre

I doubt they would put a last minute Giselle like Trenary or Brandt. Either Gillian with Cory, although that gives her three performances in a week (two Giselles and a Myrtha.) Normally, with a younger dancer, that is not an issue, but it could be for her. My guess would be Sarah and Daniil.

Agreed, abatt. This article is interesting and telling, in my opinion. Even more telling are the comments. It is not so much that there is a lack of women choreographers, but a lack of women choreographers being used by major companies. https://www.nytimes.com/2016/06/26/arts/dance/ballet-luminaries-weigh-in-on-a-conspicuous-absence.html#commentsContainer This quote tells me a lot about McKenzie: “It’s important to level the playing field, if you will, but what’s paramount above and beyond that is, Where is the next voice?” Mr. McKenzie said. “I’m looking for somebody who can ignite the excitement of where we are in time. I just care about the work. And it turns out that the work that is catching my eye seems to be a higher percentage of women.” Basically, what caught his eye was a visit to the Vail Festival last year, i.e., basically choosing the same women choreographers who choreographed for the NOW Festival.

Glad he said what the rest of us were thinking. I would love to know what the dancers think about the choreographic choices themselves.

May he rest in peace. I always appreciated his posts and expertise.

I thought this was an interesting article. I definitely do not stand for every performance I attend. The comment below I especially loved. Has there ever been a moment as a ballet audience member that you sat in silence because you were moved? I know most people won't share my opinion, but MacMillan's "Song of the Earth" made me feel that way. "He also pointed out that, according to legend, when Arthur Miller’s Death of a Salesman opened on Broadway in 1949, the audience was so moved that it sat in shocked silence at the end of the play before the applause began." https://www.houstoniamag.com/articles/2018/4/30/standing-ovation-cleo-stages-alley-theater#.Wuev1_B9ek1.facebook

A lifetime contract is hard to give up. I think the dancers are only permitted a certain amount of time away before relinquishing the lifetime contract. I may be wrong. Maybe somebody else knows the time frame associated with this.

I looked back at reviews and Paloma was 21 when she danced Don Q with Corella at ABT. Corella was 20. From what I can tell of their biographies, she was a principal and he was a soloist, promoted to principal that August. https://www.nytimes.com/1996/05/01/arts/ballet-review-a-don-quixote-of-youthful-innocence.html

I would love to have seen Forster or Hoven take on this role. They are two of my favorite dancers, and both are wonderful partners. Absolutely agree. I would love to have seen a Cirio/Lane pairing here.

Alessandra was en pointe.

First, I should say that I am a huge McGregor fan. I love his style of movement and, having seen him work in Boston, I admire how he approaches a company and a project. I was there last night. John Meehan was the moderator. The dancers were Alessandra Ferri, Herman Cornejo and Jeffrey Cirio. The evening began with Meehan speaking to McGregor about his background, how he got involved in dance, his approach to choreography, etc. Let me say, at this point, that McGregor's biography is impressive. He has his own company which performs around the world. Additionally, he opened a studio in March of 2017, a "shared space ... where creative brains of the day can exchange knowledge and invent together." He has created over thirty works for his company. Additionally, as we know, he is a Resident Choreographer at Royal Ballet. He is also a Professor of Choreography at Trinity Laban Conservatoire of Music and Dance, has several honorary doctorates, and has received a plethora of awards including a CBE for services to dance. From what I could gather, McGregor was to have choreographed The Rite of Spring for the Bolshoi at the time when the Filin attack occurred. The project got pushed aside. Through a series of events (including a chance meeting with Ratmansky, so it seems), he was commissioned to choreograph the ballet for ABT. However, the plans he had for the Bolshoi did not fit for ABT. He felt he need to go in a different direction. Additionally, since so many versions of the ballet exist, he decided to just build on the idea. At least, that is what I got out of what was being said. McGregor, like many choreographers today, came in January to the company and held a workshop. Introducing movement and his style, he was able to choose the dancers for the piece. Throughout the interview, the idea of collaboration was emphasized. He likes the dancers to take a movement and inhabit it in their own way. The performance was a walk-through of two sections of choreography. First, Ferri and Cornejo walked through a pas de deux section and then performed it with music. Next was Cornejo and Cirio doing the same. The movement is very "McGregor." There was very little discussion of the narrative, although he intimated a mother figure and two sons. After the two sections, Meehan asked McGregor a few more questions and then the dancers came out to discuss working with McGregor. Alessandra emphasized the distinct pleasure of working with him and the opportunity to continue stretching herself. There was a discussion about taking risks and pushing past that which dancers think they are capable. It was evident these three dancers liked working with him. Cornejo stated that working with McGregor helped him in his classical work by bringing another dimension, and Cirio stated that he felt very comfortable in McGregor's work. Meehan discussed the idea of working with new choreographers, and all three agreed that working with a live choreographer and having the chance to perform new works was something all dancers desire. By the way, all three have worked with McGregor prior to this. There was a short question and answer period. The only question I can remember is one audience member asked about a second cast. As it appears right now, he is still choreographing and putting the ballet together. Because he works so intimately with the dancers, would there be an ability to put on a second cast. He said that the other casts have been in the room and have had the opportunity to take on the movement, but there seemed to be (at least to me), a moment when the dancers looked as if there might be a challenge for that to happen. He also mentioned in one portion of the interview that the cast of dancers all had key roles in the ballet. I should have written it down, as I forget the number he said - maybe 15 dancers total? Perhaps this is why the casting appears as it does on the website? But I do think for sure, that Ferri, Cornejo and Cirio all play key parts. I am disappointed in myself for not taking notes to share. This is what I can remember off the top of my head this morning. Here is a TED talk that McGregor did several years ago if you have never watched his work:

They are having a Works and Process at the Guggenheim this evening with McGregor. Perhaps that will shed more light.

April Giangeruso should be given a chance at Myrta.

How could I forget her!

I realize that, but how many of those companies have either women Associate Artistic Directors or women Executive Directors? I believe I forgot PNB was once co-directed by Francia Russell, and Margaret Barbieri co-directs Sarasota. Sasha Waltz will co-direct Staatsballet. Madeleine Onne (formerly Royal Swedish and Hong Kong) ... I think I read somewhere that she is taking over Finnish National. Rachel Beaujean is Associate Artistic Director of Het. Boston, ABT, and PA Ballet have women Executive Directors. Those are the three I know off the top of my head. I also forgot Amy Seiwert and Karen Brown.

I share this at the risk of getting attacked. Getting back to the article, there are several points being made. However, when it comes to a lack of women in ballet or having their voices heard, I would comment this: Off the top of my head: Directors: Karen Kain, National Ballet of Canada (Not to mention National Ballet of Canada was co-founded by Celia Franca); Aurelie Dupont, Paris Opera; Tamara Rojo, English National Ballet; Lourdes Lopez, Miami City Ballet; Julie Kent, Washington Ballet; Patricia Barker, Royal New Zealand; Virginia Johnson, Dance Theatre of Harlem; Victoria Morgan, Cincinnati Ballet; Judith Jamison, Alvin Ailey; Emily Molnar, Ballet BC,; Suzanne Farrell, Suzanne Farrell Ballet; Hope Muir, Charlotte Ballet; Patricia McBride, Associate Artistic Director, Charlotte Ballet; Sol Leon, NDT; Ingrid Lorentzen, Norwegian National; Dorothy Pugh, Ballet Memphis; co AD, Carinne Binda, Sacramento Ballet; Diana Byer, New York Theatre Ballet; Kathryn Bennetts, former AD of Flanders; Monica Mason, former Royal Ballet; Barbara Weisberger, founder of PA Ballet; E. Virginia Williams, founder of Boston Ballet; Mary Day, founder of Washington Ballet; Barbara Riggins, co-founder of what is now Orlando Ballet; Patricia Blair, Associate Artistic Director Ballet Chicago; Kathy Thibodeaux, Ballet Magnificat; and numerous smaller companies and projects founded and/or run by women. Choreographers: Cristal Pite, Annabelle Lopez Ochoa, Martha Graham, Twyla Tharp, Agnes De Mille, Bronislava Nijinska, Trisha Brown, Judith Jamison, Ninette de Valois, Yagpin Wang, Aszure Barton, Jessica Lang, Gemma Bond, Hope Boykin, Isadora Duncan, Pina Bausch, Lauren Lovette, Mia Michaels, Sonya Tayeh, Cathy Marston, Carolyn Carlson, Debbie Allen, Andrea Schermoly, Katherine Dunham, Marguerite Porter, Marie Agnes Gillot, Susan Stroman, Natalia Makarova, Gillian Lynne, just to name the well-known ones. Additionally, there are numerous female Associate Directors, Executive Directors, School Directors and Ballet Mistresses.

zerbinetta: Can you tell me where you saw this?

You are speaking of Petra Conti. She is dancing with LA Ballet, and her husband, up until now at least, remained with Boston Ballet.