its the mom

2 hours ago, nanushka said:

I completely agree it wasn't a 1-to-1 tradeoff, in terms of casting. But I think when Cirio was brought in as a soon-to-be-principal (it was basically a done deal, I think, from his hiring), it killed Gorak's chances of getting that promotion anytime soon and basically pushed him to the sidelines. He's been there ever since, and the effects on his dancing have been palpable. (Not that that's not at least partly his own fault; you have to make what you can of the opportunities you have, of course.)

At the same time Cirio was hired, Lendorf was hired as a principal, which took away any chances of the "crumbs" Gorak may have gotten in casting.  Lendorf is the one that has been cast in potential roles for Gorak.  As for Lane and Cirio in Swan Lake pas de trois, it is sad for both of them not to get a shot at O/O and Siegfried.  Both have already done it on the professional stage.

2 minutes ago, canbelto said:

Brandt stepped in last year on short notice and was a wonderful Medora in Le Corsaire. Really disappointed that she didn't get a Kitri this year.

Well, I probably make it pretty evident, but I am a Brandt and Trenary fan.  I would love to see either of them paired with Cirio or Simkin for a go at Don Quixote.  Both young women have the personality for Kitri, and much more so than some of the women already cast.  (Opinion, of course.)

9 hours ago, canbelto said:

I think the issue is that NONE of the ABT's roster right now is "young." Even the newly promoted principals (Devon, Christine, and Sarah) were longtime corps members/soloists. ABT's extremely structured way of casting and limited repertoire for their Met season makes it harder to develop dancers in the pipeline. 

Even Ratmansky can't seem to upend the rigid way ABT casts. For instance I was sure that Skylar Brandt (a favorite of his that he's been developing for several seasons) would get cast in Harlequinade but that didn't happen.

Agreed.  However, some of the men are "young."  Simkin is just right around 30, but he will have a very reduced role.  Lendorf is 28-29, but injured much of the time (or at least up until now.)  Cirio is 26-27, but barely used.  Schevchenko and Teuscher are still under 30.  And the two soloists behind them, Trenary and Brandt are mid-20's.  However, most of the other soloists are either in their 30's or approaching 30, not leaving much time to develop as principals.

I agree that Brandt should have been cast in Harlequinade.  But it appears that Boylston and Copeland are center stage this year.  

12 hours ago, cobweb said:

Overall I was impressed with the swans, the production, and how they manage to do so much with the number of dancers that they have. Given the principals, however, I was left wondering about what kind of dancing Corella is encouraging. My ideal is dancing that is refined, straightforward, and unmannered. I didn’t get the impression that is the kind of dancing that Corella is rewarding. 

Thanks for your report.  From the dancers' instagrams, I feel as though so many of them are concentrated on tricks, especially turns.    As, nanushka says above, Sterling is one example of this.  

ABT Fan - You just took the words out of my mouth.  Heart-breaking.  How beautiful he was.  

Yes, vipa, have seen it on my Facebook feed.  Very sad.

Seeing numerous posts on Facebook that Sean Lavery has passed.  Do not know if this has been posted elsewhere.

https://en.m.wikipedia.org/wiki/Sean_Lavery_(dancer)#Post_dance_career

4 hours ago, balletforme said:

Again I believe that Damien Woetzel is really a contender. He's got the organizational experience, the SAB pedigree, and the artistic leadership and reputation.  He is known and trusted by NYC insiders and board members. 

I also think that Lourdes Lopez is a serious contender as well. 

I know I will receive flak for saying this, but I find Woetzel's programming for Vail quite repetitive and uninspiring.  

So happy to hear of Marty Davis' success.  I remember him as a student in Boston (as well as his brother, Trevor.)  Thanks for sharing!

Mashinka - You said you heard there was "disquiet" about her hosting a BBC program and mentioning Hernandez's charity.  I would assume you mean his work in Mexico.  His goal is to build a school in Jalisco where classes would be free for students.  He brings international dancers to Mexico to perform for people who would otherwise never see ballet.  Many from English National have been afforded the opportunity to take part in those galas.  Here is the summary of that BBC program (from another ballet forum):

"For those unable to listen to this, the topics I heard which Tamara Rojo had chosen were:

• the Children's Orchestra in Glasgow (along the lines of El Sistema in Venezuela)
• the dancers' career development charity and its help for dancers in transitioning with their careers
• the ENB's Nutcracker (with Jennie Harrington, James Streeter and Gavin Sutherland)
• ethnic minority participation in ballet, focusing on dancer Sarah Kundi, with input from her parents and with Isaac hernandez talking about opportunities in Mexico."

I would also add that Dronina and, to a lesser degree, Robison, have an international profile.  Dronina splits her time between NBoC and ENB, does additional guestings, and has curated a gala in her own country of Lithuania.

"You have heard..."  And I have heard differently. That is much of the problem with this situation - hearsay.

In reference to diversity, there is plenty of diversity at ENB:

https://www.ballet.org.uk/the-company/dancers/

Graham Watts posted once again:

"And, still it goes on. There's no smoke without fire, the saying goes, and there are many that will believe this to be true of the current state of English National Ballet. 

A blog by the name of Ballet Position has now entered the fray (you can read the piece, below). 

I have no reason to disbelieve the fact that there are a dozen past and present dancers who - under guarantee of anonymity - have spoken out about the current management. 

The net has widened to include Tamara's Deputy, Loipa Araujo but no other artistic staff, of whom there are several, appear to be mentioned. 

I wonder how many of this dozen are "past" and how many are "present" dancers? It makes a difference. And, why would past dancers still be living under a "culture of fear". If they have left the company what do they have to lose by identifying themselves? Some are identified as having left the profession altogether. If that is so, what possible reason could still require anonymity? 

If the "culture of fear" follows dancers after leaving a company - or the profession - then it suggests something more endemic within ballet as a whole? 

Ballet is not like any other job. It is an employment where to excel is the baseline of employability. It is a job where height, weight, stamina and fitness are crucial. Many people won't like that being said but - within ballet - it's a fact of life. 

I know both Tamara and Loipa well enough to know that they are fair, firm and determined. Neither will accept indiscipline and failure to work to the high standards that they set for themselves and the company that they are trying to elevate to a higher level of achievement and reputation. It doesn't surprise me that they give up on dancers that are either unable or unwilling to work as hard as they need to make this journey with them. 

The problem with progress is inevitably that some cannot keep up and are left behind and feel aggrieved because of it - it happens in all competitive environments and you can read the same in football, cycling.....even fencing! 

Tamara is, of course, still a lead dancer herself and it must be horrendously tough to do that job and also run a company (a situation, as I understand it, that was encouraged by the Board when she took the role of artistic director, so don't blame her)! 

Incidentally, and as an aside,it does seem ironic that there is supposed to be a conflict of interests occasioned by Tamara's relationship with Isaac; but not in relation to Tamara casting herself? 

As Ballet Position has done, I have also made my own enquiries, although amongst current dancers exclusively; since it seems to me that ex-dancers will likely have "axes to grind" if they have been "let go" because they have been unable to keep up with the pace. 

Some current dancers have publicly identified their support for the ENB management on my FB page with positive comments or support to my earlier posting. They are there for all to see.

Others have written or spoken to me privately and although one has called into question Tamara's availability to speak to dancers as-and-when needed (perhaps an inevitable consequence of her dual role) all have echoed something akin to the "firm but fair" ethos. 

All of them believe that the company is progressing and that to progress means that all personnel have to be of the right quality and dedication. They all seem proud to be a part of ENB's achievements. 

From those I have spoken to, I have a good idea of a few of those who have complained in comments to The Times and Ballet Position. All are former dancers. 

Now, I'm turning to what I know, for sure. 

I have had experiences over recent years of: a dancer not performing, not because they were injured but because they didn't feel like it; dancers routinely not taking class; a dancer saying that they were injured but sneaking off to perform in a gala in another country (I was there and was asked not to write about this dancer). These are just some examples of the indiscipline I have personally noticed - there are more that I have been told about confidentially by others. 

I was the manager of an Olympic Sport for fourteen years. During that time I had many athletes who were injured. I could NEVER go against the advice of the medical staff in the way that Ballet Position suggests has happened at ENB. 

Any medical personnel will abide by an ethical code that takes precedence over their loyalty to an employer. If any medic at ENB has had their advice countermanded it is a very serious matter and the medical staff concerned would be able to whistle-blow direct to the Board. 

In my view, the Ballet Position allegation that medical advice has been ignored is the most serious allegation of all and I hope they have the evidence to back it up. 

Much has been made of the dancers leaving the company and yet consider the number of dancers who were there, before Tamara, and are still there - I'm not going to name them but there are MANY more than 12. These dancers do not appear to be unhappy. 

Much has also been made of the relationship between Tamara and Isaac. It is not an ideal situation but people fall in love. Ballet is a rarified world - look at the number of married or permanent couples in ENB; I can count four just from memory. 

How many artistic directors around the world are in relationships with current or former dancers. Again, I can count many. It is an inevitable issue within a world that is SO exclusive - I can think of no other job that places so much pressure on individuals that it seems only others within the same profession can truly comprehend. 

It is also worth - for perspective, if nothing else - to look at how things have been at ENB in the past. One former artistic director asked a dancer to consider having an abortion in order to dance a particular role - an allegation written by me in a book and not denied by that director when asked by journalists. It is certainly true that allegations of harassment are not new at ENB. 

Casting decisions are always bound to create friction in any company and I doubt that there is a single ballet company in the world that is not immune to this problem. In one company, it led to acid being thrown in the face of the artistic director, just five years' ago. Complaints to the press seem pretty tame by comparison; but the problem of dancers' having grievances against artistic directors over casting is endemic in ballet.

It seems clear to me that Tamara's style of management is tough and that she has brought in an artistic staff that share her vision. Some have not been able to meet her expectations and have fallen by the wayside. 

What I am sure about is that if these attacks on the pursuit of excellence are successful we can kiss goodbye to great ballet in the west. It will be the lowest common denominator that rules."

2 hours ago, Mashinka said:

Now this is really interesting as it appears that Rojo has ceased recruiting gay men, all the more noteworthy when you consider that the revolving door that is ENB's employment situation means there are always vacancies for male dancers.  I was made aware of this by a dancer who is himself gay and better informed about these things than me. but to avoid the minority group that historically has contributed more to the art of ballet than any other strikes me as perverse.

Just to comment on this - Nobody should be recruiting anyone based on their sexuality.  I would venture to say the men she has hired for the company are the best ones for the job.

3 hours ago, JMcN said:

Could a moderator please change the heading to correct the spelling of Akram Khan's name?

I think it is a common error with his name.  Sorry about that.

Agree with everyone above, traveling to Chicago in February would not be my choice, but I really do want to see this ballet.  

1 hour ago, sandik said:

I'd love to see the Forsythe program in March -- I have to see what I can manage traveling.

I am interested in Blake Works and will be very happy to see Ballet Imperial.

Timing is a bit different this year due to Hamilton being at the Opera House from mid-September through mid-November. The fall program has been pushed to early September and the Nutcracker run has been shortened.  

I am not terribly excited about this programming.

Over at Danceview Times, Mary Cargill gives a summation of City Center's Studio 5 presentation of Ratmansky's creative process for "Harlequinade."  These are events of which I wish audience members were made more aware.  

http://www.danceviewtimes.com/2018/01/petipa-laughs.html#more

18 minutes ago, ABT Fan said:

The Holiday Inn Express is half a mile from the Opera house, walking distance by NY standards. But, it's 22 degrees there and if they're lugging heavy dance bags w/ extra stuff for the theatre, they might not be walking. It was probably the cheapest hotel.

Most of their belongings are in their theatre cases which are packed before their tour.  Still, they are carrying bags with daily items.  

1 hour ago, mnacenani said:

PS :  Shelly Power has taken her last bows as artistic director and CEO of PdL.

Yes, she is going to be the Executive Director of PA Ballet.  At least, that was the last I heard.

I saw on another site (and I can't find it now) that there were 14 year olds competing this year.  I did note that the age range listed in the rules is ballet students born between "1st of January 1999 and the 1st of August 2003.  While I realize that some students can therefore be almost 15 when they are competing, I feel it is young for a competition of this calibre.  

18 minutes ago, abatt said:

The company makes the travel arrangement, including the hotel arrangements. 

It used to be that the company members could exclude themselves from the hotel arrangements, make their own arrangements (such as Airbnb), and be reimbursed by the company.  I am not sure if that still holds in late of their latest negotiated contract.  The dancers also receive a per diem for food and usually stay in hotels where breakfast is provided.  Apparently, from speaking with several, those dancers who left the Holiday Inn are paying out of their own pockets to stay elsewhere.

1 hour ago, YouOverThere said:

The WB now has R&J casting listed on their website:

2/14  Maki Onuki/Brooklyn Mack

2/15 EunWon Lee/Gian Carlo Perez

2/16 Venus Villa/Corey Landolt

2/17 EunWon Lee/Gian Carlo Perez (matinee)   Maki Onuki/Brooklyn Mack (evening)

2/18 Ayano Kimura/Jonathan Jordan

Very sad not to see Sarabia on that list.

Gone too soon.  We never really got to see his success as an AD.  

laurel - Thanks for your review.  The only things I was interested in watching was "Other Dances" with Lane.  Unfortunately, I was not able to get to DC this week. I have not always been a Lane fan, but I was sure she would be in her element here.  So glad to hear your review.  The Plato piece is probably one of my favorite Ratmansky works.  In the past, when watching Ahn in other works, I felt the same.  For me, there is no soul behind his dancing.  I am wondering if he will be able to carry Solor at the Met.  

20 hours ago, fondoffouettes said:

I'm glad the lowest-paid corps members are getting the highest increases in their salaries, but even those percentages are somewhat similar to cost-of-living raises. Some of the other increases seem so minimal: "The company’s better-paid soloists will not get raises in the first two years, and will get a 1 percent raise in the third year of the contract." A 1 percent raise, really? In three years, some of those "better-paid soloists" may already be retired. 

And the contributions to retirement plans only increase from 3.75% to 4.00% (in the third year of the contract). How will a quarter of a percentage point help these dancers set themselves up for retirement? 

I'm relieved things have been settled, and a strike averted, but I'm sad the dancers didn't get more.

Just a small window into the lives of dancers.  This is one of the large companies protected by AGMA.  Think about what dancers in regional companies must have to deal with in terms of salary, retirement, etc.  I know there have been prior threads on this subject, but it really should give everyone perspective.  Living in NYC is not cheap.  Last I looked, a studio apartment can average around $2700, the last I looked.  Obviously, one can find places to live which are cheaper or one can have roommates.  But for young apprentices and corps dancers, rent eats a big chunk of their pay.  While soloists and principals obviously do fairly well, one must constantly be forward thinking.  In other words, "what do I do when this is over?"  And, we all know that can happen in the blink of an eye.