meliodori

4 hours ago, vipa said:

As a long time ballet person (former dancer, teacher, now avid fan). I think this happened a lot more in the past when men tried to become "traditional family men" because they thought they should, or as covers or for a lot of complicated reasons. I think it is much more unusual now that homosexuality is more accepted and gay marriage is possible.

Maybe he is bi or hetroflexible and was open about his preferences and married her because he loved her.

52 minutes ago, abatt said:

In another thread, we discussed a NY Times article in which a dancer alleged that Martins sexually harassed her because she asked Martins what she needed to do in order to get promoted. His reply was that she had to make him notice her.  The dancer took that as a sexual proposition. I bring it up here because Mearns' approach is exactly the type of approach that Martins always rewarded.  You notice Mearns, even if you don't always agree with what she's doing.  Risk taking and giving 1000 percent every second, although sometimes overkill, is exactly what Martins referred to when he urges a dancer to make him notice her.

 

 

How is it known that this is what Martins meant? Did he say so directly somewhere? 

It is gaslighting to say one form of sexual harassment is absolutely more harmful than others. It is impossible to know the full psychological affects of any act of harassment unless you experienced it firsthand. 

It seems Mira Nadon may be dancing in Romeo and  Juliet this winter:

https://www.instagram.com/p/BdixFIDlF1z/?hl=en&taken-at=4700715

Statistically, only two to eight percent of reports of abuse are false. Survivors speak out years later because it still hurts years later. 

2 hours ago, abatt said:

Crossing people's names off of cast lists was within Martins' rights as AD.  That part of the story involving the Boals is a a red herring.

Slashing someone's name off a list in red ink after physically attacking them is aggressive and demeaning. Surely there are more respectful and professional ways to go about recasting a role.

5 minutes ago, Fleurfairy said:

Anyone have thoughts on Sara Mearns Instagram post re Dewdrop? I’m wondering if it was a jab toward Peter for taking her out of the role. To be honest, I don’t think every ballerina is suited for every role and Sara is much more of a melodramatic dancer whereas Dewdrop has to be happy, Light, and sprightly. 

i believe she might have asked to be taken out of the role due to frequent injury from performing it. I remember reading that somewhere - maybe her Instagram - last year.

7 minutes ago, Balletwannabe said:

"no where to go, no protection"?  The police perhaps?  And why was this charactized as sexual assault when the description suggests otherwise?  So many questions...

Going to the police would have meant jeopardizing her career. That's a terrible situation to be put in by someone in a position of power.

I was able to attend MOVES in Minneapolis while visiting family. Parking was difficult, so I arrived late and missed most of In the Night. I had wanted to see Unity Phelan especially in this ballet. Maybe she'll dance it in New York. 

Jacqueline Bologna was featured in La Stravaganza. She is a good dramatist and danced well. Christopher Grant and Harrison Coll also caught my attention.

Chase Finlay and Abi Stafford danced Sonatine. I liked Chase in this piece. Abi Stafford has technique, but her artistry is not as interesting to me.

After the Rain received the most applause. It was my mother's favorite of the night, and the couple sitting next to us began leaving through their programs because they wanted to know more about the female dancer in this ballet. Miriam MIller was lovely in this.

In Creases was fun.

Peter Martins was in the audience. He was standing at his seat chatting to staff during an intermission.

... two apprentices who have now received their corps contracts!