stuben

If you are on the page showing the seating macnellie, put the hand curser/your curser over the red dots (seats available), I made the same mistake since the old page you can just scroll and it leads you to the seat, but this new one you really have to be specific. Basically pin point to the available seats to be able to see the numbers. Hope this helps, I was quite frustrated last night too and had to do several tries. I still think this new site is a work in progress. Good luck!

I have been trying to keep up with all the posts since I joined the wonderful insights, but I have to say, I am surprised to not hear of Stella's name at all, her name should already be posted, I would definitely have ticket in hand if her name shows up on the website. As far as I am concerned, she has such commanding presence, and is technically ready to dance this role. I loved her in this year's Giselle and it would be such a travisty if a principal role is not given to an amazing soloist as Stella, who actually should have been promoted already. I do agree with another post mentioning how SAB and NYCB seems to nuture their dancers from school to company up the ladder, for this, I feel that there is indeed a disconnect when it comes to ABT. I have been following many of the dancers through the years who are from the JKO school, it seems many of them are left to fend for themselves once they join the main company. Based on this season's injuries and guests pulling out, perhaps ABT should start thinking of using their money wisely, maybe providing coaching to their own company dancers, many of whom I can see have so much potential and talent, instead of spending on guests? I understand that time may be an issue to coach vs hiring someone who already knows the part, and even the fact that guests sell more tickets, but how about a few less guests and channel the money to better use in nuturing our own American dancers?

As the new comer I might be a bit late in adding in my thoughts, but totally agree with Amour's post: "...I mourn the loss of the traditional Lilac Fairy role (and didn't care much for her choreography in Act 1, especially losing those slow développes to the side). Also Prince Deiree without any jumps, just batterie, I did not like. Also, like canbelto, I really miss the overhead lift between Bluebird and Princess Florine, as well as her upwards gestures. …....Although some of the costumes are great, some are insane. Those hats on the fairy cavaliers? How do those guys manage to do any tours at all? And Joey Gorak was the cavaliere in those mushroom pantaloons. You could see all that draping fabric was hindering him from doing his entrechats. Also, the foot high beehive wig on the Queen. IMO, also insane." This may be a subjective opionion but I feel some of the elaborate sets and costumes have overpowered the ballet, it is more theatre than ballet. To Amour's point, I do miss several of the "traditional" parts and felt perhaps they were "dumbed down" to accommodate for the costumes or dancers? I may be totally off with this comment but I also feel there are several questionable characters in Act III, even though this may be part of the choroegraphy. It just feel a bit too Disney or as someone mentioned, perhaps a Broadway appeal. I feel there are just way too many people on stage for Garland Waltz, I know many may not agree with me, it just looks so congested for me, my eyes were everywhere and nowhere, but again, it may be a subjective issue.

As a new kid on the block I would first like to say how much I enjoy reading all the posts, all so helpful. I thought I was going crazy yesterday the Met site as well and without getting too upset I finally gave up trying, but to my surprise this morning the site is working. I agree with Helene, I guess we were the guinea pigs, but was that wise considering it might have angered many ballet fans? I wonder how ticket sales went yesterday considering this issue.