stuben

I was thinking the same about the lack of a female Mexican/Hispanic lead, and Wheeldon's admittance that he didn't draw his choreography based on steps from the Mexican folk tradition, the story is a Mexican story, no?! Along with this bit from Wheeldon's response in the Times article seems a bit patronizing IMHO, especially when it comes to the NYC audience, I hope with ballet companies from around the globe and with companies within NY, that audiences know what "ballet' is : “People are sometimes afraid because they don’t know exactly what ballet is,” he said. “But maybe we can bring in new audiences because they think they’re going to get a theatrical and dynamic experience. Maybe they’ll be able to experience ballet through the art of storytelling, which is more accessible.”

This short video probably should be on a new thread, I came across this from our beloved David's interview with Sylvie Guillem and thought it relates to exactly my thoughts about some of the newly minted principals and soloists, and what is going on at ABT: https://www.instagram.com/reel/CtSmawisLxg/?igshid=MzRlODBiNWFlZA== I just love what she said about the fouettés and the need for feelings vs techniques, something that is sorely lacking IMHO. Watching a dancer do amazing jetés and fouettés is always wonderful however I have to agree with Sylvie that it doesn't draw you into the character, that is what made "the greats" great.

A curious observation here: all three have China connections, wonder if there are plans to tour in China and to have these dancers ready for their audience?! Especially since there are other newly minted soloists not given the chance for this vs Fangqi?

Once again, thank you for your time with such a detailed analysis 😊 It is indeed unfortunate with some of the career stalls some of the dancers dealt with, and agree about your thoughts on that. Misseldine has beautiful lines and technique, however, a friend of mine saw her in LWFC in CA and felt otherwise about her casting in the role of Rosaura, (based on her thoughts) she felt Misseldine was stiff in her acting and that she wasn't engaging with her fellow dancers, and instead kept smiling out at the audience!? - this is perhaps the competition world mindset at her young age coming out of the competition scene!? Again, this is all based on what I was told and not my own judgment, so I guess I will see when LWFC opens in NY. Blaine is good but not a real favorite of mine, he has his good and bad days/shows. Sad about Gorak indeed, I loved his work from long ago and had high hopes once he got promoted but once again the lack the coaching left him hanging 😏 As for Gabe, I really thought he left the company! His social media seems to have him traveling and involved with his fashion etc. I don't recall seeing him last season much or at all in any significant role, he isn't cast in any of the Met Season so I wonder about his involvement still. Based on her bio on ABT's page, it looks like Waski is full-time and not shuttling between companies, and I assume the "tired and fragile" last season is due to what sounds like an insane schedule of her return to NY plus getting back right in the heart of Met season!? Based on this article it sounded quite grueling: https://pointemagazine.com/the-marathon-season-paulina-waski-on-completing-nearly-30-weeks-of-dancing-with-boston-ballet-and-abt/ Looking at her social media she is also training with Irina and Max like Skylar and a few others, here again, it is unfortunate that dancers have to find their own ways to get the proper coaching outside of the company to stay in the game! Fleytoux and Coker both have promise and assume there is a need for smaller dancers to match the male partners.

Thanks for taking the time to give us your in-depth analysis FauxPas 😊 As much as I agree with the Hurlin and Bell analysis, IMHO, I have to say that they have still much to learn to get to the Herrara, Part, Gomes, Bolle levels. I agree they are comers and wonderful with their "techniques" and partnering, however, I don't feel they are anywhere near the emotional, or dramatic presence as those during the Golden Age of ABT. The problem, as I see it, lies with the lack of coaching right now, with Irina at 90 (as of this week per all the birthday wishes on social media) even with McKerrow and Gardner. Certainly coaching in technique is good to have but perhaps the need for more coaching in the dramatic capabilities. The all-around dancer is what makes the likes of Simkin so well-loved. It may be that in a rush to get these JKO kids moved in and up before they are fully trained, as an all-around dancer, without the proper coaching isn't helping the company in the end as a whole.

And yet he is a principal, sadly this is when I miss those golden years 😒 why don't they give them the proper coaching before they promote so many who just don't have the all-around makings of a principal? In recent years the promotions of soloists and principals are technically good but IMHO I find them with a lack of acting/emotions. As far as I am concerned this isn't the "world-class" ballet company it used to be, especially with so many companies nationally and internationally doing such wonderful work. I would love to see Australian Ballet here with David whom I miss on this stage.

I am not implying any "unfair" advantage, you might be reading too much into my comment, however, you are correct that it might be an advantage nonetheless that others who are less fortunate might have, it is very lucky for her. And, I do believe all the dancers in the company are "deserving in their own right" since they must have been hired for good reasons 🙂.

Actually, that is what I meant by "competition" since a friend's daughter did the YAGP, and she took months to train in the one piece she performed in. I had assumed that is how Erik Bruhn competition worked too. That to me is the key issue about young dancers coming out of competition and being moved up so quickly without the proper introduction into reality. I would think the reality of a professional company dancer would most likely have several pieces to learn at one time, and that, I am sure, takes time to get into the groove by experience. Therefore, I wonder if other more seasoned dancers were given the opportunity to audition for these types of roles vs just placing someone without more rep time as many of the seasoned dancers. I, too, follow many of the dancers on their social media and I see that Chloe's mother was a soloist, and is now a ballet mistress for the Studio Co. This is only speculation but I can't help but wonder how much influence she has in her child's career, it would not surprise me as things like this happen to any business. Again, I don't disagree with others that she has potential but doesn't that require more time to allow her to grow before moving her up so quickly? I have often wondered about so many within the company who have potential (I am sure they would not have been hired if otherwise) yet are never given the same opportunities or coaching that a few do. Perhaps the company has a lack of coaches these days as well.

Thank you for these insightful thoughts and I look forward to reading your comparison thoughts about the ROH version with this. IMHO I have wondered about the fast track of some promotions like Misseldine's, her bio shows little to no rep of significance compared to the likes of seasoned soloists or principals. I often wondered about "competition" dancers since I am not a believer that ballet should be a competition much like my feelings about reality shows. It feels like they produce mechanical robots with tricks vs the true art form, especially when you watch the YAGP with every one of these dancers doing the same rep showing off their fouettés and jumps, that is great to show their technical skills but what happens when they get into the real deal? She, like many from these types of competitions, is good technically with the fouettés and jumps, etc, but that all needs time to mature into the all-round dancer they become, and yet they get moved up and into roles so quickly that they don't seem to be ready.

Thanks for clarifying

Can I ask what the two children (a girl & a boy) in the show represent? I saw a social media post of what seemed like they were dancing the roles of Tita and Pedro. Yet in the same post, the copy had a "Parental Advisory" saying this ballet might not be suitable for young children, and discretion is advised for children under 13! Are those two on stage over 13? It seemed odd to have this warning while they had them on stage. Also, totally agree with this long first act being that long, especially for the Met! I can't imagine the bathroom rush after that act I do wonder how ticket sales are doing at SCFTA since Met is significantly larger to fill, and if families with younger children can't attend I think that would be a concern.

I am pleased that Canada has finally decided to Livestream this after all these years, the only issue I had was the initial "countdown", why have a countdown if there is a pause for over 15 minutes? Why not just do a countdown to 7:30 or have any countdown at all? I thought the reason was an intro of discussion at 7:15. I thought the streaming was good otherwise. As for the presentations .... I feel that all our comments will sound very subjective as audiences since I personally beg to differ, again this is IMHO, with regard to Misseldine and Lovette. True that Misseldine has technical prowess, however, I felt that Brown delivered more theatrics and connection with the music in her Pas. It was unfortunate to see Brosnan slip twice but I guess the stage jitters can get the best of us. Both Brosnan and Misseldine have promise, Brosnan needs to build strength as seen last night against the other competing men. Misseldine is technically good but I feel her overall dancing still remains at this point as a competition dancer vs the more seasoned dancers from within her own company and especially seen against dancers from Europe like the Royal. Comparing the two Grand Pas Classique - It may be me hearing things but it seemed that the tempo was a bit sped up in Misseldine's vs Brown's, so it felt rushed. IMHO either way, Brown was more fluid in her pas as well as her solo, the music seemed to flow with her every gesture and her connection to the piece. As for Lovette's choreography, I wonder if she had chosen a better piece of music instead of the continuous drumbeat, perhaps that would have been better suited for her choreography. I am only responding to this as an audience and what I felt when watching all the pieces and dancers. I actually preferred Colangelo's piece for Canada but again this is personal.

Oh, I would love it if they revisit Manon again or even something joyous as Massine's Gaîté Parisienne. IMHO the problem is the current crop of principals and soloists are good technically but many just don't project the emotions for these ballets that require more miming.

Matilda, you read my mind on this! Puzzling indeed as I was thinking of the other seasoned soloists like K. Williams not being in any of these casts or even L. Paris or even B. Gruland. Do dancers get a chance to "audition" for roles or do AD/Choreographers just look at Youtube to make decisions? It is even more puzzling when looking at the bios that two of the newly minted soloists have little to no rep experience. They are as you say "promising" but this is a premier so I would assume more seasoned dancers would get an opportunity, even from the corps. Interesting that the cast is mostly White and Asian, other than the male casting, isn't this a story about a Mexican family? I am equally puzzled with Misseldine but do wonder if she came as a package with her ex-ABT soloist mother, Yan Chen, who is now part of the artistic team in ABT's junior company. I am sure it doesn't hurt to have a parent's help in coaching. This is all speculating and agree that they are all technically talented but this ballet requires a depth of acting, so this will be interesting to see how they rise to the occasion. I do think that the company is taking a big risk, especially for a premier. CA is a good testing ground before they bring it to NYC.

Doesn’t choreographers decide on first cast, and the rest of casting would be an AD input? I thought that’s what Ratmansky did? Perhaps I’m wrong but I believe I read that somewhere.

Now that the country has come out of Covid lockdowns, and with all that is going on in the country and world, it would be nice to be able to escape to a "fantasyland" in the theatre, with some joyous ballets and happiness. I am asking myself (and please don't get me wrong as I love the listed ballets individually) why these choices all in one season? Such sad ballets are all about love, yet they are about love lost and women suffering from these losses. It would be fine to have one or two of these ballets mixed with perhaps one or two cheerful full lengths! I know there is the "Mixed Rep" but that in itself is nothing compared to what NYCB just presented, and I am glad I caught the NYCB Sleeping Beauty and Fancy Free. How about bringing back Rodeo or Gaîté Parisienne, just something more cheerful to escape to vs escaping into tears and death? Again, this is just IMHO.

Found this from NYTimes: https://www.nytimes.com/2022/06/03/arts/dance/review-ballet-like-water-for-chocolate.html?smid=url-share ".... Choreographically though, it is only intermittently interesting; often it feels trapped in Story Ballet Land, a world in which activities are demonstratively telegraphed in the service of exposition..." From this bit within review I would assume there is more "theatre" than "ballet".

Speaking of injuries, did anyone see Bonfiglio or McCune during the Fall Season? I didn't notice any posting that included them and nothing on their social media, especially Bonfiglio since she wasn't in anything I saw during Met Season either but she is still listed on the website. As for Myrtha, I recall Waski did this when she joined Boston Ballet, and if my memory serves me correct she was cast for Met Season before she left, so hopefully she will get her opportunity again as well. IMHO she did quite well during this Met Season alongside Williams, considering per Pointe article of her "marathon season" that she did a full Boston season with a one day break to be at the Met? As much as I love the SL etc. I do wish new management will bring more new works as I see from Australia etc. Seems Hallberg has some interesting pieces in 2023, also missing him on the stage here :(.

Wow another dancer out? Paulina Waski announced her injury last week as well https://www.instagram.com/p/CjTQDd7g_5m/?igshid=MDJmNzVkMjY= but she did announce a heavy spring season of 30 weeks from Boston to NYC, so that might have been a reason, plus no news of Camargo and nothing for Shayer, Wonder who else as there is no news on Young either since her injury from June!

I am not sure where this article from Pointe Magazine should go but since there was discussions up thread about Waski's stamina during Don Q? I thought this latest interview Pointe did with her might help us all understand a bit better: https://pointemagazine.com/the-marathon-season-paulina-waski-on-completing-nearly-30-weeks-of-dancing-with-boston-ballet-and-abt/ It actually is quite touching too as she mentioned her mother's health, plus her short time to actually rehearse what she had to jump in to do, while so many within the company had months to do. Hopefully she will get the opportunities she mentioned this fall as it looks like she has done quite a bit of contemporary work while in Boston Ballet.

I am thinking everything is speculation at this point since a new AD will be in town?! Unless the 2023 rep has been discussed and agreed upon by both ADs. According to Ms. Jaffe's interview it looks like she will be looking for methods and reps to draw in new audience around the country. Seems to be an interest to perform at universities etc. Perhaps this is a sign for interest in new choreographers as well as bringing back the some of the Golden Age reps?

Unlike the newspapers, articles as such would have been put together (with interviews etc.) a few months in advance, so should we assume this decision was made prior to Met Season? I am sure financially and otherwise this had to be considered since the loss of revenue due to the pandemic. Just saw this latest post and seem it was more than 25 shows?! Non-stop from December, assuming including Nutcracker season? Anyone know how many shows Boston Ballet has done? Agree this sounds exhausting just thinking about it! https://www.instagram.com/p/CgFm0jcgblO/?igshid=YmMyMTA2M2Y=

Time will tell for all with new management and possibly new reps to come or revisits of the golden years.

Thank you for this info and have now read the article.

Interesting article and seems the first circle is a final gift from KM to her mother. Don't get me wrong and only IMHO it is just interesting how so many in the past have had to pay their dues to be given soloist roles or even moved up, for example in recent years with Williams. Yet the two newly minted corps without any rep experience, but one or two, were decided upon? In business this is known mostly as "do it and let's see what sticks" by the execs. So I guess time will tell especially when Misseldine and Park both have very little rep to proof their skills, other than competitions. I don't know about others but IMO technique isn't everything, this is after all a "theatre" and will need the emotions in many of the reps. I also took a look at the corps bios and can found these two, Cooker and Waski, and found interesting they have been overlooked all these years: https://www.abt.org/people/zimmi-coker/?type=performer https://www.abt.org/people/paulina-waski/?type=performer