Emma

The last time I remember seeing Pereira was a few years ago in Symphony in C. It sounds like she hasn't made much progress in the role since then (I remember being unimpressed and focused on the third movement corps instead of her). It was completely different watching the video of Alston MacGill in the role, who while actually a teenager, danced with so much energy and enthusiasm.

I'm rather shocked Woodward wasn't promoted in this batch. Then again, I also thought she should have been promoted to soloist at least a year if not two years before she finally was.

I'd love to see Stanley as Apollo. Finlay and Catazaro have in recent years. Do they have any Apollos currently on the roster?

4 hours ago, BalanchineFan said:

On the SAB website it says apprentice contracts can only last one year, due to AGMA's constraints.

https://www.sab.org/winterterm/career_planning/nycb_apprentice_program.php

Perhaps it has changed. I recall Unity Phelan saying that apprentices now have contracts (of what kind I don't know), and Clara Ruf-Maldonado dancing as an apprentice for a second year (but perhaps she was injured for part of the first year?).

4 hours ago, cobweb said:

As for the corps of Concerto Barocco, I'm trying to remember if I've seen Miriam Miller in the corps here, or is she new to this piece? She stood out, and not in a good way. Noticeably taller than the others, and she at times seemed to be having trouble managing her very long limbs and keeping up the the timing of the other women. 

She was not cast in it last spring.

If I recall correctly, Mira Nadon was taken into the company as an apprentice either last fall or during Nutcracker, so she should not be due for a promotion into the corps until the end of this season.

1 hour ago, nanushka said:

Well, certainly many of us might agree with that as a notion, but the question of whether he would actually have grounds to successfully invoke it as a bar to the admissibility of evidence in a civil case is a rather different question. I have doubts that he would, though, and I still do after a quick skim of the article posted by @KayDenmark. (Thanks for finding that.)

I'd be interested to hear from any lawyers, or others more familiar with the law in this matter, who could provide further sources that might shed light on the issue.

Even in criminal cases, this would likely get admitted. Basically, what Waterbury saw would form the basis for probable cause, sufficient to get a search warrant for the police to search Finlay's hard drive . Since this is a civil case, none of that applies, but that would be the procedure in a criminal case.

34 minutes ago, Amy Reusch said:

I would like to thank the volunteer administrators of this board, and Helene in particular, for the time she has recently donated keeping up with this thread.  I am so grateful to you for making this and all the other discussions possible, despite the amount of oversight a thread like this requires.  I hope this is not considered discussing the discussers.  Thank you.  

+1. Thank you Helene!

Well,

37 minutes ago, FPF said:

She is actually described as "a nineteen year-old ballet dancer and former student at defendant NEW YORK CITY BALLET, INC." on page 5 of the complaint

 It seems to me that the the confusion on the issue of her age and NYCB dancer status comes from her lawyer.

She was an SAB student, which is part of NYCB, Inc. But yes, she probably turned 20 after that part of the complaint was drafted and her attorney should have updated it accordingly. 

40 minutes ago, Rick said:

The scandal extends far beyond Finlay, Catazaro, and Ramasar. There were several unnamed male dancers and at least one donor who participated in the emails, according to the complaint.

I'm most concerned about the principal accused of raping a soloist in Vail and assaulting a corps member in DC. Or the principal who returned to work one week after domestic violence allegations were brought by a corps member. Both instances were brushed over in the complaint (Ms. Waterbury is unlikely to have the receipts, whereas I'd imagine she has them for Chase's text and email exchanges), but absolutely shocking.

7 hours ago, Helene said:

NYCB did not dismiss Finlay: he resigned when NYCB approached him with Waterbury's complaint.  The former is documented in all of the articles cited above, and the latter was in the latest NYT article.

There is resigning by choice, and there is being provided the option to resign. I have seen the latter used for conduct violations many times. If that is too speculative, feel free to delete.

This is so much more disgusting than I could have imagined. And to think City Ballet knew of these allegations back in June, but only chose to dismiss Chase and suspend Ramasar and Catazaro (just for a season!) after reading the complaint days before it filed. I'm honestly shocked and incredibly disappointed in the leadership. And I feel so much for all of the female dancers.

It's interesting to see that many of the competition stars do not succeed in company life for whatever reason. I can't remember whether Joy Womack was, in fact, a competition star, but she certainly had significant attention at a young age, as did Gisele Bethea, Juliette something, the girl from first position (not Michaela dePrince, who is so lovely!).

Macaulay criticizes and coaches Parish in the comment section of that post.  Wanted to flag the conversation, not really sure what to make of it.

2 hours ago, maps said:

Mariinsky Apollo is Parish. https://www.instagram.com/p/BlfUoGyh_qP/?taken-by=_xander

Ballet Now was also the name of her programs at the LA Music Center. While her rehearsal schedule seemed insane, it did not seem unreasonable at first glance for her to dance in six different ballets over the course of three nights. But, I didn't realize it was a three night engagement until I looked it up after watching the documentary. Perhaps I missed that in the documentary.

I enjoyed the documentary and am so glad it exists. I echo the thoughts of previous posters regarding Tiler's increasing maturity and Michelle Dorrance's light. But I so wish the producers could have gotten permission from the Balanchine Trust to show some Balanchine! To think that Tiler's performances of Who Cares?, Stars & Stripes, etc. could have preserved for the public, and yet...

Polina was on Hulu as of last month. 

Per Indiana Woodward's instagram, Sebastian V

I've been on a ballet book binge, and well, this is no Dancing on My Grave. My inner editor wants to strike half the words. Should I power through? Any interesting nuggets?

That's so unfortunate to hear about Hod. I was particularly impressed with her earlier this season. Speaking of Ashleys, any news on Ashly Isaacs? I haven't seen her dance in the longest time.

My TDF tickets for ABT have been side Orchestra as well.

And for some corps dancer shout outs: Ashely Hod looked particularly lovely in Concerto Barocco. She moved her long arms with such grace. And Emma Von Enck handled her belt mishap with perfection. She was dancing in that sequence with such lovely energy, but then I noticed some strings around her waist. And then her belt fell. And it was so funny, but as you can see in the video, she handled it perfectly. Had I not already been watching her I doubt I'd have noticed.

I love reading all of your reviews, and since I finally made it back to the ballet after a long winter somewhere rural and cold, I thought I'd share my thoughts.

I'd never seen any of the ballets on last night's program and bought a ticket solely for the opportunity to see Tiler Peck dance Tschai Pas. She more than exceeded my already high expectations—she and De Luz danced the pas de deux beautifully and were so incredible in their variations. Perfection. 

I also am grateful for the opportunity to see Maria K at her finest twice in a week: first in Concerto Barocco and second in Apollo.  In fact, Maria K was so compelling in Apollo I forgot to pay attention to Apollo... Well Chase Finlay certainly had more energy in Apollo than in Agon two nights ago, but that really shouldn't have been hard. 

This was my second time seeing Agon—the first time I saw it I loved it; it was witty and edgy and the music and the dance acted as one. On Tuesday, it fell flat. There was no tension in the pas de deux. Reichlein appeared to bring some edge to her role, and she is so strong and has such control of her limbs, but Finlay brought nothing to the role. He's handsome. But he's edgeless. And his technique does not compensate for his lack of vibrancy.

On the flip side, I fell asleep the first time I saw 4Ts. On Tuesday, it was an entirely new ballet. Everyone danced with energy; the music was beautifully played. It was simply gorgeous. And Balanchine's brilliance sparkled. My only quibble is that Megan LeCrone, who entered strong as Choleric, lost her energy in the Coda(?) while dancing between Sara Mearns and Miriam Miller. Miller, on the other hand, kept up with Mearns—I was impressed.

I'd write more about Symph in 3 but I was in a post-Tschai Pas daze. I loved it and it was so fun to watch. I just can't say much more than that! 

1 hour ago, vipa said:

Sorry to hear that. I wish her well. I know she was not popular with a lot of people at BT but I always liked her go for broke style and exuberance.

Me too.

The Met Opera has a student discount program where you can buy individual tickets to ABT instead of 3 packs. It may not reach as many young adults as NYCB's 30 under 30, but it certainly helps.