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Oh my, shameless.

The Macauley piece definitely focuses the central issue of the resignation on the future of the administrative structure of the company. I, personally, believe that a good AD doesn't need to wear all of the hats that Balanchine did. Specifically, they do not need to be a choreographer. But coaching and encouraging new talent, both from dancers and dance-makers, is not something that is negotiable.

Pleased to see such a respected group of people leading, but worried it may signal a final departure from Balanchine's dancers. This could be an opportunity for NYCB to reconnect to that generation, so many of which have been pushed out by Martins. If he does not make a return as AD, my biggest hope is that they install someone who can reconnect NYCB's legacy while staying true as an innovator in choreography. I am feeling this especially strongly after having seen Suzanne Farrell's company yesterday evening. What a triumph.

I think this was in the Conversation on Dance episode with both Damian and Tiler. (Aired in early November)

I also attended the Friday evening performance. Gounod was easy, especially the effortlessness of Allyne Noelle's dancing. I remember being more wowed by the piece overall when it was performed last year, the patterns of the corps are so different-- but Noelle was the standout. Tzigane was such a departure from the rest of the program, very glad I was prepared with some experience with Ravel's score. I found Natalia Magnicaballi's beginning solo compelling at some moments, and then underdone in others. I do wonder if another dancer who had better extension etc would have hit the piece a little better. I thought more could have been made out of the flippancy of the choreography's trimmings. Meditation was, for me, a complete revelation. The sadness, devotion, and regret conveyed by Heather Ogden and Michael Cook permeated the entire Opera House. This piece has been the highlight of my balletomane carerer, and I am still awed by the emotional rollercoaster of the 10-minute piece (a full day later). The moment it ended I began mourning for the likely few opportunities I will have to see it again (if any). I was near tears for that sadness and the enjoyment of the piece during bows Finally of course was Seranade. Always the crowd pleaser, it's not the best performance I had seen, but certain musical aspects I've never noticed became apparent. I think that's what I appreciate so deeply about Suzanne Farrell Ballet, there is always something new to see. I am terribly sad the company is folding, but I holdout hope that something better will come along for her genius.

My understanding is that there is a designated union rep in the ranks of each company. (Old, but still helpful article here: http://www.dancemagazine.com/sweating-the-small-stuff-2306888345.html) Gwyneth Muller may had been NYCB's AGMA's rep until her retirement. Anyone know who has filled that role since? If NYCB is looking to avoid fall-out, Team Fayette-Ringer might not be such a bad choice. Extensive Colburn and LA Dance Project leadership experience, and Fayette served as the union rep during his time as a performer, and then served for over eight years as AGMA's NY Dance Executive.

As much as I love the idea of Suzanne returning, is it too late for those amends? NYCB administration severed ties with her over 20 years ago. I love her work, (very excited to see her company tonight at the KC) but though she is demonstrably capable of breathing new life into Balanchine's works, can she foster the new creative talent that NYCB has become a beacon for? My hope for a new AD would to have a good combination of both, though I would like to see more Mr. B in the rep.

Thanks for posting! Sorry I missed seeing it live.

I think this is a central part of the discussion which the thread isn't delving into: Mr. Martins may be accused of having improper relationships with children. We discuss the merits of up and coming artists as though they are fully fledged adults in this forum. Art may have no age, but the year on a birth certificate is not up for interpretation.

Do we think that Woetzel would step away from his commitment from taking the reigns at Julliard? That has been such a big slow roll out, I would think it would be difficult to extract himself from that situation. While Watts clearly has hit a goldmine in being able to foster new talent while remaining dedicated to Balanchine, I am not convinced that the Woetzel-Watts partnership would be able to split their shared artistic vision into two distinct artistic houses.

What I'm unclear on is the scope of the investigation: is this specific to relationships with his employees/dancers in the company, or within the scope of SAB? (Implying that he had improper relationships with students- who are typically minors.) This could get very serious if it's the latter.

Casting for Week Four is up: https://www.nycballet.com/NYCB/media/NYCBMediaLibrary/PDFs/Press/Casting/NYCB-Casting_Dec-12-17,-2017_lobby.pdf Lovette debuting in Dewdrop, very surprising to me she hasn't danced the role before.

In this week's "Conversations on Dance" podcast, (http://conversationsondancepod.com/2017/11/27/allynne-noelle-suzanne-farrell-ballet-first-soloist/) First Soloist Allynne Noelle mentioned that a few notables would be returning for the company's final performances. Anyone know who in particular she is referencing?

Well said, Kathleen. I have speculated that both are making an attempt to walk the fine line between respecting former spouses while still living their lives.

NYT did a Speaking in Dance before Spring Workshop featuring Mira Nadon in Scotch Symphony. I am interested to see more! https://www.nytimes.com/2017/05/25/arts/dance/spellbinding-luminosity-ballet-students-in-balanchines-scotch-symphony.html?rref=collection%2Fcolumn%2Fspeakingindance&action=click&contentCollection=dance&region=stream&module=stream_unit&version=latest&contentPlacement=15&pgtype=collection&_r=0

I attended last night's show. I have to say that I was a little disappointed. I am open to the reasoning that I am more accustomed to the American aesthetic of athleticism than the emotive qualities of the Mariinsky, but overall I found the lack of dance in this ballet difficult to get over. The choreography just didn't lend itself to telling a compelling story. The first act was full of painfully-slow mime, which shortened what I felt could have been a meaningful interaction between Solor (Timur Askerov) and Nikiya (Ekaterina Kondaurova) to set the stage for the tragedy to come. Instead, their pas was so brief that the audience did not feel the depth of their love. Which wasn't helped by the fact that our Nikiya barely looked at Solor throughout the production; she seemed to be dancing on her own, never acknowledging the presence of her lover. Ms. Kondaurova's long arms added so much beauty to her extensions, but I was distracted from the first scene (where the midriff is bear with a tube top and harem skirt) to the end (traditional leotard and tutu) by the protrusion of her rib cage in comparison to the size of her stomach. I hate to body shame anyone, regardless of where they fall on the scale, but it is saddening to see this company continue a sad legacy of emaciated artists. On the plus side, Nadezhda Batoeva was incredibly compelling as Gamzatti, precise technique in her steps and a visceral emotion in her jealousy. Askerov was also a gallant Solor, his solos were some of the high-points of the production, and his gestures and face told a wonderful story about his conflict and guilt, though it wasn't evidently reciprocated by Nikiya. Also, the divertissements in the second act were a nice reprieve from drawn-out mime and (pretty) walking around the stage. I normally dislike these sections of ballets since they don't advance the plot, but it was just nice to see people dance.

Miriam Miller in After the Rain sounds divine. I'll also add Kristin Segin, Alec Knight, and Peter Walker to your watch list.

Am I right in noting that the only female principal missing is Tiler Peck?

It's a Kennedy Center presentation. I've seen the past four tours of NYCB at the KC. They haven't presented a full evening story ballet during that time. The closest was Martins's La Sylphide in 2016, however that was paired along with Bournonville Div. As someone who lives in the District, I prefer NYCB to continue to present mixed programming. We already have "ABT in D.C." (Julie Kent's Washington Ballet) and a healthy number of touring story ballets. Especially now that Suzanne Farrell is closing up shop, it'll be important to keep the Balanchine drum strong, but I also appreciate seeing Balanchine along with newer works. Peck's Rodeo on the same night as Tarantella and Square Dance was a dream.

I was wondering how it was possible that I missed Restless Creature being uploaded to Netflix, until I realized it was uploaded yesterday! Thanks for the info, will be watching in the next few days. Also-- truly on pins and needles about Megan's performance. Any intell?

Morning all! I've had a few DM's from folks wondering if my Spotify playlists have been updated with the Fall 2018 Rep for NYCB. They are! Playlists are organized by choreographer and premiere year. (So Apollo is on one side of the spectrum and Gianna Reisen's new piece which debuts next week is at the top.) All playlists are public, and can be found at https://open.spotify.com/user/mayrea

Interested to hear how LeCrone performs in her Red Violin and Chairman Dances debuts. I saw her Dark Angel once and was absolutely taken in-- interested to hear how she stacks up in these pieces.

Maybe I'm not on this since I live outside of NY-- how do I get onto this newsletter list?

Casting is up for week one: http://www.nycballet.com/NYCB/media/NYCBMediaLibrary/PDFs/Press/Casting/NYCB-Casting_September-19-24-2017_lobby.pdf

Seems like a rip of the introductory titles for Netflix's "The Crown" series.