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Leah

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About Leah

  • Rank
    Silver Circle

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    Fan
  • City**
    New York City
  • State (US only)**, Country (Outside US only)**
    New York

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  1. I do love her in Mozartiana as well, and that’s a role people here seem to dislike for her. I wouldn’t call it subtle though, she brings a dramatic intensity to it that others don’t. Anyway, I’m always excited to see her on the casting sheet, just to see what she’ll do.
  2. Mearns is very special and unique, but she’s not very capable of subtlety, which I think puts a lot of people off. Last spring she gave for me the two best performances of the year (waltz girl in Serenade, Slaughter on Tenth Ave) and then in the fall the very worst (Green girl in DAAG). I agree she needs to be seen live to be fully appreciated. She’s always at least interesting to watch, which even when she’s not well cast for a role is more than what you can say for certain other members of the company.
  3. I get a kick out of them even if they look a bit silly at times. I think they’re supposed to be reminiscent of Imperial Russia.
  4. Korowski was really great last spring fwiw. I think I saw the first performance after the Farrell coaching. She brought a very fragile, vulnerable side to the role.
  5. Reichlen was given just one excerpt in the digital season. Same treatment as Abi Stafford. It’s worrisome.
  6. Sorry, but I found Habony’s recurring sneer especially present and off-putting during Diamonds. Apparently I am the only person who sees it though. I saw Mearns do this in both 2018 and 2019—not this performance though. In 2018 she was so awful that I left the theater in shock and disbelief. She was incredibly overbearing and heavy (not a dig at her body, just how I can best describe her dancing that night), and flubbed a lot of the choreography. The 2019 version was much improved, though the streamed performance isn’t as good as what I remember. Farrell seems to have given her a new lightness in the role. And Janzen is a much better partner to her than Gordon was in 2018.
  7. You know, I wasn’t a fan of the artistic team before this but the response to Covid has really won my admiration and respect. Hopefully at the end of the Digital Season they come out with some kind of streaming platform, I’ll gladly pay.
  8. He’s in Liturgy on Friday, I was hoping to see her in Agon! Or at least in Stravinsky Violin. But I’ve never seen Liturgy so hopefully that’s also a good vehicle for her.
  9. By my count every principal but Ramasar has or will be.
  10. Leah

    Suzanne Farrell

    Nowadays the term would be constructive dismissal—ie when harassment makes a job so unbearable that the employee quits.
  11. I just checked the premiere date on the NYCB website for Rodeo and it was several days after this performance. But it’s kind of ominous to watch a performance when you know that the dancer was injured in the same role soon after.
  12. Easy is another of Peck's lesser ballets. I'm not understanding the selection process here. Times Are Racing is good though. But why two of his sneaker ballets on the same program? On the other hand, I'm very glad to see Donizetti Variations, which I've never seen before and had been looking forward to this spring.
  13. I really liked the Giles Deacon costumes for The Runaway, and thought they really enhanced the work even if they were probably some of the most avant garde yet. I for one enjoy seeing the different designer costumes each year, although the ballets themselves usually don't end up being anything special.
  14. I really liked Haieff, it’s not a major work but I found it extremely enjoyable to watch. Unity Phelan looked really great and it’s a shame nobody else got the chance to dance it (Christina Clark was supposed to debut in DC).
  15. He's done some really great work. Some of the choices of which works to show have been odd admittedly.
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