BalanchineFan

Did you see Megan Fairchild's picture of the four (uninjured) women principals celebrating making it through the winter season? Phelan, Woodward, Peck and Fairchild, plus Woodward's dog, Luna. https://www.instagram.com/p/CpJIR-oOYof/

I know I've seen Mearns dance it with Reichlen. It was like two blondes, one running hot, one running cold, in the best possible way. Which Concerto Barocco role does the ppd? First Violin or Second? I can't remember who did it then, but my best guess is Reichlen.

I wonder whether Phelan or Laracey will do the ppd. Laracey danced it her first time out, IIRC. She was beautiful, but only speaking personally, I'd be thrilled to see Phelan do the ppd. So glad to see Mearns on the casting sheet!!! Also, JP Frohlich had a picture of Christopher Grant and Dominika Afanasenkov in Afternoon of a Faun on his IG. Really stellar. I think they were just chilling during rehearsal (in costume). I remember her from her time at SAB. She was memorable then, though it didn't occur to me that she would get into NYCB. Regarding Promotions, a new episode of the podcast interviews Megan Fairchild and Isabella LaFreniere on the topic: https://podcast.nycballet.com/episode-83-the-rosin-box-promotions

I don’t blame Homans for the length or breadth of the book. Hers is an effort to place Balanchine in the twentieth century, it’s the title of the book. I figure I’ve got the rest of my life to finish it. I’m currently reading about his physical death. I was wondering what people who have finished the book make of the sections about Balanchine and women, his ballerinas, his affairs but primarily Homans’ assertion that ‘love of woman’ was a central element of Balanchine’s artistry and his purpose in creating ballets. Do you agree? Do you see it in the ballets?

duplicated

Jovani Furlan has had such heartbreaking content on his IG. I think his sister died as a result of complications from childbirth. The infant survived and she has an older daughter, too. He's out for the entire Spring Season. I imagine he's back in Brazil tending to family. He said "I'll be back soon" https://www.instagram.com/stories/jovani.furlan/3072872620811792408/ https://www.instagram.com/p/CqnXm2xsliN/

I am just thrilled for the new soloists, and Alexa Maxwell in particular. She really carried a few evenings in the past seasons, and I feel it was long overdue. Regarding Bouder, I think it's a complete unknown. She won't be the same dancer she was last fall. She'll be different in some way, maybe many ways. Hopefully she can get healthy and rehab all or any injuries fully. It took Alexa Maxwell a long time to return after a foot injury, hopefully Bouder can do the same.

Seven favorite dancers, though, out of the 12-20 some people who are dancing the most and garnering the most attention? It doesn't seem that biased to me. I read your comment before I read the article, and the article didn't make me question Kourlas' fairness. Other things she's written do, but that's a different story.

What a fascinating podcast, @carllovesballet. Thank you! I've been wondering what intimacy coordinators and intimacy directors do, and how it worked in rehearsal and on set for film and tv. The ideas in FRIES (Freelygiven-Revocable-Informed-Enthusiastic-Specific) Consent are a game changer for me. I wish I'd had that language years ago for a couple of dates I went on. LOL! The example of 20 year veterans working with newcomers also rang a few bells. I was recently in a dance company situation rehearsing and performing with people 20-30 years younger, and I could tell my comfort level with certain material and situations was totally different. Veterans don't have power 'over' younger cast members, but we may experience the power dynamics differently. As a veteran, I know what it's like to walk away. I've done it. I survived. I can easily say no, or I'm not doing that, not comfortable with it, etc. It's easy to forget how hard that can be for newcomers.

I think it's just the visual of men clad head to toe in blue.

Thanks! Is the Waltz Girl the one who comes in to the recap of the opening sequence late?

I saw her point more as, why get rid of Peter Martins and keep his lousy choreography? The best parts of NYCB's SB are from Balanchine or perhaps Petipa. Most newspapers reprint a statement rehashing the history of the Martins allegations. I think it's so that they can say to casual viewers, this is the ballet company that you remember from that story, rather than another ballet company. When NYCB stops presenting Martins' choreography, they'll have to stop doing it. IMO, it makes more sense for people who don't read about ballet that often. It's not that great a SB, as SBs go. Better than Martins' R&J... but that's faint praise. I think Kourlas got it right regarding Woodward and Fairchild as Aurora. Phelan too, though I missed her performances. She obviously saw LaFreniere's first night. The only thing I like about this SB as a production is that the hunting scene is shortened. Aside from the Garland Dance, individual dancers make it or break it. If the accompanist played Tschaikovsky I'd be just as happy watching them take class. Thank you @cargill for posting the reviews of Copland Dance Episodes. I thought it interesting that Marina Harss skips over first cast Tiler Peck and goes on to describe Alexa Maxwell in the role they shared. Nothing against Tiler Peck, but Harss is correct, Maxwell was the revelation, the discovery.

Lauren Lovett also danced Waltz “Girl” beautifully at her final NYCB performance. Thanks @Helene and @bellawood obviously I’m not up on how the roles track.

She’s the one getting lifted up on people’s shoulders at the end.

I understood the question as “who would you like to see dance Concerto Barocco?” rather than a prediction of who will be cast.

I saw her dance it with Maria Kowroski. I was hard to "see" them both, they are built on such a different scale.

Mira Nadon has pictures of herself rehearsing Serenade on her IG stories. There's a clue. Not sure how long it will stay up. She's also doing something new, dancing with Emilie Gerrity. https://www.instagram.com/stories/mira_nadon/3061552371167544425/ Megan Fairchild rehearsing Square Dance https://www.instagram.com/stories/mfairchild17/3061431737649796140/

Maybe it's an orchestra issue. I'm totally guessing. Do they bring the full orchestra to DC? It says Pictures at an Exhibition has a piano score, Solo has a string quartet playing the Barber and IIRC, Love Letter (on shuffle) has recorded music. The other program should have an orchestra with Square Dance, Donizetti, Afternoon of a Faun and Concerto Barocco. My mother once choreographed the Barber and she found three recordings, one at 6 minutes, one at 8:50 and one that was 11:20 minutes long!

Phelan and Gerrity Phelan and Woodward Nadon and .. anyone, sure LaFreniere Woodward and Maxell LaFreniere and Kikta (flip a coin for who dances the ppd) Laracey and ... again, anyone ( I saw her debut with Silas Farley, lovely, but maybe this time a man who isn't a foot taller) I'm not sure they could come up with casting that I WOULDN'T like.

Thanks for posting. It's a great read. What a prince of a guy.

Marika Anderson said on IG that her last NYCB performance would be Serenade in Madrid. Sorry to hear about Clara Miller.

I saw LaFreniere's second SB on the Sunday matinee and it was beautiful. None of the mishaps you mention.

I don't think it's height that is holding her back, at least not in terms of partnering. All the women who were promoted this go-around had had debuts in Balanchine rep. I haven't seen them throwing leading Balanchine parts at Kikta. I also don't think she's done the Reichlen role in Everywhere We Go, which doesn't have a lot of partnering. I saw Kikta as Hippolyta awhile back (was it last spring?) and she seemed unfocused physically. If it wasn't just a one time issue, maybe she hasn't yet developed the strength and speed for those kinds of roles. A lot of taller dancers need more strength to move their limbs quickly. Hippolyta must be a bear to perform, all those turns with the smoke, the cape, the headdress, the bow and arrow.

I was shocked and disappointed that Maxwell was not promoted yesterday, but also really happy for the dancers that became principal.

Mejia danced Bluebird ppd today, so no, I have no idea why he would be replaced Saturday. He was fabulous. The crowd went wild. I liked LaFreniere as Aurora. Some of the story gets lost or flattened out. I can see why you wouldn't want to play too young or skittish if you're trying to calm your nerves for those balances. It may be a house of Balanchine thing, or just being new in the role. The Rose Adagio was solid technically and she seemed freer once the balances had gone well. Peter Walker really moved me in the Vision scene. He has the bearing of a prince and the intense, searching aspect of the character is strong. He had a bit of trouble landing his jumps in the Wedding, but no matter. The fish dives were great. The way they do it (at least today) it's almost like he gets her in the dive in penché arabesque then she lifts her bottom leg. It was fully danced and exciting. It's a tall cast, with Christina Clark as the Queen and Emily Kikta as Lilac Fairy. They work well together. Emma Von Enck is great in Puss & Boots. Alexa Maxwell really shone. She's had an amazing winter season, preceded by an amazing fall and spring. The jewels section isn't great. I agree with whoever was questioning the choreography. I think it would be hard to make a huge impact with what they're given. Davide Riccardo danced Gold well, aside from a little bobble ending his last turn. He is so beautiful to watch. Lands his jumps like butter. Silent. The jesters killed it. Brought the house down. Excellent timing, in canon, unison, everything. It's been a season with lots and lots of debuts. It's exciting, after years of seeing the same five or six ballerinas do everything.