BalanchineFan

Obviously I cannot stop thinking about this... I'm going to continue unless the moderators decide to remove my post. I am a ballet patron and I loved to attend the working rehearsals as often as possible. IN 2015 or 16, during a break in the invited dress rehearsal for a full length ballet, Peter Martins wanted the leading ballerina to repeat her variation. They were standing downstage with a Rep Director and other dancers. He pulled the ballerina's wrist and began walking upstage so abruptly that the ballerina bent over and had to take a few running steps to keep up. My companion gasped. She had never seen anything like it. It was not assault, but blatant physical aggression and casual disrespect In front of a full theater, 2500 patrons. I'd seen it, but it hadn't registered. He's the choreographer, the AD, the maker of careers, etc. The one who got board members to resign when they opposed him. Is she seriously supposed to report that to HR? What do you think would happen if she did? Remember how Larry Nasser abused at least 160 young women during their medical treatments, often in the presence of the girl's parent? He did that for 20 years (that we know of ). No one found it credible ... that a respected doctor would abuse teen and preteenage girls.

Thank you to @FPF @nysusan @KarenAG and everyone who wrote about the SPAC performances. I almost feel like I was there. I can't wait for the NYCB Fall Season!

During this summer session, all the dancers at SAB have been masked because there are children under 12 present in the building.

I find it entirely credible. She's describing something that happened in a split second. Who would be paying that much attention? Did he move his hand/arm in front of her chest or did he actually hit her nipple(s)? I, personally, have had strangers (MEN)... 1. slap my bottom on a crowded subway car, 2. twice had men flash me, one holding a newspaper so that I was the only one who could see his penis in the fold, presumably sticking through a hole in his pants. He was on a subway car, the other man was walking by in a public park visible for all the world to see, of course there was no one else around. 3. had a man approach me, yell out "I love this woman!" put his hands around my neck and strangle me in front of a group of my friends. Only lasted a few seconds. Seven people that I know well and would trust with my life all nearby, talking. Only one came up and asked what was up. 4. press a credit card on my vulva in an overnight train when I was sleeping curled up. I thought I had the worst wedgie in the world and to this day I don't know how long it lasted. I remember when I finally woke up, turned my head and he stopped though! Violence against women is everywhere. If you haven't seen it yourself you have truly NOT been paying attention. I know it's my issue, but It makes my blood boil when people say they "don't believe" or "she should have stopped him" like it is the woman's responsability alone. It's an insult to anyone who has experienced the abuse. Forgive my rant, but those who qualify socially as clinically blind shouldn't then say "I never saw that." WAKE UP WORLD!! Ask the women you know, they'll tell you what has happened to them. Some may even have buried the memory, but within 10-20 minutes they will begin to remember and those of you who "don't find it credible" may have your eyes opened. If you listen. Also: read Pazcoguin's book, Swan Dive. She's not a literary genius, but I haven't been able to put it down, VERY entertaining.

Megan has a conversation with Lucien Postlewaite up. They cover some pretty deep topics, in my opinion. Very enlightening, about human growth, expectations, dealing with adversity and waking up to the possibilities before us. I feel like she's providing a service for humanity, but REALLY entertaining, too.

Not all coaches are equally adept, however. The von Aroldingen sessions were surprising for what she brought to it. She really focused in on the dancers and the dance, as it should be. Certain others (not generally people who worked for NYCB as repertory directors) seemed to view the coaching as an opportunity to talk about themselves, what they did when they were performing, the importance of their own lives, almost entirely ignoring the dancers in the room and the current possibilities for the ballet. and you're reminding me that the Blake Project is something I paid for, and missed the streaming window. Never saw it.

Donors to NYCB? >>> Sorry for the poorly worded post. I should have said "Donors to NYCB have access to a film of Karin von Aroldingen coaching Who Cares? and Suite #3 for the GBTrust." This past year NYCB has had a number of online events for donors, and/or seminars... one was with Silas Farley interviewing former NYCB dancers (Patricia McBride). I remember an event about The Concert with Stephanie Saland and Sterling Hyltin (they both danced the woman with the hat) ... a seminar on Jerome Robbins' West Side Story with Jenifer Ringer and Nancy Ticotin (who took over for Debbie Allen in the 1980 revival and taught the work when NYCB first did the WSS Suite). Some events were good, other's ... meh. They may have charged for them. They had a title... Ballet Connoisseurship... maybe that was it. They are best when they get a performer (or a former performer) to moderate them. Silas is quite good. IMO, they shouldn't depend on the people who work in the development office for that, not when they've got access to stars with personalities like Jenifer Ringer, Nancy Ticotin, Patricia McBride, etc. Real artists of depth and experience who have something to say. Sometimes you'd be sitting on Zoom waiting for an office worker to badly explain the history of something you already knew, watching the stars nod along, silently for 15 minutes before they got a chance to talk. Just my humble opinion. Still, I stayed until the end every time.

Audience left is closest to the ladies room, which always has a line at intermission. I tend to sit on the left to be able to dash in before the line forms. I know it's mundane, Nanushka, but I had to wonder if that played a part in your decision making. I agree that having a professional film director added to the entire event. The dancers introducing the evening seemed so much more at ease, for one. I loved the program, but also, it's like I'm starving to see NYCB. I've been NYCB deprived. The film style added to DaaG and Liebeslieder, imo. They are such intimate pieces that it seemed entirely appropriate, necessary even. I found myself wondering what the new Peck solo would be like, particularly the climax, without the camera circling the dancer. The new Solo aside, I've seen all of this repertory multiple times. I loved the moments after they performed, Ashley Bouder with her hands on her knees catching her breath. The Divertimento cast bursting into laughs, hugs and congratulations at the end. It's some of what I miss about being able to see them rehearse. All the dancers are so good that, without that break, without the change in demeanor, it's easy to forget just how difficult the dancing is. I love this company so much. I can't wait to get back into the audience. I'm so glad SAB is doing a workshop, too. PS, there's a film available to donors of Karin von Aroldingen coaching Who Cares? and Suite #3. Has anyone been able to see it? Tess Reichlen and Robert Fairchild dance Who Cares? I miss his dancing at NYCB so much. Sara Mearns and Ask LaCour dance Suite #3. I know I've posted derogatory things about that ballet, but seeing Karin coach it is well worth it. I can see why the dancers rave about her, all energy, focus and enthusiasm. So supportive and respectful. And what a depth of knowlege!

YAY!!!!!! I'm so glad they figured out how to put outdoor performances together. It took awhile... Here's hoping for good weather.

I really enjoyed this ballet. For me, it reminded me so much of the journey of coming into that theater. Being in the lobby myself, then going in and watching dance on the stage, then the camera backs up and you can see the central, globe chandelier and the lights around the "rings" of the balcony. I loved the journey of it, When We Fell. I enjoyed the quiet of it. The spareness. I love the look of the bodies on the lobby floor seen from above. I've been there so many times. What I remember about India Bradley is her promenade in that crazy 6 o'clock penchée, her legs in a vertical line. I didn't notice the hand holds at all. The section onstage had more dynamic dancing, faster tempi, more jumps. Christopher Grant has a solo. I think it's KJ Takahashi who does a phenomenal sequence of jumps and turns, ending on one knee and extending his hands to... another man. Surprising, totally modern. Taylor Stanley and Claire Kretschmar were particularly great, and I don't think I've ever seen Lauren Lovette more lovely and beautiful. She is just exquisitely beautiful in that last duet. I miss her already.

The interview videos began on Tuesday and ran for a week. The performance videos started on Thursday and ran for a week. The dance films that NYCB released last fall seem to still be available on their website, however. I sometimes watch the Justin Peck "Thank you, NY" when I'm feeling low. It's a huge pick me up. https://www.facebook.com/watch/?v=745082016093012 Also, the broadway dancers/singers who sang Let the Sun Shine for the recent inauguration. Major uplift if you ever need it. It's off-topic, but Charlotte D'amboise who is featured in the last part went to SAB, I'm sure.

I love Rebecca Krohn in this role. Her hips are so off kilter in those first moments of the Aria, everything is done to the nth degree, every movement completely fulfilled.

The interview this week, on Stravinsky Violin Concerto, will be with Sara Mearns, Claire Kretchmar and Rebecca Krohn. I checked on the women's roles and this is the first time this season that the repertory director is someone who performed the role we're seeing coached. Rebecca Krohn danced Stravinsky Violin Concerto at her farewell performance.

That's it! Thank you!! Kirkland and Baryshnikov did seem a bit .. detached. Spectacular dancing, though.

Tiler IS truly one of the best! I watched Jonathan Stafford teach a partnering class at SAB on a donor day and he was emphasizing all the support that could be given, in different ways, with just a finger, or two fingers on the woman's wrist, or even by the flat of the hand. He taught a combination that had all sorts of different kinds of uses of the hand and fingers for support. It was so enlightening.

IMO, Not Our Fate is the strongest of the ballets she has choreographed for NYCB. Maybe I just like how she limited the space for parts of it: I remember a section where all the couples dance from stage left to right, sweeping across the stage. Also, the costumes were black and white, original shapes for the women, but attractive clothing that a person would wear. I really dislike the tutu permanently hiked up in the back that Zac Posen designed for Unity Phelan in the more recent ballet. That costume is a kind of worst-nightmare-realized. Just my opinion. All of Lovett's ballets have had configurations of dancers that held my interest. She can move people around a stage. Nothing is static. I don't think Ratmansky moves people around as well, though he makes some nice stage pictures. Other experienced choreographers (I won't name them, from foreign companies performing at the same theater) put their corps onstage, evenly spaced, and have them execute steps like it's a dance class. I'm interested to see what she does next.

I read somewhere that Kirkland and Baryshnnikov had a major argument the day of the live broadcast. Not sure if that impacted their performance style. Personally, I love that performance. It was the first time I'd seen the ballet. The speed is electrifying. I'm interested to look for the Kistler recording again. I think I may have already seen it online. Tiler seems so incredibly joyful in this performance. I don't remember that from previous performances, most other ballerinas go for a more detached, regal, formal interpretation, but Vive la Différence! I haven't seen T&V performed live very much because NYCB always programs it as Tschaikovsky Suite #3 and I so dislike the earlier movements, but this broadcast shows what I've been missing, and it's A LOT.

I loved the coaching session. Don't miss it, if you have any interest. Joseph Gordon works on the male solo variations with Kathleen Tracey and his jumps and comportment are just to die for! I've always thought he lands his jumps like butter, and that is very much in evidence here. It ends with footage of Andy Veyette doing the same variation, totally in top form. It's the same general format as the previous rehearsal footage, a younger dancer who has only performed the role once or twice (Gordon), a seasoned dancer with years of experience in the role (Veyette, who says he's been dancing it so long he doesn't remember his debut!), Kathleen Tracey as repertory director and Russell Janzen interviewing and hosting.

I just find every dancer has their own rep. Not everyone was made to do Theme & Variations, nor should they be. One thing I appreciated about the Balanchine era was how different the principals were from each other. How different their dancing was. You still see that in many of the women, but when I returned to NYCB it took me awhile to distinguish between Tiler Peck, Ashley Bouder or Megan Fairchild. Now I can see the differences in their performances (and they ARE different), but I don't ever remember that kind of confusion between Merrill Ashley, Suzanne Farrell or Karin von Aroldingen, for instance. All fairly tall, even dancing some of the same rep, TOTALLY different. I've seen Lovette in Serenade many times and she was always lovely. I never saw any struggles.

What do you mean? She's been a principal since 2015. She has handled the workload for six years. I love her dancing. I remember her in Liebsleider, and a whole gamut of other roles, DAAG comes to mind. She was a fabulous Novice in The Cage. That surprised me. I once thought her a bit sweet, thinking she would grow into more depth with maturity, but her Novice sure wasn't sweet! Why the "early" retirements? I think there have always been dancers who stopped dancing at these ages. Maybe not dancers with such prominent careers. Maybe social media gives dancers today more of a sense of control over their careers. Maybe they aren't as sheltered and have a better idea what other opportunities await them. They are better educated, that's for sure. More ballet dancers have access to college programs, more are getting degrees in a broad variety of subjects. It's a big world out there. They want at it. I also think that (for NYCB) there is no longer the one Balanchine figure that everyone wants to dance for, for as long as they can possibly dance.

You've probably seen this elsewhere but.... This was the first of three weeks of NYCB'S new Digital Season. More to come. Interview and rehearsal of Prodigal Son https://youtu.be/Wz1yfSLH3o4 Prodigal Son by George Balanchine https://youtu.be/bFKa6vhTbcQ

Though I wished they had also shown Maria Kowrowski working with Christina Clark, I got a lot out of the coaching session. A few examples: the intricacies of dealing with the cape on those slow bourrées upstage on the diagonal, as the Siren threads her arms through the cape ending with her back to the audience (and the cape, hopefully, beautifully draped behind); the section where the Siren has the cape wrapped around her legs (head in profile, alternating with whatever epaulement the ballerina likes); the image of the dancer's two heels peeking out to the side, making a heart shape with her pointes in fifth as she raises her outstretched hand up behind her headdress. They weren't dealing with images that tell the story of the character, but it drew me into the movement much more fully. I can imagine (and see on Clark) if I were doing such a specific, tight fifth on pointe, how it changes what is happening in the upper body too. It shows a fierce intention in seducing the Prodigal Son. In general, I really love seeing rehearsals. It's something I've missed during the pandemic. Normally, patrons would be in the First Ring unable to hear anything the coaches are saying to the dancers. It's such a rare opportunity to hear them! NYCB generally approaches things from a physical point of view. They don't sit around talking about the characters' motivations. It's fascinating to see a coaching session on a narrative ballet that is really ALL about the physical aspects and how they STILL tell the story. And finishing with Maria was WONDERFUL. Personally, I don't think the comparison with the City Center series (which I also enjoyed) is quite fair, since those ballerinas had been performing the roles for so long. I got the feeling Lisa Jackson didn't want to overwhelm Ms. Clark and knew they had more time. The coaching for City Center had the sense of we're-never-going-to-see-each-other-again-so-let-me-pass-on-every-single-thing-I-know. Perhaps that is more exciting for a non-dancing audience. Can't wait to see Christina Clark dance this with Roman Mejia!! She looks perfect in the role, and I can only imagine how great Mejia will be.

I suspect subscribers will get the first option on buying tickets to "special events" but they eventually open up to the general public unless all the tickets are sold. Kowrowski's farewell will certainly be popular. As a non-subscriber I got tickets to Wendy Whelan's farewell in the 4th Ring.

I bought two of the weekend subscriptions. I wasn't too careful in picking because, as a subscriber, you have the right to exchange tickets for another performance. For me, that's easier than doing a flex subscription.

I enthusiastically recommend the SAB documentary, On Pointe. It has casting for Nutcracker and the performance process, and follows a number of students, quite young - D class, through the 2019-20 school year. You see a couple of young women receive their apprenticeships. It's a very positive look at the school and the students' pride and joy at being there.