BalanchineFan

They changed the costumes for the leads in Wheeldon’s American Rhapsody after it premiered. I don’t see why they can’t do it again. They could probably auction off the costumes and make a fortune.

Jacques D'amboise coaching Who Cares? There's a picture in the beginning that shows the Karinska costumes in black and white. It's part of the preview. They look lovely. I think the new costumes would be improved by a pair of pinking shears, shortening the women's skirts, though the skirts do move when the dancers turn. https://www.films.com/ecTitleDetail.aspx?TitleID=210057

Any large scale, Balanchine ballerina role, where you have solos and have to hold the stage yourself, alone or in front of the corps, is a try out for principal, IMO. Kikta getting that role is a good sign for her future. Plus, who wouldn't want to dance it! And yes, to Kikta and Bolden!!! As for the new costumes, they look very pretty but the skirts are too long for my taste. Ballerinas should show more leg. Still, I look forward to seeing them in action.

Gilbert Bolden is quite tall and broad shouldered. He partnered Sara Mearns in Rotunda and Emilie Gerrity in Bourree Fantasque (he saved a very off balance attitude turn of Gerrity's on one of the shows. Very smooth). He often dances Mother Ginger. He's more muscular than Peter Walker. I don't see why anyone who has watched him onstage would have doubts about his partnering ability. I'd love to see him in something with either Isabelle LaFreniere or Emily Kikta.

Megan Fairchild’s IG https://www.instagram.com/p/CyDqGmBOWVp/?igshid=MzRlODBiNWFlZA== Wendy Whelan’s IG also has pictures of the gala and some of the Broadway luminaries who sang. Gilbert Bolden’s IG shows his THREE looks for the evening. here’s another. A pic of the curtain call where you see a few costumes https://www.instagram.com/reel/CyD-CueOA5s/?igshid=MzRlODBiNWFlZA== Whatever you think of the fashion gala it is MADE for social media. The pictures are very exciting.

Unlike you, I love watching company class. As a dancer I didn’t mind classes with an audience. It appealed to my exhibitionist side, I suppose. They know it’s class, so you still do all the things you normally do to get your body ready for the rest of the day; rehearsal, performance whatever. One of things you see is how individuals navigate that. Who is relaxed in that situation. Who enjoys it, who is hiding in the back. No judgement, though. Everyone is entitled to their response and strategy. I imagine companies do it because there’s an interest, people come, it builds excitement, it’s easy for them and not a costly perk to add for donors. SAB has patrons visit classes a few times a year as well and I love that, too. In partnering class you can learn what they’re doing and see how difficult it is to master it. Those are “real” classes where they give corrections to individuals.

How does it undercut anything? Whatever they agreed to is contractually stipulated. They didn’t actually fire Martins, so he’s entitled to whatever exit/retirement pay is in his contract. They have to pay. They’re not paying him out of the goodness of their hearts. I must have been at the same performance as you, Dale. I think Peter Walker is newer to Agon than Miller, who, iirc, performed it as an apprentice or shortly after she joined NYCB. In the ppd, when she’s in penchée arabesque (on pointe!) and he goes to the floor on his back, he is not supposed to move her hand. On Sunday, he moved it and she struggled to stay on pointe. That had gone much better on their previous performance, on Saturday.

Seems to me it could be one of about 20 people.

Rupert and Lachlan Murdoch own the NY Post. It's a rag. The funniest part is this quote, "The Post could not confirm what additional work, if any, Martins has performed for the organization. " They are saying they didn't care to do any research, but still want to fan the flames.

I was there for company class early. If other company members had wanted to stand in front like Gilbert Bolden, they could have. Many people came early and chose places in the back. (Davide Riccardo, Taylor Stanley and Mira Nadon, I'm talking about you!)

I have seen Bourree Fantasque several times. The first was at the State Theater during a Miami City Ballet season some years pre-pandemic. The second was a year or two after that when SAB did the ballet. I’m pretty sure KJ Takahashi led the first movement with Savannah Durham. Then I saw the open rehearsal on Friday and Saturday matinee. I find Bourree delightful. The first movement has lovely patterns for the corps and lots of funny moments playing on the relationship between a haughty, tall woman and her shorter, adoring male companion. The second movement is lyrical and floaty with swoopy, swoony moments for the main couple. The women wear longer, romantic tutus. I thought Gilbert Bolden and Emilie Gerrity really shone. The third movement is like a firecracker. The leading man keeps throwing the woman into a switch split overhead, like a lift in Tschai Pas, but more dynamic. The music has chords that repeat in a syncopated rhythm. It sounds a bit like a circus, in a fun and energetic sense. In the rehearsal Ms Pilarre wanted the music a touch slower, but for the performance it seemed they must have changed their minds, as the orchestra ramped up the tempo. David Gabriel, and Alexa Maxwell led the third movement and seemed to relish the speed and meet the challenge. She was particularly astonishing, a ray of light onstage, spending the majority of her time in the air. I’m rooting for Gilbert Bolden for soloist and Alexa Maxwell for anything and everything. The three movements each have such a different feeling. For a ballet that’s new to them after an absence of 30 years, NYCB, does this Bourree than anyone. All the leads come back for a rousing finale similar to Symphony in C. I recommend it to anyone who is curious, it’s a great opening ballet.

Omg, her LINES in that arabesque! Wow.

NYCB had full casts for Bourree and for Slaughter at the dress this afternoon, so they have a good 50-60 dancers at the theater already. I took the subway down to Columbus Circle from way uptown (and back, the ABCD subway line) without any incident, so I’d be surprised if there were any changes, but who knows where the dancers are coming from.

NYCB is still having its open dress for Bourree Fantasque. Susan Pilarre (or a woman who looks EXACTLY like her) is repertory director for the corps de ballet. Maybe that’s why she’s not at SAB. I haven’t seen Rosemary Dunleavy so far.

What fun!! Looks like a great program. I'm not a Medici member so I'll wait until the PBS broadcast. Thanks for the heads up!

Someone asked about a tall, red head upthread. I think it is Oscar Estep https://www.instagram.com/p/CxsvnaPMH8b/?igshid=MzRlODBiNWFlZA== And congrats to all the new apprentices!

Russell Janzen is such a beautiful dancer. So princely and elegant. He got a huge ovation on the Diamonds entrance and it looked like he was trying not to laugh. They pulled themselves together and dig into the choreography. I think he and Sara had every emotion possible. After the ppd, she was fighting tears (briefly) and mostly he registered joy and relief. The next moment the emotions were switched. It still amazes me in Diamonds, how they walk in from opposite corners and end center, so far apart, arms outstretched, just fingers clasping. I particularly enjoyed seeing Teresa Reichlen and Maria Kowrowski returning for the farewell. Kristen Segin also seems to have a special bond with Russell.

Please NYCB, cast Gilbert Bolden III and Christopher Grant into more Balanchine Prince roles, please! Davide Riccardo, Alec Knight and Aaron Sanz, too. But mostly Gilbert Bolden.

Why would we do that? Would that imply anything about our worth?

Olivia Boisson didn't dance for a few seasons due to an injury, which must impact one's trajectory. She's only been back a year or two.

I find they often cast dancers in a hierarchy, like getting 3rd movement Bizet before first, or (in SB) doing Bluebird before the leads. I look forward to seeing Emma Von Enck in Symphony in C! I think she’ll be great and spritely with all those jumps. I’m also not surprised to hear that Isabelle LaFreniere was beautiful and expansive in Diamonds. Iirc, she was slated to debut the role with Zachary Catazaro (back when he was with NYCB). There’s an IG post with both of them in studio, in costume, somewhere. She’s a beautiful dancer and she’s been working on Diamonds for years.

I thought the pink clad intermission lover was Marika Anderson. I don't have any confirmation, but I thought the woman looked and acted like her. Also, Domenika Afanasenkov danced both Emeralds and Diamonds on Tuesday!

A few dancers are in the corps of Emeralds and Diamonds. India Bradley often has that assignment. The corps in Diamonds tends to be taller dancers.

The orchestra is not on strike. They are playing for all performances. The orchestra reached an agreement with management that lasts through the end of this fall season. They were demonstrating in front of the theater and a crew from Eyewitness News was there to cover it. The evening was really magnificent. Fabulous debits from Indiana Woodward and Tyler Angle in Emeralds. Wendy said there were 250 alums there and they all came onstage for the final bow. In the front Suzanne Farrell was in a white jacket, next to Lourdes Lopez in a long red dress. Heather Watts in black with sensible shoes. Merrill Ashley led Patricia McBride who was helping Edward Villella. Suki Schorer and Kay Mazzo were also among those in the front. I saw Amar Ramasar, Nikolai Hubbe, Alexei Ratmansky , Darla Hoover and Christopher Wheeldon in the audience but I couldn’t name all 250! If you pass by the theater before Oct 1, the slow motion films run beginning at 7 pm each night.

I do NOT think Stafford is a megalomaniac. Not at all. It’s a large school. I’m sure many different factors with staff come into play. IIRC, SAB’s statement said Hoover asked to leave. If you have information from another public facing source you should cite it. from upthread: “SAB just sent out email that elaborates (slightly) on some of the staff changes discussed here. Of special note: Suzanne Farrell will be a visiting teacher!” Chair of Faculty Darla Hoover informed us in August that she was stepping down from her position and ending her tenure on SAB’s faculty effective with the start of this Winter Term. We extend our sincere thanks to Darla for her leadership and wish her all the best in her next steps.