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mille-feuille

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About mille-feuille

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

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  1. Yes, I agree that the tone implies more than just a temporary leave. If that's the case, I look forward to seeing more of the up-and-coming men. I enjoyed Olivia MacKinnon a lot in PC#2, too. As for promotions—I was so rooting for Kikta and Hoxha. Sigh.
  2. I'd go out of my way to see that! Of the ABT dancers, Brandt is the first to come to mind for Tschai Pas. I'd also be interested to see what Hurlin could do with it, and Lane.
  3. Very sad, indeed. I liked her dancing very much and always looked out for her when I saw her name in the program.
  4. Hippolyta, thank you for the report! I always appreciate hearing them from farther afield. I only saw Shevchenko's O/O this year but next I'll see Teuscher's as well given the strength of recommendations on this board.
  5. Please, for all that is holy and good, no. I will never forget her horrifying turn at Tchaikovsky Pas de Deux a few years ago. Keep Isabella Boylston away from my beloved Balanchine choreography.
  6. Granted I've only been watching ABT's Swan Lake for about three years, but I think I've seen this arabesque balance performed well just once or twice. I'd almost rather they do it well on flat than this bobbling.
  7. I mean long sections (32 counts worth) of fouettés, such as are found in Swan Lake, Don Quixote, and Le Corsaire. I see most dancers do them approximately on the beat, but not RIGHT on it. Good luck!!!
  8. In my experience doing fouettés to the beat is the exception rather than the norm! (I'll never forget Tiler Peck's fouettés as Odile... ) Using all the music with solid, non-travelling fouettés, whether they be singles or multiples, is enough to satisfy me.
  9. My feeling exactly. Jane Eyre was also possibly the worst thing I've seen by ABT.
  10. Out of curiosity as someone who hasn't been seeing ABT for more than a few years, what were some of the worse things ABT's put on stage? Boylston in Tchaikovsky Pas de Deux?
  11. Based on these responses, I will give it a try! Which cast would y'all recommend? On the one hand it'd be nice to see Bolle, but I've found Seo bland in the past. Lane/Cornejo would usually be my choice, but he may not be able to dance by then. Boylston/ Hallberg?
  12. After seeing the devoid-of-ballet Jane Eyre last night, I'm feeling a little scarred. I had planned on seeing Manon for the first time next week, but now I feel the need to confirm--is there enough dancing in it? (All I've seen of it is the bedroom pas de deux, pretzel-like partnering I consider "ballet-lite" or "in the style of ballet.") How much meaty classical dancing is in this ballet?
  13. I liked Stella -- her brief pas de deux with Whiteside was one of the few passages of actual ballet dancing last night. I was sitting in Row T of the Orchestra and I just did not feel that Teuscher was projecting that far. I felt like I was squinting the whole night to see her. Lane's role was very light on dancing and was mostly comedic relief, but she made the most of what was there. Hurlin was effective as Young Jane. Trenary was nicely creepy as Bertha when she was in the shadows, but when light was shining on her I found the creepiness to be significantly lessened. I did like the foreboding music that foreshadowed Bertha's appearances. None of them stirred any emotions in me at all, though, except for Whiteside now and then. He conveyed Rochester's attraction to Jane, torment about keeping Bertha hidden and her eventual death, and general broodiness well.
  14. Well, it was definitely not my cup of tea. Marston's Jane Eyre is light on sustained passages of ballet dancing and heavy on dramatic walking, inscrutable mime, and impassioned writhing and yanking. The most actual ballet we got was a pique arabesque now and then. On the bright side, Whiteside was good as Rochester (or as good as he could've been, given that choreography). Many critical reviews praised Marston's storytelling abilities, but I found the details of the story (which I assume were contained in the aforementioned inscrutable mime and/or writhing and yanking) to be very muddy indeed. Interested to hear what others on this board think.
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