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JuliaJ

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About JuliaJ

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

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  1. Agree on Stafford's lack of charisma. He also seems way too friendly with some of the veteran principals of his generation. I would like to see a couple more retirements than the 4 principals who we already know are leaving. Hopefully the upcoming season marks a new era. I sincerely hope that whoever takes over the top post at ABT is someone who appreciates the classics. I can't see myself subscribing to an ABT season consisting mostly of contemporary and "message-driven" works that don't even look good on the Met stage.
  2. I thought it was a great digital offering overall -- high-quality filming and production thanks to City Center. Worth the $25. Dancers looked fantastic considering how long they've been away from a stage. I wish we could have seen Brandt do the Aurora birthday-party solos as well as the rose adagio. Looking forward to seeing the Bernstein ballet live at some point -- great technical showpiece (especially for Brandt) and also very unique and whimsical. The music almost made it feel like a Jerome Robbins work but the choreography was very Ratmansky.
  3. As an audience member, I do hope that a proper balance is struck between discouraging eating disorders and upholding the aesthetic of ballet. As is, a substantial number of top female dancers at NYCB, including some of the company's biggest stars, don't conform to the rail-thin ballerina archetype, and that's totally fine. But a part of me is a little worried about the future of leotard ballets in particular should "putting on a few pounds" be normalized or even encouraged. Staying thin -- not emaciated or unhealthy, but thin -- is critical to the art form IMO. I wouldn't want to see that stan
  4. I enjoyed the program but there was a stiffness and awkwardness to the interview in particular, like the subjects were all too aware of being on camera. This is understandable. The City Center Zoom series, plus Megan Fairchild's interviews, benefit from the fact that everyone acts relaxed and more authentic in their living spaces or in empty studios (a strange positive side effect of socially distant programming). In case anyone missed it, the very end of the Clark-Jackson-Kowroski video -- after Jansen gives his closing notes -- shows Kowroski doing the cape solo herself.
  5. I also watched this yesterday and skipped past most of the the non-dancing parts. I'm sure this concept works better as an in-person experience than a film, but there were parts I really enjoyed. I thought Schumacher's choreography was strongest in the Marzipan scene and the grand pas de deux. Candy Cane and Hot Chocolate were close to the Balanchine version. Waltz of the flowers was a bit repetitive, but Mira Nadon as Dewdrop was fabulous. Overall a very commendable effort from everyone given the circumstances. But yes, the underwhelming drama and the limits of the setting really emphasized w
  6. No I didn't find it distracting; it showed off the dancing effectively while making the party scene feel appropriately cinematic. No jarring zooms or pans like you see in some dance films. There was one moment in the middle of the SPF solo where the camera cuts to close ups of the angels' faces, but that might have been strategic to conceal a wobble or something.
  7. Actually the production value was very high with sophisticated camerawork, editing, and sound quality; not like the archive footage they've been showing. This may have been a collaboration with Marquee TV from the beginning, or maybe the company produced it on their own with plans to sell streaming rights at some point. If they were simply drawing from archive footage, they probably would have better performances to choose from.
  8. Kowroski and Angle were better than I expected after reading the reports, but it wasn't a performance that's indicative of NYCB at its best. Odd choice of casting for a high-production filmed show. Angle screwed up pretty noticeably in the turns à la seconde; it looked like he started late and finished early before stumbling out. But Fairchild, King, Ulbricht, the snowflake and flower corps, etc. made up for the flaws.
  9. Shevchenko and Bell appear to be rehearsing something (classical) together as well, according to Instagram. It may be for something non-ABT-related though. Other dancers have posted class/rehearsal footage as well. So the dancers are definitely "working" in one way or another. For whatever reason the company isn't -- at least not yet -- showcasing the classical talent and drive among its own employees. Instead, dancers like Brandt and Shevchenko get to perform for Instagram, or organize their own virtual events while the company prioritizes mediocre commissions that aren't even ballet. A real
  10. I can't bring myself to watch the event, even though I miss ABT a lot. I see no evidence of demand for this type of work. Yes, modern-dance duets are easier to put together for a virtual pandemic offering than Swan Lake, but people go to ABT for the full-length classics. Couldn't they show some classical pas de deux and solos, similar to the Royal Ballet's recent virtual program? (That was fantastic, btw, at around $11 USD to stream for a month). Make use of quarantine couple Bell and Hurlin! Or Brandt and Shayer, who, based on Instagram, have been rehearsing together. As for the "wokenes
  11. The ticket-purchasing system is actually very well designed (other than the part that shows you the prices), but the website is overall not as great for "browsing" as it used to be. The lack of a "calendar" section is particularly annoying. And the marketing photos look more like ads for an upscale gym or fashion brand than for a ballet company. Lots of great stuff on the new season but some of the programming is questionable. Did Bartok Ballet, Rotunda, and DGV really need to come back? Not too confident about all of the commissions from modern-dance choreographers. I did like Andrea Mi
  12. Ohh thank you for the correction. When you select two subscription tickets for a particular show, the window shows the price of both combined, not each one. Not as clear as it could be . Sorry for alarming anyone.
  13. Jesus they've essentially DOUBLED prices for subscription tickets. I know they need to make back lost revenue but are enough people going to shell out this much?? Also this website redesign is not user-friendly.
  14. NYCB's problem is that they don't have enough tall, whiz-bang male technicians to partner tall ballerinas like Mearns and Reichlen (and Phelan and Gerrity if they get promoted). It's telling that they hired Guillaume Coté from Canada to partner Mearns in the February 2020 run of Swan Lake after Tyler Angle got injured (and even Angle is past his Siegfried days, IMO). Janzen is a great partner and is well suited to classical "princely" roles but he seems to be injured around 50% of the time. Danchig-Waring is also frequently injured, and his rep is more modern/contemporary anyway. They've been
  15. At least they cushioned the announcement with some optimism... details about the 2021-22 season. Lots of highlights from the Balanchine/Robbins reps and a bunch of new commissions. And a new male soloist, Chun Wai Chan from Houston Ballet (I assume he's tall). La Cour, Kowroski, and Garcia are all retiring. No surprises there. I can't believe Abi Stafford and Jared Angle aren't also retiring?? (or maybe they are but aren't planning farewell performances). There are around 4-5 soloists who definitely need to be promoted to principal. https://www.nycballet.com/about-us/for-the-press/
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