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  1. Would there even be space at the Koch (or anywhere) for an extended fall season? NYCB's season ends mid-October, then Paul Taylor has their season in November (following pattern from last year). It's so unfortunate that ABT doesn't have their own performance space, which would allow for more flexibility.
  2. To add to the best-case scenario, maybe NYCB could push their spring season into June or even July. According to the Koch website, there are no shows happening there between June 1 and June 19, or after June 28.
  3. Not ballet, but the performing-arts shutdowns have started in NYC... Metropolitan Opera and Carnegie Hall are cancelling shows through March 31. We'll see what's next.
  4. I read Lane's post as simply giving shoutouts to people who are less likely to receive shoutouts than the choreographer and the lead dancers -- the corps dancers and the people behind the scenes with whom she works closely. And she did hashtag "#alexeiratmansky" in the post. As to her lack of casting, Ratmansky also has used Boylston numerous times and did not cast her in this.... same with Trenary and probably others. Given that there are only three casts, there are only so many slots to go around. (Of course, I think Lane is significantly under-casted in the spring season, but I'm not reading too much into the situation with this particular ballet.)
  5. Trenary seems more favored by management than Brandt. She's been dancing Aurora for years and has two SB performances this summer, plus debuts as Juliet and Gamzatti. Brandt's only major role is her Aurora debut. I don't blame her for pushing for more opportunities, however she has to do it. We know that raw talent on its own does not get a dancer far at ABT. Based on the footage she posted, Brandt's Odette looks promising to me. I hope she gets to dance it soon enough. (I'm sure Trenary will eventually get her shot at Swan Lake as well.)
  6. Suozzi danced Hungarian in Swan Lake but that's not a very taxing role. Abi Stafford has indicated that she's retiring soon as well. I would say J. Angle is definitely ready to go. I wonder if A) the company is waiting to see how much money is generated from the spring gala before promoting a crop of dancers (at least three people are due), and B) if additional retirements will be "officially" announced with the upcoming season announcement, which should be soon. I imagine Korowski will get a well-publicized farewell once she does retire.
  7. I thought Peck and Gordon gave a moving, exhilarating performance last night. Peck has physical limitations as Odette, even without the injury... I didn't go into her performance expecting deep backbends and long extensions. I was just happy to see her back on stage! Her artistry was still impeccable ---- Odette's solo diagonal turn sequence across the stage was one of my favorite parts of the whole night. Peck also brought out more drama and vulnerability than I expected; seems like she was able to channel her recent personal turmoils effectively. What an amazing debut for Gordon. Every pirouette was seamless and he landed his double tours in perfect 5th. Characterization was also convincing and he's becoming a strong partner. This was my first time seeing this production in almost two decades. Act I is atrocious -- how did anyone give these costume and set designs a go-ahead? Maybe in the '90s they were somehow more appealing? I do like the lakeside backdrop though, and the choreography in the Act IV finale. Even with the ugly costumes though, at least the dancers weren't drowning in them like they do in the huge heavy dresses in ABT's production. And I like NYCB's nationality dances better than ABT's. Speaking of which, Unity Phelan looked phenomenal in the silly "Russian" / Arabian number. I look forward to seeing her as O/O one day. Oh, and Ulbricht! Really flawless dancing despite the ridiculous jester costume. He does things that look physically impossible, like turning his turns à la seconde at lightning speed before stopping with total control (he does this in Rodeo too).
  8. In any case I hope we do get a Huxley/Woodward Tsch pas in the near future
  9. NYCB's official Instagram just posted a photo in the latest story of a rehearsal schedule from today, and "TSCH PAS" with Woodward and Huxley is listed. Could they possibly be inserting Tschaikovsky Pas de Deux into Swan Lake, per the original score? Maybe in place of the Pas de Quatre? Can't imagine why else they would be rehearsing it since it isn't programmed either this season or in spring...
  10. I have experienced some of the rudest audience behavior at Copeland's shows, from people who are surely only there to see her -- texting, bringing children who are too young to be there (including screaming babies!), talking, cheering like they're at a concert. This hasn't happened at any of the countless other ballet performances I've attended at ABT or NYCB, or at least it hasn't been as bad. I like Copeland's dancing in modern/contemporary ballet, and I'm sure she has introduced plenty of respectful, appreciative people to the art of ballet, but let's be honest -- her shows sell out because people are there to see a celebrity. I avoid them at all costs nowadays. Agree that her posts about Brandt were kind and gracious; she has 1.8 million Instagram followers so that's a lot of visibility for her less-famous colleague.
  11. Really wonderful show today.. if you haven't seen this program yet and you like modernist ballet, I'd highly recommend catching one of the next couple of performances. The company was really "on" and the audience responded accordingly. Episodes is a challenging piece because of the music but the last movement is jaw-droppingly beautiful and the solo was an interesting addition, especially with Michael Trusnovec dancing. I think Justin Peck's Rodeo is absolutely brilliant; even someone who doesn't care for the choreography couldn't deny that NYCB's dancers performed it with total exhilaration and joy this afternoon. As usual, Mearns, Stanley, and Huxley really shined.
  12. Saw last night's show. Overall it was very good but not one of those shows that had me leaving in awe. For me, Brahms Shoenberg Quartet was missing the "Sara Mearns treatment" in the final movement -- Reichlen was good in a different way, just more understated. Fairchild looked amazing in the 3rd movement; Garcia was alright. He still has a jump and a sharp 5th position but something about his dancing looks slightly belabored. Belle Lettres and In Creases are solid works from Peck, but I would have rather seen them on separate programs than back to back -- in some ways they are too similar (piano music, small casts). Between the two I preferred Belle Lettres, in part because of Huxley's solo moments. The costumes are also gorgeous and I like the moving shapes Peck creates in the ensemble moments. I noticed some very new corps members looking strong in the Peck works... Victor Abreu and LaJeromeny Brown, both (I think) in their first feature roles?
  13. Um, if Waterbury is implying that she has nude photos saved of Maxwell, doesn't that make her a hypocrite? Surely Maxwell's photos were never intended for Waterbury's eyes. I had some sympathy for Waterbury in the beginning of this debacle because what her toxic egotistical male of an ex-boyfriend did to her, but now that the story has died down it seems like she just wants to keep the drama going for, yes, attention on social media. As someone said upthread, keeping Ramasar out of work does not benefit her whatsoever except to satisfy some vengeful piece of mind. I don't condone Ramasar's behavior but hasn't be already been held "accountable" by being suspended and then fired by NYCB, not to mention all of public shame? And I do think Maxwell is a victim -- of social-media mob harassment. It's nice to see all of the outpouring of support for her (and Ramasar) on Instagram from other company members.
  14. FYI -- In addition to Of Love and Rage casting info being up now, Sarah Lane's R&J partner is now listed as Stearns, no longer Gorak... probably for the best.
  15. Really fantastic show tonight; I was on a high from start to finish. Gordon was a knockout in La Source... he hit a new high for me, and I've seen him dance a lot. Bouder was excellent too with her rock-hard balances and crisp technique (shoes were a tad squeaky though in the beginning of the piece). At the end when she leapt into Gordon's arms it looked like she flew six feet through the air. I enjoyed Bradley although she needs to gain some control of her long limbs and work on pointing her feet during jumps. She had some impressive moments though where her foot practically touched her head during backward kicks with where the leg is bent -- amazing flexibility. Fairchild and Huxley and the corps of Allegro Brillante were truly "brillante" and made the choreography look effortless. I could watch Huxley dance every day. He soared in the assemblés. I hadn't seen Firebird in maybe 15 years and really loved Mearns in it. She kind of "sexed up" the role and I thought it worked. Also she really did move like a big powerful ballet bird -- impressive!
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