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  1. Note that if you go to NYCB's "your safety" web page, the language is a lot more vague, and there's no mention of intermissions being taken away anymore. Yesterday, Gov. Cuomo gave a speech in which he strongly encouraged all theaters to make vaccination mandatory for attendees, citing Radio City Music Hall's policies as an example. (If you look at their upcoming events, Radio City allows children under 12 to show proof of a negative COVID test instead.... Met Opera says no kids allowed though.) I predict we will see a similar policy announced at NYCB, maybe even by Sunday when single tickets go on sale to non-subscribers. Makes a lot more sense than trying to enforce a mask rule.
  2. Great news about Giselle. Does this mean we're guaranteed an intermission between Acts I and II? lol...
  3. Interesting. Not sure how not letting people get up to stretch their legs and use the restroom helps "maximize audience safety," but ok. I won't miss having two intermissions in one program, that's for sure. Another update to the calendar: the last show of the spring season, a Midsummer Night's Dream, is Ramasar's farewell: https://www.nycballet.com/season-and-tickets/spring-2022/a-midsummer-nights-dream/. I wonder what role he'll be dancing? Doesn't he normally just dance the Divertissement?
  4. On the NYCB website, in the fall season, Ratmansky's Namouna has been swapped with Concerto DSCH. It's on the program with Robbins' Opus 19/the Dreamer, and nothing else. That's a total of around 40 minutes of dancing for the evening... they have to be adding something else to the program, right? And Slaughter on 10th Ave has been swapped out for La Valse
  5. JuliaJ

    Sarah Lane

    My interpretation was that she was offered the consolation Juliet after the 2020 Met season had already been cancelled (she was cast in two other ballets that season, after all), and around the time of her mysterious departure, with the expectation that she would dance it in the subsequent Met season as a sort of farewell, perhaps as a "guest artist" after having been taken off the company roster.
  6. JuliaJ

    Sarah Lane

    It seems strange that height may have played a role in holding back Lane's career, since short women are often paired with tall men. She was dancing Nutcracker with Ahn before the shutdown and was supposed to dance R&J with Stearns. Brandt dances with tall men too, and her career is undoubtedly on the up. This part of the interview does remind me of the time she was paired with Gorak for Theme and Variations in fall 2019 though. He was a terrible partner. What a bizarre, punishment of a casting choice -- was that the intention??? Who knows when it comes to ABT. Anyway, I'm glad we got some clarity on her departure and the mystery of her fallout with a certain principal. This interview was super sad to read though, especially finding out that she could have been a principal at SFB Age-wise, she's probably past the point where she could get a truly fresh start again. It's infuriating to read that McKenzie told her that her stunning 2019 performances were subpar. She was the real star of Manon and Sleeping Beauty, not Cornejo. Maybe it was poor judgement to ask not to be partnered with a star company member again, but to get punished in such a way seems like overkill. Surely we don't know whole story, but it's clear that Lane's talents have been under-appreciated by ABT from the beginning, whatever personal conflicts may have transpired.
  7. I can definitely sit through Peck's Pulcinella Variations in between Serenade and Glass Pieces, and I'm looking forward to seeing Ratmansky's Namouna again, but the other fall programs I can take or leave. Gems like Agon and Slaughter on 10th Avenue appear again in winter/spring. Seems like a risky move to put the Bell and Miller commissions on the same program, since neither are tried-and-tested ballet choreographers (reminds me of something ABT would do for poorly programmed fall season). I'd like to see Western Symphony but may wait to hear reports of the new pieces before committing to that program. Would like to see Chaconne but Rotunda is on the same program... meh. (I do like, or in some cases really like, some Justin Peck ballets but not that one.)
  8. 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.
  9. 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.
  10. 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 standard changed in the name of body positivity or inclusivity. I admire and feel for someone like Kathryn Morgan but to me, she doesn't look like a classical ballerina at this point.
  11. 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.
  12. 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 what we're missing with theaters closed.
  13. 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.
  14. 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.
  15. 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.
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