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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
  • City**
    Brooklyn
  • State (US only)**, Country (Outside US only)**
    NY

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  1. 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
  2. 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.
  3. 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.
  4. 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.
  5. 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
  6. 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
  7. 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
  8. 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.
  9. 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.
  10. 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
  11. 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/
  12. I also love Kammermusik. I wasn't crazy about Teresa Reichlen in this recording though. Her style of "attack" is different than Mearns' and she just looked overshadowed. Love her in other leggy modernist ballets though. I think the piece works particularly well when the two female dancers look and move alike, like the performance I saw at NYCB last fall with Unity Phelan and Emilie Gerrity. It was sometimes hard to tell them apart.
  13. Very cryptic post here... maybe I'm reading too much into it but I wonder if it's really about the dog...
  14. Royal will get his chances in full-length classics; if he doesn't prove himself technically, they can keep casting him in more neoclassical and contemporary works. He's great in Ratmansky ballets and his Apollo was well received. However it all goes, promoting him -- and choosing to give promotions at all right now -- does look good for the company from a publicity standpoint in 2020. A real shame about Lane, who's still in her prime. Echoing others, my gut feeling is that there are personal issues we'll likely never know about. Anyone who saw her dance in the 2019 Met Season can plainly
  15. Omg for real... the "debut deferred" series just sounds so depressing. Why would anybody other than maybe die-hard fans of those particular dancers want to watch that? I haven't watched, and I don't plan to watch, any of ABT's online offerings. Whatever the reason for ABT not streaming past performances, they're missing out on valuable opportunities to show the world what we're actually missing in their absence. I admire NYCB's fundraising strategy of showing videos that elicit joy and appreciation -- not pity -- from audiences and donors.
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