canbelto

I never posted on their pages. All it means is if I sign into instagram with my official handle, I can't see their postings. And they never saw my postings as they did not follow me back. But as someone else pointed out, if I sign out of my instagram account I can still see their pages. Basically, their posts are still available for anyone to see who has internet access.

Gavin Creel, Andrew Rannells, and quite a few musical theater stars are out and they're leading men types.

Anyway I remain a big fan of Fairchild's dancing. I loved his turn as Harry in Brigadoon and I look forward to following his dancing career. I meant no harm and am saddened if he was offended.

He has a right to be offended. Everyone has a right to their feelings. But his privacy violated? I didn't film them together without their knowledge, or post a photo from a paparazzi/gossip rag magazine. And social media works both ways for performing artists. R. Fairchild has used his social media to promote his past and upcoming projects. Using your public-facing social media to promote yourself is totally acceptable. It's what athletes like Serena Williams or Steph Curry or Broadway stars like Ben Platt or Lin Manuel Miranda do all the time. With that being said, if you use your social media to promote your own projects but then also post personal stuff, you can't expect people to know what is "private" and not okay to link and what is "public" especially if all the photos are all public-facing.

Well I have been blocked by Ashley and Robbie on Instagram. I guess for posting those photos? I am surprised they found out my instagram handle but if they are reading this: I apologize I did not mean to hurt anyone's feelings or anything of that sort. I just thought that since those photos were public that they were okay to post. I am a big fan of Robbie's dancing and support him in all his future endeavors, personal and career-wise.

I too ordered the DVD and loved the extras, especially the performance footage and the conversation with Wendy. One part of the film I thought was so moving was when Wendy made her "comeback" in 2014 Albert Evans ran down the corridor to welcome her back, his face overflowing with tears. Evans was obviously a nurturing figure to many of the dancers (he plays the same role in Ballet 422), and it's hard to believe that less than a year later Albert would also be gone

They were public facing instagram posts where Robbie was also commenting on the posts. If they wanted to hide their personal friendship/relationship public-facing pictures of them together as well as captions and comments isn't a very effective way to hide that relationship.

Peg I think what annoyed me about Wheeldon's choreography was that Brigadoon is a deliberately exotic musical and that calls for some traditional Scottish folk dancing. What we got was Wheeldon's usual pop ballet moves that he used in An American in Paris -- the shoulder lift/twirl, the women baring their legs, the coupe jetes. It just didn't work and as a result the dance numbers sometimes dragged, and Brigadoon is supposed to have a lot of dancing.

I went tonight. Here's my review: http://poisonivywalloftext.blogspot.com/2017/11/brigadoons-music-wakes-audiences-up.html And an upshot: I got to meet wendy whelan in the line for the bar!

deleted because some of the photos are now gone.

Week 2 of casting is up: http://www.nycballet.com/NYCB/media/NYCBMediaLibrary/PDFs/Press/Casting/NYCB-Casting_Nov-30-Dec-3,-2017_lobby.pdf Anyone ever see Tess Reichlen as SPF? Thoughts?

They have a very limited repertoire as is. Sort of frozen in time. If Mme. Alonso danced it, it's there. If not, it's not. I remember awhile ago they tried to tour Les Sylphides but was blocked by the Fokine estate.

Lovette has had a number of injuries and in general hasn't really developed as much as I think Peter Martins had hoped. I really like what she's done as a choreographer though. I think her 2 works show far more promise than, for instance, Troy Schumacher.

Hallberg never mentions Wiles' abrupt departure from the company after a Wednesday matinee in 2011. Certainly for him to put this all in the book means he knows that relationship can't ever be repaired.

Typically apprentices are offered a one-season contract. At the end of that season they are either let go or accepted into the corps. I think an exception was made for Mejia. Here's a video about apprentices:

Considering their Instagrams usually show them jetting to all parts of the country (or world - last year Ashley Bouder and Andrew Veyette went to Italy) very accommodating. I mean it's a cash cow and only hardcore balletomanes will care about casting. It's indestructible.

First week of casting is up: http://www.nycballet.com/NYCB/media/NYCBMediaLibrary/PDFs/Press/Casting/NYCB-Casting_Nov-24-26,-2017_lobby.pdf

I'm excited to see Unity Phelan, Indiana Woodward, and Emilie Gerrity as I think they're wonderful soloists but I haven't gotten around to seeing their SPF's yet.

I might be remembering this wrong but I remember Wiles being awkward and disconnected with everyone once she made principal. She was paired with Hallberg but I also remember her with Stearns, Gomes, a variety of partners, and every single one was awkward and stiff with her. I've read more of the book. I had no idea he was so close to also having a sort-of-full-time gig at the Mariinsky because Yuri Fateyev was coaching him personally. He has very good things to say about Sergei Filin.

That although they danced together for many years she was always passive-aggressive and unhelpful in rehearsals, and always made her displeasure known. There was one blow-out at a rehearsal where she kept wiggling her hip in front of everyone as a way to show how poorly she thought of him as a partner. That he tried several times to mend the relationship but it never happened. He has warm things to say about everyone else he danced with often from Osipova to Zakharova to Dvorovenko to ... well, everyone.

Anyone read this? I downloaded it on my kindle today and am still reading it but so far, a few thoughts: 1) He's now the second major-league big deal dancer (Aurelie Dupont being the first) to make it plain that he considered the POB's methods of training and their exclusionary mentality too harsh and demeaning. And he talks a lot about how much he loved his extremely strict ballet teacher, so I'm inclined to believe that the POB school might really be harsh to the point of not producing the best dancers. 2) Ouch at what he said about Michele Wiles. 3) He talks a lot about the bullying that went on as a child because he was perceived as effeminate and into dancing. Thankfully he had supportive parents but that stuff always makes me sad to read. I'm not done with this book but it's definitely a good read so far.

I highly recommend "People Places and Things" which is playing at St. Ann's Warehouse until December 3. http://poisonivywalloftext.blogspot.com/2017/11/people-places-and-things-when-12-step.html

SAB is more of a finishing school but there are many excellent satellite ballet academies across the country that frequently send students to graduate at SAB. Central Pennsylvania Youth Ballet is probably the most famous. Ashley Bouder, Carrie Imler, Jeffrey Cirio, and Vanessa Zahorian are among its alumni.

Hmm judging from performances I in fall seasons past maybe the emphasis on new works is to cover up for some serious limitations in the ABT roster right now. I saw ABT dancers (not all, but a lot) really struggle with the demands of Stars and Stripes pas de deux, Symphonic Variations, Monotones, and Prodigal Son.

Well I was there and sitting up front in orchestra and IMO Lane looked so crestfallen because she started so strong. Singles alternating with doubles, very little traveling. Then she did some traveling, but still looked strong. Her sudden fall off pointe just when she was about to make it to the finish line must have been disappointing. But she broke character completely and looked more like Odette than Odile as the ballroom scene ended. But fouettes don't IMO make or break a performance.