canbelto

The Kitri jump: Plisetskaya, Kirkland, Osipova, Novikova:

I'm surprised they chose after as well. I mean I guess this means they won't be waiting at the stage door, and they might have to leave the curtain calls early before the rest of the audience disperses.

Um so ... there's going to be a protest AFTER the performance and apparently they've called the news and TV stations. I really hope that the performance is not marred for people like me who bought a ticket just to express appreciation to Ms. Part. I don;t want this turning into a three-ring circus.

This is taken a bit too slowly, but I also think it's quite lovely and has a wonderful playfulness.

Swan Lake: Giselle:

Here is what the organizer wrote about Ratmansky. Again this is all public facing. But I sincerely hope she does NOT go through with the plan to throw a tomato at him. And the organizer decided to write this back in response: Yeah so ... um ... yeah.

Nutcracker pdd: SPF: Siren in Prodigal Son: Firebird:

My newest hobby has been to collect then/now photographs of the same ballet, different dancers. Waltz of the Flowers: La Sonnambula: Prodigal Son:

If you go to the organizer's page (and it's all public facing, so it's not a secret) the organizer has also had an ugly exchange with Alexei Ratmansky that she copied/pasted to her page and asked people to donate money to the cause. I'm sure she's a genuine fan of Veronika but some of her methods are questionable and Veronika has not posted anything to encourage this organizer's actions.

I don't think it's stamina. I think ABT dancers have a really hard time capturing the on-the-note musicality that Balanchine demanded of his dancers. In fact since the NYCB is right across the plaza and there's a lot of socializing of the dancers between the two companies I'm puzzled at why ABT performances of Balanchine look so clueless.

Salaries for dancers at ABT are paid through their sponsors.

She is friendly with some people. Marcelo Gomes: Melanie Hamrick: Irina Kolpakova:

vipa, not only can Veronika serve as a role model for the younger principals, she can also serve as an inspiration because she is one example of someone who worked through technical deficiencies. I remember when she first came on the scene for every person who loved her attributes, there were others who pointed out that she wasn't skilled at turning, balancing, etc. But she worked hard to fix those problems and eventually became technically very consistent. She definitely was one of those ballerinas where the artistry came first, and the consistency came later. Right now there are several ABT principals who have neither the artistry nor the technical consistency.

Well I will be at her farewell. Just bought a ticket.

Anyone read the toxicology report of Carrie Fisher? Very depressing. It seemed like she overdosed on a fatal cocktail of an astounding number of different drugs. In a way I'm glad Debbie wasn't around for the autopsy report. It probably would have broken her heart even more.

CZJ's portrayal of Olivia was really nothing like what Olivia actually sounded like in real life. She had a sort of continental accent and affected a grand lady air, and I've seen enough of Olivia's interviews to know that she was/is very much a tough broad in the best sense of the word. But then again the whole Feud series was marred IMO by Ryan Murphy's previous work with Jessica Lange, which made the series focus almost completely on Joan Crawford and very little on Bette. All the scenes with Bette are rather by the numbers where the scenes with Joan had a richness and depth that obviously was the result of the collaboration between Lange and Murphy.

Plenty of people have and did. Like the people at PA Ballet all danced till the last even after they were let go. I continued to go to work even after finding out I'd be laid off a few months before. It's being a pro.

Washington Ballet? Based on social media she seems to have a fairly good relationship with Julie Kent and Kent has acquired several pieces which Part danced (Seven Sonatas, for one).

Olivia is 101 and as feisty as ever. She just sued the producers of Feud. She's a card. Love this interview with her:

I wasn't always the biggest Part fan but I also think this "transition" is very graceless and she still had a lot to offer to the company. Would have loved to see her in La Bayadere one more time (IMO her best role).

Well maybe she doesn't want a retirement gala if they're not parting (pun intended) on good terms. A few years ago I remember Paloma Herrera retired and it was a Wednesday matinee and it was obvious she wasn't really parting on good terms with Kevin McKenzie and actually turned away from him when Kevin came out with a bouquet. It was awkward.

Wow.

Well if you think about it she really has had a principal's workload this year, as she;s had leading roles in: Giselle (twice) Whipped Cream (three times) Swan Lake (once) Le Corsaire (twice) Onegin (twice -- I mean Olga's not a big role but it is often given to principals) So maybe her upbeat mood is due to her dancing a lot, and a feeling that the stars are aligned this year. Let's hope! She seems to have to full confidence of Alexei Ratmansky and going forward I think that will be very important in terms of promotions.

I know this is speculative but Sarah Lane has been posting some really happy, goofy Instagram posts the past couple of weeks. They are very different from her posts last year, where she sounded at times sad, other times serious, and other times she just posted Bible quotes. So ...

I always associate Other Dances as being exactly wrong for Hallberg and Seo. It was made on Baryshnikov and Makarova, two very short dancers. Their compact size and Russian folk dance familiarity are part of the ballet's DNA. At NYCB it's still cast with short, terre-a-terre dancers. de Luz and Peck, or Garcia and Fairchild.