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  1. DGV was created on the Royal Ballet, but Maria was in the original NYCB cast.
  2. Congratulations to both of them.
  3. I just did some digging around--she is now on the NYCB alumni list. And she seems to be listed as a production assistant for the Southhampton Arts Center. https://www.southamptonartscenter.org/team
  4. Wendy Whelan had a bob for a while in the 90s. Simone Messmer had short hair when she was at ABT. Jennifer Ringer had a bob. Sofiane Sylve had short hair. Lauren Lovette has had short hair also. I seem to remember that Stacey Calvert (NYCB) and Cynthia Gregory (ABT) did too. I think it's not as unusual with principal dancers as in the lower ranks, but they generally have had to look like they had long hair except in some contemporary works. NYT article from way back on the subject: https://www.nytimes.com/2011/06/19/arts/dance/ballet-dancers-hair-bun-or-bob.html Also, I think that the longer/bigger mens' hairstyles in the earlier post were just the general style at that time. Why would it be more distracting to see women with different hairstyles than men with different hairstyles?
  5. Although there may be roles in which baldness is a male dancer not have this effect, I had the same opinion when I saw Tyler in the White Swan and Diamonds excerpts at SPAC this past summer. I also never noticed his toupee in previous years. And I agree with you about the the double standard. Female dancers have to appearas though they have long hair in most ballets --if they have shorter hair, they have to wear hairpieces to look like they have long hair. I know that he's considered a great partner, but I'd have to agree.
  6. I Just finished Swan Dive and I really enjoyed it--in fact, a lot more than I though I would based on the excerpts. I think it's definitely worth reading, particularly for those who know Gina and/or NYCB. The language can be a bit profane, but once I got into the book, it really didn't bother me. I borrowed it from the library, and I although don't think I need a personal copy, Gina's a very engaging storyteller and I'd love to hear more from her.,
  7. I saw PTDC last night at PS21 in Chatham, NY--a great, fairly new, performance space (outdoors, but covered) in a former apple orchard. This was the first time I've been there, and I highly recommend the venue--I don't think there's a bad seat in the house and we felt very close to the stage in the 8th row. We had bought tickets a while back when seats were more limited, and the theater improved the seats for the earlier purchasers, so we ended up sitting much closer than expected. The performance started a bit late, but everyone was invited to have a complimentary glass of Prosecco or sparkling water, which contributed to a festive mood, despite the delay. Seating was reduced by ~1/3 and but masks were required for everyone, so it felt very safe. There were two pieces on the program: Aureole and The Green Table. Aureole was lovely and was my favorite of the two works. Green Table was well danced, but of course, much darker. It also had the advantage of live music from two pianists. I think this was the first performance of their reconstruction, as well as my first time seeing any version of it. Great performances all around and a really enjoyable evening.
  8. The Balanchine Foundation also put a new announcement on Facebook yesterday.
  9. In a review in the Times (London) it says: "The book also includes examples of the everyday sexual harassment she experienced as a young ballerina — for instance one of her contemporaries would regularly “greet” her in classes by pinching her nipples while other men egged him on. She would laugh it off and slap him."
  10. I would love to see the Bejart ballet with Suzanne Farrell and Peter Martins (if I translated correctly) "Arrival of the Giant Asparagus From an Unknown Planet."
  11. I also usually sit in the front of the balcony or balcony box but based on the description of the program as having only a few dancers and a lot of talk, I sat in section 8 (row AA and CC) at both performances and was able to get most of the conversations. The distancing was weird, at least down below, and definitely not as low as 20% in my section. I was on the aisle both times, with several empty seats between me and the people on the other end of the row. But when I was in AA, there were other people behind me offset by one seat, and when I was in CC, there were people directly in front of me and also people offset by one seat behind me. I ended up masking--it seemed too close for comfort to me.
  12. The delta variant is highly contagious and more severe, rates are rising throughout the country, including in children, and there are breakthrough cases in vaccinated people. I don't stress about what other people are doing since I'm fully vaccinated, but I still wear a mask indoors or in a crowded setting. My point was that you can buy a ticket assuming that things will be safe because the venue or organization tells you that they are taking various precautions, but the precautions by the time of the performance may be different, so caveat emptor.
  13. As I mentioned earlier, I was at last night's All Balanchine show, and I enjoyed this program even more than the Short Stories program. I think the way the structured the excerpts and discussion, it felt like there were bigger chunks of dance at a time, so it felt more like a performance--surprisingly normal. And the rain held off until I was in the amphitheater. To begin the evening, Liz Sobel (SPAC CEO) and Jonathan Stafford came out to honor the three principal dancers who were present at SPAC and will be retiring in the upcoming year, so this was their last Saratoga season (at least as dancers): Maria Kowroski, Gonzalo Garcia, and Amar Ramasar. Each was presented with a bouquet by one of the other dancers and they got a big standing ovation from the crowd. Liz Sobel also mentioned that NYCB will be back at SPAC next summer for their regular season, so we don't have to worry about the future of their residency, at least for a while. After that, Gonzalo Garcia took over as host for the evening. I thought that he was not quite as good a host as Maria, chiefly because whenever he was interrupted by applause/cheers from the audience, he kept on talking, which meant that no one heard what he was saying. The program started off with the variations for the muses from Apollo, featuring Teresa Reichlen, Emily Kikta, and Sara Adams. All did well. Then, there was a fairly long section where Meaghan-Duttton O'Hara and Davide Riccardo demonstrated classical ballet positions and then showed ways in which Balanchine used this positions in his own way, finishing with some of the steps from The Four Temperaments, which was next up, and priming the audience to better appreciate the ballet. The dancers for the Theme section were Jacqueline Bologna and Lars Nelson, Mimi Staker and Kennard Henson, and Meaghan and Davide, again all did a great job and the audience seemed to really respond. After that came the Pas de Deux from Agon with Miriam Miller (fabulous!) and Amar Ramasar. Then, there was another longish section with Gonzalo before selections from Jewels. This one focused on Karinska and the costumes and headpieces and featured a ballerina from each of the excerpts (Emeralds: Claire von Enck; Rubies: Sara Adams; Diamonds: Miriam Miller). Gonzalo talked about how he was told that in Rubies, Balanchine wanted to hear the jewels rattle and had Sara Adams demonstrate the "shimmy-shimmy" so we could all hear. Since there was no orchestra, just the piano, during the performance of rubies, I noticed that I could hear the jewels. Then we got to see excerpts from all three sections: the pas de trois from Emeralds with Bologna, Spartak Hoxha, and von Enck; the Rubies pas de deux with Sara and Gonzalo; and the Diamonds pas de deux with Miriam and Tyler Angle). All were great, but I agree with Karen that Miriam Miller in Diamonds was a definite highlight . She mentioned that these performances were her first time in the role, and I would love to see her in the full ballet. The final excerpts were from Who Cares? Amar Ramasar performed the Liza solo tonight. I noticed a few days ago, there was discussion on the other thread about why people liked Amar, saying that they didn't find his dancing all that special, but I think that what doesn't necessarily come across is his personality as a performer in various roles--he seems very joyful and sunny, like he's having the time of his life and I think that's what the audience responds to more than, for example, his port de bras. So I enjoyed seeing him in this. After Liza there was Somebody Loves Me and Bidin' My Time, and then the group bows. Lots of appreciation from the audience. I was very glad to have seen more of the up-and-coming dancers as well as some old favorites. Next year in Saratoga!
  14. I don't know the role but the injury was a torn ACL. From the article: And the time she tore her A.C.L., and, “a greedy little principal ballerina literally whipped out her phone while I lay immobile and texted the ballet master and (the slimiest degree of opportunism) Peter Martins himself to pitch herself for the role.”
  15. When I bought my tickets for NYCB at SPAC, the policy was to require proof of vaccination or of a negative COVID test within three days of the performance and everybody masked. The policy this week, when the performances actually occurred, was no proof of vaccination/negative test, no masking required unless unvaccinated (but also no checking of vaccination status to ensure that unvaccinated people were masked). The amphitheater on Thursday night was at only 35% capacity, but people were not that distant from one another (<6 feet) . I really dislike that they sold me the tickets under one set of assumptions and then changed the policy. I went, but I brought a mask with me, and after seeing how close the seating actually was, I decided to wear it for the performance.
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