FPF

They haven't demonstrated the power to promote to soloist or principal. And we don't know if they are the names on the letter vs. the decision-makers. The initial announcement of the suspensions/resignation came from the Chairman of the Board.

I'm just back now from seeing this production--it's traditional in that the story is more or less as expected and in the costumes and sets, but things don't necessarily happen as you'd expect if you're used to a more Petipa-based production. And the choices Duato makes are somewhat strange to me. The choreography retains the occasional motif from the more conventional versions, but is generally altered. Lots of arms and forward bending, swoopy lifts, etc. Also a lot of stage business. It was a fairly busy production. Overall, I felt that most of the changes were for the sake of change, rather than being improvements or particularly interesting. This showing is fairly streamlined, at just under 2 h and with no intermissions. Prologue: Catalabutte and even the King and Queen do some dancing. The fairies variations contain some of their signature gestures, but the choreography is altered. For example, the finger variation includes some finger pointing but other aspects of the choreography were different. The canary didn't do the singing or fluttering gestures. In at least one normally solo variation, there was partnering by cavaliers. The dance for all of the fairies after their variations was cut. Carabosse is a drag queen and is so bad that she even attempts to kick the queen. The mime was cut/altered. Initially, there is no confrontation between Carabosse and the Lilac Fairy. Carabosse curses, then runs off, then the Lilac Fairy comes on, Carabosse comes back and the Lilac Fairy seems to cower, and then Carabosse runs off again. Not sure what her creatures are supposed to be (bugs?). The lighting whenever she was on was very dark. Act 1: The garland dance and another corps dance started this off. For an example of what I meant by busy, one of the courtier couples briefly chase one another in the middle of the garland dance, which is performed by a different set of dancers. Then, we get Aurora's entrance and the Rose Adagio (no roses, choreography somewhat altered, but with the last sequence of balances retained). Then Carabosse in disguise with her giant needle, etc. All of the fairies come back and the briars grow over, etc. Act 2: Several of the dances for the hunt scene that are often cut are included before moving on to the vision scene/boat ride. The curse lifting includes Carabosse and minions asleep outside in thorns, the prince fighting the minions and Carabosse before Lilac gets rid of them. When the prince kisses and awakens Aurora, she is initially shocked/scared and shies away, but then seems to be OK with everything. Act 3: The variations for the fairy tale characters and for Aurora and Desiree are altered, although retaining some motifs. Puss in Boots wore what looked like a white bondage vest. Bluebird/Florine was missing the gestures where she seems to be listening/learning. Their individual variations were also cut. The Apotheosis has an enormous wedding veil brought out and attached to Aurora's tiara, and then presumably the wedding. Final verdict: my least favorite production of Sleeping Beauty (I've seen the MacMillan, Martins, and Vinogradov, and the Vikharev reconstruction in person, plus a few others in cinema or recorded). It's not boring or ugly, and I don't regret seeing it (although I might if I had paid for an expensive in-person ticket), but it doesn't improve on the classic. The dancers are fine, but think I'd rather see them in something else.

I agree that these are positive developments. But an interim team does not necessarily have the same power that a permanent AD would have.

According to the SAB website, she became a permanent member of the faculty in September.

Nacho Duato's Sleeping Beauty is being shown tomorrow in a handful of U.S. theaters. Theater locations and the trailer are here: http://www.cinelifeentertainment.com/event/the-sleeping-beauty/

The casting sheet (as of 9/28) has SUNDAY MATINEE, OCTOBER 7, 3:00 PM (Conductor: Sill) PULCINELLA VARIATIONS: Hyltin, Miller, T. Peck, Gerrity, Woodward, Janzen, Scordato, Garcia, Huxley pause THIS BITTER EARTH: *Lovette, *Danchig-Waring CONCERTO DSCH: Mearns, T. Angle, Bouder, Garcia, De Luz [Solo Piano: Walters] [Solo Piano: McDill; Solo Violin: Danielson] FEARFUL SYMMETRIES: Kretzschmar, Phelan, Woodward, Sanz, Walker, Ball, Hoxha, Villarini-Velez, Henson

Third ring is where I used to sit when I lived in/near the city and had a subscription. You should absolutely be able to appreciate Symphony in C from there. Also, though, NYCB is not known for the uniformity of its corps.

Canbelto makes a very good point. I almost always sit upstairs, especially for Balanchine, and when I have sat in the orchestra, I've felt that it was too close.

It's one of my favorite ballets, so I'd suggest giving it another try if you didn't absolutely hate it. It sounds as though you thought that it maybe looked under-rehearsed ("but for much of the time the rest of the stage is often in disarray")?

I didn't see it either--maybe you do have to be there, but from this video, it's not my cup of tea. But the reviews I've seen so far have mentioned this solo as particularly successful.

Flash footage of Taylor Stanley's solo from the Kyle Abraham ballet.

I also like that teal dress. Poor Gina Pazcoguin. And the poofy shorts(?) on SVV. I also dislike the covered faces/red makeup with the red dress. It will be interesting to hear from everyone how they look in the performances.

I agree.

I only found out about the RB screenings when I was searching the coming attractions on the local artsy movie theater's website and saw them listed. They aren't promoted well.

The theater near me that screened the Royal Ballet last year didn't list the showings on their website very much ahead of the screening dates. So I think there is still hope.

Allegra Kent on Arthur Mitchell: https://www.nytimes.com/2018/09/25/arts/dance/allegra-kent-arthur-mitchell-ballet.html?action=click&module=Well&pgtype=Homepage&section=Dance

I remember this one from way back: This more recent one used a professional choreographer and dancers:

I think that it's dropped off the radar largely because nothing new has happened since the amended complaint was filed. The NYT stories on the opening Jewels and the new work Kyle Abraham is choreographing have both alluded to the current situation.

Thank you! I fixed it. I keep mixing them up.

NYT Speaking in Dance this week is Indiana Woodward with Sebastian Villarini-Velez rehearsing 3rd movement Symphony in C

For those in/near NYC, PTAMD is opening the studios on Sept. 30th in his memory. RSVP required. Information here: https://rememberingtheworldsofpaultaylor.splashthat.com

Yes, I think a lot of us have good ideas for places they can come.

Dance Magazine has posted an article about this: https://www.dancemagazine.com/abt-met-season-2606238143.html It includes the following (non)statement from a company spokesperson: "Although we would love to dance on the Met stage for eight weeks or more each year, we look forward to programming and presenting five weeks of extraordinary ballet to appreciative and enthusiastic audiences at the Met. While it is premature to announce specifics, we have exciting plans underway for ABT's future performances in New York, across the country and around the world." ABT wouldn't expand on the "exciting plans."

She says in the comments that she's staying for now.

I think that some of the dates do correspond to the NYCB season or when they might be rehearsing prior to opening. But times aren't given, so it seems possible that that the messages were not sent during the workday.