Xiaoyi

"New York City Ballet Principal Dancer Sara Mearns will perform with the National Ballet in George Balanchine’s Jewels, onstage June 15 – 22.

Toronto audiences will have a unique opportunity to see Sara, one of Balanchine’s most acclaimed interpreters, perform in each act of Jewels – Emeralds on June 19 at 7:30 pm, Rubies on June 20 at 7:30 pm and Diamonds on June 21 at 7:30 pm. In demand as a guest artist around the world, Sara performed previously with the National Ballet last June when she made her debut as Juliet in Alexei Ratmansky’s Romeo and Juliet."

Great arrangement. Sara's NYCB page only listed Emeralds and Diamonds. https://www.nycballet.com/discover/meet-our-dancers/principal-dancers/sara-mearns/

Maybe it is too much to ask No one of NBoC, including Svetlana Lunkina, performed the difficult move of shifting weight from one leg to another (around 2'00" in the video) without obvious hesitation.

18 hours ago, Violetta said:

already bought my tickets to both (annoyed I had to book blind) but I hope I do not get the same cast I saw for Onegin (Koto and Naoya) because that performance needed more rehearsals/more work, in my opinion. Did anyone else see those two in Onegin here? I was super disappointed, especially after the Onegin performances I have seen in previous years. Maybe it's just me, maybe it's Covid, but I think that some standards for the company in general have slipped (my opinion).

@Violetta Is it better to buy shows when the casting is published? The tickets are never hard to buy except The Nutracker and Swan Lake. Or buy a subscription so you can change shows for free? Or call the box office and pay $10 each ticket to change shows if the cast is unsatisfactory? 

I would rather tolerate a worse / more expensive seat than a terrible cast.

3 hours ago, volcanohunter said:

Utopiverse is a colossal turkey.

I totally agree with that, but still gonna watch it again for the second cast and the little snippets of beautiful dancers. 

I did not expect much of the work when the trailer/photos showed projection background. To me, UtopiVerse is a downgraded mix bag of David Dawson and Crystal Pite. The duets were so dry and unmusical. The highlight to me was Noah Parets (playing one of The Heretics), who always brings meaning and character into his movement, however small his part is. A big corps at least made sure that I have someone to look at even if I did not like choreography and the principals.

Emma Portner’s Islands was dark in lighting and monotonous. The one-pair-of-pants fun dried up quickly. Since I’ll be back for more Suite en Blanc, I’ll check if Halway and Savella’s coupling has more chemistry. 

Suite en Blanc was sublime and saved the night. How beautiful Svetlana Lunkina was in Adagio and La Flute. Her musical phrasing, her arabesques and head positioning. Another highlight was Larkin Miller in Theme Varie. His entrechat six was amazing. I would look forward to his Basilio debut with Jurgita Dronina and possibly an Albrecht debut in November.

1 hour ago, Rosie2 said:

According to the Friends Corp facebook page, The New York Times has a "great" article today about Emma Porter and the ballet Islands making it's NBofC debut this Wednesday. 

Gift link of the article in case anyone is interested:

https://www.nytimes.com/2024/03/19/arts/dance/emma-portner-ballet-choreographer.html?unlocked_article_code=1.d00.eJjz._B3uuQAS2vnC&smid=url-share
 

1 hour ago, Rosie2 said:

I see that Dronina and Penn Nabity continue to be absent from the stage and I suspect they are injured. 

Dronina shared a snippet of her rehearsing fish dive in Don Quixote with Larkin Miller on Instagram about a week ago. So I guess she is healthy and back to work now. 
https://www.instagram.com/reel/C4b7fhfMRzM/?igsh=eWJlem9laTJhNGk5

Alice’s Adventures in Wonderland
March 13

Alice- Hannah Galway
Jack/The Knave of Hearts- Harrison James
Lewis Carroll/The White Rabbit-  Siphesihle November
Mother/The Queen of Hearts - Svetlana Lunkina
Father/The King of Hearts- Johnathan Renna
Magician/Mad Hatter- Donald Thom

I watched the first cast with Tirion Law / Naoya Ebe last Friday and picked the second viewing for Hannah Galway, as she impressed me a lot in Emma Bovary. Hannah looked more teenager than a child, but she got the expression and body language of a young explorer vividly. She made funny WTF face with her hands under her armpits when she observed the wild behavior of other characters. I love her expansiveness and her way of filling the music. Glad to witness an artist grow with the feature role opportunities.

Harrison James is always a reliable partner and great technician. His acting is a bit bland / stereotyped, like Naoya Ebe. I admit the role of Jack / The Knave of Hearts does not provide much room for character shaping. But I remember being moved by Francesco Gabriele Frola's solo in Act 3 in 2019.

Siphesihle November is a highlight of the night. The White Rabbit suits his talents and personality perfectly. He jumped like he had springs under his feet. He showed a lot playfulness and responded naturally to the music.

I was happily surprised to hear that Svetlana Lunkina was dancing The Queen of Hearts replacing Heather Ogden. She combined her techniques effortlessly with the humorous acting.  The twinkle in her eye made the queen warmer and less scary.

Donald Thom did a great job as the Mad Hatter. He is more comfortable with tap dancing than Ben Rudisin. Noah Parets and Jason Ferro were lovely as the gardeners.

I am a big fan of Marco Goecke and excited to see his work on stage of NBoC 🤐 He is one of the few choreographers who have got a distinguished choreographic language that works.
Finger crossed there be less media backlash on Hope’s announcement. (His work has been removed from collective work “Swan Lakes” at Harbourfront Centre in April without the reason explained.)

Pity that Hope Muir does not like John Neumeier as much as Karen Kain who arranged one Neumeier work for almost every season.

However, I understand Hope's idea of establishing new connections with more contemporary choreographers. And I cannot picture any ballerina in this company other than Svetlana Lunkina dancing Neumeier well.

Onegin Saturday Matinee:

Larkin Miller (debut), Svetlana Lunkina, Siphesihle November (debut), Tirion Law (debut), Donald Thom (debut)

I went for Svetlana Lunkina and was surprised that she only got one show this round. Maybe it is due to her stamina or the inexperience Onegin? All the hard work of two and a half months (according to pre-show talk) for only one show.

The show was flawed but still very beautiful and touching.

The young Larkin Miller was good in Act 2 when focusing on acting and in the farewell ppd "because the partnering of the final scene doesn't have to look smooth" @volcanohunter. However, the partnering of mirror duet was clunky and slower than Cote's. I felt like I was watching a shy schoolgirl's dream rather than a passionate dream. I could feel Lunkina was hesitant in the difficult lifts and her relief when each pose was achieved. The Act 1 solo was more of a variation in a ballet competition. He was playing Onegin rather than being Onegin. His jumps were light but his chaine was ugly with separate legs.

Siphesihle November and Tirion Law were definitely not traditional Lensky and Olga. They were small in physique and playful in the charactization. (My friend joked "they looked like 8 years old.") Siphesihle focused on doing more pirouettes and failed to respond to the music properly or deliver the tragedy in Act 2 Lensky solo. Tirion was flat in delivering emotions but she was super light in lifting. Siphesihle made an exciting lift in Act 1 letting go of her waist for one second.

Svetlana Lunkina saved the show. In Act 1, she showed her butterflies towards Onegin, the handsome stranger, right after seeing his reflection in the mirror, while most ballerinas portray mostly nerve. Her back bends in the air and the exquisite bouree showed longing and fantasy. The confusion of the rejected girl was naturally presented in Act 2 solo with controlled technique. In Act 3, she was colder in the ball duet with Prince Gremin than Jurgita. (I think both directions make sense.) The farewell ppd was as heartbreaking as ever with Svetlana's precise acting and again her back bends.

Onegin Opening Night:

Guillaume Côté, Jurgita Dronina (debut), Harrison James, Tina Pereira (debut), Ben Rudisin

It was a brilliant performance with the first curtain call at NBoC in my viewing experience.

Both Guillaume Côté and Jurgita Dronina gave convincing and nuanced acting.  The timing was perfect so they looked like really reacting to each other's moves rather than carrying out the designed ones. Their musical phrasing was super beautiful. I was awed at the Cote's partnering skills in the mirror duet. He made those difficult lifts effortless. 

Harrison James was very elegant and poetic as Lensky, with stable as ever techniques. Tina Pereira was lovely as the cheerful and flighty Olga. 

Ben Rudisin supports Jurgita well in the stunning ball duet. 

The corps looked better than ever in this show. Noah Parets was a standout in the peasant dance. He exudes a joy of dance which reminded me of Skylar Campbell.

Passion & Emma Bovary Thursday Night:

Passion: PIOTR STANCZYK and SVETLANA LUNKINA, HARRISON JAMES and CALLEY SKALNIK

Emma Bovary: Jenna Savella as Emma Bovary, Jack Bertinshaw as the husband, Harrison James as the lover, Kota Sato as the salesman

With a second viewing of the program from an orchestra seat, I got a better experience with Kudelka's Passion. I gave up staring as the leading couple and looked at the big picture like @Raina did, since I knew the major duet would be danced without the corps near the end.

The classical part was not special but still beautiful with pink tutus. I liked Harrison James (classical lead) and Issac Wright's (classical demi) elegance. Calley Skalnik (classical lead) was outshone by Chelsy Meiss' (classical demi) fluidity. Isabella Kinch (corps) was very beautiful in her jetes and port de bras and she will be a future lead of NBoC, like the quick rising of Genevieve Penn Nabity.

I could see the facial expressions more clearly this time but there was not much when the leading couple was playing hide and seek in corps. Kudelka did not assign them much room for flirtation except some hand holding / pushing.

The second casting of Emma Bovary was not so impressive as the first.

With a stronger facial and bodily feature, Jenna Savella looked more mature and worldly to me than Hannah Galway. Her emotional acting was  less nuanced for the multi psychological layers Helen Pickett wanted to portray. (It could also be the fault of close-up seat.) Kota Sato did not present the wickedness of the salesman with so much charm and courtesy as Spencer Heck did.

However, Arielle Miralles as the maid did a better job than Tirion Law, with clearer facial expression and more motherly warmth towards Madame Bovary's puppet kid.

Passion & Emma Bovary Opening Night:

Passion: PIOTR STANCZYK and SVETLANA LUNKINA, HARRISON JAMES and CALLEY SKALNIK

Emma Bovary: Hannah Galway as Emma Bovary, Donald Thom as the husband, Siphesihle November as the lover, Spencer Hack as the salesman

I did not expect much but fell in love with Helen Pickett and James Bonas' interpretation of Madame Bovary. The psychological accuracy of choreography is at the same level of Christopher Wheeldon's The Winter's Tale and Cathy Marston's The Cellist. Helen Pickett is not so ambitious or inventive as Wayne McGregor in choreographic language and stage presentation, but ends up clearer and more approachable to the average ballet audience like me. I talked to the old couple next to me and they also adored it. Michael Gianfrancesco's set and costume design helped a lot on showing the psyche of Madame Bovary, without being too showy. Peter Salem's original score, modern but pleasant enough, works properly with the atmosphere.

Hannah Galway was amazing in the title role, showing a combination of aa dreamy girl and a passionate woman. I imagine that she could be better if she extends her back more. Siphesihle November was playful and charming as the lover. Spencer Hack was definitely a highlight of the show. The salesman was a seducer (as he described in World Ballet Day) and a wizard. Spencer danced it mesmerizingly. There was a technical pause near the end, but it gave me the chance to watch the confrontation part between Madame Bovary and the salesman again.

Helen PIckett did not made the choreography very technically challenging and gave space for dancers' emotional acting. She definitely know how to use the dancers to their advantages. The corps part was beautiful and atmospheric too.

I will go for another show of a different casting (Jenna Savella and Harrison James) next week. 

I've always hated James Kudelka's choreography. I can tolerate some small pieces he choreographed for National Ballet School of Canada as it was more for practice of students. But his works for NBoC (Nutcracker & Cinderella) are just miserable and a waste of talents. A quote of New York Times on Kudelka's Cinderella "He succeeds in creating a fairy-tale ballet entirely devoid of charm, a “Cinderella” that is for neither children nor adults and that somehow misses nearly every theatrical moment in the familiar story." 

Anyway, the neoclassical choreography of the second couple (James & Skalnik) and the corps does not speak to Beethoven's music which is passionate and pounding. The choreographic language is flat and cliched. The major duet of the dramatic main couple (Stanczyk & Lunkina) was about 5 minutes long, but the couple stayed on the stage for the other 25 minutes repeating duet material in bits and playing hide and seek between / behind the corps wearing romantic pink dress. 

I still enjoyed Svetlana Lunkina's beautiful and expressive dancing, even though the piece did not do her or any NBoC dancer justice.

The video is of Houston Ballet's world premiere of Passion.

June 22 eve Romeo and Juliet

Juliet Tirion Law

Romeo Naoya Ebbe

Mercutio Siphesihle November

Tybalt Peng-Fei Jiang

I went to see Tirion Law's Juliet partly because Lunkina was coaching her, partly because her petite size and girlish look made her a natural fit for the role. I was quite impressed in the first act by her lightness in lifts & jumps and beautiful back flexibility. The ballroom scene and balcony pdd were full of freshness and crush. However, the third act was disappointing as she did not show the character arc from a girl to a woman. The bedroom pdd was confusing presenting more attachment than sadness or passion. Like Heather Ogden, she went less emotive when doing the more challenging steps . 

Naoya Ebe's steps were fine and fluid, presenting a poetic and gentle Romeo. His partnering was very dependable although less effortless than Cote. 

Siphesihle November's  was the best Mercutio in this run. He was stellar in the comical acting and his reaction to fellow actors looked natural rather than dancing the choreography. His sword fights were intense and compelling with some spontaneous touch to his movement. (The other sword fights in this run all look very staged to me.)

Sara Mearns was brilliant in her debut as Juliet. I cannot say she is better than Lunkina. However, her musicality and attack worked well in the choreography and presented a passionate and headstrong Juliet. It is amazing that she learned this role in 2 or 3 weeks. 

Cote is a great Romeo and dancing partner. Their duets were breathtakingly exciting and emotive. 

I like Joshua Hall’s Tybalt and Spencer Hack’s Mercutio. Noah Parets shone as Benvolio and would be a great Mercutio in the next run. 

Dress rehearsal with the opening night casting:

I do not like Ratmansky’s version very much. However, Heather Ogden and Ben Rudisin’s dancing did not do justice to the choreography either, comparing with Bolshoi’s recording and Cote & Lobsanova’s performance in 2019.

Heather is cold and bland as ever. I cannot see much of her attraction and passion towards Romeo in the dancing, although she tried to act in mime part. She is not comfortable in some challenging lifts and throws, which is understandable due to the replacement. 

Ben is graceful and somewhat poetic with his long lines but not emotive either. 

Casting Updated for Ratmansky's Romeo and Juliet:

https://national.ballet.ca/Productions/Romeo-and-Juliet

Juliet
Heather Ogden (June 15, 21 at 7:30 pm/ June 25 at 2:00 pm)
Sara Mearns† (June 16 at 7:30 pm/ June 18 at 2:00 pm)
Tirion Law* (June 17 at 2:00 pm/ June 22 at 7:30 pm)
Chelsy Meiss (June 17, 23 at 7:30 pm)
Genevieve Penn Nabity* (June 22 at 2:00 pm/ June 24 at 7:30 pm)

Romeo
Ben Rudisin (June 15, 17, 21, 23 at 7:30 pm/ June 25 at 2:00 pm)
Guillaume Côté (June 16 at 7:30 pm/ June 18 at 2:00 pm)
Naoya Ebe (June 17 at 2:00 pm/ June 22 at 7:30 pm)
Christopher Gerty* (June 22 at 2:00 pm/ June 24 at 7:30 pm)

Ben Rudisin replaces Harrison James in all 3 shows partnering Heather Ogden.

Lunkina and Cote did perform R&J in Ottawa. See Cote's instagram: https://www.instagram.com/p/CoPqVqNu1UZ/?utm_source=ig_web_copy_link&igshid=MmJiY2I4NDBkZg==

They had some beautiful photos taken for R&J promotion.

17 hours ago, Rosie2 said:

Nice to see Lunkina back on stage though, even if was only in the finale. 

And I am very happy to see Lunkina healthy and back on stage again yesterday too. 

Chelsy Meiss might be injured as she was on the roster of Symphony in C Fourth Movement but replaced by Jurgita Dronina who shared on Instagram "I was asked if I could step in and cover for injured colleague for #symphonyinc." https://www.instagram.com/p/CtMkn9XO9I8/?utm_source=ig_web_copy_link&igshid=MmJiY2I4NDBkZg==

I wish Lunkina could step in one show or two in this run, or the Ottawa show would probably be her last performance of Juliet. 

Casting for Ratmansky's Romeo and Juliet:

Casting

Juliet
Heather Ogden (June 15, 21 at 7:30 pm/ June 25 at 2:00 pm)
Sara Mearns† (June 16 at 7:30 pm/ June 18 at 2:00 pm)
Tirion Law* (June 17 at 2:00 pm/ June 22 at 7:30 pm)
Chelsy Meiss (June 17, 23 at 7:30 pm)
Genevieve Penn Nabity* (June 22 at 2:00 pm/ June 24 at 7:30 pm)

Romeo
Harrison James (June 15, 21 at 7:30 pm/ June 25 at 2:00 pm)
Guillaume Côté (June 16 at 7:30 pm/ June 18 at 2:00 pm)
Naoya Ebe (June 17 at 2:00 pm/ June 22 at 7:30 pm)
Ben Rudisin (June 17, 23 at 7:30 pm)
Christopher Gerty* (June 22 at 2:00 pm/ June 24 at 7:30 pm)

Very disappointed that Svetlana Lunkina is not dancing Juliet or any performance since March, although Sara Mearns stepped in as Cote's partner.

Casting for Frame by Frame:

Norman McLaren
Jack Bertinshaw (June 2, 3, 7, 8, 10 at 7:30 pm/ June 11 at 2:00 pm)
Spencer Hack* (June 3, 4 at 2:00 pm/ June 9 at 7:30 pm)

Guy Glover
Kota Sato* (June 2, 3, 7, 8, 10 at 7:30 pm/ June 11 at 2:00 pm)
Alexander Skinner* (June 3, 4 at 2:00 pm/ June 9 at 7:30 pm)

Grant Munroe
Albjon Gjorllaku* (June 2, 3, 7, 8, 10 at 7:30 pm/ June 11 at 2:00 pm)
Jason Ferro* (June 3, 4 at 2:00 pm/ June 9 at 7:30 pm)

John Grierson
Trygve Cumpston* (June 2, 3, 7, 8, 10 at 7:30 pm/ June 11 at 2:00 pm)
Teagan Richman-Taylor* (June 3, 4 at 2:00 pm/ June 9 at 7:30 pm)

Oscar Peterson
Wellesley Robertson†

Evelyn Lambart
Hannah Galway* (June 2, 3, 7, 10 at 7:30 pm)
Jeannine Haller* (June 3, 4 at 2:00 pm/ June 9 at 7:30 pm)
Tirion Law* (June 8 at 7:30 pm/ 11 at 2:00 pm)

Maurice Blackburn
Harrison James (June 2, 3, 7, 10 at 7:30 pm)
Ben Rudisin* (June 3, 4 at 2:00 pm/ June 9 at 7:30 pm)
Larkin Miller* (June 8 at 7:30 pm/ 11 at 2:00 pm)

Rene Jodoin
Noah Parets* (June 2, 3, 7, 10 at 7:30 pm)
Josh Hall* (June 3, 4 at 2:00 pm/ June 9 at 7:30 pm)
Isaac Wright* (June 8 at 7:30 pm/ 11 at 2:00 pm)

Ludmilla Chiriaeff
Chelsy Meiss* (June 2, 3, 7, 8, 10 at 7:30 pm/ June 11 at 2:00 pm)
Selene Guerrero-Trujillo* (June 3, 4 at 2:00 pm/ June 9 at 7:30 pm)

Margaret Mercier
Alexandra MacDonald* (June 2, 3, 7, 10 at 7:30 pm)
Tanya Howard* (June 3, 4 at 2:00 pm/ June 9 at 7:30 pm)
Genevieve Penn Nabity* (June 8 at 7:30 pm/ 11 at 2:00 pm)

Vincent Warren
Harrison James (June 2, 3, 7, 10 at 7:30 pm)
Ben Rudisin* (June 3, 4 at 2:00 pm/ June 9 at 7:30 pm)
Larkin Miller* (June 8 at 7:30 pm/ 11 at 2:00 pm)

Anna-Marie Holmes
Calley Skalnik* (June 2, 3, 7, 8, 10 at 7:30 pm/ June 11 at 2:00 pm)
Brenna Flaherty* (June 3, 4 at 2:00 pm/ June 9 at 7:30 pm)

*Debut
†Guest Artist

1 extra ticket at Ring 6 A390. The 6th seat closest to the curtain. Partial view but close enough to see all details of dancing.

Selling at the original price of 80CAD. Digital ticket to be printed out.

DM me if interested. 

Info of the performance: https://national.ballet.ca/Productions/Gala/Deco-Danse-2023

Chun Wai Chan on IG:

can wait to revisit this gorgeous ballet, Raymonda Variations by Balancine, with @ilafreniere
Dates: April 22nd 2pm & 26th 7:30pm

https://www.instagram.com/p/Cq-pHq_uYQA/?utm_source=ig_web_copy_link

So I guess they will replace Megan Fairchild and Huxley.

Evgeny Konovalov and Roman Belyakov just got promoted to first soloists.

Even Capitaine joined Mariinsky as first soloist. 

Alexander Sergeev has been first soloist for around 10 years and NOT promoted this time.

13 minutes ago, volcanohunter said:

Siphesihle November is an sparkling dancer and audience favorite, but he requires very short partners, which the company works diligently to provide.

The way Siphesihle November dances is more contemporary than classical. He did not look right to me in Concerto or Symphony in C.

Ben Rudisin looked great in contemporary pieces. I have not seen him as a leading man in classical repertoire yet.

On 11/26/2022 at 7:36 PM, volcanohunter said:

I think the second cast is stronger. Spencer Hack (Jimmy) and Svetlana Lunkina (Oryx) always give layered performances that suggest complex personalities underneath.

I prefer the second cast too, mainly for Svetlana Lunkina's part. She was more vulnerable and attractive for Act 1, sophisticated for Act 2 and forgiving in Act 3. I feel Oryx's presence in choreography more significant with her dancing. The accentuation of main duets also made the structure clearer. The duet with Crake (Harrison James) in the Act 2 was sharp and edgy (similar to Chroma's style) and was my favorite part of the ballet. However, I still did not like choreography of duets in Act 1 although it was more beautifully presented.

Unfortunately, the second cast had weaker male dancers for Adam, Zeb & Blanco. Jack Bertinshaw and Jiang Peng-fei (Adam & Zeb) lacked sharpness needed for McGregor. Donald Thom (Blanco) did not portray the toxic masculinity as clearly as Piotr Stanczyk.

On 11/26/2022 at 7:36 PM, volcanohunter said:

I also came away thinking that ballet lighting, meaning: obscure, may have to be reconsidered. Siphesihle November has dark skin, plus the basic Jimmy costume includes a black t-shirt, and the back of the stage is also black. The standard dark and murky lighting does him no favors. (In short, Hack is a lot easier to see.) Same goes for Harrison James' Crake, who is dressed entirely in black during the first act and the end of the second, meaning that only his head, hands and, fleetingly, his waist are visible. Maybe lighting designers have to consider that not all dancers are pasty white and sort of glow in the dark. Or if choreographers are married to dark and murky lighting, don't dress dancers in black!

The lighting for Act 1 was dim and dancers looked smaller than other productions. I enjoyed the second viewing more thanks to a closer seat. I think this ballet was designed for frontal view rather than a bird view.

MADDADDAM Premiere:

I did not expect much of this new production so was not disappointed either.

The first act was the most miserable part with duets without chemistry between Oryx (Ishihara) and Jimmy (November). The second act was closest to McGregor's style (i.e. Chroma) with crisp and vibrant movement / music. The third act led to a hopeful ending with unimpressive corps and multiple short duets. 

There were some nice choreography bits here and there, like those danced by Adam One (Ben Rudisin), Mad Adam (Christopher Gerty) & Crake (Harrison James). 

I will go again for the second cast with Svetlana Lunkina. She will add some highlights but will not overturn my impression as there is no dominant role in the choreography. 

The set and costume design was cool but not overly distracting.

I overheard some seniors complain during the performance. However, it received a standing ovation as all other productions at the end. It was a daring move of National Ballet of Canada and will bring a lot of publicity however the review goes.

17 hours ago, volcanohunter said:

Those who choose to sit in the back rows of the top ring on Saturday night are being warned that they will get a partial view, presumably because of the designs. If it's an issue in Toronto, I suspect it will be an issue in the upper amphitheatre of the Royal Opera House as well.

The last two rows of the top ring and the 6 seats closest to the stage of each floor are marked "Partial View" for all productions at Four Seasons Center.