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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    former dancer/fan
  • City**
    New York City
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  1. I have tickets to attend and wondered what people think the program will be? Which ballets? Symphony in C? Serenade? Rodeo 4 Dance Episodes?
  2. Great choice. I would love to see Lovette's interpretation.
  3. Those are my two favorites of Peck too. And I also loved Belles Lettres.
  4. I saw the show. Lauren King did a great job in Stafford's part, and Woodward also, though no one can match Tiler Peck in that role, in my view. She is a phenomenon.
  5. I agree with both of these statements. I'm glad as an audience member that I'll be able to see Ramasar dance again, but what he did is classic Frat Boy mentality, and he is a man in his 30's. Not okay.
  6. nanran3

    Kathryn Morgan

    I was thinking the same thing. What rank will they give her? She got to soloist at NYCB... There is nothing yet on the MCB website, so we'll just have to wait...
  7. I checked the MCB website as well and noticed that they still show Jovani Furlon on their roster when it has already been announced that he will join NYCB this year. So maybe they are waiting to update that info on their site. Also, it will be interesting to see what rank they give her. She got to soloist at NYCB...
  8. Apparently, the press release has just gone out that Kathryn Morgan is joining Miami City Ballet. Good for her! Having to leave NYCB after coming down with an auto-immune illness, and thinking she might never dance again has to have been so tough. I wish her the best in that fabulous company. It was announced on a FB live broadcast from YAGP.
  9. I have 2 great seats in the orchestra available for this date. Program: Hallelujah Junction, Herman Schmerman, The Exchange, Concerto DSCH just send me an email at nraines59@gmail.com or respond here. Thanks!
  10. Thanks for posting this. I've put it on my calendar. it looks like NYCB has been using Silas Farley for these types of public lecture/demo events. He does a great job and is very well spoken. Good for him!
  11. Regarding the possibility of not renewing some contracts, to be honest I wouldn't necessarily renew Abi Stafford's for instance, but this is her brother. Who were you thinking of, who hasn't danced much? Just curious...
  12. One question I have is about promotion and hiring. Who will decide which SAB students to make apprentices, and who will decide on company promotions? Perhaps both of them will weigh in.
  13. I am thrilled by this decision. It seems a very nice marriage of the managing expertise of Stafford and artistic and dancer knowability of Whelan. Sorry for the strange wording, but I think they have good interlocking talents and I'm all for this. Whelan is, I believe, very committed to the Balanchine rep as she danced in many of those ballets, especially the leotard ones, and loved them. I imagine they would confer about promotions and hiring, but I did interpret the wording from Schraft to mean that they felt they needed someone who got the final say and that would be Stafford. Something I also commend about this choice is that both of these people seem to me to be kind, understanding and generous persons who can keep the company fully professional while also creating an atmosphere free of fear and intimidation. Very curious to see what unfolds over these next few years. I did love Runaway by Abraham in terms of the inventiveness and creative challenge for the dancers as well as for Taylor Stanley's extraordinary solo, however I found the rap jarring, words that seemed not to fit in that theater, sentiments that were harsh and, I guess, not my thing. I don't look forward to more rap music talking about killing people and oneself. That's just me.
  14. The idea of Martins changing casting at the last minute, and presumptively walking backstage before the dancers had finished their show is utterly confounding to me. It seems to be a power play, and one that must be responded to immediately, as Stafford hinted they would do. He needs to get out of there and let this company recover and heal and move on. It is unfortunate that their blockbuster audience hits are choreographed by Martins. It is hugely expensive to make a new production, with all new costumes and sets etc. But do they have a choice in the long run? I was also dismayed to read of the loyalty to Peter in the board member quoted, and presumably other board members that he must have groomed and seduced during the years of his tenure. How are those people, who may or may not know anything about arts admin or personnel issues, etc, how are they to come to agreement on a new leader if they are still loyal to Peter? It sounds like a mess. We need a good spring cleaning over at that board for starters, and a new AD, and Peter gone for good.
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