Syzygy

33 minutes ago, On Pointe said:

 mere toplessness (if there is such a word) is not sexually explicit

Agree to disagree. We don't know each other, but I can tell you I'm a woman with breasts who enjoys being topless. But I'm very, very aware that it's a choice to show any part of your own body (or not).

Either way, as Villette points out:

8 minutes ago, Villette said:

According to the complaint, Ramasar sent three pictures of Maxwell to Finlay without her knowledge: one topless, one naked, and one of her vagina. 

24 minutes ago, On Pointe said:

Bottom line,  Amar Ramasar did not do anything to Waterbury,  and neither did NYCB,  SAB,  Zachary Catazaro or Jared Longhitano.  I find it particularly disturbing that Ramasar has become the villain in this debacle while the uber-Waspy Chase Finlay,  who is the true perpetrator,  is barely mentioned.   Even the UK publication The Guardian has run an article with exaggerations and falsehoods from Waterbury,  including  that she and several other dancers were "assaulted".  It seems like blatant racism to me.

I mostly agree. And I like to believe that if Finlay had not tried to disappear while Ramasar continued to star in Broadway shows we'd be as critical of the former-- although who are we kidding? I see what you're saying.

31 minutes ago, On Pointe said:

(I believe that Ramasar shared a topless photo of Maxwell.  "Topless" is not "sexually explicit",  especially given the countless artistic depictions of women with exposed breasts,  even by well-regarded dance companies.  If someone  knows otherwise please inform me.)

There's a huge difference between an artist consenting to a topless performance and a man trying to impress his bros by sharing sexually explicit photos of a woman who trusts him. 

After a week of protests outside of West Side Story in response to the casting of Amar Ramasar, Alexa Maxwell released a statement. 

According to the New York Times, she acknowledges that he did indeed share her private photos, but that, “she considered Mr. Ramasar’s decision to share her photos a “misstep in judgment,” and that “she had forgiven him.”

This all reads like a bad Reddit post. A twenty-five-year-old woman defends her thirty-eight-year-old boyfriend for sharing my intimate photos amongst mutual (and higher ranking) colleagues?

Come on. If we really needed another reason to consider him disgusting or a master manipulator--we got it. 

7 hours ago, sandik said:

Dammit.  I'm not surprised -- not because I know anything much at all about Scarlett, because I don't.  But I'm so frustrated that people seem to keep making the same stupid mistakes even after seeing how wrong they are, and how they destroy other people. 

Dammit.

My thoughts exactly. Never surprising, always disappointing. 

On 1/16/2020 at 3:21 PM, pherank said:

Mukhamedov had mentioned in the past that she has an ankle(?) issue, but I forget the specifics. It is alluded to in this post:

https://www.instagram.com/p/B55d0LeAH_t/

Duh! I should have looked more closely - there's a conversation in the post with Ana Sophia Scheller regarding, "stress on ankle/fibula 😞 but it’s getting there slowly!"

That's too bad! I can see from he other posts how excited she was for Diamonds... 

Ah! Love de Sola (of course) but was looking forward to seeing Mukhamedov in Diamonds! Hope it's not an injury? There's no social media explanation -- yet, at least. 

It's possible she was an understudy and this is all very last minute? The casting for Dec.15 has Bianca Bulle as Dew Drop at 1pm and Ashley Knox at 6:30. Although I don't know if that would change the friction points that @Balletwannabe and I were thinking about... 

20 minutes ago, Balletwannabe said:

Dew Drop.  

I can see both sides of this. On one hand, company members getting passed over for a student can't be great for company morale. Putting on a happy, supportive face in the back of the rehearsal wouldn't be fun. Also, I wonder if Taylor Naturkas is getting paid? Way back in my day (at a different but similar company/school) students would get pulled for snow or flowers or whatever, and they were paid in experience. Eye roll! Hopefully that's not the case here, because that would beg the question: If she's ready for this part why not hire and pay her for her work?

On the other hand, in the -- admittedly very short -- clips she looks great, and I am certainly the type of audience member who would be thrilled to watch a young, unknown in a wild debut. 

Miami City Ballet just posted an Instagram story about a debut: "Miami City Ballet pre-professional year dancer @taylornaturkas making her debut this Sunday as Dew Drop." She looks great from the clip, and a student in that role is pretty exciting. Is anyone going who can report back? 

I've always wished the best for Joy despite her antics, but after watching an Instagram story of hers the other day where she was filming a stranger at the gym (an elderly man who perhaps wasn't using the equipment properly, but who was clearly aware and uncomfortable with her filming) while mocking him — no thank you. I'm done with any vlogging/Instagramming/podcasting from this particular personality. There are too many jerks in the world that I'm required to deal with, I don't need it in my ballet consumption.

Thanks for the report! I'm only just now getting into Paul Taylor (I don't know how, but I somehow usually miss his pieces when they're presented) but will have to put Mercuric Tidings on my "to-seek-out" list. 

I'm curious to hear what you thought of Morgan in Slaughter. Also, what did you find dated about the piece? Just the subject matter? Or was the the choreography, costumes, etc...?

Thank you all for the wonderful recommendations! 

There’s a wonderful clip of Violette Verdy coaching Pacific Northwest Ballet in Emeralds in which she emphasizes that, in the “bracelet” variation, “you don’t do it to your arms, your arms do it to you.” In an otherwise very pretty rendition of Emeralds by the Mariinsky yesterday, Yana Seline (corps, filling in for Daria Ionova) moved her arms, they didn’t move her. The only other “offensive” bit* might have been that Xenia Fateeva fell off pointe in the bourrees twice during her solos (the second time there was an audible “ugh” by the man to my left), but to me, she was the highlight. All grace and “perfume.” For the record, I love when dancers fall. I’d rather see someone really go for it than play it safe.  

Speaking of falling: Rubies. Renata Shakirova and Kimin Kim were about ten seconds into their entrance when Shakirova wiped out in the most dramatic splits that got an audible gasp! from the entire audience. Jazzy splits! It was amazing, and if Mr. B. were around I’m sure he would include it in the choreography. She wasn’t hurt, and got right back up, high-fived Kimin (that was part of the choreography), and finished the ballet excellently. Each battement was to her head, she was fun without cheesing to make up for the fall, and most importantly she wasn’t sulking after an inevitable mistake like *cough cough* certain American ballerinas that are very popular on this board. Ekaterina Chebykina also fell in the last five counts as the tall girl during the finale. How exciting! Both were wonderful, both were good sports.  

Diamonds. I’ve been looking forward to seeing Maria Khoreva in person, and she did not disappoint. She was absolutely beautiful in every way. For those of you wondering about tempo, while the adagio wasn’t the slowest I’ve seen (Het National made Mariinsky’s Adiagio tempo look downright American) it certainly could have been altered for the finale. Maria Khoreva was almost perfection, but the only time she showed her age was in the VERY SLOW coda, when she did a tight, cautions in the ménage. I'm sure she and her coaches have the ability to correct it. Otherwise, I only have positive things to say about her and her partner, Timur Askerov. 

The corps in every movement: Clean and in-line. No NYCB in terms of movement quality, but neater.  

*Actually the most offensive part of the performance was the audience. I’m still new-ish to L.A. — can someone tell me how it works here? At the Dorothy Chandler Pavilion you’re allowed to bring drinks and snacks into the theater. That’s fine, I enjoy sparkling wine at 2pm as much as the next person. But they also sell bags of potato chips that the audience will open and consume during the show. In Emeralds, I could hardly hear the music over a woman clad in a set of many small, noisy bangles opening a bags of chips, then: CHOMP CHOMP CHOMP CHOMP CHOMP. This is the second ballet at Dorothy Chandler I’ve gone to where this has happened. Last year at Miami City Ballet’s Nutcracker, after intermission the family directly behind me came back from intermission with bags of potato chips and spent the first half of the second act squeeeeeaking the bags open before CHOMP CHOMP CHOMP CHOMP CHOMP. I asked them to stop and my partner (someone who did not grow up going to the theater) snapped at me for telling the mother that her kids shouldn’t rustle plastic during a show. Am I crazy?

38 minutes ago, California said:

My go-to reference for Balanchine insights is Nancy Goldner's Balanchine Variations. Jewels is in this one: 

https://www.amazon.com/Balanchine-Variations-Nancy-Goldner/dp/0813032261/ref=sr_1_fkmr0_138&sr=8-1-fkmr0

Thank you! I had forgotten about this one!

I'm seeing the Mariinsky in Jewels this weekend, and I *love* to brush up on my history before seeing a show. It makes it all last longer.

I already have chapters of Apollo's Angel's and Holding on the Air bookmarked — along with plans to re-listen to a PNB/Doug Fullington podcast. But does anyone have any other recommendations? I wish a there was a proper Balanchine biography already... 

23 minutes ago, CTballetfan said:

Many on this board, however, have in the last 4 years or so wondered in these posts whether one ballerina’s promotion to principal was based more on her ability to bring in revenue by filling the theater than by her ability to execute the difficult, classic prima ballerina roles. 

I don't disagree with this thought. But if influence and press brings in revenue, it'd make much more sense coming from someone else. Hamrick gets a lot of press for her personal life and additional gigs in comparison to many of her colleagues. 

I've been curious too. The only "review" I could find didn't cover her show. 

Did anyone here attend? cubanmiamiboy?

Just bought tickets to see Mariinsky in Jewels. The cast I’ll be seeing is:

Emeralds: Daria Ionova, Maxim Zyuzin

Rubies: Renata Shakirova, Kimin Kim, Ekaterina Chebykina

Diamonds: Maria Khoreva, Timur Askerova

I’m especially excited to see Maria Khoreva in person (I never have, but know she’s been extremely hyped up by the Mariinsky staff -- if not by everyone on this forum.) 

I thought we'd see this soon. If anyone sees Giselle next year please report back! 

I wonder if this opens up a principal spot for a woman? As others on the form have mentioned, this would leave six female principals and three regular men. Hmmm...

(Off topic, but I'm still so surprised that Brooklyn Mack doesn't have a contract.)

4 minutes ago, California said:

I assumed Buchanan and Pelletier were being groomed for principal leadership. She seems worth the investment, but you saw my comments on Pelletier -- just wooden, blank, unconvincing as Basilio. 

Interesting. Basilio is a lot of acting. Sounds like that's not his strength. How is he in pieces that aren't so focused on plot?

22 minutes ago, California said:

I saw all three casts the first weekend, but had to miss the second weekend due to a professional conference. They rented the ABT sets and costumes, so it was a first-rate production. It's such a treat for dancers to see the names written in their costumes -- Cornejo, even Baryshnikov. A sense of heritage that they must treasure. Live orchestra for all performances, which is so appreciated.

Asuka Sasaki and Francisco Estevez: opening night. They both sparkled. This was Asuka's role and I've never seen her better. Technique, acting, character were all just superb. Fran was just promoted to principal and has recovered from two forms of cancer, as has been publicized in various places on-line. Great pair. Last winter for Nutcracker, they nailed a wonderful torch lift. For this one, they did some nice technique variations. On the one-armed lift in Act I, Fran did have to steady her lower leg, but then held the lift for a long time and even went into an arabesque of his own. He's only 30 and has notably improved his technique in recent years, I expect great things from both. 

Yosvani Ramos and Dana Benton: He just turned 40 and is recovering from knee surgery in the past year, so his performance was all the more amazing. He just posted on Instagram, though, that he is retiring the role. She is recovering from shoulder surgery. Very comfortable, confident partnership despite all that.

Morgan Buchanan and Nicholas Pelletier: third cast for the Saturday matinee and school performances. She's a soloist with great potential. He is a corps member and was better as Espada; I wish he'd work on expressiveness and pushing the envelope on his presence. They were third cast a couple of years ago in Romeo and Juliet. She's developing nicely. I wish he would push himself more so he's not just doing steps.

Several soloists and advanced corps members got some nice opportunities. So many to note, but a few of my favorites:

• Tracy Jones: Fran's wife, trained at the Royal Ballet, she was a spectacular Mercedes. Charisma, presence, glorious.
• Fernanda Oliveira: a corps member with charisma, determination, grit. She was terrific both as Mercedes at one performance and Queen of the Dryads at another. She knocked out all the Italian fouettes - a little shaky, but they'll get better and I'm glad to see her try.
• Kevin Gael Thomas: King of the Revoltade 540, he got to throw that in the gypsy sequence. I see rehearsal clips on Facebook where several of the men are working on this.

Some might remember Chandra Kuykendall, who celebrated her 20th anniversary with the company last year. I thought she'd retire, but nothing has been announced. She did Queen of the Dryads and that's all. I wasn't surprised that she didn't even try the Italian fouettes, substituting a much simple pique arabesque thing. A few years ago in Giselle, she didn't even try the hops on pointe and substituted an easier pique-step thing. 

Fouettes: I do wish everybody would just aim for 32 clean singles. Asuka did a few doubles at the beginning and travelled quite a bit, as did Dana.

Thanks for such a thoughtful report! I was sorry to miss this one as I've always liked the look of ABT's sets and costumes. I didn't do my research; were they doing 1983 Baryshnikov version that I've come to associate those costumes with? (Or I guess now we're saying "staged by Kevin McKenzie.") Either way, CO Ballet does a pretty decent job with their social media, but it's especially nice to hear your honest thoughts.

I've seen Morgan Buchanan in person maybe once. From a distance it was hard to see why she was cast over Tracy Jones, but it sounds like you're much more familiar with her dancing and enjoy it —which is great to hear. 

I was surprised to see Chandra Kuykendall cast as Queen of the Dryads. What was the pique arabesque thing? Like a diagonal? I have mixed feeling about changing choreography based on physical limitations. That said, I suppose modifying these Italian fouettes wouldn't irk me as much as subbing out the hops in Giselle... ouf. For the record I like her dancing just fine, I like that she's from the academy, cool that she's a mom etc., but I'll be curious to hear how the rest of the season goes for her. 

Asuka Saski and Francisco Estevez: Awesome. I saw the one-armed lift + arabesque online and it was fantastic — I can only imagine how fun it would have been to be in the audience. 

Fouettes: Yes. 32 clean singles would be a dream. Sigh.  

California, how was Don Q?

For those on Instagram: Morgan has a few great clips on her story of a Slaughter On Tenth Avenue rehearsal. It could be the role, it could be that she’s getting more and more comfortable, but she looks great. Even better than the Dewdrop clip — to my eyes anyway. 

On 8/28/2019 at 2:00 PM, pherank said:

That's the general problem with dancing in the Corps de Ballet - the audience isn't going to see a lot of distinct personality in the dancing. The whole point of the Corps is to dance and appear as one uniform mass of perfection/loveliness/whatever. But there aren't many chances to develop a distinct approach to anything. That's why the audience is often surprised by the new soloist - I've never seen her/him dance like THAT before! Powell was dancing full out on a high level in every role I saw her in last season. She definitely proved herself (which was a relief). But I had been keeping an eye on her progress as I knew that Tomasson was a believer - she was on the fast track until she suffered a serious injury to her foot (at about the same time that Vanessa Zahorian suffered the same kind of injury). So Powell spent almost a year out of the public eye trying to recover. Major injuries just take the momentum out of everything, but unfortunately they are here to stay in the world of dance.

[Lizzy Powell was Clara at the time of the SFB DVD filming, so she's probably the most high-profile Clara for that reason.]

Sure? I understand who is she, how corps works, how much the audience sees, etc. Still, like everyone else, I've always had corps favorites. Powell wasn't one of mine, sounds like she one of yours. 

As part of their ongoing "Best of Culture Series," The Guardian published "The best dance of the 21st century" yesterday. It's a round-up of 20 pieces that have been reviewed by the outlet, ranked. 

I tend to roll my eyes at pieces like this because, you know, art is subjective. But there were a few pieces I had forgotten about or missed — so in that respect it was interesting to scroll through.

The "Number 1" piece is by Crystal Pite. I'll post the blurb on that below. And here's the entire piece, if you care to take a look. 

"Betroffenheit (2015) One of the most thrilling dance stories of the new century has been the rise and rise of Crystal Pite. With a steadfast belief in her own choreographic principles, Pite has created true and startling works for both classical and contemporary companies. Her language has taken flight in epic compositions of abstract dance but, as in her harrowing masterpiece Betroffenheit, it has also plumbed depths of human experience. Created in collaboration with actor and writer Jonathon Young, this 2015 work explores the hellhole of grief into which Young was plunged by the accidental deaths of his daughter, nephew and niece. The pain, humiliation and sheer ugliness of that experience is given searing physical embodiment in Pite’s choreography but so too is the slow process of recovery and redemption. As raw and unflinching as Betroffenheit is, however, you come away from it with a wild feeling of exhilaration – uplifted by its courage, its coruscating beauty and by the faith it affirms in the power of art to address emotions that lie beyond reason or words."