JanLevNYC

Complicated issue. Being out for an injury or worse surgery means you are not dancing or at minimum of the level required. No matter how hard a dancer ‘works out whole in recovery it’s not the same. The roster has always had dancers fighting this battle. I can think of a few right now coming back off injury and surgery. And I feel for them as the audiences and critics are brutal with body shaming. And then the dancer begins to feel badly about themselves which translates. I always believe in celebrating instead of shaming. And I still come back to Balanchine’s day - not one of his dancers has the lean, insane bodies we see on stage now. I personally like a dancer that is not rail-thin. It looks unhealthy. I have been very saddened by some aggressive reviews that do not do anything but destroy morale and possibly even careers. Believe me, the dancers know about the body shaming. Praying for better patience from the fans and critics.

If we are discussing the same dancer, her dancing is and had always been wonderful. Every NYCB dancer is of the highest caliber. This is the best of the best. Do dancers have off days and seasons? Yes. But as a non-dancer - like so many commenting on this site every day - I’m going to chose to say good things. People are very, very quick to criticize - about careers that are not own. So let’s pray that any and every dancer have all that they need and require to allow them to give to us ad they do, so graciously, with their gifts. I’m with Kathleen - they all look great - even the skinny dancers

I've been following Isabella since she was at YAGP. I congratulate her in every way! Her performance last night was like watching a flower bloom that had been planted. Just beautiful. As for the mentioned corps woman - the ballet world should be more accepting. Currently, NYCB's roster has a very thin line up. Even the men are too thin, too small. Would today's society shamed Violet off stage? Or Patti McBride? Let's hope NYCB finds some more normal bodies, like in Europe. I remember the year when the NYT's dance critic, Mr. Macauly said the sugar plum fairy ate one too many sugar plums about our beloved, amazing Jennifer Ringer - who was in fact very tiny, as well. Oh, and I hope Mr. Peck gives us something in the future. Most of his ballets look the same and boring these last years. Maybe he has exhausted his bag of tricks. Again - Brava Isabella!

I have been blessed to see so many. Patricia McBride, Kay Mazzo, Suzanne Farrell, Lourdes Lopez, all favorites. Darci Kistler was glorious from the moment she set foot on stage - a mix of innocence and wonder even into her 30s. Margaret Tracy, Zippora Karz and Jennifer Ringer. Sterling Hyltin might be my favorite in the last 10 years and most recently would be Indiana Woodward and Emilie Gerrity. Drew - I hope you are able to see Hyltin one day. You will not be disappointed.

Agree with you on many of your comments. But I noticed that you shared you are a corps-watcher and I did see a comment you made a comment about Laine Habony in Diamonds sometime back - Diamonds. Four demisoloists were Laine Habony, Unity Phelan, Ashley Hod, and Alexa Maxwell. I believe this must have been debuts for them. All terrific. I especially enjoyed seeing Habony, who hasn't been featured as much as the others. I think it's so easy to forget that these NYCB dancers have survived unprecedented times - several changes in leadership, COVID - and their lives/careers are everything to them. The NYCB roster is stacked with talent and I applaud every man and woman that has dedicated their lives to the journey. Let's hope for a NEW year full of more opportunities for all those corps dancers that have been waiting all these years for the opportunity to grow. And I hope for their fans to give them grace and well-wishes! Let's hope NYCB gives us something to get excited about.

I don't believe anyone said anything about promotions. I believe the echo is more about opportunities, missed opportunities, not cultivating dancers who clearly were not on a trajectory for the corps based on technique, musicality, performance, etc for whatever the reality is - is. Habony is one of several dancers that has been mentioned but definitely not the only one. But about Habony, she must have caught the eye of many that did understand what truly special is such as Patricia McBride, Peter Martins, Katrina Killian, Kay Mazzo, Suki Schorer, Darci Kistler, Hubbe, YAGP and who knows who else. She certainly has many favorable discussions in reviews. Not many 15-year olds do Russian Girl in Serenade coached by McBride - or win YAGP awards. There must have been something seen in people that know special. I hate to get into the discussions of promotions, knowing the many, many facets the go into promoting dancers in any company starting with finances, being the focus. I think the conversation has been and continues to be more about why NYCB is not giving opportunities to cultivate and mature these dancers artistry, confidence and bodies. Why we are seeing the same dancers over and over, night after night since Martins' departure? I believe one of his last years he gave us 15 different SFP in one season - with many debuts. Honestly, in my IMHO I believe dancers like Habony, Bologna, Boisson, Claire VonEnck, Staker are SO dependable they are inadvertently taken advantage of as the rock of the corps. It's sad for the careers of dancers and its just boring for the audience.

Olivia Mackinnon is another lovely dancer that has been maturing and I would also love to see her as a SFP. She was struggling with allowing her stresses to come through her facial expressions for a long time. But I believe her confidence has come up substantially and that has dissipated. Mackinnon's ballet fitness programs during COVID, to me, were another example of her growth in confidence. She is trying to stake her place, for sure. And although I admire Laine Habony's humble presence (Instagram, FB, etc.) I wonder if she were more aggressive marketing herself would it bring more opportunities to her. I was excited to see her photo outside the theater in the Fall 2021 season ad campaign! She is without a doubt a beauty, natural star-quality looks both in face and body. Looking at photos of her in the NYCB ad campaign her body, neck, hand, foot placements are perfect - especially compared with her co-dancers in group photos. I do remember when she first entered the corps she seemed to always be the corps girl in photos for costumes in the Times and on NYCB social media. She was featured in Teen Vogue and Pointe for makeup pieces. Martins used her as the first corps member on Anatomy of Dance. (Swan Lake). She was cast alongside Unity Phelan, Emelie Gerriry, and Sara Adam consistently through the summer 2017 with the collaboration with the Bolshoi and then Martins was gone and poof. Anyway. I hope they offer her more featured roles in the Winter and Spring seasons so she can find those growth spurts so she will start to catch your eye. And maybe more social media like Mackinnon? I did see Habony, Maxwell and Woodward in Russian Seasons in the Fall - all three dancers met the demands of Ratmansky with grace, precision and perfect musicality. Habony is usually cast in the Ratmansky pieces and you must have the classical strength and musicality - which she does just like Maxwell and Woodward. Again, Habony performed SFP last year and she did not post much about it but the photos were gorgeous. I am sure it was a beautiful performance. I am disappointed in NYCB again this year for not giving her the opportunity (again) along with so many others that could use the chance to grow!

Habony does have an incredible feminine strength. For the life of me, I have never understood why this dancer has been overlooked since the interim team took over. Yes, when Martins was there, she was cast with purpose. Every dancer at the NYCB is special but Habony is not a corps dancer, never has been. Her training/opportunities were not a corps dancer - Youth America Grand Prix 1st place winner, Patricia McBride, Jean-Pierre Bonnefoux, Peter Boals, Julie Kent, Michael Vernon, Marco Perins - there is a raw article early experiences and about her full-merit scholarship by Katrina Killian at a summer audition to SAB on the internet. And she has been on-stage night after night at NYCB since her apprenticeship, giving us incredible technique and style. Regardless, let's hope her year is coming - between the admin changes and COVID every dancer in the industry deserves so much. There is so many wonderful ballerinas at NYCB - Kitka is another one that has been waiting for years. With recent retirements, Woodward and Phelan were given much deserving promotions. But Habony has the technique and star-quality - Martins was a monster in many areas but he knew talent. It's time the current team gives this dancer the opportunities she is capable of rising to.

So much to love about online streaming. But so paradoxical - to replace the stage with online viewing. I hope every ballet company around the world has content to stream and uses this for fundraising. Hopefully the future will be monthly subscriptions for continued viewing! Not only will this help with much needed funds, but is creating new generations of donors and supporters of the arts (all of them). I feel so lucky as I am not a young person any longer, in the theater audience. Now I am safely viewing at my desk! Thank you, everyone, for sharing so many great suggestions and links to these streamed performances! Thank you!

I so wish I could head north and see the show tomorrow - I would love to see AG as SFP! I hope you are able to attend much! Happy Holidays! J

I was fortunate to catch today's matinee. Lane is not my favorite dancer but the overall experience was fantastic. The theater, staff, parking, etc. were all a great experience with my family - we had 10 so it was a big deal. The show did not disappoint. I love that ABT comes to California to put on this production and shares - very important. And to bring home Misty Copeland is a treat. I was sorry I did not have time to see her performance. Wishing them all the best this season!

I just finished reading Twyla's new book and I throughly enjoyed it (maybe because we are almost the same age!) - I love her perspective, her approach and honestly her sense of humor. She is a gift in so many ways. What a legacy.

I do wish I could attend one of these performances! Enjoy, Costa Mesa!

I will miss Lydia Wellington on stage at NYCB and wish her all the best on her new adventure in France. What a gift it has been to watch her all these years! I believe she performed Concerto Barroco in the 2019 Workshop.

Thank you so much for responding. Please help me understand. Professional dancers begin their journey sometimes as early as age 3. Their parents are in charge of their lives until ages 14+. Most professional dancers then leave home. How does that child make a decision about its privilege or skin color? It's doesn't. I firmly believe dance is unique in this discussion on diversity. No child /dancer picks its privilege or skin color. So how can they be in control over their inability to rely on privilege which is something they had no control over from the start? So are you saying talented, hard-working dancers should be punished for their parent's financial successes? What about poor white dancers? Poor European dancers? What about rich African-American dancers, rich Latino dancers? What about the middle-class family of any color that sacrifices all to send their dancer from home, knowing it is the only chance for them to do what they love and are called to do? I am confident the majority of the dancers at SAB are there on financial assistance - and what a blessing for those dancers - so I dont believe privilege is the issue in this day/age. The reality is there is still a pool of students at SAB year after year. You cannot force more people of color to bring their children in for auditions, pay for classes and keep it up just to have more color on stage. I celebrate the organic growth of diversity in dance and look forward to more. But I do applaud PNB on all accounts! It's an amazing company in an amazing city with many great successes! You are very lucky to be there with them !!!

Thank you so much for responding. Agree on all points! Forgive me for playing devil's advocate. Just share with your sweet daughter that there are currently dancers from Australia, Spain, France, Italy, and truly every ethnicity has been and is also represented as well - Indian, Asian, African-American, Latino, European, American Indian, Caucasian .... I have loved NYCB for more than 40 years and I just believe they are doing all the right things regarding race - call me an honest loyalist. Enjoy your day and hopefully you will get to enjoy more ballet. Best wishes.

Leah, I love it that you responded and shared your opinion, as well. I also think Chamblee and Farley are amazing dancers and truly hope they receive promotions one day but not because they are half-African American - but because I love to watch them dance and believe they are hard workers. I do know both have had injuries and missed stage time over the course of their careers. But I do not believe they were passed over because of skin color. Goodness, I think it would help them these days (which is sad). Sebastian V-V was recently promoted and he is from Puerto Rico, of Latin descent. Does that not count as non-white? What about Jovian? Daniel Applebaum is half-Asian. Aaron Sanz is Spanish/Latin. Sean Suozzi is Italian. Do they not count toward the 'not white American male' box everyone is so intent on having? They do. But again, that box needs to be thrown away. Regardless, each dancer has a journey and despite how amazing they are, their lives are dictated by subjectivity. There is no perfect formula. To promote or even hire someone because they are not-white is a disservice to all people who came before who worked hard and grew on merit. And honestly, the dancers in the company feel a ton of pressure from this on-going social pressure when all they want to do is dance their best and be picked because of merit and nothing else. My goodness, they just got out from under the threat of presumed favoritism from Martins and all those reasons/accusations. I wish everyone would let these dancers focus on their art and the admin focus on cultivating the talent they have to each dancers best ability. I believe NYCB/SAB is doing the right thing - they are recruiting students from all walks of life, all skin colors, all ethnicities, etc. Once these students enter the program they can begin their journey. If they are able to be successful in the unique bubble of dance requirements of the NYCB and there are slots available/funds available, hopefully they will join the company. That's another thing - money. There is a machine in the background and it has limits. And decisions are made, in the end, because of finances - who knows day-to-day when/if finances say 'yes, promote'. There are 9 male soloists today, 11 female soloists. Maybe they are out of money for promotions - who knows. I think NYCB has so many irons in the fire (new management, casting problems, increasing technique, filling empty seats) and I believe they are doing all the right things about this social call for diversity - by starting at the foundation, cultivating dancers of all colors and ethnicities from an early start. And as everyone knows, just because a dancer goes to SAB doesn't mean they will dance professionally nor does it mean they will dance for the NYCB. And even then, just because you are invited to dance for NYCB doesnt mean you will be cultivated! I have seen quite a few dancers that could have and should have been more over the years. Back to the subjectivity. I think it's naive to ignore the history and numeric statistics of young dancers pursuing professional careers. The world is getting smaller and people are more homogenized (thankfully). Let's be more patient and just have confidence. Me, I believe these social demands by the public for more 'not-white' dancers is not only hurting all dancers but causing emotional stress where there should be none. It's hard enough, I am sure, to navigate their unique pressures. Let's not add to it. ps. My children's father is Japanese and I am white. I believe I can speak with some degree of knowledge. I raised my children very color-blind (30 years ago) and focusing on hard work and things will all work out. I cannot then expect anything less for the dance world. Sorry.

'And finally - the first thing my middle daughter said during intermission, after the first two ballets, was "why are all the dancers white?" After 3 days of running around Manhattan, and seeing people of every possible skin colour, the lack of diversity was striking. Union Jack was more balanced but right now the make-up of this company does not reflect the city it represents so well.' In more than 40 years as a patron, I have seen more casting OF color in the last two years (even when the DANCER might not be appropriately matched). The majority of the corp men are young men of color. The reality is the in the past, the percentage of fair skinned dancers pursuing a career was a large number. Regardless, I think there is too much attention about this issue. Let these dancers dance and be artists. I do know NYCB has done an EXCEPTIONAL job making sure they are recruiting students to SAB from all walks of life, all skin colors, all ethnicities. If anything, there are dancers that are being left behind because they are TOO white. Which is reverse-racism - it is not that young dancer's fault they were born white anymore than they were born not-white. I applaud all the NYCB dancers and the company for doing out there and working hard and hopefully they are thinking about their artistry - not race.

I wanted to also add that Joe Gordon's hair most definitely reminds me of a young Damien Woetzel !!!

Lauren King has always been a delight to watch! It was a great performance.

That’s been Lauren Kings spot .... why not Sara Adams, Ashley Hod, Laine Habony? All three are beautiful performers and strong technicians.

I agree - I missed both of those!

I was also there and I think the mood of the corp dancers coming out of the Lovette piece flows in the Sym in C - meaning they know they are on stage in a bad ballet and from experience that dampers the mood for their other performances. I was disappointed not only in the down mood but the technique as whole was lacking with the younger corp. Glad to see Ashely Hod back and she shined as 1st movement demi but Olivia MacKinnon was literally in pain or talking to herself the entire time. I am not sure why that continues? How could it not? Sebastian V-V was also amazing and it so great he has also returned from a long injury period. And Indiana Woodward was missed in the 3rd movement due to being in the LIang piece. Let's hope we see Sym in C soon in another program with some new dancers.

It was truly delightful to see them together dancing and they did not disappoint. They are both amazing performers and technicians. What a treat it was!

The closest thing to that level .... 2013 ..... Benjamin Millepied, Angelin Preliicaj But Robert Binet, Miles Thatcher, Justin Peck, Annabelle Lopez-Ochoa all delivered very well under Peter Martins' expectation. To me, the expectation has gone to zero. And you get what you expect.