JanLevNYC

On 9/24/2022 at 4:11 PM, canbelto said:

A lot of dancers are out of shape after a long injury. Remember Tiler Peck looked out of shape when she first came back.

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.

16 hours ago, cobweb said:

If we're talking about the same person, I have to agree with JuliaJ here. I'd add that she is also not dancing very well, which is more problematic. 

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

8 hours ago, JuliaJ said:

Isabella LaFreniere is having a real star turn in Firebird, wow. Her performance last night was as good as any past principal's that I've seen, if not better --beautifully elegant and with such a powerful command of the stage. And very clearly articulated "bird" characterization. This woman is going places! ...Diamonds? Symphony in C second movement? I can totally see her doing more of the Kowroski and Mearns rep. The crowd really loved her. Emilie Gerrity was really lovely as the bride as well. Jared Angle returned to the stage after a lonnnng hiatus. His partnering skills were appreciated but I wonder how much longer he'll be on the roster? 

Symphony in Three Movements has been danced better, but this was a solid performance overall. I love this ballet. Major props to Ashley Laracey for filling in FOUR performances when she wasn't supposed to dance any of them. I love her dancing (particularly in more classical works) but this role is not a great fit for her. She doesn't have the attack, and sometimes she blended in too much with the rest of the cast. I kept my eye on Erica Pereira knowing that she's dancing Rubies soon. Rubies seems like an odd match for her but she was very good with this Stravinsky music and modernist style, so it may work. 

Scherzo Fantastique was nice but not particularly memorable. Peck really knows how to choreograph for Anthony Huxley's skills. There is one female corps member who is so out of shape right now it's distracting. I wonder if the company is being more lenient about these things? 

If I had one major problem with the evening it was the bizarre decision to put an intermission between Scherzo (only 14 minutes long, after a 5-minute orchestral performance) and Symphony in Three Movements. Should have been a pause. 

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!

18 minutes ago, Drew said:

I'm not a huge Nutcracker fan and the only production I ever went to night after night (the seasons when I could) was Baryshnikov's when ABT performed it in D.C.  And that was almost exclusively because of Kirkland's Clara which remains one of my greatest ballet-going memories. The video, lovely as it is, doesn't begin to capture the wonder of her performance and, in fact, I believe it was shot before she had ever danced the ballet on stage. Moreover her Clara was full of subtle variations from performance to performance even when dancing with the same partner. And she danced it with a few different partners including Dowell and Cragun. But  I don't think of her as dancing the Sugar Plum Fairy--I think of her as dancing Clara.

SPF? I'm the person who wrote that their favorite Sugar Plum Fairy was Jenifer Ringer.  I do have mixed feelings about Balanchine's Nutcracker even now in part because of the placement of the SPF variation at the very beginning of the second act which, to me, undermines some of its magical impact. (It's as if Odile came on at the beginning of Swan Lake Act III before the ball was even underway and performed 32 fouettes there and then. (I exaggerate...a little...to explain my feelings.)

I haven't seen any of the current NYCB SPFs -- the one I would most like to see I think is Hyltin, but I doubt it's in the cards. On film/video--I've always loved the footage of Larissa Lezhnina dancing the SPF variation in the Kirov's production. I would LOVE to have seen her dance the role.

 

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.

On 12/7/2021 at 7:50 PM, cobweb said:

Megan Fairchild is a prime example of someone who has become better and better as the years have gone by. She is dancing with a polish and authority that I, at least, didn't see in her a few years back. For me as an audience member, I enjoy veterans like Fairchild because she has developed, but when I see a veteran dancer who does not seem to have grown as much, eventually I get tired of seeing them do the same roles, and wish that I could see someone newer. This may be brutal, and I have tremendous gratitude to the dancers for dedicating their lives to this art and bringing so much pleasure to my life, but sometimes I want to see someone new. 

As a dedicated corps-watcher, I have not been especially struck by Laine Habony, but I will pay more attention next time. What roles was she getting under Martins and has she not gotten to dance them again? I agree about Alston Macgill, who impressed me a few years back (I forget in what role) by dancing with an authority way beyond her pipsqueak size and tender age. So much is a matter of personal taste. Many people on here love Ashley Hod, who I find physically beautiful but uninteresting otherwise, and on the other hand, I love the sprightly, forthright Alexa Maxwell. I think there's a consensus on here about the merits of Emily Kikta, and after seeing Isabella LaFreniere in Chaconne in the Fall, I am praying to see her in more, bigger roles, PLEASE. Other standouts are Emma von Enck, Kristen Segin, and of course Mira Nadon. I could go on with others. There's a lot of talent, and only so many roles.

At the soloist level, I could imagine there's going to be some shifting before too long, with some moving up and some perhaps out. 

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.

8 hours ago, canbelto said:

I must say I'm puzzled by the adoration for Laine Habony. I don't doubt she's good but she wouldn't be the first corps member I'd promote. Not even the fifth.

Emily Kikta, Mira Nadon, Ashley Hod, Olivia Boisson, Isabella LFreniere, and the von Enck sisters IMO all have caught my eye more than Laine Habony.

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. 

5 hours ago, BalanchineFan said:

Absolutely! The Ballerina Mindset is a fun, quick read and Megan has a lot of useful insights to share. The tone is also very considered and appropriate for all ages.

In the SPF sweepstakes, I've been following Olivia Mackinnon on IG and she's rehearsing SPF. Look through her IG and you'll see her progress, which is considerable. She's another very lovely dancer who is getting opportunities here and there. I remember her debut in PC2 (2nd role, really nice!) and I think she had a Dewdrop last week. She's also enterprising and sells a line of ballet skirts, accessories and coverups. Laine Habony has never particularly caught my eye, but I'd be excited to see Olivia Mackinnon do more.

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!

17 minutes ago, DaniGirl said:

Forth week casting up.

Excited to see Nadon as Dewdrop.

I would really like NYCB to put Laine Habony in as Sugar Plum Fairy this year - finally.  As we all know from IG, she started rehearsing that with Martins before his departure.  I saw last year she danced this with Steven Loch (he has left PNB and is now a principal dancer with Miami City) and looked literally royal.  I miss the days when Martins gave us SFP debuts and Habony has surely earned it, waiting in the wings for years and years.  She has an incredible maturity and feminine strength that has been sidelined for years.  Let's all cheer for her this year!  Why not cheer for the dancers?  They surely deserve the support!

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!

On 12/11/2019 at 1:48 AM, Helene said:

Casting is up through the Christmas Eve performance on December 24 at 12:30pm:

https://www.pnb.org/nutcracker/

 

Link to the downloadable spreadsheet.  (Warning:  it's wide, with the upcoming three weeks on top and the weeks gone by below.)

Nutcracker 2019_12_10.xlsxUnavailable

Some changes from this week's performances previously posted:

• Elizabeth Murphy replaces Margaret Mullin as Sugar Plum Fairy, and Cecilia Iliesiu replaces Murphy as Dewdrop on Friday, Dec 13.
• Angelica Generosa replaces Noelani Pantastico as Sugar Plum Fairy on Saturday, Dec 14 at 7:30pm.
• Noelani Pantastico replaces Margaret Mullin as Dewdrop on Sunday, Dec 15 at 12:30pm.
• Angelica Generosa replaces Noelani Pantastico as Sugar Plum Fairy on Sunday, and Yuki Takahashi debuts as Marzipan, replacing Generosa on Dec 15 at 5:30pm/

 

Some more debuts in Weeks 3-5:

• Christian Poppe dances Cavalier, Mark Cuddihee dances his first Tea, and Calista Ruat dances her first Hot Chocolate on Saturday, Dec 14 at 2pm.
• Mark Cuddihee dances his first Candy Cane on Sunday, Dec 15 at 12:30pm.
• Clara Ruf Maldonado dances Sugar Plum Fairy on Wednesday, Dec 18 at 7:30pm. 
• Genevieve Waldorf dances Dewdrop on Friday, Dec 20 at 7:30pm.

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! 

1 minute ago, BalanchineFan said:

Zoe Bliss Magnussen has been added to the roster of apprentices! I'm not sure she even danced in the workshop performance last spring.

I believe she performed Concerto Barroco in the 2019 Workshop.

27 minutes ago, Helene said:

It is almost always stressful when you can no longer rely upon your own privilege as a given, and that applies to far more than ballet.  And I see demand as less of "more non-white dancers" as "dump the preconceptions that close the doors on anyone who isn't white."  Among men, particularly when there were fewer men, there has been more diversity out of necessity, although "more" is measurable differently by different companies, countries, and times.  Acosta, famously, was encouraged to leave Cuba, and his mentor gave him the example of a tremendous artist in Cuba who earlier was not given his due because he, too, was a black Cuban.

I am heartened that my home company, Pacific Northwest Ballet, is looking more and more like the community in which it performs.  And the talent from which to choose is extraordinary.

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 !!!

16 minutes ago, Petra said:

Jan, the reason I commented on the racial makeup of the company is because it was a comment made by a naive teenager. These are issues that many of her generation are very sensitive to - regardless of their own skin colour or privilege.

Of course it begins with danxe education, and I wouldn't like dancers to be promoted on a quota system. However unlike most world-class companies in the West, almost all NYCB dancers are American. That in itself is unusual. The USA is a diverse country and as of 2019 that isn't reflected in NYCB.

But please go back to discussing the season. It seems like this is a great Fall Season at NYCB.

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.

5 hours ago, Leah said:

Take a look at the female corps, there are a lot fewer dancers of color there. And dancers like Chamblee and Farley should have progressed to the soloist level but have been passed over in favor of white dancers. Who are the dancers you speak of that are getting discriminated against for being “too white”? I’d love to hear some examples.

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.

On 10/6/2019 at 10:30 PM, Petra said:

I attended the 10/01 performance. I hadn't seen NYCB in NYC for eleven years, so it was a special evening for me. Happily, it didn't disappoint. Not even my youngest daughter falling asleep halfway through Union Jack and lying on my arm for half an hour could dim my joy at the all-Balanchine program, especially since each work was better than the previous one.

Valse-Fantasie was ok as an opening work. The dancers were great and if I hadn't read that it was Roman Mejia's debut, I would never have known that. He looked as secure as if he had danced it a dozen times already.

I loved Kammermusik No. 2 much more. The  inventiveness of the male corps (although why do they get a front-curtain bow when the demis in Valse-Fantasie do not??), the mirror-yet-not-mirror images of the soloists. This is the modernist ballet I've been craving for a long time. I loved the severity of Abi Stafford. Reichlen was almost too leggy and graceful for the part (I know, just shoot me...).

And Union Jack (at least, the first two parts) was divine. I am one of those that find the first part very profound. The Busby Berkeley-esque soldiers dancing on into infinity can be interpreted in more than one way, and each member of the audience can consider what it means to be a patriot and to serve one's country. My only complaint is that the headgear made it very hard to identify dancers.

The Costermonger part was lovely - I'd never seen Lauren Lovette before and both she and Daniel Ulbricht are fantastic actors.  It was funny and moving, just like the best comedies. Interesting that the 'theatrical' section is danced on a bare stage and the other sections have proper backdrops.

I didn't get the last part. Most of it was too Gene Kelly and On The Town, and not Royal Navy enough.

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.

'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.

9 hours ago, bellawood said:

Harrison Coll has been filming West Side Story which just wrapped. 

Joe Gordon's hair reminds me of Damian Woetzel's so I don’t mind it — but industrial strength hairspray wouldn’t be a bad idea. It was really all over the place during Raymonda!

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

9 hours ago, bellawood said:

Harrison Coll has been filming West Side Story which just wrapped. 

Joe Gordon's hair reminds me of Damian Woetzel's so I don’t mind it — but industrial strength hairspray wouldn’t be a bad idea. It was really all over the place during Raymonda!

22 hours ago, cobweb said:

Mearns, Janzen, and King were all magnificent in tonight’s Ballet Imperial. A grand and memorable performance of a truly beautiful piece. 

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

11 hours ago, cobweb said:

I'm hoping for the best with MacKinnon's debut in Tchaikovsky PC #2, but it's not clear to me why she was chosen for such an exposed, big opportunity. She often looks effortful and doesn't seem to enjoy herself onstage. Seeing her as one of the four corps in Valse-Fantaisie a couple of times over the past week, all of the other three seem to be more obvious choices for a big opportunity, based on fleetness and crispness of dancing, as well as projecting a radiant joyfulness: Emma von Enck, Alston Macgill, and Kristen Segin. 

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

6 hours ago, Kathleen O'Connell said:

I think both Abraham's The Runaway and Peck's Pulchinella Variations with their attendant designer togs delivered big time, and I will die on that hill. 😉

I agree - I missed both of those!

On 9/29/2019 at 6:38 PM, cobweb said:

I was at the Friday night performance of Opus 19/the Dreamer, new Lovette, new Liang, and Symphony in C. I've been mulling over my thoughts about the new pieces. I found the Liang piece derivative, but pleasant and very watchable. It's not anything great, but I could see it again and enjoy it. As for the Lovette piece, I can see she's exploring ideas about gender and ballet, a timely and welcome endeavor. But the message is muddled. Take the tutus. They are split open in the front, and pull up sharply in back, exposing the rear end. I can't quite tell how to take this. Is it meant to be shocking? Humorous? Doing something crazy just for the sake up making a statement that this is different? All I get is that she's taking a starting point, say traditional norms, and opposing it - rather than presenting new ideas, or ideas towards some new vision.  I also found it overwrought generally. Even if the message were clearer, as a dance piece I didn't find it very pleasing. Would hesitate to see again. Great use of Georgina Pazcoguin, though. 

In Opus 19/the Dreamer, Gonzalo Garcia looked as good as one could possibly look in his white unitard. His earthy, charismatic presence and great port de bras, along with a shimmering Sterling Hyltin, made a good case for this piece. 

Symphony in C always livens things up. I felt like I've seen more sparkling performances, or maybe it was just a heaviness in my mood after a ho-hum reaction to the two new pieces (which I was hoping to like more). Still, I left with a smile. 

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.

On 9/30/2019 at 9:22 AM, NinaFan said:

I kept thinking the same thing throughout their pdd! 

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!

33 minutes ago, abatt said:

I think the point of these fall galas is not the choreography.  The entire point is the hope that patrons will pay for the gala dinner to rub elbows with famous fashion designers.  The significance or quality of the choreography is almost an irrelevant afterthought.  These are gimmick galas, concocted by SJ Parker and utilizing her connections in the fashion world.  The most successful was when they had Sir Paul and his fashion designer daughter collaborate with Martins.  That gala made a lot of money.  The Valentino gala also made a ton of money.

Notice that serious ballet choreographers like Ratmansky never participate in the fall fashion gala.

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.