DaniGirl
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Posts posted by DaniGirl
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7 hours ago, canbelto said:
There are actually many corps members who are getting soloist opportunities. Baily Jones, Mira Nadon, Emily Kikta, the von Enck sisters, India Bradley, Olivia MacKinnon, etc. Laine Habony just isn't among those.
Revisiting the principal casting for Nutcracker 2021 to-date .... Takahashi had a debut the first week, Mejia has Cavalier debut this week, Read had a debut as Mother Ginger, Boisson as demi-Flower (finally), Zuniga debuted Candy Cane, Nadon will debut Dewdrop this week. Nothing new for Jones, Kitka, the VonEncks, Bradley, Mackinnon but all 6 AND Miller, Manzi, Sell, LaFreinere, Habony , Staker, Segin, Hod, Maxwell, Dutton-O, Nadon, Boisson are dancing featured/soloist roles all season. I would love to see Bologna and Maxwell as a demi Flowers or Bologna as Marizpan!!! I would love to see Miller, Kitka, Maxwell, Boisson and Habony as SFP and Dewdrop. I would love to see Staker, Dutton-O and Habony as Coffee. I'm sure there are more I've missed. So many talented, beautiful dancers!
Note: Habony has been dancing featured roles since her first year. I am sure she is understudying, as well. I saw the principal cast with her in the Fall with Russian Seasons - an incredibly hard ballet. She was the perfect technician, as always but more importantly her gift is musicality - being able to interpret music without traditional counts. Maxwell and Woodward are both equally as gifted. Not a role I can imagine Bradley, Mackinnon, Jones being able to master. Anyway. Its getting old defending the talent of this amazing company. I would hope we can all agree to hope for every dancer to have the best careers possible.
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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!
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On 8/13/2021 at 9:09 AM, Chballetfan said:
Yes to Laracey and Indiana Woodward.
I don't see her name mentioned on here often but I am totally enchanted my Laine Habony. I find her musicality and quality of movement very special. and her recent piece for Indiana Woodward and Harrison Coll (to be found on Instagram) was very special.
Mira Nadon could do with a few more years in the corps. I would worry about promoting her this early. And I'm not sure about Hod.
Agree, agree, agree.
What an amazing week - they are back! I was able to see both shows yesterday ! I loved the cast for Russians Seasons - Mearns, Laracey, Hyltin, Habony, Maxwell, Woodward! I also think Laine Habony is very special - has incredible musicality, movement ... she is a natural Balanchine ballerina which is why she looked so strong in Ratmansky. She pulls off Robbins (yesterday's Glass Pieces). She has some serious feminine strength like Mearns. Let's hope the next year provides her better opportunities to cultivate her. And let's hope Laracey and Woodward get a much deserved promotion. Laracey might have missed a window with the loss of Martins, the transition years and Covid. My heart goes out to the lost generations of the NYCB.
Regardless - they are BACK! What a week!
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On 10/21/2019 at 6:15 PM, laurel said:
All my favorite lyrical ballerinas are disappearing: first, Veronika Part, now Stella Abrera, and one day, Sarah Lane . . . Athletic, speedy thrills seem to be de rigueur for success now; force over beauty, visceral power over art. The rare dancer who combines both, like Herman Cornejo, offers aesthetic pleasure through virtuosity. And like Stella, true artists are a rare breed. When you experience the gifts they offer us, the earth often moves.
Well said .... I have been moved to tears more than once over such dancers. Let's hope this discussion continues and we do not lose such treasure.
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On 11/16/2019 at 4:44 PM, JanLevNYC said:
I do wish I could attend one of these performances! Enjoy, Costa Mesa!
That's my old stomping ground! I plan on returning for one show. Ill share a report!
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2 hours ago, cobweb said:
Totally boffo performance of Symphony in C to close the season. Sterling Hyltin better than expected in the second movement. Megan le Crone appeared as an unannounced replacement for Ashley Hod in the first movement though.
Yes !! And Clara Miller (Instagram) is injured so Ashley Hod moved into the third movement and LeCrone stepped in. Great job to all!!!
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2 hours ago, BalanchineFan said:
I certainly understand the impulse to root for a favorite dancer. I know it well. However, I'm not sure what qualifies as being "passed over." Sara Adams has a role in Summerspace. Preston Chamblee recently made his debut as one of two principal men in Serenade and danced a leading role in Not Our Fate all last season -twice with his picture in the NY Times. NYCB is a company full of talent and full of more opportunities than most large companies. Take a look at the ABT forums on this site. Posters are all complaining that PRINCIPALS only get one or two NY performances of favorite roles, or don't get roles AT ALL. Principals!
I have a ticket for NYCB this weekend and expect to see 5 or 6 principal ballerinas and as many principal men, in addition to the up and comers in supporting (and sometimes leading) roles. Tell your favs "take heart, keep working, your time will come!" These days dancers can also make their own opportunities, be it at Vail, or with a smaller group; Ashley Bouder, Daniel Ulbricht, Tiler Peck, Silas Farley and many others have created small outside performing groups. And by small I mean smaller than NYCB. I wish there was more information about how dancers can challenge themselves to further their dancing careers.
I almost replied they are all favorite .... and in a way, they are! But yes, there are some I believe to be extra special.
Both Adams and Habony were also in Not our Fate, both in the Times, Habony has an Anatomy of Dance video and several other publications such as Teen Vogue.... they all seem very plugged in during and out if season. And I guess my post came across wrong.
And I’ll keep rooting for my favs too! And that’s a bunch!
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On 10/8/2019 at 10:56 PM, Helene said:
This is not at all surprising. Based on decades of reading dancer narratives, there seem to be four ways that dancers get training, from early training before they even qualify for elite training:
1. At least one of their parents is a dance teacher, often in their own studio, and the dancers grow up in the studio. If they take to it, they get at least their early dance education there.
2. Their parents write checks. It can be from disposable income, or the parents can be taking out second and third mortgages and/or doing second or third jobs or maxxing out their credit cards to write those checks. They may be supporting two households so that their children can have elite training.
3. They and/or their parents barter: clean the studio, like one PNB soloist did, as the family, raised by a single mom, was living at the poverty level; make costumes; do maintenance,; re-finish the floors; serve as the receptionist; help teach younger children, or if they are skaters, not dancers, ride the zamboni.
4. They find a sponsor or teacher who sees something in them and is willing to subsidize them. One found Copeland, but what is unusual about her story is that she learned to dance at one of the comparatively few recreational ballet programs. Many kids have the option to join the recreational swim team or play on a Little League team, or play intramural basketball, or join the school band or chorus or, depending on age, the math or chess team or high school football or volleyball team, public activities where talent and persistence can be spotted or even scouted. Almost all kids who learn ballet at recreational levels do so at a school, where there is tuition.
There are some parents who will do whatever it takes to help their kid fulfill his or her dream; for many that's a huge sacrifice. There are others who assess things differently, and come to a different conclusion when decisions are based on taste and aesthetics, and those decisions are staring them in the face every time they look at a company roster on the internet.
This is a very complete analysis and I agree. I want to share a post I saw about the student I mentioned earlier, as a quick follow up. But first I want to share I caught NYCB last night. To start, the crowd was insane for Serenade. The crowd energy was so electric you could feel it as the curtain rose. There were guest clapping before a single dancer had moved an arm with the ethereal light. Serenade is always a justly favorite and it was a treat to be surrounded by so many enthusiastic admirers. Last night might have been one of the best corps performances I have witnessed - so together, great timing. What magic! Summerspace was iconic, not my favorite. But I was glad to see it. Quick notes on Ballet Imperial - Bouder's shoes squeaked the entire time which was a distraction to her beauty. Most of the corps was a disaster - so disappointed - specifically Mira Nadon and India Bradley, neither could stay on a line, use the arms effectively or keep up with timing. It is a ballet that shows those that can and those that cannot keep up with the attack needed for Balanchine. Maybe it was a bad night but I was very disappointed some of the corps. But on a very positive note - Lauren King stole the show once again. She is the embodiment of a Balanchine ballerina. She is effortless, energetic, musical and performance quality exudes joy. And the two corps members that caught my eye were Ashley Hod and Laine Habony - same reasons .... attack, speed, musicality all with a smile exuding confidence and joy - both in Serenade and Ballet Imperial.
So back to the dancer that prompted your great breakout. It's my opinion that Laine Habony along with several other dancers hit a bad-timing with NYCB - which has to be a disappointment for a dancer that had so many opportunities available, chose NYCB, on-stage every day and is also an embodiment of a Balanchine ballerina (and the sacrifice made by her family to support that). Sara Adams, Jaqueline Bologna, Laine Habony, Ashley Hod, Preston Chamblee, Ghalab Kayali ..... this generation that was slowly being cast up when Martins was going out. I hope that NYCB does not pass over this group of talent and it is my concern they will. Yes, some of the dancers have been injured on/off but not enough to leave them out. It is also my opinion that the years with the interim team the casting was 'friends casting friends' and unless you were on that friend list, you were out. Not that we dont love Indiana Woodward! Or Unity Phelan.
So back to last night (and all season really) - as the season closes I am once again confirmed that NYCB is amazing! I also hope they will get out of this box of casting the same people over and over and over. And they will look back to some of the dancers that have been workhorses and cultivate them to the next level.
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1 hour ago, Helene said:
Dance is by no means unique in this discussion of diversity: it happens in all art forms and all individual sports, as well as in team sports where elite participation costs thousands of dollars in which to participate, It is happens all the time in education, where tracking into elite colleges has similar "feeder" systems to ballet, and where, recently, there have been a plethora of articles discussion the number of legacy students and/or students whose parents make huge donations who are admitted to the most elite colleges and universities, and how as little as 25% would be accepted on their own.
The child makes no decision on its privilege or skin color, but the people who make the decisions about whether to accept children into elite training and who invest in them with attention, do. The children aren't the decision-makers who are looking at them through their own lens.
They are relying on the same people making the same decisions before them, and they and their parents invest in the training, often based on the odds, and at least until a company is willing to foot the bill, a place where affirmative action is primarily on the side of boys. This isn't solely about race: it can be about physique, like the students who are signaled that they would be great modern dancers, height, or a number of other factors. But race is there, and it's a huge elephant in the room: when Dance Theatre of Harlem, one of the country's elite companies, closed its doors, very, very few dancers were hired into other US companies, despite their experience and their elite training and coaching by white Europeans, Karel Shook and Tanaquil Leclercq.
I agree, I am sure there is some financial contribution sway with the younger students at SAB, but I do not believe it is the case with the professional level training. Most of the dancers are not from NYC, attending on scholarship or financial assistance. Although it is not a new story, Ashely Bouder is a great example. She did not come from privilege and had complete support from SAB for both in dance training and academic support. What a gift for her and for us now - I cannot imagine NYCB without Ashely Bouder.
I also saw an interview years ago about another dancer whose parents had taken out debt on their credit cards to support the girl coming to SAB. She had been offered scholarships to every elite summer program she auditioned for and chose to take her scholarship with SAB. She then stayed for the school year, trained during the year and spent summers away, always on full scholarship. She was invited to the company - and she could have obviously had a career at any company. She is white. is someone saying she to be passed over because she is white instead being rewarded for her merit?
I think the decision makers are aware of the need for diversity. I do not envy them, as they are still limited to the students presented to them every year.
I have followed the NYCB diversity effort and think they are doing all the right things by recruiting students into the school at every age from every skin color and ethnicity. And I do not believe anyone is being excluded over skin color.
As for things that happened in the past, well it cannot be changed (DTH) but I believe things are much better in 2019 - and that's all anyone can do.
I love these tough conversations and think all of you are courageous to share your thoughts - everyone is right in the end. Its being able to talk about things which is right. It's what makes us better.
Hey - NYCB is the my favorite. I am a New Yorker. And I hope they have a killer last week of the season! I cannot wait to catch EWG and Serenade and Dances at a Gathering this week!
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On 9/12/2019 at 6:50 AM, tutu said:
Surprised and a bit disappointed that Stanley’s not yet cast in Opus 19/The Dreamer (especially since he was recently featured in a promo video for the ballet). Maybe later in the season?
Taylor Stanley is performing Opus 19/The Dreamer on Oct 2nd and 6th.
On 9/18/2019 at 12:28 PM, nysusan said:I absolutely LOVED Hyltin In Rubies last night and I love her in many roles. But not Symphony in C. She hasn't been cast in the 2nd movement since she made her debut in it back in 2016. I was hoping that meant that management realized that she was totally miscast in it.I remember at the time that although she, of course, has no problem executing the steps she didn't convey the mystery, or spirituality or transcendence that the best interpreters bring to the role. Hyltin was just pretty, she didn't really project any inner life and for me that is a killer in this role.I have tickets for her performance so I can only hope Whelan is spending lots of time coaching her in this.Another 3rd week casting disappointment - it looks like Bouder is cast in Wrens. I saw her last time she did this and here is another example of a great dancer cast in a role she is totally unsuited for. She has none of the glamour or sly humor the role calls for. I think she'd be fierce in MacDonald of Sleat, but not Wrens. I also second cobweb's vote for Georgina Pazcoguin in MoS.It's very possible Bouder requested to do Wrens - she seems to be exploring herself more and more, different roles, etc. That would be my guess.
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On 9/14/2019 at 9:22 AM, Brook703 said:
The DGV rehearsal is still on NYCB’s Facebook page. I enjoy the inside look at the rehearsal process. They are such hardworking artists!
And the Wednesday show was outstanding. It was exciting to see the debut of Jovani Furlan (former principal with Miami City Ballet). Gretchen Smith had a last minute injury and Laine Habony had to step in for her as well. It was a great cast, big music, big movement.
On 9/12/2019 at 9:27 PM, JanLevNYC said:I am very excited about the addition of Jovani - I saw him perform at the Nantucket Dance festival a few years back and he was lovely. I hope NYCB finds more tall men to fill the roster soon, as well.
His debut was Wednesday and it was fantastic. Looking forward to seeing him again and again!
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On 9/18/2019 at 1:18 AM, CTballetfan said:
My thoughts on tonight’s performance of Jewels:
Emeralds was the weak link, primarily because Abi Stafford did not bring the role to life. Except for fluttery arms, the rest of her performance did not come to life. She was stiff, lacked fluidity, had limited extension, and generally seemed to me to be doing a class exercise. On the other hand, Unity Phelan had it all: lyricism, musicality, beautiful movement, extension, and a certain ethereal quality. I loved her dancing. Ramasar and La Cour were competent.
For me the highlight of the evening was Sterling Hyltin in Rubies. The quintessential ballerina, from her interpretation of the role to her musicality, playfulness, quick and perfect movements—I was in awe, as I usually am when I see her dance. She ate up the stage and thrilled the audience. Andrew Veyette worked hard at his role but he was not in Hyltin’s league. I thoroughly enjoyed Kikta as the tall girl, a wonderful dancer who dances “big” and can command the stage. She was a lovely counterpoint to Hyltin.
I saw Kowroski and Tyler Angle in Diamonds last year and their pdd was just as good this year, with Angle acquitting himself better tonight. More energy, higher jumps, and more commitment to his solos. Just as last year, however, Kowroski’s energy flagged a bit in the finale, but still a fine performance.
The corps in all three movements gave fine performances with flair and energy. A pleasure to watch them.
What will linger with me is Rubies, one of the great NYCB ballets, for its music, movement, modern choreography, and verve—and Sterling Hyltin, no better interpreter of the role. Seeing her in this was worth all the trouble and expense I had to go through to be there.
Sterling is literally amazing in every way. She always steals the show!
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Hello to the Ballet Alert community!
Thank you for including me.
I just returned to NYC after 10 years and a friend suggested joining the forum. Currently looking for new opportunities and looking forward to reading up on the what's happening in the dance world on Ballet Alert.
New York City Ballet 2021-2022 season
in New York City Ballet
Posted · Edited by DaniGirl
Actually Laine Habony was (instead of Marika Anderson) in La Valse soloist cast and she was gorgeous, as always! Still one of my favorites!
and I love Habony’s little doggie, Poppy, who is apparently an honorary Swan and stealing the show on NYCB’s IG take over today!
Bring on the swans!