Drew

I don't think one needs to assume Homans believes exactly what she published in 2010. But  I will say that I agree with @dirac that she seems to have made broader claims than that the era of Balanchine and his musically inspired ballets was over -- though she does deploy the occasional subjunctive: "The old ballets look flat and depressed because the new ones do. If today's ballets are mere shells, the lesson may be that we no longer fully believe in them. We linger and hark back, shrouding ourselves in tradition and the past for good reason. Something important really is over. We are in mourning" (page 547).   

I agree that for her (at least at the time she wrote this book) that that "something important" was primarily centered on Balanchine. And of course Balanchine belongs to the past in one important sense (though not in all senses). But she does seem to me to have drawn broader conclusions and to make broader cultural claims:

"Today we no longer believe in ballet's ideals. We are skeptical of elitism and skill....Ballet's fine manners and implicitly aristocratic airs, its white swans, regal splendor, and beautiful women on pointe (pedestals), seem woefully outmoded, the province of dead white men and society ladies in long ago places..." (548) She also talks about lacks in today's ballet dancers in similarly broad fashion on page 541.

Additionally and perhaps more decisively:

"...in recent years I have found going to the ballet increasingly dispiriting. With depressingly few exceptions, performances are dull and lack vitality...after years of trying to convince myself otherwise, I now feel sure that ballet is dying........Could the decline be reversed? It is hard to see how. In Western Europe and America ballet no longer holds a prominent place [nb nothing about its growing place elsewhere in the world] The world of dance, moreover, is increasingly polarized: ballet is becoming ever more conservative and conventional, while contemporary experimental dance is retreating to the fringes of an inaccessible avant-garde. The middle ground, where I first encountered ballet, is small and shrinking." (549)

Here, too, one might infer that middle ground was dominated by Balanchine for Homans--experimental yet traditional, conservative yet avant-garde etc.-- but she still seems to be making a broader claim about what this means. And she goes on to say that unless we as a society ("we" is her term) recover "ethical" ideals that she believes have been lost (decorum, manners, discipline--genuine belief in our ideals, etc.) ballet has no chance of making a comeback.

She also concludes by acknowledging that she could be wrong and that we might merely be in a transitional period.

Reading the chapter as a whole at the time it was published, many of her remarks seemed to me astute and valuable but I too found it somewhat ironic that she wrote this chapter, "The Masters are Dead and Gone"-- just as ballet, to me (in my admittedly narrow sphere of experience) seemed to be becoming much more creatively exciting than it had been in some time and on numerous fronts from controversial historical revivals to new choreography to intriguingly distinctive new ballet dancers who were also "stars." And one might add to that (though, unfortunately, largely outside my experience except for a few dancers): the development of companies and dancers and new fans coming from parts of the world other than North America, Russia, and Europe. We discussed these or similar points on this board at the time her argument first appeared.

But there is no reason to hold Homans today to exactly her views of nearly a decade ago. And, if they are still her views, then I suppose, if nothing else, they offer a framework for her writing on ballet and dance. I could wish there were MORE venues for serious dance criticism and thus a greater variety of perspectives on offer.

I adore ballet but in particular am not convinced that the high minded language of ethics and beliefs doesn't risk becoming rather misleading as a lens onto art-forms of any kind, even those with aristocratic roots like Ballet. @Kathleen O'Connell  wrote something related above.  And the social/cultural changes Homans seems to deplore were already being deplored, sometimes in identical language, in the nineteenth century.

Presumably Homans' aim at the end of her book was as polemical as it was analytic/historical. And she would hardly have founded the Center for Ballet and the Arts if she didn't want to do something for ballet and dance that was part of its life. Unfortunately, I do worry the latter is a potential conflict of interest for her as critic of the New Yorker since the Center funds choreographers and dancers that she might be reviewing.

Acocella wrote so little on dance in the New Yorker—whether by choice or editorial policy— I am mildly surprised she said she was concerned about repeating herself.

19 minutes ago, FPF said:

There's a long list of CPYB alumni here: https://cpyb.org/alumni/alumni-in-the-field

Also, here's an old NYT article on her: https://www.nytimes.com/2001/08/05/arts/dance-guru-in-an-outpost-of-ballet-wisdom.html

Thank you for posting. A remarkable figure--whose influence will continue through her students. May she rest in peace.

54 minutes ago, Leah said:

 I would also add Ashley Laracey to your list- she didn’t dance for the first three weeks of the season and publicly complained about that on Instagram.

I can't speak to Laracey's season to season or week to week casting and dancing -- I can say that I think she has been a huge asset to the company in recent years and just last spring made a hugely successful debut in one of Balanchine's greatest ballets. (I mean her debut as second ballerina in Concerto Barocco which I felt very fortunate to have seen.) She also has had roles created for her in recent seasons. It feels way too soon to write her off because of what she called a "slow start" to this season.

"Slow start" is language from her Instagram account, and though she talked about her own feelings of disappointment in pretty candid language, it didn't sound like a complaint directed at the company.  (Mileages may vary on how one reads that sort of thing.) Whatever the start to her season, Laracey has been cast in Liebeslieder Walzer--another one of Balanchine's greatest ballets and one in which every role matters.

Anyway, I very much hope she has many performances with NYCB left in her career.

1 minute ago, cobweb said:

Another beautiful, beautiful performance of Liebeslieder. Thanks all, and thanks Mr. B. 

It's just an unbelievably wonderful ballet...

Sarah Kaufman has published a report on a legal petition by Susan Gluck regarding the Trust and, in particular, the handling of its finances by Barbara Horgan:

"Susan Gluck, a trustee of the George Balanchine Trust, which administers the rights to perform Balanchine’s ballets, filed a petition Thursday in the surrogate court of the state of New York seeking a full accounting of the financial management of the trust..." Gluck expresses concern that Horgan has set things up in a way that benefits herself and disadvantages people Balanchine intended to support.  As far as the petition goes, he immediate issue seems to be that Gluck requested to see the finances over a year ago, put the request in writing etc. and still hasn't been shown anything.

The Washington Post is behind a paywall, but for those who subscribe:

https://www.washingtonpost.com/entertainment/theater_danc/former-ballerina-takes-legal-action-against-managers-of-balanchines-ballets/2019/02/28/f0dae524-3b95-11e9-b786-d6abcbcd212a_story.html?utm_term=.510fb2bbb8f3

1 hour ago, cubanmiamiboy said:

Exactly. And I assume not because of lack of technical capabilities. 

Well, I didn't write the post you are responding to, but I would say, yes, I have no interest in seeing NYCB dance Revelations because of their lack of technical capabilities--to be precise lack of technical abilities for Ailey's choreography; some might prefer to say lack of stylistic capabilities but in this case style and technique are not so easily separable. Revelations is based in a different way of moving than any works in NYCB's repertory including those that stretch ballet's norms. Ballet dancers can't just waltz (or pirouette) their way into it.

I'm not persuaded that great ballet dancers can do "everything." I saw Tharp's company when young, but after years of watching her work danced by ballet companies, finally watching a real Tharp dancer in her choreography again when I was a little older was still something of a revelation. And this, even though Tharp had been working directly with and on ballet dancers, and was obviously interested in exploring ballet technique/conventions. So after seasons of NYCB's and ABT's Tharp, I nearly jumped out my of seat with excitement when I saw Sara Rudner tear across the stage in some of her choreography at a City Center Tharp evening. It was if I had been watching faded sepia-toned reproductions and suddenly they came to three dimensional technicolor life.

May he rest in peace. I remember his telling one of my favorite classical music stories in a documentary--I no longer even remember what the documentary was about but only what he said in response to one question. And it's less a story than a piece of advice that he heard from another conductor--advice that I often think of when I attend ballet performances and especially when people excuse dancers for being "tired," having "a bad night" etc. (As I myself have done as well. I know everyone has bad--or less good--nights.) 

He was responding to a question about how to stay fresh and engaged when performing the same scores over and over--works like Beethoven's fifth etc. that one is conducting for the umpteenth time-- and he said he always remembered a conductor telling him (or perhaps it was instructing his orchestra members) to keep three things in mind: 1)there is always at least one person in the audience who is hearing the work for the first time 2)there is always at least one person in the audience who is hearing it for the last time 3)there is always at least one person in the audience who has made a substantial sacrifice in order to be there.

I thought this was a wonderful way for an artist to think about her/his responsibilities to the audience--I even take it as a reminder of my own responsibility not to be a disconnected or inconsiderate audience member--- and whenever I remember Previn, I also remember him relaying this story.

Hello Leee and welcome--I'm glad you no longer think ballet is "stuffy and boring." I'm a huge Balanchine admirer, but think Glassworks is one of Robbins' best ballets and am not surprised you find it amazing!

Classic story ballets are very different: since you are in San Francisco likely you should try whatever they have on offer. And if one of the major Russian companies (Bolshoi or Mariinsky) comes to Northern California, it's definitely worth trying out one of their productions. (American and Russian dancers have very different strengths and qualities, and the older classics are more of a home-base for a company like the Mariinsky.)

Also, when you see an older classic I think mentally you just have to accept that the conventions are different from a work like Frankenstein. If that doesn't work for you, then probably you won't get into them as much.

I would say that in a traditional production Acts II and IV of Swan Lake are still among the most breathtaking and moving fusions of dance and music and story every created. And Tchaikovsky's score can be quite overwhelming (in a good way). But whether it would be to your taste? These things are very personal and that's harder to judge. (I adore the Sleeping Beauty, but I do rather suspect that for someone who prefers contemporary work and is a Balanchine skeptic it might not be as appealing.)

I look forward to reading your comments on whatever it is you are seeing.

That link seems to lead to more than the trailer now--but to the show itself. (I didn't have time to watch more than a couple of minutes though.)

1 hour ago, FPF said:

 

I don't think you necessarily need to be the life of the party (I'm an introvert myself), but if I were that choreographer ( assuming that no regrets for not being able to come were expressed), I would probably take not showing up for that dinner as indicating a lack of interest in working with me.

She didn't say she was invited and didn't show up...she said some dancers took him out and that's who got cast. She may not have been invited...She may not have known about the dinner until later OR she may just hate schmoozing.  (Based on interviews I've read with choreographers I rather thought it likeliest visiting choreographers watched company classes and then consulted with the Director as they cast--and wouldn't be surprised if that was important in this case as well, whatever happened over dinner.)

For the rest...being able to network is a great skill. And if dancers need it, then they need it.  I just find the conversation as a response to Messmer's departure from MCB sort of odd. That is, I think it risks being unfair. A talented dancer (some like her more than others) departs a company. Does it have to be her fault that she isn't staying on for a magical career with Miami City Ballet? I can think of a lot of talented dancers who didn't have the careers one might have anticipated and that many people did, in fact, anticipate (Monique Meunier for one) -- presumably in each case there were a lot of different factors playing a role.  And perhaps people on the "inside" of a company feel they know the true story in some of those cases or, as in this conversation, that they can read the problems between the lines in interviews etc. I'm just not so sure.  I'm not a ballet world insider (though I know some who post here may be) and even in professional situations in which I am an insider, I rarely feel I know the entirety of what causes things to play out they way they do.  So for me, shaking one's head over Messmer because she shows a little bit of an edge in interviews just seems as if it might inadvertently be unfair to her.

21 minutes ago, cubanmiamiboy said:

As soon as she joined the company Messmer was given opening nights in all the Principal roles. As fast as she could she danced Odette, Giselle, Titania, The Fairy in The Fairy's kiss and everything in between. As an audience member I thought it VERY pushy and sort of ...unfair for other lower ranking emergent talent that was, in my subjective eyes, more deserving of the opportunities. Or at least her inception should had been more balanced, and it wasn't....

I think that's a complaint reasonably directed towards Lopez not Messmer. In most cases, dancers can't be expected to say "no...let's go slow...I prefer not to dance that role" etc. Even if someone presses for big opportunities when joining a company, then it's the director's responsibility to find the right balance when casting them.

(When I refer to Messmer as distinctive--I'm thinking of particular performances and all of them with ABT. For example: a Queen of the Wilis in Chicago where she danced with a kind of fear-some power that brought to mind the relation of the Wilis to vampires.)

1 hour ago, pherank said:

This is a bummer for the audience, to be sure. But as time goes on, it becomes more clear that Messmer finds reasons to not be happy with her current situation. She has never struck me as a person who "takes things in stride". She may well rub many people the wrong way.
Of course, it may simply be a case of a person whose personality does not fit well in the stage arts environment. Maybe she needs a 9 to 5 (or 9 to 10!) corporate job with clear hierarchy in place.

Messmer is an interesting and distinctive ballerina--a genuine artist--why speculate she needs a 9-5 job?  She certainly has never said anything in an interview that suggests she yearns for corporate work or office life.  One might as well say, she might be happier spelunking in Luray Caverns. 

Messmer spent quite a number of years at ABT, made what looked to me from the outside a reasonable decision she wasn't getting enough opportunities there, had a very brief stint at San Francisco and longer stint (several years) with a number of great roles at Miami City Ballet; a period of time that arguably was quite a success for her career even if it hasn't lasted longer than 3 seasons. I agree that she may not have realistic expectations of what satisfaction she can find in a ballet company. (And it's not as if the world of classical ballet doesn't reward certain kinds of conformity; it rather obviously does.)

From my perspective, if she is having difficulties finding a ballet company to call home for a long career, then that's a loss for ballet and possibly a loss for her. No one (and no company) has to be to blamed or second guessed. And if it is her problem--well, she's paying for it. But I suspect that that may be too simple a way to look at her career. For example, other dancers and commentators and fans have spoken about some of the same things at ABT that seem to have influenced her departure. Fact is, dancers with talent and even dancers with clout sometimes don't find their way in the ballet world an entirely smooth one. (Heck even Alina Cojocaru departed the Royal Ballet at the height of her career on less than friendly terms.)

I was typing this when you wrote your second post @pherank  . I can't quite go so far as to imply that Messmer is "unappreciative" and for that matter rather suspect that some of her 'marching to the sound of her own drum' is part of what makes her an artist even if it hasn't helped her career.  Of course, I would love for her to have found a longer-lasting artistic home at Miami City Ballet--and she hasn't. That's too bad (or seems so to me), but from the outside looking in, I'm not inclined to assign blame to anyone -- including Lopez and including Messmer herself. I do hope there are good things in Messmer's future and preferably on the stage.

Disappointing  news. I hope she finds a new artistic home.

14 minutes ago, Rock said:

This was clearly not well handled, which leads more credence to Bouder's version. I just feel Jon Stafford was caught in the middle and is blameless here. But whatever was done it was done before the casting was posted - which was 2 weeks in advance. We wouldn't know anything about it were it not for Bouder speaking out. I think she made a misstep. 

I think the Board has allowed a situation to develop that seems increasingly untenable, and THAT is where the heat should be directed. (Who can step gracefully amidst such an unpleasant tangle? All of the dancers are potentially in impossible situations.)

4 hours ago, canbelto said:

I actually think Bouder unwittingly fed into some stereotypes about females and ballet when she made the complaint to the NYTimes. If she had simply spoken about Martins' undue influence it would have been one thing. But by specifically mentioning Sterling Hyltin and citing the reason she thinks Hyltin was first cast, she's fed into this stereotype that females can't get along, that it's easy to divide and conquer quarreling females, and also fed into some Black Swan-type stereotypes about ballerinas. 

I'm not saying that she should be silenced. But the average reader is going to read that article and picture a catfight royale backstage and that's sort of a shame. I agree that a strong AD needs to be hired ASAP because right now this sounds like a Dynasty-era soap opera.

I don't agree-- the anger was clearly directed at Martins. I do think Bouder would have been smarter and more gracious not to mention Hyltin and I wish she hadn't but I don't think there was anything catty about it. Might people read it that way? Honestly, I think even if she hadn't mentioned Hyltin people might read her speaking out as disrespectful to Hyltin (who, as mentioned above, is one of my favorite ballerinas). In fact, I'm fairly confident they would. After all, she didn't have to mention Hyltin for it to be obvious enough who replaced her.

As far as I can tell, this is really about Martins' role at the company--what is it going to be in the future?--and the board. And given the way the board has conducted itself there is some reason to believe that people are speaking out to the press because they don't feel important issues will be addressed otherwise. Are they right? Are they justified? I haven't the faintest, but from what I do know I am not inclined to believe Bouder is the problem here. Or Stafford.

Jonathan Stafford is apparently just as concerned over what happened—which makes this about rather more than Bouder’s thoughts.  Or her Aurora.

I’m a Hyltin fan by the way  — though I like Bouder in many roles. 

Right now I’m more inclined to wonder about the judgment of the board in allowing this situation to linger (WHATEVER Martins’ motives) than about any of the dancers.

(A range of opinions have been expressed in the thread on Martins’ sexual harrassment suit where this also came up.)

I don’t think Bouder insulted Hyltin...(Hyltin is one of my favorites)....she just wasn’t very tactful about the politics. Better if she left Hyltin out of it of course. I assume emotions are running high. 

The issue seems to be the lateness of the casting change-up by Martins. (I am basing that in Stafford’s comment that he had considered the casting settled.) Even if one prefers Hyltin as Aurora—and some do— change-ups of that kind do raise questions—rightly or wrongly—about ballet politics. The company is in an odd situation right now and, for the ballet world anyway, Bouder IS quite  outspoken.

I don’t know if I think of Stafford speaking out as an indication of “weakness” or just his sending a signal about what is not sustainable in the current leadership structure. Whoever the next Director is going to be, and however well the company is dancing, the situation could use some resolution....

13 hours ago, Buddy said:

 

 

Jewels listing. Good news, for me anyway, Maria Iliushkina will be in Emeralds. Maria Khoreva (debut?) is Diamonds. I'll be very curious as to how she does. It's a big one. 

 

Khoreva has danced Diamonds -- there is footage of it online--so her appearance at the festival won't be a debut. Though nearly....

I hope you have a wonderful time at the festival. I would love to see Tereshkina's Swan Lake and Kowroski joining the company in the festival performance of Serenade is certainly nice to read about. 

I plan on attending as well. I don't see as much world class ballet as many posting here anyway, so even flawed performances usually offer much I can savor. And if only the Bolshoi were bringing Bayadere to London, then I would be plenty thrilled--all ballerina debates notwithstanding. Instead I am likely to see a lot of Swan Lake  in a production I have seen multiple times before and find...well...let's say...not to my taste.  But it is a rare chance for me to see the company live; the last time was in 2014.  However revealing video may be, there is a lot it doesn't tell you even in high quality broadcasts of full performances. Based on video alone I always admired the Mariinsky's Tereshkina but I wasn't swept away by her dancing. When I finally saw her live in a great classical role, I was swept away. I now can't wait to see her again._ 

 I will try to extend my trip to include Bright Stream as well as Swan Lake. It's a ballet that I would love to see the Bolshoi dance as I've only seen it with ABT and just the one time (I think I saw Murphy, Herrera, Gomez, and ...can't remember the other male lead...) Possibly I can manage the opening Spartacus as well and I would also be very pleased to see Zakharova's Aegina live.  (Dates are dictated by work which covers the airfare, but in a best case scenario. the plan is to see all three of these ballets. Perhaps I will have the chance to meet some of you in London?)

Tours en L’Air whose organizer sometimes posts here does ballet travel trips —likely there are others. I have never done one of these but may in future for the same reasons you give.. I am on an iPad and can’t do a link, but I’m sure if you google “ballet travel” WITH “tours en l’air” or some such you can find it. You can do searches on this site as well.

Atlanta Ballet is performing Kobborg's staging of Bournonville's La Sylphide this weekend and next.  Though I give my impressions at length, I am very eager to hear from others who saw this. I say Kobborg's staging but it's not identical to, say, the version he staged for the Bolshoi that has been twice broadcast. Kobborg's program notes mention that he makes slight adjustments every time he stages the ballet on a different company to suit each particular company's dancers. But the change I noticed seemed rather more significant than that--and whatever led to it, I was pleased.   The Bolshoi-Kobborg version (which I only know through video) concludes with its gorgeous but "used up" looking Madge revealing her sylph like underskirt in a gesture of quasi-sexual vulnerability as if to suggest a whole Madge back story to explain her actions (which have always seemed to me plenty explained by James's unkindness in Act I as well as larger cultural/social norms informing the ballet's libretto).

At this afternoon's performance we were spared this Madge-the-fallen-Sylph image which seems to me to make hash of the story. (After seeing the Bolshoi broadcast, I was left scratching my head: so wait...sylphs CAN have sex? In which case...isn't the sylph heroine of Bournonville's ballet a bit of an unpleasant c**k tease--as opposed, say, to a supernatural creature a human man can never possess? And who exactly does Madge hate? If she wanted revenge against other sylphs, then why does the ballet end with her gloating over James, but If it's revenge against James, then are we supposed to think they had an affair? (Which would explain  why he is such a jerk to her in Act I but not why he is so surprised and full of questions when he first sees the Sylph at the ballet's opening.) Kobborg , who obviously has far, far greater knowledge of the ballet than I, may well have good answers to all of these questions, and others may say I'm overthinking anyway, but for me the point is -- why raise these questions at all with an image that pretty much invites overthinking and does so JUST as the curtain is coming down on the ballet. I gather Hubbe's production also implies back story for Madge and James--so maybe this  speaks to Danish stagers -- or former Jameses -- in a way it just doesn't speak to me.)

The Atlanta Ballet production has designs by Desmond Heeley (the Bolshoi's are by Peter Farmer)--which I liked very much, especially Act I's splendid, but still rough hewn Scottish Castle Hall. Act II was more of a conventional tangled forest backdrop, very pale in its color palette--presumably to suggest we were seeing the trees through the mist even when the dry ice machine wasn't filling the stage with waves of stage fog.  

Without the Madge business to distract me, I was very satisfied with this production and with this performance. I best remember Bruhn's production for ABT and Kobborg includes some dancing I'm not used to seeing. Kobburg's notes mention portions of the score he uncovered along with some of Bournonville's notes on what he staged (or wished to stage?) to that music. Certainly the additions seemed to me tactful enough. That said, I'm no Bournonville expert and would like to hear what those who are, or those who know at least the older Royal Danish Ballet versions, think of them--in particular, what they think of the little inserted pas de deux where James and the Sylph seem to "feel" each other's touch without actually touching. Anyway, for me this was a very satisfying account of the ballet and the company made a very good showing in it. I especially enjoyed Kobborg's inclusion of children in the reel and, of course, live music.

At the Matinee I attended, Sergio Masero-Olarte and Airi Igarashi danced the leads. I can list what seem to me, as an amateur, to have been flaws in his performance -- not the neatest fifth positions in the world, especially in Act I when he had to alternate tours an l'air in different directions, not the most beautiful feet to "finish" off the choreography's marvelous footwork, a sunny stage persona that perhaps falls a little short when he has to shift into showing James's guilt and anguish, and here and there not enough natural ease in the upper body. But I think that list is misleading, because I found this in many ways quite an enjoyable and effective performance. For one things his jumps kind of exploded into the air and got very good height (I know it's Bournonville, but they didn't look effortful--just had a kind of firecracker quality on lift off); and even if his feet aren't, say, Malakhov gorgeous, his footwork did have speed; for another he really dances his variations, so they aren't just an assemblage of steps but flow together. Add to that: his mime was clear and natural; his chemistry with Aigarashi excellent; and he has natural stage charisma. You want to look at him.  Igarashi was also very fine--her upper body in particular--her head, shoulders, eyes along with arms, hands, and fingers all seemed exactly right and quite wonderful. Here, too, it might be interesting to hear from Bournonville experts what they thought of her and more particularly of her dancing on the technical side. I found it excellent, but lacking a bit in the melting, feathery, airiness -- the illusion of flight -- that makes some sylphs so unforgettable. (But the fact that I found myself mentally assessing her in relation to some of the best Sylphs I've seen should tell you something.)

Bret Coppa, a company apprentice, was very much a comic--even dopey Gurn. (I think that's the production not his personal choice.) Francesca Loi--one of the company's most beautiful woman--a malicious, furious, over-the-top Madge. I think she should have restrained herself from audibly spitting on James at the end and just mimed it, but it gives you an idea of the intensity she brought to the part.  Alvarado's Effie was pleasant, but I bet with more experience she will be able to do more with the role, and this production doesn't include the moment (or the performance I saw didn't include the moment) when Effie is walking in the marriage party with Gurn and seems to intuit James's presence...stopping  to turn as if she sensed him nearby...a moment I always find very touching. But I think the best "secondary role" dancing I saw this afternoon came from Jackie Nash--who also is dancing Effie with a different cast. As a semi-featured dancer in this cast's Act I, her crisp, fast footwork and lively presence made for a miniature highlight within the party festivities. I would love to have seen her Effie and if the company ever stages a Bournonville Variations type ballet would like to see her given a shot in something like the pas de six and tarantella of Napoli--I think she would tear up the stage in the latter--or maybe even in something like Flower Festival pas de deux (?). Anyway, she looked great.

If the Cobb Energy Center were less difficult for me to get to and...uh...I didn't have to work, then I would have tried to see all three casts of this Sylphide (Carrico and Martin danced the opening with Nadia Mara as Effie; Assef and Gaifullin are alternating with them in other evening performances with Nash as Effie) -- and I very much enjoyed this afternoon's performance.

The production looks pretty stunning visually at any rate...I read in your review they don't give any cast information or indeed information about the ballet and its background. That seems a shame all round.

Eager to read reports about this--at almost any other time of year I would have made the trip to Chicago...I do hope to see it on video at least at some point.

And I think Cojocaru is not to be missed in anything.

Congratulations from me as well!  I always gain something from your writing...