Dancingdemon

When I was at SAB, in the 1990's, we could get complimentary tickets to all the NYCB performances except Nutcracker because there were no available tickets! One time I bought the only ticket I could afford - standing room fourth ring. It's very sad to me that ticket-wise NYCB isn't doing as well as before. I want continual growth! The dancers now are even stronger and better. They aren't the reason for the downshift!

Would someone give their thoughts on the gala last night? 

14 hours ago, Coryphée said:

I don’t understand casting Ashley Bouder in Scotch Symphony. She is anything but an ethereal sylph and drained the poetry from the ballet. La Sonnambula was suitably mysterious with its Gothic-novel scenery, haunting music and strange story. Taylor Stanley and Sara Mearns were perfect. I was sorry to miss Hyltin in this role, but Unity Phelan was very good. As everyone has said, Ulbricht is a fantastic Harlequin.

I'm guessing she was cast in Scotch Symphony because the costume hides her weight gain better than the costumes for the other ballets. Her weight gain will probably be more obvious at the Fall Gala when she performs in Symphony in C. I'm actually surprised they let her onstage...

There are several unclear aspects of this article. That's the fault of the writer(s), not the subject matter. However, I must ask the question, "How many of you on this site have previously or are currently dancing professionally?" Not many, I would assume. So, I think you might not understand. The manner in which she was treated was totally unfair, full stop. She was a long-standing principal dancer with one of the highest-ranked companies on the planet. To be relegated to understudying various parts and also removed from the opening night of her final role is abhorrent. That her estranged brother is leading the organization is the final blow. How do you manage in such a situation? You barely manage, is how. 

ASL, thank you for sharing your story. It sounds like a horrible situation. 

On 2/5/2022 at 3:57 PM, BalanchineFan said:

It's not a book, but, for me, the recent documentary In Balanchine's Classroom has tried to address some of these issues regarding Balanchine's teaching (in class), how it helped performers who danced for him, and how they are passing it on.  A lot of "non-star" ballet dancers are interviewed.

Has anyone read John Clifford's book, Balanchine's Apprentice: From Hollywood to New York and Back? It is IN NO WAY a biography as you describe, but a chatty, readable memoir.

I just finished it and really enjoyed it! I especially liked many of his anecdotes about his time with Balanchine and also the comments Balanchine would make about various topics. It reminded me of Jacques d'Amboise's autobiography in that sense. I'm so curious who the "senior ballerina" was who visited Balanchine in the hospital and he feigned dementia so she would leave!