pirouette

I spent thirty minutes confused on how to purchase tickets. Clicking 'Access Priority Sales' sent me to the informational page without allowing me to actually buy the tickets. When I went to Season & Tickets and clicked to filter By Date, no dates showed up. For some reason, I only got the dates to show up when I logged in with an incognito window. By that time, my first choice seats were gone, but I was still able to secure decent ones for the 75th Anniversary, Russell Janzen Farewell, and Fall Gala (unfortunately can't make it to opening night). No luck calling the box office. By the way, does anyone know if there's a way for subscribers to exchange tickets online? Or is this through phone/in-person only?

I agree with most of these, but especially Woodward in Bizet 1st Movement, Maxwell in Rubies, and Nadon in Agon. I would also love to see Nadon in Bizet 2nd Movement and Diamonds in the future.

Would love to hear everyone's "dream" casts for the big roles this fall! And even winter/spring!!

Thanks for the info and clarification!

Does anyone know whether flex subscribers get to choose the specific seat they get? Or are we only allowed to pick the area (Orchestra A, B, etc.)? I'm thinking of purchasing a subscription package for the first time, but I really don't want them to assign my seats for me.

I was there for both the dress rehearsal and performance at the Kennedy Center yesterday and thoroughly enjoyed all the performances. Megan Fairchild and Joe Gordon were a delight in Square Dance — I saw this ballet this past spring with Erica Pereira and thought it was just alright, but Megan really made me smile with her quick and precise footwork, musicality, and playfulness that she brings. The corps formations in Square Dance were a little messy at times, but timing was pretty good. I initially didn’t really enjoy the serene male solo on first watch, but Joe Gordon was BEAUTIFUL in it and changed my mind. Like Angelica mentioned above, his carriage is lovely and it was again very evident in Afternoon of a Faun. I brought a first-time ballet-goer with me last night and that was her favorite of the night! Concerto Barocco was wonderful. Mira Nadon has the most exquisite lines, which she really showed off during the pas de deux. I was also really struck by the fluidity of her upper body. I hope she will have her New York debut in this role this fall, I would love to see her dance it again. Isabella LaFreniere was also terrific and danced big with attack. After seeing Nadon and LaFreniere dance together in Rondo and now Barocco, I think they complement each other really well! Glad to see Tiler Peck back from her injury. She’s always great in this role (Donizetti Variations). Roman brought the house down with his usual bravura. A high note to end the night of really solid performances!

Thank you both!

Hi all - I am in need of some advice regarding the seating options at the KC Opera House. I'm going to DC to see NYCB on June 6th for the Founding Choreographers program (Square Dance, Concerto Barocco, Afternoon of a Faun, and Donizetti Variations). I'm debating between Orchestra Center Row AA or Tier 2 Center Row B. How is the rake in the orchestra section? I am 5'1 so I'm a little worried about obstructions. Nearly the entire row in front of AA is empty right now but not sure about on the day of. Do you find Tier 2 to be too far/high up? Appreciate any input!

I was at the matinee performance today and thoroughly enjoyed both programs. It was my first time seeing Pictures at an Exhibition and I quite enjoyed it! Alexa Maxwell was magnificent in her pas de deux with Tyler Angle, whose baldness did not bother me at all in this piece. Indiana Woodward and Daniel Ulbricht were also terrific in their respective roles. Regarding the Ukrainian flag at the end, I personally did not think it took away from the piece. However, I did wonder whether a casual watcher would think the piece was some kind of commentary on the war and be confused about it. In any case, the audience received it warmly and the applause at the end was enthusiastic. I've seen Balanchine's Swan Lake a number of times now and I enjoy it well enough. It IS a shortened version and is missing the iconic black swan act, but I think it's well-condensed for anyone who might struggle with full-length ballets. Unity Phelan and Joseph Gordon gave a solid performance. The last sequence when Odette says goodbye to Siegfried, backs away offstage and transforms back into a swan always gives me chills. I would've loved to see Sara Mearns instead but just grabbed whatever ticket was available. In other news, Mimi Staker is retiring from the company. Today was her last performance. Saw it on Tiler Peck's Instagram stories.

Wow how exciting! Thanks for reporting.. I didn't realize they had announced casting. I'm going to DC for the dress rehearsal and the show on June 6; will let you all know my thoughts!

I was at this afternoon's performance of Copland Dance Episodes. It was my first time seeing this ballet, and I have mixed feelings. The beginning and end were captivating and there were some explosive, playful, and fun moments throughout but overall it really lulled in the middle for me. I had some trouble staying focused and not letting my mind drift. I do think it warrants a second viewing; I'm curious to see how I appreciate it the second time around. The highlight for me was Mira Nadon, who had some lovely moments with Taylor Stanley. It was evident that all the dancers really enjoyed dancing this piece. The people next to me were also unfortunately very distracting They were a whole family and I cannot imagine why anyone would bring three small children under 10 to see a 76 minute contemporary ballet piece with no set, no story, minimal costumes, and no intermission. The little boy next to me was asleep within the first fifteen minutes and snored the whole way through. His sister next to him kept whispering to her mom. Curious what made them choose this program to bring the kids to.

In the comments section of her most recent Instagram post, Peck said: "yes I am sad to say I will be missing my last 4 shows of the season 😕 but have to give a minor injury some love so it won't turn into a bigger one."

At the matinee right now. They announced over speaker that Emilie Gerrity is dancing in place of Sara Mearns in Namouna. Bummed because I came specifically to see her but hope she is ok.

Pollack danced in La Valse in Winter 2022 and Apollo in Spring 2022. She's had to sit out due to her tendinitis. More recently, she performed in The Times Are Racing during NYCB's tour in Madrid.

I think she might've been the one who comes out at 3:20 right before Tiler Peck, then goes to stand a little off to the right side.

Just came home from tonight's show. Standouts of the night were Ashley Laracey in Concerto Barocco and Emily Kikta in Kammermusik. Miriam Miller danced well but was a little bland in comparison. The two women behind me also exclaimed at the end of Kammermusik: "The dark haired one was amazing!" I hope they promote her in the near future, I think she's ready for it.

The 2023-24 season has been announced!! The fall season is dedicated to Balanchine, with LOTS of his classics being performed. The winter and spring also look very exciting! Some of the great ballets making a return include Jewels, Serenade, Symphony in C, Tchaikovsky Piano Concerto No. 2, Dances at a Gathering, Theme and Variations, The Concert, and MUCH MORE!! I'm so looking forward to this, so many of my personal favorites are on the programming! https://www.nycballet.com/season-and-tickets/seasons

For those of you hoping to see Copland Dance Episodes this coming season, NYCB is offering $38 tickets in the orchestra and third ring for all the Copland shows: https://www.nycballet.com/season-and-tickets/offers/your-exclusive-offer-to-return-ars23?utm_source=Social&utm_medium=Instagram&utm_campaign=FY23ARS23Offer&utm_id=FY23ARS23Offer&fbclid=PAAab2-WlxUAFJYgBLD5vMHXSYq6vEZliO3fryH9EUMUskJee7OzEkDQvNdtU_aem_AUytLvuS1YMz8enivJG_gEtfRwbE0Uh_d1NG0rB1pDiGa9yIap8LV9Zg-yKCzrkp5tndQdsY_zCHAuPhYulPdWFxWF6UjTGJ3InaSqRJ3ol9M9cUh1AJBf48g8Cbqi6gxEk The promo is also available for the 21st Century Choreography II program.

Sara has expressed on her Instagram that she plans to come back for the spring season, so hopefully everything goes well for her! Congratulations to Alexa Maxwell, Olivia MacKinnon and KJ Takahashi!! Maxwell’s promotion is long overdue. I have to see MacKinnon and Takahashi in more soloist and principal roles to form an opinion on them. I last saw Takahashi in the Bluebird Pas this past winter and unfortunately thought his partnering could use some work.. I hope the promotion means more opportunities to improve!

Tess is 5'9, Kikta (based on that Dance Spirit article linked above) is 5'10. So not that much of a difference, and Walker partnered Christina Clark in Haieff Divertimento this past season. I believe Clark is taller than Kikta, but someone correct me if I'm wrong.

Maybe they're giving the new Principals their moment right now, and waiting until just before or during the spring season for the new soloist promotions. It will surely happen sooner rather than later, only a matter of when they decide to announce them!

Now that space in the soloist roster has opened up, they definitely need to promote Alexa Maxwell to soloist. It would be egregious and an insult to her not to. I was also holding out my hopes for Laracey, but sadly suspected it wouldn't happen. I personally loved her Lilac. Any other predictions for soloists and when they would announce them?

Ashley Hod just posted on her Instagram story that Mira Nadon, Emilie Gerrity, Isabella LaFreniere, and Roman Mejia have been promoted to principal dancers!

I wonder if this has something to do with the recent rise of 'balletcore' and ballet aesthetics in general, especially on social media. I think ABT and their dancers do a good job on social media of making trends and content go viral (i.e. Gargouillade Gate). People who see these TikToks and Instagram posts and become curious/interested in ballet would then likely pick something mainstream for their first time — hence, Sleeping Beauty. As someone who is in my early 20s and not a dancer, I can count on one hand the number of friends I have who would pay more than $30 to go see the ballet. Some would not even go for free. In my experience, unless they are already somewhat curious or have a deep appreciation for the arts, it's tough to get them to want to come. The ones who are curious or have a glamorized image of ballet in their minds would go for the big popular productions — Sleeping Beauty, Swan Lake, Nutcracker, etc. My own first show at NYCB was SB, though I already appreciated ballet before that. However, it did make me fall in love with NYCB, got me going to their Balanchine + Robbins programs, and made me into the obsessive ballet fan I am today. I do hope many of the newcomers have a similar experience, but building loyalty is definitely tough. Edit: Adding that another thing that got some people I knew curious was when NYCB commissioned Solange Knowles to compose a piece. But people were definitely more interested with the fact that it was new Solange music than the fact that it was a new ballet piece.

Emilie Gerrity posted on Instagram stories yesterday that Brittany Pollack is back in the studio: https://www.instagram.com/stories/emiliegerrity/3043367328726061672/ (only up for two more hours). Not sure how much longer she plans to dance but I do think she'll retire soon.