Helene

Casting is up for Opening week, and there are five different casts: https://www.pnb.org/season/15-16/nutcracker/#casting Here's the spreadsheet: PNB Nutcracker 2015 Week 1.xlsx I wish there were baseball-like cards for the cast lists, so that we can collect the entire set over the next decades.

PNB just tweeted another photo of Elizabeth Murphy in her Sugar Plum Fairy tutu, and it gives an indication of how it will move: https://twitter.com/PNBallet/status/667509794576535552

They may not be paying for her.

If she's using the vlog like a diary, and her schedule is intense, then nothing, I would expect her vlog to reflect the dual nature of her schedule. It sounds like one that would increase the risk of injury and be difficult mentally.

I thought this statement made it clear that last weekend's performances were her last, and normally, when a Principal Dancer retires/leaves at the end of a season, a mention of a farewell at Season Encores is usually included"

In the letter from Peter Boal emailed to the mailing list were excerpts of the press release and a link to Chapman's dancer profile video from 2011: I've tried to identify her partners, and any help and corrections would be appreciated: In the middle, somewhat elevated: Casey Herd? On Flat Thing Reproduced: Batkhurel Bold is in yellow, but I'm not sure who's in blue Symphony in C: Jeffrey Stanton? Emeralds: Jeffrey Stanton 3 Movements: First partner-? Second partner: Seth Orza (earlier and later clips) Nine Sinatra Songs: Anton Pankevich Cinderella: Seth Orza

This is the press release -- I'm still in shock and denial: Pacific Northwest Ballet Principal Dancer Maria Chapman Announces Retirement SEATTLE, WA, November 17, 2015 — Pacific Northwest Ballet Artistic Director Peter Boal and principal dancer Maria Chapman have announced that Ms. Chapman has decided to retire. Ms. Chapman joined PNB as an apprentice in 1995 and was promoted to corps de ballet in 1996, soloist in 2005, and principal in 2009. “In her 21st season with PNB, Maria has made the difficult decision to retire from the stage,” said Mr. Boal in his announcement. “Maria’s career has been filled with extraordinary roles, but it is her most recent real-life role, as mother of precious Eleanor, that has quickly become her favorite.” “With mixed emotions, I announce my retirement from PNB so that I can enjoy more time with my daughter,” said Ms. Chapman regarding her decision. “I feel blessed to leave the stage happy and healthy and with two decades of wonderful memories, on and offstage. I fully enjoyed my last performances with PNB, dancing three wonderful ballets, with the entire company, in the EMERGENCE program, and I can end my career on a high note. I know I will always miss this spectacular career, and the PNB community, however when Eleanor came into my life sixteen months ago, my goals changed and she became my world. As I did when I left home at age 15 to become a ballerina, I once again leave a safe ‘home’ to follow my heart to be a full-time mom. I am truly grateful to all of my fans, friends and family for the love and support you gave me throughout my career.” Mr. Boal continued: “I have had the unique pleasure of watching Maria grow from a gangly-legged student at the School of American Ballet, to an accomplished artist and beloved ballerina. Maria’s range has been tremendous not only in works by George Balanchine, Jerome Robbins and Kent Stowell, but also as a muse to many choreographers. I will never forget her quirky allure as the punk heroine in Twyla Tharp’s Afternoon Ball, her embodiment of beauty in Christopher Wheeldon’s After the Rain, her innate elegance in the second movement of Balanchine’s Symphony in C, or her poignant portrayal of Odette in Kent Stowell’s Swan Lake. In addition to her artistic triumphs, she has been a true advocate for academic education for dancers, as the chair of Second Stage, PNB’s career transition program. We will miss Maria on our stage and in our studios, but we are most happy for Eleanor.” Maria Chapman is from St. Simons Island, Georgia. She was a student of Magdalena Maury and studied under Patricia Bromley at Terpsichore Co., Ltd. in Atlanta. She continued her training on full scholarship at the School of American Ballet and attended summer courses at Boston Ballet, Houston Ballet, Joffrey Ballet, Pacific Northwest Ballet School, and the School of American Ballet. She joined Pacific Northwest Ballet as an apprentice in 1995 and was promoted to corps de ballet in 1996, soloist in 2005, and principal in 2009. Ms. Chapman has danced leading roles in George Balanchine’s Agon, Apollo, Concerto Barocco, Coppélia (Spinner), Divertimento No. 15, Emeralds, The Four Temperaments, A Midsummer Night’s Dream (Divertissement pas de deux, Helena), Symphony in C, and Symphony in Three Movements; Peter Boal’s Giselle (Myrtha); Todd Bolender’s Souvenirs; David Dawson’s A Million Kisses to My Skin; Ulysses Dove’s Dancing on the Front Porch of Heaven and Vespers; Nacho Duato’s Jardí Tancat; Nicolo Fonte’s Within/Without; William Forsythe’s Artifact II, In the middle, somewhat elevated, and One Flat Thing, reproduced; Kiyon Gaines’ ə{SCHWA}; Paul Gibson’s Sense of Doubt; Ronald Hynd’s The Sleeping Beauty (Aurora in “Aurora’s Wedding”, Bluebird pas de deux); Jiri Kylian’s Forgotten Land and Petite Mort; Jean-Christophe Maillot’s Roméo et Juliette (Lady, Capulet, Rosaline); Mark Morris’ Pacific; Annabelle Lopez Ochoa’s Cylindrical Shadows; Crystal Pite’s Emergence; Alexei Ratmansky’s Concerto DSCH and Don Quixote (Mercedes, Queen of the Dryads); Jerome Robbins’ The Concert, Glass Pieces, and In the Night; Kent Stowell’s Carmina Burana, Cinderella (Cinderella), Delicate Balance, Firebird, Nutcracker (Clara, Flora, Peacock), Silver Lining, and Swan Lake (Odette/Odile); Susan Stroman’s TAKE FIVE … More or Less; Price Suddarth’s Signature; Lynne Taylor-Corbett’s Mercury; Twyla Tharp’s Afternoon Ball, Brief Fling, In the Upper Room, Nine Sinatra Songs, Opus 111, and Waterbaby Bagatelles; and Christopher Wheeldon’s After the Rain pas de deux, Polyphonia, and Tide Harmonic. She originated leading roles in Kiyon Gaines’ ə{SCHWA} and Sum Stravinsky, Benjamin Millepied’s 3 Movements, and Victor Quijada’s Suspension of Disbelief, and featured roles in Donald Byrd’s Seven Deadly Sins and Christopher Stowell’s Quick Time. Ms. Chapman danced in the BBC’s 1999 film version of PNB’s production of Balanchine’s A Midsummer Night’s Dream, filmed at Sadler’s Wells Theatre, London. She is also featured in the 1999 danceWORKS fitness video and began appearing in Bloch dancewear advertising in 2002. In addition to her performing career, Ms. Chapman is a founding member (1998 to present) of Second Stage for Dancers, PNB’s career transition program. She is currently chairperson of the Second Stage Dancer Committee.

We'll have to agree to disagree on this one

[Admin beanie on] There is an official source that states that choice of partner influenced Osipova's decision in this case. Polunin's press conference remarks were reported in the press and cited earlier. An official source is needed for any discussion of roster changes, past and present. [Admin beanie on.]

Last Friday, Fresh Air remembered Allen Toussaint with a montage of his music and his 1998 interview with Terri Gross: http://www.npr.org/2015/11/13/455785569/fresh-air-remembers-hit-songwriter-pianist-and-producer-allen-toussaint

SFB just tweeted that Pascal Molat will be speaking with ACT Director Carey Perloff tomorrow, Monday November 16 at 7:30pm at the Strand Theater as part of Words on Dance. Tickets are $40 (Orchestra) and $20 (Mezzanine). From the website: WORDS ON DANCE PREMIERE SCREENING RITA MORENO AND CHRISTOPHER WHEELDON in conversation Filmed in New York, April 2015. Film clips of Wheeldon's choreography including his Tony Award winning choreography from the Broadway show AN AMERICAN IN PARIS SAN FRANCISCO PREMIER From Tribeca Film Festival: EARLY SUNDAY MORNING • Produced and starring American Ballet Theatre Principal ISABELLA BOYLSTON, American Ballet Theater Principal JAMES WHITESIDE, Choreography, JUSTIN PECK. • Words On Dance conversation screenings with Isabella Boylston, and Justin Peck WORDS ON DANCE LIVE ONSTAGE CAREY PERLOFF with PASCAL MOLAT • San Francisco Ballet Principal Dancer Pascal Molat, in conversation with ACT Artistic Director, Carey Perloff, screening of Pascal Molat in early studio footage Paris Opera Ballet, and San Francisco Ballet selections • Acclaimed dance filmmaker KATE DUHAMEL, film premiere featuring Pascal Molat

I hope the same.

Maria Kochetkova just tweeted a link to an Instagram photo of her dancing "Sleeping Beauty" with Polunin in Paris: https://twitter.com/balletrusse/status/665010295224541184

Karel Cruz and Lindsi Dec: https://twitter.com/PNBallet/status/664658417433247744

If you are in Instagram, there is a URL for every post that can be copied and pasted into a BA! post.

Here is a shot of Price Suddarth's "Signature" with costumes by Mark Zappone. Whoever owns the design should market the women's costumes as leotards. I love the color combination he's chosen best, but this could be done in a full range of color combos. I think every dance student in North America would buy at least one: https://www.facebook.com/PNBallet/photos/np.1447217454935448.688777437/10153399940493952/?type=3&notif_t=notify_me_page I think this is Elle Macy and a hidden partner, although the legs look like Lesley Rausch's, too. .

Allen Toussaint, whose music is the score to Twyla Tharp's "Waiting at the Station," and who performed with PNB when the ballet premiered, died after a concert in Madrid at age 77. Here is the obituary in the NY Times: http://www.nytimes.com/2015/11/11/arts/music/allen-toussaint-dies.html?_r=0 (Thanks to a heads up.) Rest in peace, Mr. Toussaint.

November is when she starts rehearsing; she may already have started. Peter Boal mentioned several times in Q&A's that she'll perform first in "Nutcracker."

Also ABT Studio Company. The Joyce website also has Miami City Ballet listed overlapping with ABT Studio Company, but MCB is performing at Lincoln Center.