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nysusan

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Posts posted by nysusan

  1. 19 hours ago, vipa said:

    If I recall it was a strange situation with Kotchetkova that I never understood. Rather than promote Lane they entered a contract with Kotchetkova, and she was a principal danccer with ABT and SanFrancisco Ballet at the same time. I guess the schedules worked out, but I never saw the point. Maria Kotchetkova was a solid dancer, but the times I saw her she didn't blow me away.

     

    16 minutes ago, volcanohunter said:

    Perhaps the assumption was ABT audiences demanded Russian ballerinas, and Kochetkova was closer and presumably didn't require a work visa, so she was less of a hassle. She did have a large following online and was very popular in San Francisco. But that sort of thing doesn't always translate to another city or country. Conversely, José Manuel Carreño proved to be far more popular in New York than he'd ever been in London.

    I always thought it was mostly due to the never ending quest to find Cornejo a suitable partner. Kochetkova may not have been any shorter than Lane or Brandt or Trenary, but she looked significantly lighter than them. She was really tiny. I liked her in modern ballets (most of which I saw her in with San Fran) but did not like her at all in classical roles. I do not know why she left, or whose decision it was (hers or ABT's) but she missed a lot of performances her last season, whether for health or other reasons.

  2. 1 hour ago, abatt said:

    ABT didn't have trouble filling the Met when they had Vishneva, Corella and their ilk as mainstays in the company.  They were permanent company members.  I won't even begin to list the remarkable guest artists that we got to see at the Met.     The real explanation here, in my opinion, is that the majority of the current roster of principals   does not generate excitement and is  not at the same high level as yesteryear, with a few exceptions.  So the dancers won the fight for homegrown talent to perform instead of imports, but now they have about half the number of performance weeks at the Met.  Is that a victory for them and for us in the audience?  I'm not so sure. 

    If ABT was still competing with NYCB due to overlapping seasons, ABT would lose a certain number of balletomanes.   The dancers at NYCB are far more interesting than most of ABT's principal roster now.  In July ABT is the only game in town for ballet, so the extension of the opera season is, in my opinion, a blessing for ABT.

    This. 1000%.

  3. I would like to see Wolf Works but with their Spring season reduced to only 4 weeks this is a mixed blessing. I want my Petipa! Now that the big European companies do not perform in NY anymore ABT is the only option here for full length classical ballet. I have to think they will do LWFC again, so add Wolf Works and that only leaves a maximum of 3 weeks for Swan Lake, Giselle, DQ, Bayadere, Coppelia, Raymonda et al ( I know Bayadere & Raymonda are wishful thinking and I didn't even list Corsaire). Not much room for MacMillan & Ashton either. Hopefully they will do a couple of weeks across the plaza 🙏🙏🙏

  4. They are doing 7 performances of Jewels and with Nadon, LaFreniere and Kitka I think they have enough Rubies tall girls (and all 3 are VERY good).

    Sounds like Mearns and Phelan are set for Diamonds, maybe LaFreniere is also understudying as well as Nadon. I saw Miller in the Diamonds pas in Saratoga last year and she was great, I hope she gets it at Lincoln Center this season!

  5. 17 hours ago, nanushka said:

    Of those ordering tickets with early access, was the fee supposed to be charged to donors but just not subscribers?

    I don't believe fee was supposed to be charged to donors or subscribers. It was a glitch they fixed within a couple of hours.

  6. On 7/26/2023 at 8:26 AM, matilda said:

    I think you're referring to the Art Series events, where every seat in the house is $38 (this year probably $40). They always go on sale closer to the event dates, so probably around January. 

     

    On 7/26/2023 at 9:08 AM, meunier fan said:

     

    Thanks so, Matilda.  I didn't realise it was an 'Art Series'.  I live in London so it's sometimes hard to keep tabs on when those go on sale.  

    I think there is some confusion here. NYCB does the Art Series, not ABT. I don't know what ABT's Access performances are.

  7. I went last night. I got there just before 6:40 and the fast track ticket holders were already being let in. General public probably started going in about 6:45. I had a fast track ticket and didn't see how long the GP line was so unfortunately can't suggest how early you should get there. I do think the lines may be shorter than usual this weekend because of the heat wave.

    By the way, I saw Boylston and Ahn in Other Dances. Two dancers I am not crazy about in a pdd I have a hard watching since seeing the originals in the 70s. They did quite well. Ahn played down the Baryshnikov-isms which made it much more palatable for me. He was elegant and his usual lack of presence was not a factor here. Boylston was lovely, very lyrical and they both met the technical demands with aplomb. I love Times Are Racing so it was great to see it again. The rest of the program was fine but there were no real stand outs for me. Well, not quite true - Yannick LeBrun especially and Constance Stamatiou were wonderful in excerpts from the Ailey company's Dancing Spirit, though the excerpts themselves left me with no desire to see the whole thing at their City Center season.

  8. On 7/19/2023 at 1:01 PM, Anthony_NYC said:

    There is still nothing on the NYCB website or in their brochures about Nutcracker for December 2023. Does anybody know when the schedule will be announced and single tickets are likely to go on sale?

    The schedule is up on the website now, you can see it here. In one place it says tickets are available to the general public 9/25 at noon and in another it says 8/7. But that 8/7 says single tickets on sale to the public so I'd bet the Nutcracker tickets go on sale 9/25. You can call the box office to clarify.

  9. 4 minutes ago, fondoffouettes said:

    With Shayer and Gorak's departures, they now have just two male soloists (one of whom is Hoven, who now rarely dances). I really hope this means we may see two or three men promoted to soloist in the near future. 

    Yikes, they really do need more male soloists. I think Curley will be promoted for sure. It would be early to promote Roxander, but I wouldn't complain! Possibly also some combination of Gonzalez, Frenette, Ishchuk, Maloney and Klein. Would love to see Agoudine & Tamm promoted but I doubt that will happen

  10. 1 hour ago, bingham said:

    Any reports of last night’s R and J. How was J Gorak and B Hoven?

    I thought last nights R&J was very low energy - especially the first act. I love Bell and although he was great technically I didn't really see the same sweeping romantic lines I remember from Gomes, Hallberg or even Bolle. There was very little chemistry between him & Teuscher. She, again, had technique to spare and while her dancing was pretty for me it never went beyond the surface - I never felt the instant unbridled love between them and the balcony pdd was pretty underwhelming. She was much better in the last act -  her Juliet conveyed extreme desperation and became quite compelling - but a great act 3 and a dull act 1 just don't add up to much in my book.
     
    I was so happy to see Gorak and Hoven. Both did well and I thought Gorak looked great - don't know why they havent been casting him. Gonzales was a good Mercutio but not a great one, I can't wait to see Roxander take on that role. Forster's Tybalt was very menacing and a good match opposite Bell's Romeo. It was wonderful to see Abrera onstage again but Lady C isn't a dancing role. I didn't stay for bows so I don't know if she got any kind of a tribute but I wouldn't expect one under these circumstances.
  11. 1 hour ago, Anthony_NYC said:

    There is still nothing on the NYCB website or in their brochures about Nutcracker for December 2023. Does anybody know when the schedule will be announced and single tickets are likely to go on sale?

    Advance sale for subscribers starts next week on 7/27. Thats for the 23/24 season and 23 Nutcracker so they will have to have the 23 Nutcracker schedule by then, I don't know when tickets go on sale to the general public.

  12. I did not like On the Dnieper dring its premiere season, and if I didn't like it with Part, Gomes, Hallberg & Herrera I can't imagine liking it with ABT's current dancers. I may skip it, but the other 2 programs look wonderful.

  13. I went to the Sat mat SL specifically to see Bell and despite the fact that I have avoided Seo since the days of McKenzie's Hee Seo Ballet Theatre when there were lots of ballerinas out with injuries and he had Seo sub in for pretty much all of them. I saw her step in for Murphy with Gomes and then I think later in the run dance it with Bolle. I always thought she had beautiful arms and epaulment but in addition to her technical deficiencies I always found her to be dramatically inert and unengaged.
     
    What a difference a decade (or so) makes! On Saturday she was absolutely beautiful and emotionally engaging. As Odette her plastique was gorgeous, she moved from one beautiful shape to another and her epaulment has only become more soft and fluid. Best of all, she moved me. She has learned to integrate acting with her dancing and make her dancing more expressive rather than just beautiful. I found her especially heartbreaking in the second white act, which I usually find to be a complete letdown in the McKenzie version. She will never be a great Odile but I thought she was good enough. She was gleeful and seductive and had one great balance and some sparkling moments in her solo. Her fouettes were not the speediest or peppered with doubles and triples and she only did 24 or 25 but she did them musically and without falling out of them or ending up with her back to the audience like some other ABT ballerinas have.
     
    Bell, as expected, was great. I want to see him in everything. Also really loved Coker and especially Lall in the pdt and Crispino in Neopolitan. One weird thing - at the beginning of the program it listed Cy Doherty as swamp thing VR but in act 4 it listed Zhurbin - could that have been a mistake? I was too busy watching Seo and Bell to get a good look at VR but it would be really strange to switch swamp thing VRs within the performance (planned, without an injury).
     
    On Saturday night I agree with abatt that Shevchenko was outstanding technically but not emotionally engaging at all. And those screaming fans really annoyed me - it was not just enthusiasm but was like the commotion back in the day at YAGP galas - very intrusive and inappropriate. Also agree that Royal was sloppy. And in a role I almost never notice the lead man in the Czardas was so compelling I had to look it up to see who it was - and it was Zhurbin!
  14. I agree with the posters who said the Hurlin/Whiteside SL was uneven. I do think Hurlin has the makings of a great O/O, and I think its unrealistic to expect a dancer to have a fully fleshed out interpretation within the first several times in the role. Its so hard technically and so complex psychologically it takes time for anyone to develop their own take on exactly who their Odette and Odile are and be able to communicate that to the audience both through their dancing and acting.
     
    Thinking back to my favorite O/Os from Fonteyn to Makarova, Gregory and more recently Pavlenko, Lopatkina and Part - they had all been dancing the role for years before I saw them, and they all had the opportunity to dance it well more than once or twice a season.
     
    To add to what's been said about Park in the pdt - her first solo variation was just amazing. Not only the technical aspects - but her dancing was so airy and her phrasing was so musical I think this may have been the best pdt performance I've ever seen from an ABT dancer, and I've seen a lot of them!
     
    One quick note about Roxander - he was once again wonderful in the Neopolitan but seeing him with Klein made me realize how short he is. Klein is fairly short and Roxander is shorter.
  15. 1 hour ago, angelica said:

     

    Perhaps when Misty Copeland couldn't finish 32 fouettés at the end of SL?

     

    That was my first thought, too. I remember before that when Veronika Part fell off point during the rose adagio both management and many if not most of us here at BT excoriated her. Then fast forward a year or 2 and Hee Seo completely fell out of the SL pirouettes and management just kept casting her like it was no big deal. Then it was no big deal that Misty can't do the fouettes and now, it seems, Trenary's ok without the hops on point. If the article in the Times is to be believed Jaffe is not concerned that she blew the hops, and this is at least the second time. Everyone makes mistakes and I have no problem if someone blows a bit of the choreography once but if they do it repeatedly and are still cast - well this is how mediocrity happens, and IMO it is most certainly happening at ABT.

     

  16. 43 minutes ago, fondoffouettes said:

    I just wanted to chime in and add to the praise of Trenary's dramatic abilities. I've rarely seen a ballerina imbue so much life and individuality into Giselle in Act I. I recall past comments about her interpretation being unconventional. I hadn't seen her in the role previously, but her performance yesterday seemed completely within the realm of a "traditional" Giselle; maybe she's adjusted her approach.

     
    Fondoffouettes, thank you for your description of Trenary's Giselle characterization. I was curious about all the positive reviews, I deliberately chose not to see her this season because I so disliked her characterization last year at the Koch. Her Giselle was a brat - stomping her feet & pouting. At one point she was flirting so brazenly with Albrecht that it felt like she was trying to seduce him. It took me completely out of the performance and I don't even remember what her technique was like. A friend of mine said she had toned it down this year but based on your report it sounds like she has gone to a more traditional characterization, which is great news!
     
    I saw the Hurlin/Camargo, Brandt/Cornejo and Murphy/Forster casts. I agree with the positive reviews of both Wednesday casts. For a debut performance I thought Hurlin was wonderful and shows a lot of potential to grow into a great Giselle, and I loved Camargo.
     
    Brandt and Cornejo were terrific. I do not think she was "soulless" or overcoached at all. I do think she has room to grow in the role but I think she's pretty wonderful already. A few people have mentioned that she is a more experienced Giselle. That's only compared to Hurlin and Teuscher. Brandt only made her Giselle debut in 2020 and can't have had more than 5-6 performances in the role - hardly enough to have a fully fleshed out interpretation and certainly nowhere near as experienced as Seo, Boylston, Shevy or even Murphy.
     
    In my book today's Cornejo is still better than 90% of ABT's current male principals and I thoroughly enjoyed his performance. In fact, one of the complaints I always had with Cornejo was that for most of his career he was a terrible partner. He improved a lot over the past 5 years and I was super impressed with the way he did the press lift, he made it seem like Brandt was about to float off.
     
    And Jake Roxander just blew the roof off in the peasant pas - lets have lots more of him please! Curley was an excellent and sympathetic Hilarion and Chloe Misseldine and Teuscher are both great Myrtas.
     
    I avoided Murphy's Giselle for a long time because I just couldn't imagine her in the role. I am sorry to say that last night's performance did nothing to dissuade me. Murphy has many strengths but they don't help her at all as Giselle. There is nothing frail or delicate or girlish about her so I thought she might take the spunky, feisty approach. She did not. She gave the standard shy, guileless interpretation but there was nothing dainty or fragile about her dancing. Her technique was solid, she didn't make obvious mistakes but she is just miscast as Giselle. Her pirouettes and that developpe sequence weren't particularly buoyant or floaty and there wasn't much ballon in her jumps.  Her Spessivtseva  variation was baffling. She rotated her hops on point towards Albrecht twice but she started them a third of the way down the diagonal and ended them hardly more than 2/3 of the way down, she covered very little ground. On the other hand her manege was very fast. In the second act her technique was fine but she didn't use her head and neck very effectively and I never for a second felt that she was a ghost or spirit - she was far too solid.
     
    I loved Forster. He has never been a virtuoso, he is a beautiful danseur noble with gorgeous line. He acted the role well and was a wonderful partner. He did the entrechats in the second act and did them well.
     
    Jose Sebastion was pretty sloppy in the peasent pas especially in his landings but his partner Sunmi Park was lovely, very floaty with beautiful balances and a lot of charm. She really looked like a Giselle in waiting. Teuscher was a great Myrta, her height and technique serve her well here.
  17. 12 hours ago, MoMo said:

    I don’t think it is fair to compare someone’s performance to someone else , no matter how good that performance was.I have seen many performances in 40 years of supporting ABT. I never compare today’s dancers with what I have seen before. 

     
    I don't see how you can watch a performance, any performance, and not compare it to other performances you've seen of the same role. And I don't see why you wouldn't want to. Its a natural part of the mental process. And when you're discussing performances on a board like this one comparing the current one to one that many people have seen is a good way to describe or contrast it.
     
    I always compare in my mind as I'm watching. Compare it to the best I remember, or the worst or the most recent.
     
    Ohh, Vishneva's second act Giselle was so spirit-like she was barely there. Now Osipova's seems freshly dead, like there's still a lot of human in there - opposite interpretations but both fantastic. Cojocaru's 1st act hops on point are so delicate, Ferri's cover so much ground and I love the way Vishneva turns to look at Albrecht during her hops, etc etc. And certainly when you see a dancer who disappoints, you refer to one that you loved, and what is lacking in what you're watching.
     
    Whenever I watch Giselle's 1st act variation, before the hops on pointe I still see Kirkland in my head and how she rolls down from pointe and looks adoringly at her Albrecht when she does those arabesques and really, throughout the variation. Doesn't mean that I can't enjoy different performances but what I have seen in the past naturally informs what I'm watching now.
     
    Now on to this afternoon's Hurlin/Camargo and then tonights Brandt/Cornejo!

     

  18. I know its still a long way away but I could not resist booking a weekend trip to see Dance Masterpieces. Three non Balanchine short pieces that I love (and I get plenty of Balanchine here in NY). Its very unusual for me to love all 3 pieces on a mixed bill, so this is special. Looking forward to getting acquainted with their dancers in The River (hopefully on pointe), In the Middle & Upper Room!

  19. I saw my 3rd and last performance of LWFC for this season last night. The Brandt/Gonzalez/Fang/Coker/McBride/Curley/HOVEN cast was fine, but the first cast - Trenary/Cornejo et al was the best. If only Bell was the revolutionary that cast would have been perfect.

    I didn't enjoy it last night as much as I did the first 2 times but I think that was more due to overkill that any fault of the cast.

    If they do this in future seasons I think 1 performance will be enough for me😀

  20. On 6/23/2023 at 4:45 PM, Rose said:

    Every story ballet by Welch is "a muddled hot mess" in my opinion. Thank you for sharing your opinion because nobody down here seems to agree with me! Welch's abstract ballets are better but still leave much to be desired. It's a shame they waste millions of dollars on that crap. I don't think the big donors know any better. Houston Ballet dancers are amazing despite the ballets they are given. Just think how bad it would look if they weren't. 

    Yes, I believe the whole run sold out and the audience was very enthusiastic. Their love their Welch SL down there!

  21. I enjoyed it. I would have enjoyed it more if there had been more traditional ballet dancing and less gestural dancing/plot/characters (as absolutely everyone has said) - especially in the first act. The 2nd and 3rd acts weren't more than 1/2 an hour each but the first act was almost an hour long. I very muck liked the music and scenery and the way they handled the scene changes.
     
    Although I enjoyed it I look at this as a missed opportunity for both Wheeldon and ABT - if he cut 15 minutes of exposition from the first act and added maybe 5 minutes of ballet divertissment or expanded on some of the Tita/Pedro pdd (with actual ballet) I think they would have a huge hit on their hands. As it is, the conversations I heard between acts were totally positive, I didn't hear any negative comments. And I heard a ton of Spanish being spoken all around me so ABT may have succeeded in bringing in a  new audience, though not necessarily a Broadway audience.
     
    I saw the Park/Camargo and Trenary/Cornejo casts and thought that with a few exceptions the Trenary/Cornejo cast was far superior. For me Camargo & Cornejo were both wonderful. Camargo is the better actor with warmer stage presence, but Cornejo's acting was good enough and he & Trenary had wonderful rapport. Camargo's dancing was more lyrical, though he still executed what little ballet there was very well. Cornejo, despite his advancing age, is still a great dancer with bravura technique but there was so little opportunity for him to use it that I'm not sure it mattered.
     
    I thought Park was a fine Tita but Trenary was exceptional. Having seen her recently in the Tharp City Center program I think this is her wheelhouse - dramatic dance. I preferred Shevchenko to Davison as Mama Elena, she was much sterner and more dominating but I loved Davison and Tristan Brosnan as young Elena and Jose. They were just wonderful in their pdd in the second act fantasy scene at Mama Elena's wake. In fact the second act was definitely my favorite as it contained a lot of dancing!
     
    I loved, loved loved Bell as Juan Alexandrez in the second act. My goodness - pirouettes, tours, jetes and blazingly done! Carlos Gonzalez was much more subdued in the same role. I liked both Hurlin and Brandt as Gertrudis and in fact, that was my favorite female role.
     
    While Dr Brown may be a small role it has as much or more ballet dancing as any of the other male roles. Royal was ok but Forster was beautiful, and very sympathetic.
     
    Tita & Pedro had a great intense & sensual pdd in the last act and I thought the ending was spectacular.
     
    FYI - both performances I saw started at 7:35 and ended at 10:15
  22. 4 hours ago, ABT Fan said:

    Thank you nysusan for your report. I’m very sorry you didn’t get to see Lane. I would have been equally disappointed. This production does sound like a hot mess; good to know in case it ever crosses my path. Happy that Sisk was as incredible as I’d expect her to be.

    You are very welcome. I feel its important for anyone contemplating going to this production to know that it is NOT a traditional staging. On the other hand, I would go if the opportunity arises to see them in anything else. They are a very good company.

  23. On 6/18/2023 at 12:23 PM, abatt said:

    NYSusan is there, and booked the trip to see Lane.  


    Yes, I traveled to Houston last weekend to see Sarah Lane in the Sunday matinee performance of their production of Swan Lake.  I wish her well and hope she's doing better - I don't blame her for canceling but naturally I was super disappointed when she did not perform.

     
    Fortunately I also bought a ticket to the Saturday evening show with Beckanne Sisk and Chase O'Connell. Sisk was absolutely wonderful with strong technique - fast chaines & pirouettes and strong fouettes. She had some beautiful long balances - lyrical in the first lakeside scene and striking in her black swan solo. Her epaulement in the white swan acts was exceptional, with long, yearning stretches of the neck, head and shoulders. Her arms were sometimes a little too swanny for me but that is understandable in this production.
     
    As expected, she and O'Connell had great rapport and he partnered her very well. He certainly looks the part of a danseur noble - tall & dark haired with long limbs but his first act solos had hard, brittle landings and in the ballroom scene it looked to me like he couldn't land a tour, leap or pirouette sequence facing the audience squarely.
     
    Soo Youn Cho subbed for Sarah in the Sunday matinee. She was fine, delicate & sad but kind of generic. She had a really strange ecstatic look on her face in the first white swan scene. She held a balance for a super long time in the black swan pas, but she didn't hold it strongly, her arabesque leg kept moving up and down. Still, it was impressive. I liked Ryo Kato as Siegfried, he danced it very well.
     
    There are a lot of soloist roles in this Swan Lake and I thought all of the dancers at the corps and soloist level were really strong. At least as strong as we have in NY at ABT. Houston should be proud of them.
     
    Now, about their production - I hated it. There are so many things i disliked , these are some of the things that annoyed me most:
     
    The complete evisceration of the first act castle scene (here 1st act scene 2 at an encampment in the forest) and the 3rd act (here act 2) national dances. The national dances were completely re-choreographed by Welch and lost all of their folk dance character. Instead of being danced in heeled slippers each is danced by the princess herself, on pointe and with 1-4 of her male companions ( Ambassadors and Guards).
     
    In the 1st act they have eliminated the pas de trois, again replacing the Petipa with Welch's choreography for the 4 would be brides and the prince's 2 sisters. They use most of the pdt music along with music from other parts of the ballet as well as music from the Tchai pdd. This production gave us far too much of the princesses/brides for my taste, although all of the dancers danced very well.
     
    I read what I could about this production before making the trip and learned that it was inspired by John William Waterhouse's painting The Lady of Shallott and "takes its aesthetic from the fairy tale valence of pre-Raphaelite painting". Let me start by saying that I did not care for the court's costumes, they were not elegant enough for a royal court and seemed very inappropriate for a tale set in medieval Germany (although he certainly could have changed the time & place).
     
    The painting also inspired the look of Welch's Odette, who we see in the first scene of the first act (when VR captures her) in a long white dress with bell sleeves and long beautifully arranged hair. OK, I am not a fan of preludes where we see how Odette was captured and cursed by VR, but it is becoming more common and not so out of left field here.
     
    It also says that Siegfried first meets Odette "as a maiden". I wasn't sure how this was going to work but it turns out that this "maiden" Odette in a long white dress shows up at the beginning of the first and second lakeside scenes. And VR initially shows up at the ballroom in the 3rd act with Odile in a black version of the maiden dress.
     
    In the first lakeside scene Siegfried & maiden Odette dance a pdd set to either the valse bluette or pas de neuf music (not sure which) which then segues into the climatic music from the last white act. I can't tell you how jarring it was to hear this music here. Then she goes off with VR and comes back in a white tutu and dances pretty much the normal 1st act meeting scene & pdd. This trend continues - in the black swan act VR comes to the ballroom with a "maiden Odile" in her black dress. She goes off with Siegfried, then when she comes back to do the Back Swan pdd she is in a tutu. When Siegfried goes back to the lakeside to find Odette she and several of her companions are in the maiden dresses, then they exit the stage and come back in tutus. This was incredibly distracting and muddled.
     
    In traditional versions of SL we see Odette transform from a swan back into a woman through her dancing and then being transformed back into a swan at daybreak, all the while in a tutu. So here's an interesting question. If she is a maiden when in her white dress and a swan when she's in a tutu is Siegfried not dancing with a woman but with a swan in the pdd & pretty much the whole first lakeside scene? In the black swan pdd? And in the last scene when she drowns herself she has changed from her maiden dress into a tutu so already a swan - so at that point she really can't drown!
     
    I apologize to any Houston Ballet fans I may be offending but I just found this production to be a muddled hot mess. But I do think the Houston dancers were wonderful and I'm glad I got to see Sisk.
  24. Well, having flown to Houston specifically to see Lane I was very disappointed when she canceled. However I knew when I booked that this can happen and I certainly don't blame her. I finally had time to gather my thoughts about the production and since it no longer has anything to do with Lane I am posting them in the Houston Ballet forum

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