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I forgot to note that Helene captured my sentiments exactly! Edited 11/11 to add additional comment Where the heck is Miranda Weese? If I recall correctly, she wasn't in the program, nor was she in All Tharp earlier. I just checked the season opening gala's casting from an earlier link on this forum and she didn't appear then, either, at least according to the link. I, for one, miss seeing her onstage! What's going on?

Helene, I believe you and I were at the same performance, the Saturday matinee. Watching A Garden was almost like watching a ballet class, and the women's costumes, black leotards and skirts with pink tights, heighten the effect. The work is, to me, all about showing off the dancers' refined technique. As Helene pointed out, the arms are quite static, and as a result, the audience member watches the feet and legs almost the entire time. The focus is on the so-called "basics" of ballet, not bravura steps; the dancers are not performing the superhuman feats that one might see in, for example, Swan Lake or Don Q. However, in focusing on the "simple," Morris shows the audience just how incredible these "basics" are. One is awed by the unembellished. The plain is not plain at all. M-Pulse might as well be titled "Lindsi Dec." All the dancers turn in fantastic performances but Dec is absolutely incredible. To use a cliché, you just can't stop watching her. The choreography itself feels fun and intriguing. It's a complete counterpoint to the Morris work in its complexity. Speedy turns seamlessly segue into "How the heck do they do that?" partnering and a constant changing-of-the-guard-- someone always seems to be exiting or entering the stage. Although the different sections feel a little too disparate, I look forward to seeing more of Gaines' work as he further emerges as a choreographer. 3 Movements and M-Pulse are of a similar vein: seamless transitions and endlessly enthralling movement. 3 Movements was my favorite of the program. I'm struggling with describing the movement. Perhaps it was because the M-Pulse's ending tableau was on my mind that all relationships in 3M seemed to be combative. There seemed to be a constant warring undercurrent. Two dancers would seem to be in an angst-ridden relationship with each other, while united together against another couple, and there seemed to be an element of the "battle of the sexes," though it was, for a moment, resolved into what I can only describe as a kick-line-like formation (Not at all as awful as it sounds ) Like Chocomel and Helene, I especially loved Körbes in this ballet. The sentiment's already been expressed, but I'll say it again: How wonderful it is to have her back onstage! Also, as others have noted, Bold really has been getting even better, and you can see it in this ballet. One more thought on 3M: Anybody catch that the costume design was by Isabella Boylston (with PNB's usual Larae Thiege Hascall)? Would that be the same Boylston who dances with ABT? As far as One Flat Thing, Reproduced, I can't say much that hasn't already been said, except that I like it. Yes, the music is grating, but the movement itself is so very fascinating, as well as the way that the moments of unison emerge from the chaos. It was also great to be able to see it with another cast than last year's, just for the different energy that the group brings to it. (I do however, imagine that each performance must feel different from any other, given the nature of the choreography.) The piece definitely feels the most current and modern of the whole program, though it is the oldest.

I look forward to seeing more of Reshef. I remember being captivated by her in the corps of Swan Lake the last time around, before I knew her name, and probably before she was in the company. What a beauty!

Much thanks for letting us know about the promotions. I'm so happy to hear about James Moore; soloist status was long overdue!

According to this post on the Ballet Talk for Dancers forum, among the new apprentices will be Kyle Davis, one of the winners at Prix de Lausanne 2008.

I couldn't agree with you more on Louise Nadeau. "Organic transformation of the music" is the perfect way of describing what she did in "In The Night." She was splendid, and Karel Cruz was a perfect partner. I was struck by the enormous height difference. Is this standard for "In The Night"? Whether it is or isn't, it definitely worksl--I imagine that it made the lifts even more spectacular. This was by no means the only highlight of "In The Night," as the luscious Lallone and the breathtaking Pantastico also gave beautiful performances. "Fancy Free" was entertaining and expertly danced, but it was a struggle to get past the sour-sounding orchestra. It's not the first time I've been distracted by the orchestra. It's especially frustrating when it's music I know well- to listen to PNB's orchestra's Nutcracker or Agon was agony. However, Dianne Chilgren's rendering of Chopin in both "In The Night" and "The Concert" more than made up for the orchestra's shortcomings. And what comic chops in "The Concert," along with those of the dancers! The six girls' dance, for one, was an absolute riot! I went home with a sore stomach from laughing so hard

Alison Basford has been dealing with major injuries for the past two years. She discussed this in an interview on the PNB Unleashed Website. (PNB Unleashed Interview with Alison Basford)

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I also saw R&J on opening night--a stunning, beautiful performance that won't leave me for a very long time. The costumes, sets, and choreography are all not nearly as "literal" as most other productions. No period costumes here, and the sets consist of moving white panels, a ramp, a triangular wedge, and ingenious lighting. Neither Romeo nor Juliette die with literal motions of taking the poison or stabbing themselves. Nevertheless, this R&J felt more "real" than any other that I've seen. I cannot recall the last time I was so affected by a performance. I noticed that many people in the audience left with tears. If you have the opportunity to see a performance, run, don't walk, to the box office! This R&J is really, really special.