Amour

There's a bunch. Goldberg Variations several times, West Side Story Suite, Dances at a Gathering, NYExport Opus Jazz and Glass Pieces (I might even be missing a few). I'm wondering whether there is going to be enough Balanchine for me. Between the 7 premieres (2 of which are by Peck),plus Wheeldon's and Peter's works there isn't much time for Balanchine or Robbins. They are seriously looking to bring a younger audience in, is my guess (plus further develop the art form, to a certain extent)

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Unless it's Ratmansky, I can't think of any new work ABT has commissioned that I've seen beyond its first season. That's money not well spent. Years ago NYCB commissioned a new work by Miriam Mahdavani (I think that was her name?, she was a corps member) through the Diamond Project. Give it a little more time and it may come.

I don't think anyone can compare to Merrill Ashley, IMO. I haven't seen Bouder do Ballo but judging from Square Dance (where I saw both Ashley and Merrill) I,too, don't think anyone that quite tops Merrill. Ashley comes pretty close though (as SZ says, it's Merrill's great turnout and legs like sharp scissors that distinguish her), as well as her proportions (longer looking legs).

Tiler, Ashley and especially Sara are all quite active on Twitter and Facebook. But you know their writing is in relationship to their art, it's not about themselves per se. The way Misty publicizes herself it's always about HER. Never a role or a performance. And, of course, always about race in ballet. Well maybe at her most recent public event someone should clue her in that the only NYCB apprentice named a corps member thus far is black -Preston Chamblee. And as long as he's a good dancer (which he very much is) no one cares if he's white, black, brown, yellow, purple or polka dotted.

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Even Tharp, once one of the strongest draws in dance, is now reliant on ballet companies and anniversaries to keep her work out there. Unfortunately, I don't think there are any companies that perform Tharp's non-ballet works like Eight Jelly Rolls or Baker's Dozen. Sad. And she doesn't seem to care (double sad).

Luis has quit dance. He's going to be a realtor and produce films.

I agree but the artistic choices made by ABT are such a mystery that who knows? I've never seen Polunin live so I'd be interested in seeing him. But I agree with Drew. Polunin is so erratic; he's not only quit gigs but companies (the Royal and the Stanislavsky) on a moment's notice. Kevin certainly doesn't seem like a risk taker so this would be a big risk. Also, given Polunin's brief attempt to quit dancing and be an actor I'm not sure what kind of shape he's in. I'll be interested to see what reviews his performance at La Scala gets.

Yes, last year you could exchange tickets 24 hours in advance for the same seating area without dynamic pricing taking effect. Let's hope that is true this year..

I finally got my tickets and,no, no info about the priority week or box office exchanges or any other benefits. I know tickets go on sale to the general public March 22. Generally, the priority week is the week just before. But I will call and ask to make sure. I'd suggest doing the same. The telephone number is 212-362-6000.

Thank you, Helene for letting us know about this. As an a East Coast person I don't really follow the West Coast companies. It was really interesting to see Forsythe working with the dancers. He's a very articulate man but very specific in what he wants. And I've never seen New Suite so that was great. How wonderful to be able to see these live streams wherever you are in the world.

This may be her choice. She might want to finish in a work she knows well. After Cosa Mesa, I wonder whether she decided to retire in a more familiar ballet, especially given all the nerves and emotions of a farewell. But a Wednesday matinee is outrageous. And on the same day as Xiomara? What is Kevin thinking (or is he punishing her for changing her plans). Also, as abatt mentioned, the farewells are more expensive (a first for ABT and not a good precedent). Those who bought tickets for June 9 should get refunds. BTW, has anyone who ordered a Trios subscription gotten their tickets? My credit was charged but still no tickets received.

No disrespect to you sandik but Graham most certainly had a set of codified technique. As a young modern dancer, I took "Graham technique" at both dher school and the Ailey school. It consisted of a series of identical floor exercises mainly involving how to do "contractions" which then progressed to standing exercises. It was really only the going across the floor (and the quality of the teacher) that differed. I also did a residency with the Limon company in the mid '70's. He had died just a few years earlier; all the dancers in the company had been selected by him and Carla Maxwell was then an interim director. But as I was taught there was also a "Limon technique" which consisted of,breath and release. Again, there were a set of exercises taught, but it was not set in stone, like with Graham. And really, the only people who taught Limon were former dancers who had been selected by him. I think that's why his techniwue has not been so perpetusted. From what I am reading here, I fear these techniques are no longer taught, except in rehearsal for performances. Everybody just takes ballet. I, myself, now struggle to like modern dance because I have no idea what it's about. However, when Diana Vishneva performed a Graham solo a few years ago (Errand Into the Maze, perhaps) I was utterly captivated. And about 10 years ago I saw ABT (led by Stella) do Diversion of Angels and it was pretty good. Also, the loss of Murray Louis (from the Hanya Holm school) was sad, My point is that these techniques are indeed "techniques". However, now ballet dancers think one week of immersion is enough to perform the pieces. Also, it is really a shame the Merce Cunnungham's work is now lost to the general public and that Twyla basically doesn't let her modern dance works (like Eight Jelly Rolls) get performed. It's no wonder young dancers don't know their modern dance history.

Just a brief note on tonight's performance of Square Dance (same program and cast as last Wednesday). Ashley was her wonderful self but Anthony Huxley was AMAZING!!! His jumps were all very high and energetic, his batterie fast and clean, he had attack, deep backbends and he covers a lot of space. As I've noted before he's very musical so his solo is always wonderful. What seemed different tonight was a sense of newfound confidence (you could see it in the proud upper carriage of his upper body). Also the partnering seemed more comfortable; he lifted Ashley high and she looked like she was ok with him touching her. As great as Ashley is, I think Anthony actually outdanced her tonight (pretty tough to do). If he isn't principal material than I don't know who is. Again Harlequinade is just not a ballet I enjoy so I left at the 2nd intermission. Too little dancing from Tiler and Danny. I love Joaquin but not the choreography; it is pretty forgettable. I love that it uses so many SAB kids but on this 2nd go around I don't feel I need to see them. Though I paid a steep price for essentially only 1 ballet it was worth it.

I'm glad to hear you enjoyed the Lovette/Finlay R&J abatt. That's really too bad about Chase's injury though. Since he's come back from his from his foot injury he hasn't seemed as strong a dancer. If he is seriously injured we could have Robbie, Andie and Chase out for Spring:( That really leaves a big gap for the men. I predict Huxley and Stanley will get more and more roles. But La Sylphide! I was pegging Andie to do at least a few of those. I guess we'll just have to see what happens.

She's dancing with Tom Gold March 2-3,2015.

Tonight was the second in the Art Series nights. Before I get to the ballets I would just like to remark on Dustin Yellin, the artist NYCB is featuring. He is an artist I'm guessing most people would not have heard of, were it not for NYCB displaying his work. Both nights he has seemed kind of hyperactive, working the crowd in the auditorium and outside. The first night, I heard from friends that so many people were chatting, many simply skipped Agon. Tonight I sat 2 rows behind Dustin. He didn't make it into the auditorium after the first intermission for Tarantella. When he did come in (for Interplay), his female companion had to literally pull him into his seat. IMO, disrespectful and unacceptable. If the cogmpany is featuring you, the least you can do is watch their ballets. If you don't care, neither will your friends and then what's the point of the $29 tickets (they're supposed to bring in a new audience). Next time, Peter should pick a more deserving artist. On to the ballets. First up was Martins' Hallelujah Junction. Another forgettable Martins ballet but it was enlivened by stellar performances from the 3 leads: Lovette, Garcia and especially Ulbricht. Danny had an especially bravura solo in the middle, full of difficult jumps, triple tours, multiple pirouettes, and beats. I went to applaud but the rest of the audience was silent. Lauren was lovely and lyrical and well partnered by Gonzalo. I have to admit I was half counting the number of times Lauren draped her back over Gonzalo's neck (a la R&J). Luckily, it's not a long piece but ended, despite the great performances, with minimal applause. Next up was Tarantella. I have to admit I've only seen this with virtuoso dancers: Ashley, Joaquin, Tiler to name a few. That's hard to live up to. However, I think they could have cast some capable and deserving soloists like Brittany Pollack or Lauren King. Instead, they picked one of the newest (and certainly the tiniest) female corps lead in Claire von Enck. The male lead was Spartak Hoxha. I hate to be mean but I thought Claire was terrible; underpowered, no jump, no energy and worst, no personality or stage presence. Just so very bland. Her dancing was very tentative and lacked confidence. (Her turns were ok but very careful) For a small dancer that's especially bad; what they lack in physical presence, thet should make up in personality. I'm sure she will improve but when and how much were big questions in my mind. She looked like she barely made it through the piece. Not good. Spartak was better (certainly better jumps) but not especially appealing. Next time I want to see this piece with a higher caliber of dancer. Yet they got a far more enthusiastic response from the audience than Danny in Hallelujah Junction. Next up, Robbins' Interplay. A candy colored, semi jazzy piece for 4 men and 4 women. I thought it looked very under rehearsed and not very well performed by anyone except Harrison Ball. Everyone looked kind of sloppy in their jumps and poses. Even the always elegant Devin Alberda (who I love and who led the first section), lacked the crisp cleanness he always brings to his roles. In the final section, both Harrison Coll and Peter Walker do a series of very fast multiple tours. Harrison nearly ended up on the floor and Peter wasn't that much better. The women (Meagan Mann, Sarah Villwock, Lydia Wellington and especially Britanny Pollack) had a better time of it. But I've seen everyone here dance beautifully, so I'm chalking this one up to not enough rehearsing. Again, it got good audience response. Finally, Glass Pieces. This is also candy colored Robbins (referring to the lifesaver colored costumes) but with a minimalist feel. A lot of the ballet involves ordinary movement like just walking or jogging. I really like the Philip Glass music and like that the movement seems to take its cue from the music. For example, the opening has the whole cast walking across the stage each person on his or her own path. Occasionally they will meet a member of the opposite sex and stop to dance briefly together.In later sections of the piece, we will see only the corps members' silhouettes (2nd section) or in patterns (3rd). I thought Amar and Rebecca Krohn (now back from what ailed her earlier in the season) did a great job in the minimalist 2nd section PDD, which is set against a backdrop of the female dancers' silhouettes all in one line making their way slowly against the upstage wall. In the 3rd section we get a blast of high strutting male energy first, followed by a group of women dancing slighlyt more lyrical women's steps (pique turns). Joseph Gordon really stood out for me in the male section as being so strong and musical. There are are a lot of patterns in this section. The corps breaks up into lines, circles, then other types of groupings. I think these pair ups or the formation of diiferent groups, whether male/female or simply into different patterns gives the ballet its "postmodern) feel rather successfully. i don't think Glass a Pieces is a "great" ballet but Is certainly a very enjoyable one. The audience seemed to really like this piece and it got a lot of cheers and bravos. For me this was not so successful a night at NYCB. I hope for the company, it was better than that.

Judging from that skirt, Aurora won't be wearing a short tutu for the Rose Adagio (I think she generally does). Color me disappointed. Maybe that explains why Vishneva was willing to perform the role. Many have noted she hadn't done a tutu ballet (not counting long tutus like in Giselle) for years.

Tonight's performance of Square Dance was fantastic with Ashley Bouder and Anthony Huxley as the leads. After the performance, memories of Merrill Ashley came flooding back to me (and that had to be 30+ years ago) because Ashley's performance was reminiscent of hers. This ballet is fiendishly difficult. Much of it is at breakneck speed with lots of petit batterie, gargouillades, sauts de chauffeur, echappes, grand jetes, etc. The slower parts have penchees, and attitude derrières that Ashley holds. She was terrific in everything. Anthony was also wonderful. Clean, precise and musical. In his solo, especially the backbends with arms outstretched, memories of Peter Boal and Ib Anderson came back (tonight for me was full of memories). I thought his partnering was also quite good, although Ashley unfortunately gives off a vibe of "don't touch me" unless Andie or Joaquin is partnering her. But all in all, a tremendous performance and one I'd like to see again. Harlequinade, on the other hand, is just not my cup of tea. I simply prefer Balanchine's plotless ballets (which is 99% of them) and this comes off to me as a kind of poor man's Coppelia. I thought it was well danced: Ulbricht as Pierrot, Pereira as his wife, Joaquin as Harlequin and Tiler as Colombine. Tiler was especially lovely and lyrical, Emilie Gerrity was fine as La Bonne Fee and Lauren King was strong and swift as the lead Alouette. But it just didn't save the ballet for me. I thought the best part was all the young SAB students it uses. In the 2nd act, they come out, about 8 at a time, as small versions of the main characters. A tremendous opportunity for them to get stage experience, even more so than Nutcracker, IMO, because they're doing some real dancing. So that was a big plus. But if I see this night again, it will be for Square Dance. Still kudos all around tonight because everyone gave it their all, successfully.

The YAGP Gala (Stars of Today Meet the Stars of Tomorrow) will be held Thursday, April 16 at 6:30pm at the Koch. Some of the dancers will be: Isabella Boylston, Paloma Herrera, Calvin Royal III, Kimin Kim, Kristina Shapran, Xander Parish, Tess Reichlen, Zachary Catazaro, Mikhail Kaniskin, Elisa Cabrera, Juan Pablo Ledo and Melissa Hamilton. Tickets are selling briskly. When I got mine one week ago, they had only been on sale one week and the orchestra and second ring were virtually sold out.

I, too, am a big Shayer fan. But he's not that much bigger than Simkin. We'll see how partnering Misty goes.Gorak is really being fast tracked (very unusual for McKenzie), doing 1 Prince Désire at Segerstrom and a whole lot of big roles at the Met. He might actually become a principal this year or next:)

Opening night when I saw it, even the few 5th ring seats were sold. I think those who hunger for full length story ballet sometimes go to see productions like R&J or SL at NYCB not realizing these are Martins' versions of the ballets. However, on opening night the audience started fleeing even before the lights went up.

For those of you who have seen Peter Martins' R&J please forgive me if I vent. I've never had the desire to see the ballet but the opening night cast was so good I thought I'd give it a try. How bad could it be? Well bad. Actually awful! Epically awful. If you haven't seen this ballet don't go. It is a waste of money and 2+ hours you'll never get back. The ballet's choreography is basic, uninspired and extremely repetitive. Clearly, Martins has absolutely no idea how to tell a story with movement. The steps looked just like that- random (and very basic) steps to random chunks of Prokofiev's score ( which is kind of chopped up). If I hadn't seen Macmillan's R&J I doubt I would know what the story was. There was no sense of story or plot. The whole point of Juliet seemed simply to be to unfurl her long, lovely limbs. Not once did I sense she was in love with Romeo (Robbie Fairchild). And I've never seen Martins' ballet vocabulary so limited. Juliet (Sterling Hyltin) did arabesqe, développe to the front, and attitude derrière over and over again ad nauseum. No skimming jetes, no feverish pirouettes, pretty basic partnering. The fencing scenes looked similarly basic. And I absolutely hated the ending. Instead of Romeo and Juliet alone strewn onto each other,even if only on the stairs (the marble slab is so much more poetic), apparently half the town decided to enter the crypt at the same moment (really?) and our last look is of half the cast onstage (which makes no sense to me). To make matters worse, the NYCB dancers could not act to save their lives (except Joaquin de Luz who played Tybalt). There is a kind of exaggerated lift of the head and sternum needed for dance acting and no one but De Luz had it (and he undoubtedly learned it at ABT). Everyone else, especially the corps, again looked like they were just doing steps. And whose brilliant idea was it to cast Aaron Sanz and the very tall Silas Farley as the friar and the Prince of Verona? These are two of the company's youngest dancers. Generally (and rightly so) these roles are reserved for older dancers past their peak because these are characters with some authority, who others look up to. Aaron Sanz looked especially comic (he can't act at all) as a friar at least 10 years younger than the supposedly 14 year old Juliet. Just pathetic. I had begun to forget them, but there are things (like full length dramatic story ballets) that ABT does better. Lest I forget, the color coded costumes and the set were also very cheesy and cheap looking. However, had the choreography been even half way decent I could have overlooked them. The only saving grace for me was that Mercutio was Danny Ulbricht and he gets a very tricky bravura solo in the middle of the ballroom scene. He was great (and is criminally underused). It was also cute to see the mandolin dance (which I believe is generally done by Mercutio) reserved for 5 young male SAB students. And finally, it was good to see Rebecca Krohn onstage in the relatively easy role of Lady Capulet. I'm guessing she is at least partially recovered from her injury. As someone tweeted me, pity the poor first time NYCB goers who might be seeing this monstrosity tomorrow for Valentine's Day. As for me, I will never see this ballet again.

It doesn't look like Cynthia Gregory to me but I have no clue who it is.