mira

Cobweb, Ashly Issacs is this year's Janice Levin Award winner. The announcement was printed on the NYCB Guild luncheon invitation.

Wondering if Luis and Sarah are headed to PAB where there are two principal spots open.

Several years ago, the beautiful Jennifer Kronenberg Guerra told me she believes the reason why she's had a long career is because of honesty - so it's not about a battle for success but a willingness to share yourself with your audience.

This is an emotionally charged topic for many reasons but an obvious one is that so few dancers ever succeed at becoming professionals, much less having a career - thus putting all aspirants at a "disadvantage" - whether skin color, body type, height, facility, training, politics, etc. Most of us have a long list of dancers that we've watched over many years who have day after day put in the hard work with devotion, single-mindedness and maturity beyond their years - all to eventually realize that they cannot get a job as a dancer. It is heartbreaking. Yes, those years have created hard-working, purposeful individuals who will succeed in their next endeavor. At some point in the journey, speaking of "disadvantage" loses it's relevance as professional dancers' (men and women) careers will depend mostly on the decisions of a single person - their Artistic Director - and any advantage (or "disadvantage") that got you there is now history - inspiring history for sure! But now it comes down to what that person sees as best for that company and, yes, casting can be political or strategic as they are responsible for putting thrilling work on stage and for building an audience. Although I'm sympathetic to individual stories of adversity, it seems to me that professional dancers (even Principals!) feel the daily struggle of "adversity" - not being cast for something they wanted, new dancers catching the AD's eye, too short/too tall, nagging injury, age, politics... So kudos and my thanks to all the brave dancers who strive to brighten our lives with the beauty of their souls!

Did anyone see Courtney Lavine's Sugar Plum this past weekend at BAM? so thrilled for her! https://www.facebook.com/cocolavine/photos/a.1517291075192240.1073741828.1517284198526261/1524949937759687/?type=1&theater

As well as being an opportunity to honor Patricia McBride, isn't this an opportunity to see the best young interpreters of these roles?

Jeffrey Cirio is considered to be one of the finest interpreters of that role having been coached by Sandra Jennings and Damian Woetzel. I can't wait to see the performance!

I've watched Ashly Issacs dance since she was 11 - it's always been clear how special she is - so glad NYC audiences are seeing her artistry, courage and strength!

Cubanmiamiboy - thank you for those 4 wonderful videos!!

and the beautiful Courtney Lavine.

Moonlily - I agree. I think people would be interested in Misty speaking to the challenges she's faced and faces in working on aspects of her technique and artistry - focusing on that as important challenges in her ballet career. All dancers are working on something - even principals. Every dancer is painfully aware of their limitations and it's a daily struggle to conquer the deficiencies you have in artistry and technique. Speaking to that would help young dancers more clearly see the journey she is on and might make her easier to relate to as she creates her brand.

Quiggin - I was looking forward to Ricky Weiss' Beethoven's 9th and think PAB would have done a great job with it - they do (did?) many of his ballets and are familiar with his style. It's my understanding that Angel was encouraged to put his stamp on the company (including programming) by the Board. He kept Ratmansky's Jeu de Cartes, dropped Weiss' Beethoven's 9th, added Wheeldon's Liturgy and Balanchine's Allegro Brilliante and there is one additional ballet - a TBA. There will be 4 ballets in the October program. Mira

Sandik, first day of the season for PAB is 9/8. Dancers have been in for maintenance classes and for Fringe Festival rehearsals but the official season (and rehearsals) don't being until 9/8.

Tapfan, apologies in advance that you felt "challenged" by this inquiry though I can't figure out what upset you. I genuinely wanted to understand your thought.

The people (artistic staff, teachers, professional dancers, students) I know who love Balanchine are inspired by him and the ballets he left us and hope their efforts live up to the performance quality these ballets deserve but do reserve "worship" for church. Even Alastair Macaulay agrees that NYCB (the one Balanchine company he follows consistently) is performing Balanchine ballets better than ever. That is not being "stuck". As for creating new works - as you rightly say an important part of Balanchine's legacy - Peter Martins should be given credit for contributions to the rep by Wheeldon and Ratmansky most notably and among others. Perhaps I've overlooked those you refer to when you speak of being "stuck" or "worshipping"?

agree Drew. If the thought is "insular" implying "insider", "exclusive" or "privileged club and hard to get into", I'd like to add that there are many wonderful schools besides SAB that teach the Balanchine style of dance - PNB, MCB, School of Pennsylvania Ballet, Ballet Chicago, CPYB, BAE, The Jillana School and others that I'm sure I've overlooked mentioning. Wikipedia describes the characteristics of this method as: The overall illusion of the Balanchine method is that dancers are utilizing more space in less time, so that speed, height, length and a syncopated musicality are created. Specific characteristics include: Extreme speed and very deep plié Emphasis on line, with use of unconventional[clarification needed] arm and hand placement Pirouettes en-dehors taken from a lunge in 4th, rather than the conventional plié in 4th Distinctive arabesque line with the hip open to the audience and the side arm pressed back Athletic dance quality

Tapfan - not sure what you mean by "prep school vibe"? care to give more context? tia

originally posted by Paul Wegner on another site: All U.S. dance companies with annual budgets of $2 million or more ranked by budget (in millions) at the end of fiscal year 2012. Please let me know of any corrections. * denotes AGMA affiliation 1. * New York City Ballet $66.2 2. * San Francisco Ballet $47.4 3. * American Ballet Theatre $40.2 4. * Alvin Ailey American Dance Theatre $34.6 5. * Boston Ballet $28.4 6. * Houston Ballet $22.3 7. * Pacific Northwest Ballet $20.9 8. Miami City Ballet $15.1 9. * Joffrey Ballet $14.4 10. * Pennsylvania Ballet $10.4 11. * Atlanta Ballet $9.1 12. * The Washington Ballet $9.0 13. * Kansas City Ballet $8.5 14. * Merce Cunningham Dance Company $8.4 15. * Pittsburgh Ballet Theatre $8.1 16. * Ballet West $7.0 17. Ballet Arizona $6.7 18. * Cincinnati Ballet $6.5 19. * Colorado Ballet $6.5 20. Paul Taylor Dance Company $6.4 21. * Milwaukee Ballet $6.3 22. Oregon Ballet Theatre $6.0 23. Mark Morris Dance Group $5.9 24. Pilobolus $5.8 25. Ballet Austin $5.8 26. * BalletMet Columbus $5.7 27. Carolina Ballet $5.7 28. * Ballet San Jose $5.5 29. * Tulsa Ballet Theatre $5.5 30. Texas Ballet Theatre $5.3 31. Richmond Ballet $5.1 32. * Ballet Hispanico $4.9 33. North Carolina Dance Theatre $4.7 34. Dance Theatre of Harlem $4.4 35. ODC Dance Company $4.3 36. Alonzo King's LINES Ballet $4.2 37. Nashville Ballet $3.8 38. Aspen Santa Fe Ballet $3.5 39. Louisville Ballet $3.4 40. * Martha Graham Center for Dance Education $3.3 41. Sarasota Ballet $3.3 42. Orlando Ballet $3.2 43. Ballet Memphis $3.2 44. Smuin Ballet $3.1 45. American Repertory Ballet $3.0 46. Nevada Ballet Theatre $2.8 47. STREB $2.7 48. Sacramento Ballet $2.7 49. Dallas Black Dance Theatre $2.6 50. Oklahoma City Ballet $2.3 51. Trisha Brown Company 2.3 52. Grand Rapids Ballet $2.3 53. Los Angeles Ballet $2.2 54. Trey McIntyre Project $2.2

He presented his company in New York in 2010 and 2012. Online, there are descriptions of the programming and reviews.

well put, pherank.

kbarber - agree. flabbergasted. Was there nothing postitive in the tremendous effort of Boston Ballet's team of artists and artistic staff that was worth mentioning? unlikely.

I think everyone stays in place until the new Artistic Director takes over. Yes, Roy Kaiser and Jeff Gribler and Tamara Hadley have a shared history as dancers and then as Artistic Director and Artistic Staff. To try to shed some light on your question about Morphoses/Miami City Ballet - thus far the rep seems to be unchanged. Edward Villella had been commissioning new works prior to his departure and Lourdes Lopez is continuing in that creative direction as well.

Roy Kaiser is staying on to help with the transition at Pa Ballet and will be named Artistic Director Emeritus.

yes a combination of both. As an example, it's fairly easy to see whether a dancer has trained at SAB or the Kirov long into their career.

another thought, Lourdes is bringing up through the student apprentice and company apprentice program a few SAB girls and has hired at least 2 SAB grads (one girl, one guy) into the corps already. She may be leaning towards bringing more of that kind of training into the company and also seems to be hiring a taller dancer than is typical for MCB. very early to really know which way they are headed but I am optimistic that her influence will enhance the great company MCB already is. I think the transition is a good one but it may be another season or two until it all comes together - just one person's opinion. As a contrast (not a value judgment), Roy Kaiser has been hiring SAB dancers for a long time - a majority of the company has Balanchine training and that, to my eye, creates a more uniform style at PAB.