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I too have been a Maxwell fan since she joined. I believe she was out with an injury for a while and that may have stalled things for her, but I always found her outstanding both in presence and technique.

Erica Pereira has leads in Baiser de la Fee and Rubies. She's been a soloist since 2009, but cast infrequently. Could be her do or die time. Glad to see Alexa Maxwell get a shot a the Cage.

I agree. Usually full lengths at NYCB generate great ticket sales with works like Midsummer, Coppelia or Swan Lake (which seems to sell tickets regardless of the version). Maybe Justin Peck will use a lot of SAB children, to get parents and relatives in the seats!!!

I'm sorry too. I feel like I "discovered" her late in her career! I only started seeking her out a couple of years pre-pandemic.

What a strange piece. Has Copeland done anything that shows any interest in being an artistic director? Formed a touring group, organized performances, anything? What a strange article. Seems to me there are a lot of candidates out there with a lot to bring to the table. Lazy writing IMO.

Just to add. Here's divert done by an earlier cast. Kyra Nichols at about 6:46 in the same variation. Different from Peck in some choices, but IMO equally as wonderful!

I just want to add - has anyone else see the documentary "Ballet Now" about Tyler Peck and the program she put together for a festival? (Sorry if this is old news/rehash). It's not the greatest Doc film IMO but it shows her imagination and programing skills in bringing in particular dancers as well as Bill Irwin and Michelle Dorrance pieces. I think it's on Hulu. I got a trial subscription to watch it.

I've said his before but the Bouder situation is a strange mystery. I follow her on social media and there has been radio silence on her relationship with NYCB and ballet in general. Cobweb I too am look at programing. So much is influenced by rehearsal time and COVID restrictions that I think we won't be able to make a judgement about the artistic direction of the new regime until next year.

I wish Lovette the best in the position. I've only seen a couple of her pieces and wasn't favorably impressed, but this situation offers her the opportunity to choreograph consistently, and using the same dancers so I'm eager to see what comes of it. I thought he article interesting in the way it mentioned the historic ballet/modern divide, but didn't mention the Paul Taylor solo in Episodes that Balanchine choreographed, or the fact that in Peter Martins, Barber Violin Concerto, two lead roles were originated by Paul Taylor dancers.

First, thank you Ballet Talk contributors for helping me think through this thing. Woetzel was an unconventional pick. He has star power, fundraising power, and education but, as far as I know, no experience in leading this type of organization. Vale is different. He can call the shots, invite who he wants etc. There seem to have been a lot of negative feedback about him at Juilliard. The most interesting to me are his focus on performance not education, and creating an atmosphere of intimidation and fear. The administrative and communication aspects, I feel, are flaws more easily addressed. In terms of diversity and direction, surely these things were discussed during the interview process. My question would be, why was this individual hired? What was impressive about him, and where was his leadership expected to go? Is he going off in a direction that was unexpected. It is unfortunate. Personally, I've been in professional situations in which one is expected to take sides (I'm sure a lot of us have). It's no fun. Lastly, it's interesting that Woetzel went after support from the big names. I suppose that's necessary, but I'd really want to hear what the adjuncts are saying.

Wonderful! So many of us are grateful for this forum and the opportunity to learn and discuss an art form we all love.

I know I commented before, but I just want to add that the Tiler Peck show had truly amazing performances from every single dancer involved, and impressive programing with pieces that ranged from good to unforgettable. If Tiler Peck does something like this again, I will be first in line to buy a ticket. Also personally, it increased my interest in seeing Cassandra Trenary do anything at ABT!

I haven't heard anything about live stream. I'd say if anyone is in NY and can get there on Sunday - go!

I haven't seen any reports. I saw the Tiler Peck show at City Center last night and had a wonderful time. The dancing was incredible. Peck truly overwhelming with her combination of sharpness, legato and musicality, but everyone looked their best. I forgot how beautifully radiant Loren Lovette is when dancing in her comfort one. Anyone else there?

The underling issue that companies are trying to deal with through outreach, is that ballet is still an elite practice, like say figure skating, but perhaps to a lesser extent. You have to know ballet exists, live relatively close to training, it has to be good training (at some point), the time devoted to training grows every year, pointe shoes are expensive, auditioning for summer intensives is a big factor which means registering, getting there etc. From what I can see, and I admit my knowledge is limited, SFB and Miami have developed pretty good outreach programs. Misty Copeland is a dancer who I've enjoyed in some roles, but believe was woefully miscast in others. I think that of a number of dancers. However I think Copeland has made a huge impact on ballet by bringing in a more diverse audience which will hopefully translate to more kids of color studying ballet. Still, every year, in the US, thousands of kids take their first ballet class. The chances of any one of them getting into a company are small, making it to principal are even smaller.

Indeed rest in peace. For better or worse his type of criticism is a thing of the past.

Nicely done appreciation canbelto. I was not a bit Tess fan outside of a couple of roles, but you encapsulated her gifts and flaws perfectly, and her statement to the audience was a needed gift at the time.

Congrats to all three. The pandemic disrupted normal development, so they will have to shoulder the responsibility of being principal dancers more suddenly than they otherwise would have. I'm rooting for them. Meanwhile, I'm curious about the future of the Angle brothers, and about Ashley Bouder.

Just want to add that I live in the same apt. building as Allegra. Many years ago, when my husband and I studied at the NY School of Ballet, she sometimes took classes there, and she is nice enough to say she remembers us when we run into her. She is indeed still beautiful and has a very special quality. To tell the truth, I'm still a bit star struck! I know from our elevator conversations she enjoys going to the ballet, and I've never heard her say a negative word about any performance.

I also was at this afternoon's show. It made me happy. Both cast I saw of 4T's this season were good. In this one I particularly appreciated La Frenier in Sanguinic - her expansiveness, attack, presentation. I loved Russell Janzen's Phlegmatic. He shaped the piece beginning to end with the perfect sense of drama Love this cast of Sonatine, Woodward and Huxley. She's a dancer of imagination and clarity, with a wonderful port de bras. He has a truly fine tuned, polished technique. From the start the piece was almost a conversation between them. A pleasure. Black Swan with Tiler Peck and Jovani Furlan. She has a deep bag of tricks technically, musically and in terms of characterization. His variation was a bit underpowered. Do they really have to do the double tours with arms in high fifth? I adored Fairchild in Swan Lake. She was the big surprise to me. How long can this woman just keep getting better and better? Mary Elizabeth Sell replaced Ashley Laracey in pas de Neuf and was excellent, as was Ashley Hod. I think the "big swans" have settled into their roles. I went home happy.

The women's competition ended horribly in every way. The IOC should be ashamed. No one was a winner in this mess.

I also heard Tara Lipinski say that when she was a kid, if she had a cold, her mother called the authorities before giving her cold medications to make sure all the ingredients were OK for her to have. It seems young athletes and their families develop a super awareness, as they should.

I was also there this afternoon and agree with Cobweb about 4T's. I just want to add I thought Olivia Boisson was particularly striking in The Theme section, and I enjoyed Megan LeCrone's attack in Choleric. For me the rest of the performance was something of a let down. I'm a long time fan of Laracey and she was lovely in Sonatine, but I think the piece needs more imagination and nuance. It was done on Violette who could add real flavor to a piece. IMO Sonatine needs a special kind of dancer to bring it to life. LaFreniere had a real struggle in Black Swan. Peter Walker partnered her very well, and rescued a lot of turns. Her variation had a lot of staggery moments. A lot of novice mistakes. She's super talented and has an amazing instrument, I'm sure she'll improve and grow in the role. Walker danced well IMO. I'm in the minority in that I enjoy this version of SL. I don't look at it as Swan Lake in the narrative sense, just the perfume, so to speak. I guess somewhat in the same category as Scotch Symphony. I love the swans entrance. The step Balanchine has them doing makes them seem to fly in, then he does the standard entrance step later. I love the corps waltz, and the formations. In this afternoon's show I found the lead couple frustrating!. I really wanted Reichlin to hold a pique or releve and really register a line. Tyler Angle is a fantastic partner, but - well - I'll just say doesn't fulfill the choreography in his solo work. I"m seeing the same program Saturday afternoon

Can't thank you enough for these reports!

I was a Fri. night's show. I had eagerly awaited Tiler Peck's Mozartiana. It was a good, but uneven performance IMO. Some of the variations were an absolute joy of clarity, musicality ad phrasing. There were also beautiful moments in Preghiera. I think the issues I had with the performance, are a result of the lingering effects of her terrible injury. She can't really bend back, or drop her head back. There is a moment in Preghiera with a deep backbend. Peck leaned back and looked upwards. It doesn't have the same effect. Also, and I believe injury related, she seems to be struggling with her arabesque. Tiler Peck is an amazing dancer and artist, and I'm glad I saw her in this ballet, despite what I view as her limitations. I enjoyed Harrison Ball as the male lead, and he had me rooting for him. He did a lot of excellent dancing. The video with Ib Anderson holds up as the gold standard. I didn't really care for Troy Schumacher in Gigue. Loved Rubies. Sterling Hyltin - what a delight - playful, spontaneous, spirited, not a false move on stage. Mira Nadon blew me away in the tall girl role. She is fearless, eats up space, and can move with great speed. In that naked, difficult exit when she does the penche arabesque sequence moving backwards. The first one had a shaky moment. She fixed it. No problem with the rest, in fact huge, beautiful movement. Impressive in a young dancer, to not get spooked by a mistake and go bigger and bigger! She is going to be a big star. Didn't stay for La Valse. Saw it twice in the fall and it was never a favorite! OK - let me just say. I, for one, am sorry intermissions are back.