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I believe a maternity leave note is unusual

I admit I'm a bit disappointed in the casting for the Balanchine works for the first week. Seniority wins the day. Guess I was hoping for something more fresh and adventurous. Maybe later in the season. This makes sense in terms of tradition and rehearsal hours. On another front, I wonder if/when Bouder will be back. She posted on instagram recently that she'd just started back to serious exercise.

I too would love to see Laracey in Balanchine's SL. Mozartiana? I'm probably in the minority here but I'd love to see Tiler Peck, with her special brand of musicality.

I'm going to miss Gretchen Smith, a very intelligent dancer who knew how to make things work. I heard her say, in a recent interview, that she'd love to stage ballets. I hope that works out for her.

I'm sad they have to delay the start and that we won't be seeing Diamonds. On the other hand I'm OK with not seeing the Martins SL and instead getting a rep night that includes Balanchine's one act version. I mostly feel sorry for the dancers with all of these ups and downs.

So true. Also a rep season allows for more flexibility in many ways. Nutcracker is what it is, with a large cast and back stage crew.

I so agree with the Trenary/Brandt statement. For a time Trenary seemed the favored one, being cast as Aurora and even getting opening night in Paris (if I remember correctly). I wonder about the impact of Brandt's social media postings of her coaching sessions with Irina and Max, and her guest gig doing SL. This is not a criticism. She's a talent and seems to work incredibly hard, I just wonder how much she's managed to steer her own ship (so to speak) by her use of social media. Again not a criticism. I notice that Hee Seo has held on to her rep. I'm afraid she's a dancer I always avoid. I've never understood Kevin M's interest in her.

I'm a bit surprised Tiler Peck is doing Thursday night & Friday Mat. Glad Daniel Ulbricht has been given a couple of cavaliers. Anyone seen Erica Pereira since she's been back. Correct me if I'm wrong, but I thing she had a baby.

Just wanted to throw this out there - I saw The Tragedy of Macbeth today at MOMA. Macbeth adapted and directed by Joel Coen. I thought it was wonderful. The performances, visuals, music, overall concept totally riveting. I think it's opening in movies Dec. 24. Denzel Washington and Frances McDormand lead the cast. BTW the MOMA movie theater was packed. Proof of vaccine required. Masks at all times (no eating or drinking in the theater).

I'd be there for different casts too. I have no feel, so far, for the new regime and programing because COVID created so may challenges. There seems to be an emphasis on new works, perhaps an over-emphasis IMO. I'm still in wait and see mode. Sell tickets, develop an audience and develop dancers are the three things that have to be done. Not easy!! Meanwhile Nutcracker casting seems to have broadened some with Dewdrop particularly.

I so agree with Cobweb in all of this. The soloist ranks are thin with Phelan & Woodward moving up and King leaving. I expect some promotions. The new regime didn't really have much time to settle in and show casting patterns before the pandemic hit, so I'm in wait and see mode. Personally I'm disappointed in some of the Balanchine rep chosen for the winter season. I've had enough of La Valse, and more than enough of Slaughter. But I'm still in wait and see mode, while recognizing that opportunities for dancers come with the rep that's put out there.

Diana Adams also did it, on the other hand so did Suki Schorer. Seems to always have been cast with a range of types. I've also always found it interesting that many dancers are cast in both SP Fairy and Dewdrop. They are very different roles. Not a complaint, just an observation.

BalanchineFan, I'm not a big Twyla fan although I enjoy and admire some of her works very much (I wish ABT would bring back Push Comes to Shove.). I'd love to hear more of a review of the specific pieces.

I've also read several articles about boxers and bulimia. Boxers wanting to make sure they are not moved up to a different weight division.

Thanks for answering my question Helene. Very interesting. I believe this is why some dancers leave big companies for smaller ones. I'm sure we can all think of several cases of that.

I have a question about that Peter Boal and Carrie Imler story. I've read that that was his initial reaction, but that when he saw her actually dance Titania he got it. Is that so?

I so agree with this. I would rush to see Tiler Peck in Diamonds because I trust that she would have something to say musically and artistically.

I'm actually interested in what you mean by the shape of her body. Her feet and legs are quite beautiful IMO. So do you mean her weight or some other aspect to her shape?

Just got back from Sat. Mat. and enjoyed it way more than I expected. I respectfully disagree with some other opinions. I thought La Follia Variations was barely competent. I've seen ballet school recitals with pieces as well put together (or better). My mind wandered at parts and there were several points at which the piece could have just ended, and that would have been fine. The dancers were all attractive, the choreography random and flawed, with no real response to the music. This is my 3rd Lauren Lovette piece, and as much as I admire her as a dancer, to my eye her choreography isn't developing. Bernstein in a Bubble was a relief after the Lovette piece. Real construction that directed the eye, choreography that was musical, interesting and gave the dancers a chance to shine. I think that's the point of the piece - having dancers show their strengths and personalities it a well constructed and witty vehicle. I know a lot of people don't like ZigZag, but I really enjoyed it. For me (I have no idea if this was the choreographer's intent), the piece is a joyful homage to the variety shows, of a bygone age, that had dance numbers. It is without cynicism, and is fun, open and honest. No tongue in cheek distancing here. I found it entertaining and refreshing, with a lot of ballet vocabulary throughout. The dancers looked great. For me the recordings hold up by virtue of phrasing and musicality, even though they weren't made in Bennett's prime note-hitting years. In both ZigZag and Bubble, I was reminded of Cassandra Trenary's wonderful movement quality, and versatility. Last thing - Tony Bennet and his wife Susan Benedetto were in the audience. They were introduced and got a round of applause! Hope they went back stage.

Any reports from the Gala or rep performances. I won't be there until Sat. Matinee. Anyone seen performances?

In the midst of all the Giselle reviews I thought I'd say a word about this afternoon's Fall for Dance show. Ratmansky's Fandango - Roman Mejia again showed that he has it all - technique, musicality, command of the stage. Totally enjoyable performance. Tiler Peck and Herman Cornejo did Justin Peck's, Bloom (homage to Tshai Pas). The piece plays to their strengths. Herman seemed ageless, Tiler Peck radiant and joyful through-out, particularly in a spontaneous seeming sequence of turns. I do wonder how someone not familiar with Tchai Pas would view the piece. Last up was Ayodele Casel, and her company. She is a tap dancer/choreographer extraordinaire. Engaging piece with a fine singer and fresh arrangements of familiar songs. The program was just over an hour (no intermissions) and a fun time! I have gave up on going to see Giselle some time ago. I made an exception some years ago for Alina Cojocaru, and was rewarded beyond my wildest imagination. A few years after that I made an exception for Sarah Lane, and was again royally rewarded. Maybe I'll make another exception some day, but in the meantime thank you for all your reviews and thoughts for this years ABT season of Giselle.

One thing about ABT tickets. I know a new ballet fan who used the discount code, but was really turned off by the service fee, facility fee & costume restoration fee. The fees cancelled out her discount and she was so annoyed she ended up not buying the ticket. I see her point. Honesty in ticket purchases would be helpful IMO if you want new fans in the seats. What does a newbie care about costume restoration, and why a service charge for an online interaction?

I have 2 tickets for Fall for Dance at City Center. Friday, Oct. 22. 8pm show. Unfortunately I can't use them so I'm giving them away. Mezzanine Left, Row B, Seats 23 and 25. PM me if you're interested.

In my view the essay was about way more than the Nutcracker review, or the reviews of other critics. The heart of the matter is the art form, and the way we "value" some bodies over others. I don't think there is a way around that. The question then becomes, what is the appropriate way to criticize a dancer? I've heard people say Lovette wasn't enjoyable in the After the Rain pas because she is small, and to do justice to the choreography a longer limbed dancer is needed. I have argued with friends about Daniel Ulbricht who I believe has always been underutilized. I have friends that say his thighs are too thick, and his lines not suitable for many roles. Before Megan Fairchild's Broadway run, Alistair was relentlessly critical of her. Was that all right because he never had reason to mention her weight? Is it allowable to be critical of neck length, flexibility of feet, height of extensions etc. but not allowable to criticize a woman's weight, or the thickness of her thighs or waist? (I'm not saying it should be). When we think about diversity of body types in ballet, how much diversity are we willing to tolerate? I for one think it's complicated, and the article left me asking myself a lot of questions.

They were both in Vale this summer. Not dancing together, but at the same festival.