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2 hours ago, Kathleen O'Connell said:

Taller NYCB ballerinas have danced Dewdrop over the years—Karin von Aroldingen, Kyra Nichols, Heather Watts, and Sofiane Sylve, off the top of my head. 

ETA - and more recently Maria Kowroski, Sara Mearns and Teresa Reichlen.

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.

20 hours ago, dirac said:

Riders in horse racing, who are subject to strict weight standards, are vulnerable to eating disorders and have been for a long time. (Viewers of the movie "Seabiscuit" may recall the scene showing a jockey purging before being weighed.) Men are certainly susceptible to disordered eating and this should never be ignored or minimized, but sufferers remain disproportionately female, even allowing for potential underreporting.

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. 

19 hours ago, Helene said:

Yes, he did.  From the Season Encore program in which she and Batkhurel Bold gave their retirement performance:

"The following scene, known as the "Athalie," is where Titania and her cavalier execute challenging choreography among their court of fairies.  She simply devoured the space around her even if it was the air above.  She made the musical score come to visual life, seeming to conduct an entire orchestra with each step.  If ever there was a dancer's dancer, it is Carrie Imler.  Through pristine technique, laser-focused musical phrasing, and sheer zest for movement, Carrie redefined the role of Titania for me in just one sitting."

But if he hadn't been to that rehearsal, would he have cast her in the first run he produced after he became AD, or would he have cast her as Hermia?  She was also a spectacular Hippolyta: you knew if you saw her in one role, you were robbed of her in the other.  Or if she were in a bigger company with a dozen women who fit the mold, would she have even been considered for either Titania or Hippolyta unless every single one of them was injured?

I just think of all of the missed opportunities when dancers don't get to show us what they have to say because of preconceived notions.

 

 

 

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.

2 hours ago, Helene said:

However, dancers are constantly being subject to prior expectations based on body types and not based on whether they are technically or stylistically capable:  she's too X for Diamonds, he's too Y for Rubies, they're too similar/dissimilar in height, etc.  Peter Boal said that when he was invited to watch a PNB rehearsal, Carrie Imler was dancing Titania, and he looked at her and thought, "She's a Hermia, not a Titania."

What's remarkable about Peck is how few times her body type/height is brought up as being questionable, because so many dancers are subject to that scrutiny.

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?

28 minutes ago, Helene said:

Kaori Nakamura, who surely is shorter than Tiler Peck, danced a splendid Diamonds in Seattle (partnered by Seth Orza), so if Tiler Peck were cast in "Diamonds," I would certainly want to see what she had to say in the role.

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. 

23 hours ago, lmspear said:

There's  one thing that's always surprised and even awed me about critics' and audience reactions to Tiler Peck.  I can't recall ever reading or hearing any reaction to the shape of her body, the focus is always on the marvel of the way she moves.  

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.

2 hours ago, abatt said:

Tiler Peck and Robert Fairchild will  both appear in  Twyla Tharp's program at City Center in November.  However, they will not be dancing together.

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

I found the Alistair essay quite interesting. He brought up a lot of ideas that, IMO, can be difficult to grapple with. In ballet, we deem one body as better than another. I've read over and over how incredible Maria Kowroski's legs are and how seeing those legs in Slaughter or Agon etc. was special (and I agree). Some viewers didn't think Lovette suited to After the Rain, because of her small size. We look for some kind of "perfection" in ballet, and perfection can mean different things to different people.

I remember the review that started the controversy, and was appalled. Jennifer Ringer was always lovely in her response. At the same time this essay gave me a lot to think about.

For the record, I've know make dancers and ice skaters with eating disorders. There is a higher incidence for women no doubt, but it afflicts men too.

31 minutes ago, abatt said:

I think Unity is a definite for the lead debut in Swan Lake.

They already have so many ballerinas who do the role (Peck, Fairchild, Bouder, Mearns, Reichlin, Hyltin).

Agree about Unity. It also could be that one of the ladies on the list will drop it from her rep for any number of reasons. Time will tell.

49 minutes ago, cobweb said:

I'm trying to figure out if Chaconne is on the schedule for Winter or Spring, but it's hard to find that information quickly on the website (unless I'm missing some season overview page). Does anyone know if it's coming back? It definitely should!

I don't think Chaconne is going in the Winter or Spring. I love the ballet and wish we had more Chaconne and less La Valse and Slaughter! On another topic, it will be interesting to see who is cast in  Swan Lake.

2 hours ago, canbelto said:

Well Tiler is amazing in Other Dances and she and Roman often dance together. I'm looking forward to it.

Tiler Peck is indeed amazing in Other Dancing. It is a perfect vehicle for her because there is so much space for musicality. I hope Bouder isn't injured, or if she is it is minor. What a bummer it would be to be injured just when the company is coming back.

5 hours ago, mille-feuille said:

I am convinced that the crowd would be in raptures if Ernie and Bert from Sesame Street were performing the After the Rain pas. I'm so sick of it but people eat it right up every time.

I so want to see the Ernie and Bert version of After the Rain pas! What ever happened to the rest of that ballet? I've never seen it. As for Bransle Gay in Agon, I used to love Savannah Lowery. Her big, expansive style was great. I really miss her.

3 hours ago, canbelto said:

Abi Stafford also made comments about how she didn't feel happy with the new regime in this Dance Magazine article:

https://www.dancemagazine.com/abi-stafford-anxiety-2647826840.html?rebelltitem=3#rebelltitem3

When Abi retired, Jon and Wendy did not come out and give her the traditional flowers. Jon and Wendy did do so for both Ask and Lauren, which makes me think Abi's retirement might not have been very cordial behind the scenes.

 Personally I thought Abi Stafford should have retired a while ago. She hadn't carried a full principal load for quite some time. Seems like she did Kammermusik and Concerto Barrocco, maybe some Ratmansky and not much else. She attended law school and managed to stay on the roster until she graduated and was ready to enter the job market as a lawyer. 

4 hours ago, GB1216 said:

Same! I want to assume that she is referring to the previous administration and not the current.

I wouldn't assume anything!

8 minutes ago, cobweb said:

Yes, I noticed this too, mille-feuille. Wondering what happened. 

I noticed it too. I don't know the ballet as well as I do some others, and briefly wondered if it was by design. 

9 minutes ago, nanushka said:

Well, yeah, but personally I think it's a good thing when workers are appropriately compensated for their labor. I understand if there's a need for caution now, financially, but I certainly don't think promotions should be withheld for any sort of "motivational" purpose. Promote them and pay them, if they're dancing the roles.

Until tonight, I had never truly gotten the appeal of Megan LeCrone. I loved her in Agon.

Maria K was fantastic. Those legs will be missed.

Just throwing out there, there is a pay differential in most contracts, for corps members doing soloist roles. I'm not familiar with NYCB's contract specifically, but I wouldn't assume that a corps member gets corps pay regardless of how many soloist or principal roles they do.

Just saw the Friday show. Had a wonderful time. I'll leave others to comment on La Valse. Not one of my favorite ballets, so I'm interested in other reviewers. Other Dances reinforced my opinion that Tiler Peck is a dance genius. The blend of imagination, musicality and technique is extraordinary. The timing of even the smallest developpe brought out some musical nuance. Gonzalo Garcia was charming and wonderful. They looked great together. 

After the Rain with Lovette and Chamblee was lovely. It's a great vehicle for Lovette. I have to say that during the piece she was trying to connect with him, and he was a bit more business like!

Agon - A ballet a could see a thousand times. Kowroski still looks great in the pas. Huxley, Sara Adams and Ashley Hod were the first trio. Hod and Adams are having good seasons. Huxley gets better and better. In Bransle Gay I thought Megan LeCrone looked cautious and tight. My husband disagreed. 

When entering the the theater the electronic reader was unable to scan bar codes on phones, so a bunch of us had to stand on line to get paper tickets. Not a big deal, but it did slow things down. Also, I noted that the house was pretty full, with some folks up on the 4th ring. Interestingly there seemed to be a lot of younger people there (younger to me, so 30's and 40's), yet it seemed to be a knowledgable crowd. It was clear the audience knew who was retiring. I wonder if this says anything about NYCB's outreach, publicity, social media or anything.

1 hour ago, canbelto said:

Here's the official news release:

https://www.nytimes.com/2021/10/07/arts/dance/new-york-city-ballet-promotions.html

Thanks Canbelto, I hadn't seen the official word. Does this mean promotions are done? I thought there would be more. IMO the principal rank on the male side is growing a bit thin with 3 retirees and the limited rep of some of the men. The women's soloist rank is a bit thin too, with King retiring, Phelan and Woodward promoted to principal, and (I believe) Pollack & Pereira on maternity.