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John Clifford has applied for the job. A thoughtful, thorough, deep assessments of all candidates is warranted. Having any of this play out on social media is odd, to say the least. It seems to me that the first thing the board has to decide is the expected tenure. Will they hire an older person, who worked with Balanchine, with the hope that that individual will hire an asst. who will be next in line, or will the board make a jump to a younger person who didn't work with Balanchine, and could be a director for many, many years. Personally, I don't think Clifford has a chance.

All true. There is also a lot of rising talent, but it will take real leadership to push, promote, develop the right people. Casting at a time like this is crucial.

I was at the Sat. Matinee and the printed program with Adrian D-W still listed in Carousel, listed the pause after Allegro Brilliante and intermissions before and after Carousel, so I believe that was the plan all along, not a change because of casting. Obviously an intermission is needed before La Sylphide because of the set. I don't know why an intermission before Carousel was necessary. Personally, I dislike See The Music.

I agree, the ballet is a cartoon and should be judged as one. The quote that most stuck out for me in the article was "it still begs the question that’s been hanging in the air throughout the #MeToo movement and particularly in the recent Brett Kavanaugh hearings: do we believe women?" Up to this point in time women have not been believed, we have even been blamed for being raped or assaulted. There is still way too much of that. I believe we should respect allegations made by women as much as we respect allegations made by men. That said, I remember that women approached the Washington Post last year with false accusations against Jude Moore of Alabama. They were women on the political right, who were trying to make a political point, Fortunately, because of the Post's journalism standards, they didn't get very far. My point is that, I don't think it's a matter of believing all women or no women. I believe it's a matter of taking allegations made by a woman as seriously as those made by a man and investigating them as thoroughly. It will take a major corrective, as the pendulum swings. In terms of Peter Martin's being seen in a video at PNB. It was insensitive because of Kelly Cass Boal's accusations, but (having not seen the video) Mr. Robbins was not showing Mr. Martins how to seduce women, but how to stroke a women's face for a particular ballet. Peter Martins was an amazing dancer and ultimately led NYCB in a positive direction. In time to come we will be able to read his name without the complex explanation of - charges but supporters but detractors but no corroborating evidence but etc.

I was there for the matinee today, where it was my pleasure to meet Cobweb. A few impressions - Allegro Brillante with Sara Mearns & Tyler Angle. I thought the company looked great and I seem to love this ballet more every time I see it. Angle looked strong in solos & men's sections and proved himself, once again, to be a fabulous partner. Mearns had a problem going into some turns which he fixed with no todo, and they continued on track. She danced musically and big. Mearns is always riveting. Easy - My first viewing. My husband renamed it, Inter-Export-Story. Yes, a lot of Robbins references. Indiana Woodward was a charming and energetic highlight . I wouldn't seek this ballet out, but I wouldn't avoid it either. Carousel - Tiler Peck & Tyler Angel (replacing Adrian D-W), For me this grows a bit stale with repeated viewings. And I have always disliked the part when they bring in the carousel poles. The rest of the ballet is a total abstraction, and I find that element annoying (I guess I'm a grump) La Sylphide - Sterling Hyltin was charming, light, playful. She doesn't have the biggest jump but uses it musically. De Luz was quite fine in his characterization and dancing. Ulbricht as Gurn, didn't have quite the jump and sharpness that I've come to expect from him. Still a fine performance, and he always has an totally likable stage presence. He has been a long time favorite of mine. He doesn't dance in many ballets, and I think that he has been underutilized through-out his career. Lauren King was Effie, and I loved her. She was radiant, and connected with everyone around her, especially De Luz. She actually made that role come to life for me. Marika Anderson was a gleefully evil Madge. I think my favorite Sylph will continue to be Debra Austin!

I agree. Her one year apprenticeship could have been put on hold. Unions are, justifiably, wary of performers being used as cheap labor such as apprentices, for long periods of time. I know Actors' Equity has a limit on the number of audition call backs a person can be asked to do before being hired. They don't want call back "auditions" turning into an unpaid rehearsal period.

I think it's unlikely that he has the intention of humiliating her but as laurel said, there may have been pressure to promote her in 2017 at the end of her Met season. I saw one of her Giselle performances, it was technically flawless and artistically one of the best I've seen. At the same time, she seems to be from the top (or even the middle) of the list of McKenzie favorites. She didn't get a lot of shows at the Met. In my humble opinion she should read the writing on the wall and move to another company while she's in her prime. I know her husband is in the corps of ABT, but surely that won't stop her.

I was also at the Saturday, matinee and just want to add a few thoughts to Cobweb's. In Diamonds Gordon was the revelation for me in the way he held the stage and presented himself. Wonderful - a bright future awaits him. He seems just barely tall enough to partner Mearns. They look about the same height standing flat. There were gorgeous moments in the pas, it wasn't flawless but there were no awful moments, and he maintained his bearing, demeanor and connection to Mearns though-out. Solos on both sides were terrific. As an aside - Suzanne Farrell is never spoken of as a virtuoso technician, but when I see the solos choreographed on her I am reminded of how amazing she was. I'm old enough to have seen her, and on her, technique looked like she was just dancing - making it up as she went along! I so agree with Cobweb about Hyltin. She sparkles, has wit, sails through the technique but it all looks so natural. Veyette, thankfully, looked a lot better than when I saw him last spring. I enjoyed his performance, but I'm sure he's nearing the end of his career. Claire Kretzschmar's (tall girl) performance is a work in progress. Didn't quite fill the stage (it didn't have to do with height), didn't quite finish her double pirouettes or have a strong enough attach on some of her movements. At the same time she had moments when she really covered space and her penche arabesque exit was well done. I hope she continues to be cast in this so she can make it her own. I believe that can be done, even though she isn't quite as tall as most tall girls!! Unity Phelan was the unexpected delight for me in Emeralds. Her solo was lush and musical. I've liked her for a while now, but I'm starting to see a principal dancer in there. Tiler Peck was luminous in the Verdy role. I want to add one thing about Sean Suozzi (trio in Emeralds) and some of the other men at NYCB. It is my favorite company, hands down, but there is what I consider a weakness in some of the men. There is a lack of groundness/weight/connection to the floor, when they start and end turns and jumps, particularly double tours. The result is that a fast double pirouette looks like 2 spins, instead of 2 fast turns (but a third would be possible if there was time). For me it comes off as - by the skin of the teeth - dancing. This isn't true of Veyette, DeLuz, Ulbrict, the Angle brothers, Gordon but there are a whole lot of guys it is true of. I know I'm not being very articulate, but my husband and I have been trying to put this into words, so I thought I'd throw it out there. Last thought upon seeing NYCB do Jewels - the company is a treasure. May it live forever.

I agree that it's a new low for Lane. It makes it seem possible that she won't be renewed after the Met season. Over the last two Met seasons she's given outstanding performances of Giselle, a mixed but basically good SL on short notice, and had good to excellent premiere performances in Harlequinade, Bayadere and Don Q. She had a pretty big mess up as a Shade in Bayadere but Hee Seo and Misty Copeland have had many, many mess-ups. I just don't see the AD keeping her on much longer unless.

How demoralizing that must be for Lane. I see no reason she couldn't have been cast more.

There is an interesting documentary about the man Kent was married to called - Bert Stern: Original Madman. It addresses the marriage, children & Allegra's career to some extent. I believe it was made in 2011. I watched it on the NYPL free live stream service Kanopy. Sorry if this is too off topic.

I think it's 1 year, but of course I could be wrong. I've never heard of anyone doing more than that. I know that AGMA frowns on long apprenticeships, because it would be considered taking advantage of cheap labor.

My understanding is that you cannot be an apprentice for more than 1 year, so that at the end of your year you are given a corps contract or let go. Also, apprentices are automatically in the corps if they are cast in a certain number of roles (I forget how many) even if they haven't served a full year of apprenticeship.

That's good point, On Pointe. Anyway, I just don't see how SAB or NYCB is at fault if Waterbury and Finlay met at the school.

I can't speak to past the past five years or so, but I know that in the past, whenever there was a shortage of males for partnering classes, company members would be asked to attend. This was done in a very informal way, certainly not required. It can be very helpful for students to have company members participate. Yes, girls would be expected to partner with whomever they were told to. Yes, some students are star struck when any company member is in class. At the same time, if a company member and a teenage student decided to see each other outside of class time, I don't see how that is the fault of SAB. I don't know if Ms. Waterbury was living at the dorm. I have heard that there are strict curfews and a lot of oversight. My understanding about the Waterbury/Finlay relationship is that it started after she left the school. I just want to add that one of the great things about being in a school with a company attached, is that you have a chance to see and work with company members. This is an amazing asset that I would hate to see disrupted. Sara Mearns and Ashley Bouder both have mentioned taking classes at the school, even as principal dancers.

This may have been covered, but it seems Ramasar received pictures which he didn't protest and didn't circulate. Then he engaged in heavy duty, distasteful jock talk. Do I have that right? I still don't see how NYCB can be liable for Miss Waterbury's dating life.

Thank you for this review. I can't get there until Sat. Mat. and will be seeing the other cast. (I'll go sooner if I can). I hope and pray that this wonderful company, doing this amazing work, will rise above the issues surrounding in performance. How was Diamonds?

I too have questions about Whelan being qualified, in terms of experience, and I wouldn't make any assumptions about Lopez, or anyone else, based on a family situation. People work things out if they want do. I would love to know who has applied for the job!! One of the interesting things about the job description is that it mentions the ability to hire assistants as needed (big paraphrase). This could be a good position for Wendy Whalen as a person to be next in line for leadership.

One problem with Sarah Kaufman's article is that she takes all allegations as truths. The allegations against Martins were investigated. The result of the investigation would not lead me to conclude that anyone connect to Martins should be gone. The allegations made by Waterbury are still allegations, and confusing ones at that. Those allegations have been discussed and are being discussed fully on another forum.

I just want to add that I feel for Jon Stafford. Running a big ballet company is hard under any circumstances, and he's in there, as in interim person, coping with public crisis/nightmare after public crisis/nightmare. The season is starting, Nutcrackers are coming and all of this is swirling around. One other thought - a frivolous one - the De Luz retirement is Oct. 14. I guess we'll assume a number of men won't be onstage to congratulate him - Martins, Ramasar, Catazaro, Finlay. Will Robby Fairchild come back to say congrats and share the stage with Tiler Peck? So much drama has surrounded the company over the last year, in small and big ways.

So agree abatt. In looking at the fall season, there are 9 principal women (counting Ferri). Maybe by 2020 there will be some retirements and hopefully Ferri will be re-retired, but there are a couple of soloist women on the verge of principal to replace them.

It will be interesting to see how this develops. ABT doesn't seem to have a lot of weeks of work compared to NYCB and PNB. To draw top talent they have to offer opportunities.

Interesting, I didn't know that. I loved Sylve in NYCB, I guess I didn't see her in that role. Personally I never found it vulgar, just a way of finishing out the music.

Suzanne was the first one to do the head to knee curl. She describes how it came about, in her book. Everyone who came after her has done it.

One thing about it is that there is so much to see. The feast is almost overwhelming