vipa

Funny you should say that cobweb. The thing I look for in following dancers is postings of rehearsal videos. I find those fun to watch. I am getting way off topic here. Sorry.

One thing that may exacerbate the overall feeling of a dysfunctional company is the use of social media by many dancers, with the intention of building a fan base and showing that "dancers are people too." I'm not saying this is wrong to do, just that it carries risks. The most extreme example is the T. Peck/R. Fairchild engagement and marriage. This was not a simple announcement or something known only by diehard fans, it was all over the place. So when the marriage ended it was a big deal. Lauren Lovette's engagement to Finley was on social media. Bouder's pregnancy and now motherhood are a constant feed. Lexie Maxwell is very public on social media about her relationship with Ramasar. I'm talking public facing accounts. It's all "feel good" when things are going well, but if things take a turn for the worse with divorces, break-ups, etc. there can be problems.

Agreed, but we don't know if any dancers were the recipients of the emails and texts. All we know is that the individual who wrote the letter of complaint is not in the company. There is also the issue of (here's were my lack of knowledge shows) if a person from an organization sends an offensive email to someone else in the organization, is the organization culpable? is there such a thing as private correspondence? Now that I think of it a suspension without pay, for the fall and Nutcracker seasons is not a really horrible punishment. Finlay resigning is another matter.

Isn't social media one thing and a text or email sent person to person something else? How could a workplace even insist on seeing my private emails or texts?

All true nanushka.

I guess I am naive about such things. I work at a school. If I sent a text message or email of a sexual nature (I'm picturing you naked) to an adult who had no connection to my school, i would think it would my personal business. If I sent the same message to a colleague, student, parent of a student etc. that would be different, because it would involve my school. If I sent said message to an individual who had nothing to do with my school, but was a minor it would be criminal. Are there businesses that can intrude upon all personal communications?

NYCB will manage, although it will be interesting to see what happens. If Carousel wasn't closing, Ramasar would have been out until the winter season anyway. Finley was injury prone & Catazaro uneven. (I was one of his few defenders on his Apollo debut on these boards). Talent abounds, let's see what happens. I wouldn't say there was a paucity of women. With what I've seen recently, Miriam Miller, Unity Phelen, Indiana Woodward, Aslhey Hod (coming båck from injury) - I could name many others who might be ready for prime time.

I agree that it's a long way from tthe båck to the front, until someone steps up to the plate. This could be an exciting time for the men in NYCB.

Not easy for Ramasar, I would think. He is 36, and has been on Broadway for a while so had to get back into "ballet rep" shape, as it is.

That's the way I read it too. The person(s) to whom the communications were sent might or might not be in the company. The person who sent the complaint is not in the company, and might or might not be a/the recipient of the communications. Are we to believe that all three men sent some kind of inappropriate communication with the same person?

I'm confused. My interpretations was letter of complaint about the communications came from someone from outside the company, however the communications may have been sent to someone inside or outside of the company. Correct?

I really can't imagine that Clifford is a serious contender. What about Suzanne for a few years? Might Nikolaj Hubbe be interested, although he's had some controversy in the Royal Danish Ballet. Pat Neary? I still think Lordes Lopez has it if she wants it. She's the full package - knows media, runs a company which she took over with minimal disruption (as far as I could see), worked with Balanchine but has an eye for contemporary works. If she wants to move back to NY, I'd put good money on her.

Clifford is not a contender. He can apply if he wishes but I can't believe he will be hired. L Lopez is the strongest contender (if she wants the job) IMO. I haven't heard Judy Fugate mentioned much. I believe she's been running her own company for a while, and I truly believe the board would love to hire a woman. I don't think they will hire any current company members who have dancer years left in them. Also, we don't know who has applied. Is Ib Anderson a contender? There are not many major companies in the world, and a connection to Balanchine eliminates a lot of AD's. I'd love to know who is applying!!

I have no evidence to support this - but I think the board would love to hire a woman. Of course a lot depends upon who actually applies. Lordes Lopez might be perfectly happy in Miami. Fact is that men try for positions of leadership more frequently that women but how about: Jennifer Ringer, Coleen Neary, Kyra Nichols, Judy Fugate - I'm sure there are others. Are there people who are being encouraged to apply? I'm not sure Woetzel would be the best choice - might be too experimental.

Got my tickets to the De Luz retirement performance in the mail today. Faxing the request worked out!!!

Hello Colette, I'm happy to hear your voice. I look forward to reading your thoughts and reviews from Berlin

I agree, bring Bright Stream back. It's actually one of my favorite Ratmansky ballets. Brandt & Lane would be a fine cast.

I agree Emma, that it was easy to lose sight of the fact it was a 3-night event, particularly after seeing the celebration when the curtain went down.

Thank you Nanuska and Emma for you suggestions. I'll check those out. Emma I agree that it would have been great to see, and have available, those performances of Balanchine. The Trust has a difficult balance in wanting the works to be seen and popularized, but not wanting videos to be so ubiquitous that people can "stage" and imitate them without the proper guidance. Another thought occurred to me about Ballet Now. Why did Peck dance so much on the programs? She said a number of times that she was in 6 different pieces. I don't attribute this to ego, rather to a novice's mistake. She could have imported another dancer to do Stars and Who Cares or Carousel.

I just watched this and really enjoyed it. Tiler Peck has at least the beginnings of what it takes to be a company director. She can coach, collaborate with others, knows stage craft and can get dressed up, smile and schmooze. I wouldn't put her in charge of a major company tomorrow, but I think she has the makings of a director. Some of the rehearsal footage was great, particularly the one with Catazaro in Carousel when things could have gone terribly wrong. Michelle Dorrance is fabulous throughout. The videos of Tiler Peck as a child absolutely show her amazing talent. I also enjoyed her work with Bill Irwin. All in all an enjoyable film that made me sign up for a free month of Hulu! If anyone has recommendations of what else to watch there let me know.

Did LeCrone do the lead in Square Dance?

I have had great experiences with NYCB both in exchanging subscription tickets and renewing my subscription by phone. Everyone I interact with is so helpful.

I also faxed in my order form but haven't heard anything. I am assuming they will just send the tickets in August.

Thanks for the review cobweb. I saw it last year and passed on it this year. In fact for the first time in many years I took a pass on the whole ABT season. I couldn't get to the casts and ballets I wanted to see so threw up my hands and skipped it.

There was a lot lacking and missing in this assessment. How did Cornejo end up on a list with Sterns and Whiteside as coming nearer to being "central artists"? Cornejo is up there with the best of them IMO. Abrera, Hee Seo, and Copeland are named as representing a new American diversity that is replacing the old demand for Russians, without commenting on the differences in dancing or approach. Is this good or bad? I don't particularly like the ABT version of Swan Lake, but Keven M is criticized for the very standard version the company does. It is not a back to Petipa work as is Ratmansky's Sleeping Beauty and Harlequinade, so why even compare? He says that Misty Copel;and is the greatest ABT draw, and leaves it at that. It is a hot topic so I don't blame him for getting into it but, in that case, why mention it? Who is he writing for? What audience is he aimed at?