vipa

I know others were there this afternoon, but I'll go ahead and give my impressions. A great day at the ballet. Divertimento for Le Baiser del la Fee is a fantastic piece. I hadn't seen it for years. The pas de deux is inventive, touching and musical. Joaquin De Luz is one of the best partners ever, not only in the technique of partnering but in the way he relates to and presents his partner (I was sitting in front of a woman who exclaimed - I want a man to look at me that way.) Megan Fairchild was delightfully musical and free. I really wish this ballet would stay in the rep more. Agon - Good show with a musical glitch at the end. I think the conductor erred. The four men were perfectly in sinc until the last note, which I think came too quickly. I know that I am in the minority in finding Maria K lacking. She has tons of stage craft and tremendous extensions, and I enjoyed her pas de deux with Adrian D-W, BUT there is a certain caution there. For example, in the start of the pas, many dancers (most notably Wendy W.) make the opening movements so extreme and non-stop that the actual stop in which she wraps her leg around him is a shock. This didn't happen. There were other moments in which there was a fuzziness instead of etching. I liked Ashley Laracey in the Bransle Gay - I tend to be a fan in her go for broke dancing. Her balances were rock solid. King and Laracey are somewhat mismatched as a couple, but did well in Guilliard. Huxley is well suited to the role. Duo Concertant - Sterling Hylin was heaven - I love her more every time I see her. She is natural, gracious, musically sensitive and pretty much sails through technical challenges. Russell Janzen did well but I didn't feel they were inhabiting the same world. Janzen did well with the speed and clarity required, but didn't exactly sail through. Peter Martins still sets the standard for this work if you've ever seen him or the video. It's interesting to me that this work is still cast for a smallish woman and a tallish man. It's a challenge for a tall man to move that fast. Symphony in 3 - Great- I have been consistently critical of Erica Perreira, but she was terrific. Great style, technique and seemed happy dancing with Daniel Ulbricht. He is amazing. I love the etched clarity in which he introduces the theme in the last movement. No one else quite matches him. Loved the pas with T. Peck and Taylor Stanley. I always think of this pas as an alien being's mating ritual!! Great show - what a wonderful company. I've gone on longer than I intended.

Yes, I definitely think it is a problem in the Martins case that so many voices reached the news, being viewed as newsworthy. I don't want to be misunderstood. Anyone who is truly mistreated should have an avenue for regress. On the other hand, vague accusations of favoritism in casting or interpretations of advise about to get promoted are unworthy of news coverage IMO. It seemed that many dissatisfied dancers jumped on the band wagon. Fact is most dancers don't get the roles they want, and most dancers don't get promoted. Sometime young people with promise don't fulfill that promise.

I wonder about something else. Whenever I read Peter Martins name in a story about the company, even if it isn't specifically about the accusations, the article says something like - Peter Martins, former director who resigned because of allegations of sexual harassment and violence ..... Often the article will add something about the the Darci claim of spousal abuse (that was later dropped) and his DUI. How long will it be before he can be mentioned merely as Peter Martins, former director?

I agree and I'm sure there is a formal procedure they are following in terms of recruiting candidates.

I wish her well. The past couple of years have been rough for her in terms of injuries and she's approaching 39.

For better or for worse, I won't bother to point out the issues, if the accusations hadn't come at this moment in time the whole thing would have been handled differently. It is a complicated thing to think through.

It seems they would have to come up with a job description before they consider anyone.

It seems to me that the NYCB Board of Directors has to start with defining the job. Will it be split? That has to be the first task. After that there has to be a clear definition of the missions of the school and the company. From there an assessment of the qualifications that indicate an ability to carry out those missions. I expect the search to take quite some time. I also expect there are constant phone calls to Martins asking for input in several areas. This was a sudden departure. Personally I hope a woman is named to lead the company.

Absolutely, I always applaud performers who are good even if they are stuck in a bad vehicle.

Peck, Ratmansky and others are mainly tied to one company but are free to accept commissions from other companies. Martins didn't have that freedom. I think Martin's La Sylphide is a keeper, as well as his Sleeping Beauty (personally I like it better than the Kirkland SB that ABT did for a time and the Ratmansky SB they now do). I wish they'd bring Martins' Magic Flute back, I think it's delightful. Swan Lake has it's moments and a replacement could be costly and worse. I don't like Romeo + Juliet, but if it fills the house do it. The fact is most ballets do not survive. It's too soon to tell what works, if any, by Peck or Ratmansky will last. Balanchine's full lengths were mostly money makers - Nutcracker, Mid-Summer Night's Dream and Jewels. Don Q, sold when it was done but was of it's moment.

One of the reasons this is so difficult is that we don't know, and will never know, if the interviewer betrayed a bias. We know that the interviewee perceived a bias. That is entirely different. If someone is speaking about an incident that took place many years ago, with no witnesses, that person could perceive bias when the questioner asks specific and unexpected questions instead of seeming to lend a sympathetic ear. At this point I think that everyone will believe those things that support their own experiences or expectations. Half of the people will say "whitewash" and the other half will say "I told you so."

I've stood next to Allegra so I agree that 5'3'' to 5'4'' is probably right. Sometimes a dancer's proportions make judging their height difficult. Allegra did roles like the Adagio in Symphony in C that are typically cast tall (at least now), yet she is small.

I too find the pictures rather off putting. Wendy W was alway very thin. She was also strong and, as someone else commented, rarely injured over the course of a long career. These photos do not show her strength or stamina. They portray starvation. I don't know what her point is.

I respectfully think this is too broad a statement for this situation. It's interesting for me to see the clear division in the comments. I don't think anyone will be converted to the other's point of view.

I haven't seen this R+J in years and never will again. Twice was enough. I'll be curious to hear how it sells. On another note, whatever Peter Martins did or didn't do, he was a man of considerable experience and knowledge. I do feel for Hyltin and other dancers who miss his guidance. I hope the AD search is going well!

This is a difficult question and situation that involves grabbling with a lot of ideas. At least for me, and I deeply appreciate everyone's thoughtful comments. I'd like to throw a thought I had into the mix. Back in the day when I was a dancer, a former dancer frequently came to teach company class and set ballets. I won't mention his name but he is well known in dance circles. A lovely, fun, generous man whose way of correcting was to imitate a mistake, exaggerate it and gently poke fun. The person being corrected couldn't help but laugh, and everyone else laughed too. This teacher was the type of person everyone loved to hang out with after class and btwn rehearsals, and you remembered his corrections because he looked so funny imitating you. He treated everyone the same, no one was singled out as his "unfavored" or his pet. Let's just say (I don't think this ever happened) that a dancer took offense at his imitation, and even said he/she felt humiliated. How much weight would/should be given to that person's feelings? Would it be called a hostile work environment in which people were "ridiculed?" I know I am not talking about sexual statements, but I am trying to sort this all out in my own mind.

John Copley has a reputation for being flamboyant and outrageous. He engages in a type of "banter" that many people enjoy, are familiar with and don't take seriously. Perhaps he should not, I won't try to judge that, but the individual who was offended was not alone with the man. The statement was made in a room full of people, and Copley is an 84 year old stroke surviver. It seems to me that he was engaging in what he viewed as "normal" behavior. In this context IMO firing was an over reaction. Perhaps management should have met with him, warned him, explained that times have changed, asked him to apologize. That the chorister who was offended couldn't work that night and jumped to threatening to get a lawyer if he saw Copley again, also seems an overreaction. I have been involved in dance, theater, opera much of my life as has my husband. There are colorful people in these fields who's behavior is out of the mainstream. I'm not advocating that abusive behavior be tolerated, but there has to be some understanding of context, and many of these people are clever and fun! I am not being as articulate about this as I wish I could be. I'm sorry.

One of my all time favorites. Thank you for reminding me volcanohunter. I loved watching it again.

It will always be State Theater as far as I'm concerned! Although I found it funny when I discussed this with a friend and found out she assumed the place was named after former NY mayor Ed Koch

I just got back from this evening's performance. A very satisfying show. What a great company. Some thoughts - Square Dance - After that ballet I could have gone home happy. Megan Fairchild sailed through technical challenges with ease and flair. I truly think of her as a dancer reborn after her Broadway experience. I really liked Huxley too. The adagio solo was totally secure and had a wonderful introspective quality. The corps was fabulous. Oltremare - I like this ballet very much and find it holds up over repeated viewings. Harrison Coll was a real stand out in a stellar cast. The Fours Seasons - A delightful ballet! Lauren King was terrific in Winter. She's always been a radiant performer, but I thing she's really grown into her soloist ranking. Her turns were secure (a problem she's had in the past) and was technically on top of everything. Her way of relating to everyone on stage has always been a joy. Spring was led by Sterling Hyltin & Chase Finaly. Hyltin is wonderful in everything I see her in. She has a naturalness, musicality and gracious manner that take my heart. I know that in SB she is cast as Aurora (and she is wonderful) but part of me would love to see her as lilac fairy. Finlay was fine, but he always seems to fall short technically with small mistakes here and there. Laracey was lovely and expansive in summer. That IMO is the weakest section. Fall was my first viewing of Roman Mejia - Wow. Great jumps and turns, and an ability to hold the stage with his presence and warmth. Bouder was her fun, secure, wonderful self. Her fouettes were super fast and then she just stepped out of them calmly and stopped. Loved it. Catazaro doesn't quite do it for me in these virtuoso roles. Some of it is all right, but I never feel confident. In his a la seconde turns his leg keeps dropping down and when he pulls in, I feel like it's very hit or miss. I am a bit concerned about who is going to replace Veyette & DeLuz when it come to these roles. Veyette has had problems recently (few years ago he was delivering outstanding performances). DeLuz is over 40. However, it was a great night of ballet. I have had a difficult couple of weeks and the performance was like a tonic! What a great company.

Thanks for the great topic. I too think Sleeping Beauty is here to stay, and I have no problem with that except for adjusting the tempi here and there. I believe they will eventually redo Swan Lake (maybe not for a while). I too am fond of The Magic Flute. It is uncharacteristic Martins in some ways. Mr. B was still alive and may have been offering guidance. In any even I find it delightful. I'd dump Romeo & Juliet. Fearful Symmertries & Hallelujah Junction are enjoyable works IMO. Barber Violin Concerto is what I can a "one time" piece. It's charming and lovely the first time, but after that it seems less and less interesting. I remember enjoying Calcium LIght Night years ago and enjoying it, but I haven't seen it in many years. One problem is that the company has truly glorious works in the rep that are not seen enough. Other than Sleeping Beauty & Swan Lake, which are full length ballets that sell tickets is it worth keeping Martins in the rep. Final note - I know it's been stated before but to his credit, Peter Martins did not fill the rep with his choreography the way he could have as Director.

Thank you for that report nanushka. On thing about Erica P I've noticed is that, for me, she had a very immature stage presence. To me she still looks like a talented student.

At the moment, it seems like this was based on one remark, not a history such as James Levine's. The question is, is a remark that is found to be offensive a firing offense. We are not talking about a history of sexual abuse. I believe that a sense of proportionality is being lost.

It seems that Copley had established a good working relationship with singers at the Met. I still an puzzled that one inappropriate remark, reported to Gelb, got the man fired. If this is the way of the world few people will remain in their jobs. Again I say that the chorister being so traumatized as to not be able to go on at the evening show is weird.