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This is interesting because when Balanchine was alive many dancers did not attend his company class.

Well done - I've seen a lot worse!!

Peter Martins is on record (and film) saying that Balanchine spoke to him about taking on the job and all it entailed. I've never heard anyone dispute it.

I don't have a long list but here goes: Best Sarah Lane's Giselle - honest, moving, technically flawless. She proved her artistry and, IMO, left no doubt that she deserved the promotion she received. Tiler Peck - Allegro Brilliante - nothing left to say about her NYCB - For the deep, deep talent in all the ranks PNB & Carrie Imler's farewell performance - I never had the privilege of seeing Imler live but have been smitten with what I've seen in video. Thank you PNB for sharing her final show and thank you Carrie Imler for being remarkable to the end. Worst Misty Copeland's Swan Lake - I'm sure she sells tickets but ..... I can't even go into it ABT's fall season - Boring, boring, boring. The cloud hanging over NYCB because of the Peter Martins situation and ABT because of the Gomes situation. I hope for resolution and communication soon in both cases.

If he makes a statement it likely has to be looked over first by a lawyer. The wording of these things can be tricky.

All of this brings up so many questions about who we are and who we want to be as human beings. Gomes has built a lifetime of good will among those he's worked with, danced with, interacted with etc. A lifetime of generous and good behavior has value. If he committed sexual assault 8 years ago, how does that weigh on the scales? There is still an aggrieved party. What is the best way to bring restitution to that party? If there is a pattern of behavior and several aggrieved parties what about that? What would the end of Gomes' performing career accomplish? I can't go the route of disbelief or disappointment because someone I admire did a bad thing. Life is too complicated for that. I am confused, at this point, about what justice really means. If someone's ongoing behavior is criminal, obviously it has to be stopped. Other than that I am full of questions. I've often questioned our criminal justice system for example, in that how locking someone up helps the individual harmed by the criminal behavior, but that's another topic.

Correct me if I'm wrong but it seems to me that negative reviews mostly had to do with the caliber of dancers she was working with and the uneven quality of the company, because it was a pick up group. I believe her coaching, and what she got out any dancers has been highly praised consistently.

Just to be clear, I didn't mean I thought people were "dead wood" only that Peter Martins seemed to, when he got rid of people that Balanchine had kept on.

Actually, if memory serves when Peter Martins took over he cut a lot of "dead wood" from the company even in corps positions.

I'm stunned by this of course. It is an incident from 8 years ago apparently. I am conflicted. On one hand a criminal or immoral act is what it is and should not be excused. On the other hand I cringe at the Idea of defining a person by the worst thing they've ever done in their life.

The Balanchine era was something unto itself, IMO not to be retro fitted into today's norms. He didn't take a salary for many years, he had wives, ex wives, probably lovers co-existing in the company, he was by all accounts unusually courteous and didn't like confrontation, he was a genius, he had loyalties but it seems no real friendships, one could go on and on. Mr. B rest in peace, thank you for your ballets and the legacy of your training and school, none of us will ever understand you as a person but I wish I had known you.

Also there are many full length "story" ballets for which no one goes for the story. People go to be moved by the story of Romeo & Juliet but everyone goes to Corsaire to see dancers do tricks.

I thing Giselle speaks to the redemptive power of love. Giselle ultimately has the power to save the man she loves. Personally I always felt bad for Hilarion but that's another matter.

On Pointe you make so many great statements. Even as a child (I'm in my 60's now) I was uncomfortable with Lucy and the Honeymooners. I see my attitude change with other works. In Fancy Free I struggle with the scene with the woman with the purse. Is it threatening? Is it funny? When I watch Nutcracker I wonder what Chinese people in the audience make of the Chinese dance in many productions. There are a lot of things to sort out.

I still would love to see her be invited to coach at NYCB.

One of many interesting and thought provoking thoughts Stage Right. Some things, I believe, go back to the idea of separating the dancer from the dance. I thought back to many, many years ago when I was a dancer. Even as a young teen there were many situations (daily classes, guest teachers, scholarship auditions etc.) in which the dressing room talk was - "he (teacher, auditioner) likes you, or, likes me, or, likes her. I don't remember saying or hearing - he likes her dancing. It was always he likes her. I don't know how if that has changed, but I dare say that the meshing of a sense of self and sense of who you are as a dancer is still a truth for many dancers. In terms of someone like Balanchine there may have also been a meshing of the person and the dancer. There was very likely an attraction to a look and a movement quality. That person becomes a favorite. It's complicated.

Thank you for the heads up Helene. Very interesting interview. I thought I knew a lot about NYCB but Mr. Gottlieb added a layer to that knowledge. He also had a very interesting assessment of spending time with Balanchine as well as insightful comments on dancers and ballets. Very much worth a listen. As an aside I think Breeden and King Ferraro are doing a wonderful job with their interviews.

Thank you for posting dirac. Worth reading several times and thinking about.

E Even if women become more assertive, informed and savvy, a power imbalance will prevent them from speaking up unless there is a deep cultural shift in our society. If you are afraid of losing a job (which could include heath insurance for you and your family) you'll think again before rocking the boat and risking your livelihood and medical care for your kids.

I think the problem here is that lots of people have opinions about who should be promoted and who shouldn't. Promotions are a subjective thing, and many soloists who have been great in some principal roles don't get promoted. I've been going to NYCB for a long time. I'd be hard pressed to find a consistent pattern of inadequate dancers being cast in roles. Add to that, NYCB is a company in which the tradition is to throw them in and let them sink or swim. In my experience most swim. There are dancers who I would like to see promoted or given more opportunities, but it is a matter of taste. In fact, I find myself shaking my head more at promotions and casting at ABT more than at NYCB.

Great points. On the first - I know of a woman who is a single mother who is miserable in her workplace. Her job means not only her livelihood, but health insurance for herself and her kid, and looking for a better job is not so easy when you're a single mom working full time. On the second point, the reality is that ballet dancers want to dance. They also know that opportunities are limited and time is not your friend, so they are willing to put up with a lot. Quit a company and you've not only lost your source of income but have the expense of staying in shape in order to audition for other companies. Other companies that will look at your resume and ask why you left, or speak to friends in that company and ask about you.

So many excellent points. But it reminded me of how complex the NYCB situation is. Many would love Woetzel to be AD. Watts is married to Woetzel (and is Peter Martins ex). By all accounts she has been heavily involved in the coaching and programming in Vale. If Woetzel was at NYCB Watts would be involved in one way or another, even if just behind the scenes. I have to think that it's very hard for Darci Kistler to continue teaching & coaching while this whole thing spins around her. NYCB has had history of relationships within the company: siblings, marrages, love affairs etc. That sure adds a layer of complexity to many situations.

I agree Fleurfairy, and Morgan talking about rumors she heard was very foolish IMO. All that does is spread those rumors and cause more speculation. Not very wise. Interestingly the Met musicians issued a statement about James Levine. https://slippedisc.com/2017/12/met-musicians-issues-statement-on-james-levine/ I can't imagine the NYCB dancers would do anything like that.

I found that statement about being a vegan interesting. She spoke about her increased stamina since changing her diet. Quite a contrast to Megan Fairchild who, in a podcast, expressed the opinion that meat was needed as part of a dancer's diet. I remember that because I'm a vegetarian and thought she was ill informed!

Also, many dancers have spoken about Watts coaching them at Vale, including Tiler Peck & Unity Phelan. They all say she is a wonderful coach who is very positive and generous. Phelan mentioned that even in NYC she calls Watts up for help. I liked Watts dancing in many things, although she was never one of my favorites. In her later years she was overly mannered, but she has openly stated that after Balanchine's death she didn't dance well. In any event the greatest dancers don't necessarily make the best coaches.