vipa

I believe in Wendy Whelan's movie Restless Creature, Martins mentioned to her that the Board had been asking about her after her surgery. It prompted him to contact her and find out what was going on.

I believe Mr. Martins' career is over. The number of allegations of violent behavior are piling up, as if the floodgates have opened, and are not all in the distant past. Whether they are proven in an investigation or not, no parent is doing to want their child attending SAB with Martins at the helm. NYCB dancers will forever be on edge with him around, and ticket sales will be impacted.

Such a good point that fighting for succession is done. Anyone who has seen a video of Suzanne coach or has heard an interview of dancer's she's coached sees value there. Please bring her back to get that information, before it's too late. Heather Watts is also known as a great coach. She is not welcomed at NYCB as a coach or teacher in the school. Let's get her in there. Open the doors. IMO there is no road back for Martins. Let's acknowledge his fantastic contribution and open the doors.

I guess I think of Stafford as in the twilight of her career because she was out a lot with injuries and took a lot of time off after giving birth. This is not criticism of her, but my observation as an audience goer is that she was gone a lot. Since her return, she's been cast infrequently and specifically. She's in her mid 30's, and with all the up and coming talent, I don't expect her rep to expand.

Abi Stafford is in the twilight of her career. She isn't cast in many ballets, and seems to have a small and specific rep that she still does well. It seems very unlikely that that will change.

In an interview Unity Phelan, who also performs at Vale, spoke very highly of Heather Watts' coaching. She also mentioned she calls Watts when she need help with roles.

A terrible situation indeed. I don't know how she went to work the next day but she stayed on for a few more years. I don't think Martins will be able to return after this story gets around.

I saw Tiler Peck take a big fall in her Aurora's entrance in SB & I've seen Ashley Bouder fall a couple of times. I don't view those falls the way I do failing to complete turns, or coming off pointe etc.

So many great point are being made. You guys are smart! It occurred to me that NYCB has had the Fordham U connection for a while now, and a lot of the dancers availed themselves of the opportunity. There may be former company members who went on to become arts administrators and/or run not-for-profits etc. Hiring former principal dancers as AD has the benefit of star power and name recognition, but who knows, there could be a former corps member with heavy duty organizational experience and good people skills.

I think that's all true Helene. I also think it is a shame that she can't be assessed for her own merits. That's the way it is. Would Ib Anderson be a contender. He heads a company & school in Arizona. Does anyone know how that company is doing?

What about Darci Kistler? If she wasn't married to Martins I believe her name would have already been mentioned!

Agreed - Ib Anderson?

I would think the charge of a dancer receiving a better role because of a personal relationship with Martins, would be very hard to prove. Who should get what roles is very subjective.

I think hands on is common. I've never been in, taught, or watched a class in which a teacher didn't fix a foot, shape a hand, etc. etc. etc.

Interesting take on this cobweb. Back in the day, when I danced professionally, every director I ever had did some of the things you mentioned (holding a hand, taking an arm etc.) Some of these were gay men. I never took offense or felt put upon. I took it as a sign of encouragement or approval of what I'd done, or even a tempering of what could be considered a harsh correction. Dance being a physical art is part of it. I truly didn't know a dancer who was offended by such actions. If said director had been inappropriate with me in private, these small physical gestures would have taken on a different meaning. Maybe that is sometimes the case. It was never was for me. I'd be interested in other opinions because I've never even thought about this before, even when experiencing or witnessing it.

So agree with everything fondoffouettes. IMO it would be nice to see a women in the position and there are a lot of women to consider - Suzanne Farrell, Patricia McBride, Lourdes Lopez, Coleen or Pat Neary, Heather Watts, Judy Fugate, Jennifer Ringer to name a few. There are many others. All with experience running schools, companies or festivals. What has Kyra Nichols been up to?

I'm not sure that was total nepotism. IMO in ABT Julie Kent danced far too long. I'm not sure what factors contribute to such things but ticket sales may be a factor. Another hat in the ring for director - Jennifer Ringer.

Wendy Whelan wouldn't my first choice, but wouldn't it be wonderful to have a woman? Suzanne Farrell & Lordes Lopez have experience running a company. Heather Watts has a big hand in Vail and has developed some knowledge about productions. I'm sure there are others I'm not thinking of who would honor the history and rep and also be forward looking.

I had my doubts about Martins during his first years, but over the past dozen years or so, I think NYCB has developed deep deep talent through-out the ranks. Financially the company seems to be on solid ground. I don't know how much this is Martins doing but he has to have had something to do with it. I think Woetzel would be too much of an explorer for my taste. I don't know how much he'd honor the Balanchine rep. If we're talking about Woetzel - how about Heather Watts? Of course Suzanne being back there would be wonderful. All of this is premature. All there is so far in an anonymous letter. In this climate institutions have to be fast to jump on everything. Poor Darci Kistler!

Now there's an idea!

So agree canbelto. Balanchine was smart that way!

I truly wish Lane was getting one. Her Odette at the Met was beautiful technically and emotionally. IMO a lot than some ABT principals who have been doing it for a while. The worst part of her Odile was breaking character when the fouettes went bad. That is a mental game she will have to conquer. Artistically Lane has so much to offer (IMO) that if she can get her mental strength in order, I would go see her in any role because I think she has a unique voice. That's more important to me than a dancer being "ideal" for a role.

Makarova was the master of body language and stage craft. Unfortunately, these days a lot of dancers think they have to throw in doubles to meet a certain standard. The typical audience couldn't care less. They just want to see the music filled up with turns and a dazzling finish. That's what dancers should go for.

I'm a huge Sarah Lane fan but I wish she was a little calmer about those fouettes. It's like she'd using determination instead of technique

I just watched the 1958 televised version of the NYCB Nutcracker on youtube. Marzipan was done by a pretty impressive dancer named Judith Green. I've never heard of her or heard her mentioned in any interview with former NYCB dancers. Anyone know her story? A very young Allegra does Dewdrop. The Sugarplum (Diana Adams) pas is replaced by the Sugarplum dancing with all the male characters - no cavalier. Moderators, I'm sorry if this is the wrong place to mention this. I didn't know if it warranted a new topic, or if a topic existed.