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Thank you for the casting clarification seattle_dancer. Also, I'm sure you're right that I meant Elizabeth Murphy. It was the tall girl in the middle I was thinking of. Not being familiar with the company, I got mixed up. Thank you setting me straight! I do wish I could see this company more often. It is a real treat.

I attended Friday evening and had a wonderful time. In, A Million Kisses..., if I heard right Laura Tisserand was replaced by Sarah Pasch. Correct me if I got that wrong. The dancers looked great - clean, secure and brimming with a kind of straightforward energy. I didn't like the piece, however. I didn't see a solid structure, a flaw that is pronounced IMO when the choreography is to Bach. Also, the movements were repetitive in the worst way. By that I mean that the repetition seemed to have no purpose (structure), there was a sameness to the whole thing. I used the opportunity to use may binoculars to watch the dancers closely! The Vertiginous Thrill... is a ballet I've only seen on youtube so I was excited to see it live. I really like the wit and musicality of the piece and it was well danced. Angelica Generous is a stand out for me, as she was the last time the company was in NY. My only quibble is that Margaret Mullin was not as crisp and secure as I would have liked. She didn't take control of the stage the way the others did. That's just my impression from seeing her in one ballet. I enjoyed Emergence very much and from what I can tell, it's a great piece for the company. Bravo everyone on stage. One more note - Judging from this one performance I'd say that in general the men in the company are outstanding. Great to see. What a fine company, I wish I could see them more often.

Went to this evening's free (but ticketed) event. Anyone else there? It was a coaching of Tchai Pas with advanced students from the school followed by a performance of the adagio section by Chase Finlay and Anna Sofia Scheller. First of all Kudos to NYCB for rescheduling this free event. It was cancelled because of the snow storm last month. It can't be cheap for a company to have the theater open for an event like this (ushers, stage hands, pianists etc) so thank you NYCB for rescheduling. Peter Martins made a point of asking how many people had tickets to the original event, and seemed pleased that so many of us made it to the rescheduling. Martins, Darci Kistler & Jonathan Stafford were the coaches. There were 6 advanced SAB students. One couple did the adage, another did the variations and a third did the coda. All the students had novice mistakes (they are students after all) but also showed amazing presence being out there on the big stage with a packed orchestra section and largely full first ring. I haven't seen Scheller for a while (I think she's been out injured). It was a pleasure to see her beauty and warmth grace the stage again. All-in-all the evening provided some insights, laughs and gasps (as the students fell - and then were graciously given 2nd chances by Martins). It was a delightful time.

More than the Q&A I was surprised that there weren't more NYCB dancers interviewed in the movie. Sean Lavery, Adam Luders, Peter Martins and others partnered her a lot yet in the film John Meehan was interviewed as a frequent partner. It seemed strange to me. I was too polite to ask in the Q&A

Wow I hope no one was hurt in the fall. As for Veyette, as others have said Ulbricht could have been given the role of James. He was a wonderful Oberon last season. Peter Martins is squandering Ulbricht's prime years in secondary roles while overusing Veyette.

I was at a showing of The Dance Goodbye followed by a Q&A with Merrill Ashley and the film makers. Anyone else there? I enjoyed the film and especially the Q&A but I don't think the film was particularly well done. In the film, 3 or 4 different people expressed the idea that a dancer who retires questions their identity as in - I was a ballet dancer and now I am not, so who am I? A valid question but hearing the same thought from several different people felt like padding. The idea behind the film is universal. Anyone who goes through a transition not of their choosing can relate. I was surprised that no NYCB people were interviewed aside from Jacques D'Amboise. John Meehan was interviewed as a "frequent partner." We see a little footage of Meehan and Ashley rehearsing Sleeping Beauty wedding pas but they couldn't have danced together a lot. That had to have been a guest appearance. The footage of Ashley's dancing was wonderful. The Q&A was delightful. I particularly liked a questions asked about how much choreography of Ballo was left on the cutting room floor - so to speak. The answer was, one step, and that was at Ashley's request.

Scheller was out for a long time due to injury. I don't think any of us are in a position to know what roles she is ready to take on or not.

I heard Megan Fairchild in a podcast say that she used to be married to a NYCB dancer. A marriage or long term relationship breaking up is difficult for everyone involved. M. Fairchild and Veyette behave professionally and continue to their job. As an audience member I deeply appreciate that. It is interesting to me that in an attempt to make dancers seem like people companies/dancers are showing us aspects of their lives that used to be private. It gets tricky when they offer up the positive but leave the negative up to speculation.

A loss to the art for sure. She is one I was hoping would live forever! I heard her speak on a panel about Balanchine a couple of years ago and she was unforgettable. I'm thankful that we have videos of her coaching young dancers. In case you haven't seen it, this great one: Damian Woetzel is the host and Tiler Peck and Jennifer Ringer among those being coached,

I went this afternoon as well. As others mentioned M. Fairchild did Ballo. I think she's never looked better. Her legs and line looked fantastic. She's always had solid technique, but in the past my reservation about her has been that she seemed to always play it safe and didn't do much with musical phrasing. Today in Ballo I thought she was great. She pushed things to the edge tempo wise and played with the music. Her upper body was lovely and at ease. Overall I felt like she went for broke and was wonderful. She had a minor flub at the end of a turn sequence but to me that's fine when a dancer is taking risks (I've seen Bouder fall more than once). Garcia sailed through his variations. I usually find him a bit sloppy and unfinished but not today. Adams, Gerry, Maxwell and Pollack were all excellent. I'm a Kammermusik fan and I enjoyed this performance. Krohn had a more unemotional approach and Abi Stafford sunnier but I liked the contrast even when they danced together. Danchig-Waring and la Cour were accurate and clean which is crucial in this piece. Tchai suite 3 - The first two movements were fine. In the third movement (Scherzo) I really liked Erica Pereira. She started with a beautiful floating arabesque and was radiant through-out. T&V - A year or so ago I saw T. Peck do this with DeLuz. I think she is better suited to DeLuz's sunny, warm presence than Veyette's cooler approach but the pairings have switched for reasons I can guess at. That more an observation than a complaint. As others have said T. Peck is amazing in this piece. There is a section in which she does chaine turns, stops in 5th and changes direction and then changes direction again. I have never seen that done so effortlessly or clearly. She is a joy throughout this ballet. Veyette is also great in it. I heard him say in an interview that T&V was like a classical ballet final exam. Well, he's passed that exam in spades every time I've seen him. He is also a great partner. There is a section at the end in which the lead couple does steps traveling in a circle. On involves partnered turns and the other throw lifts. So many times this section looks rushed and uncomfortable and the throw lifts have a "sack of potatoes" feel. Peck and Veyette did it all with elegance. It was a wonderful day at the ballet. What a great company.

I agree. That happened to Sarah Lane last year and it did not serve her well, IMO. At least Abrera has been around the production for over a year. That could help.

I want to put my 2 cents about Hyltin's Mozartiana and her performances in general. I saw her Mozartiana a couple of years about and saw her tonight. First off, much improved. Her musical awareness, lightness and charm were quite wonderful and I feel she will go deeper into the role as time goes on. One problem is that the Suzanne/Ib Anderson video is so amazing that if you've seen it repeatedly (as i have) it's hard to match. That said Hyltin is a dancer that I didn't like a few years ago but have come to enjoy a lot. The rest of the show. Ulbricht did gigue and it was as great as it always is. I wish he would be given the lead. He is not that much shorter than Huxley. Tonight Huxley sailed through some parts and struggled mightily with others. I saw Unbricht's Oberon last year - he would have sailed through everything. The other ballets: Walpurgisnacht - Merans is sensational - musically, technically, every which way. Alexa Maxwell was the soloist - WOW - ready for prime time. I haven't seen much of this dancer but she is one to watch. It was hard to believe she is a corp member. Sonatine - Tiler Peck and De Luz gave great intimacy, style and musicality to the piece. As I watched I thought it is one of those pieces that is dependent on the craft of the performer. In this case you couldn't ask for more. Symph C - OK not the A team. Among the women Megan Fairchild was in a league of her own. Dazzling, comfortable, stylish - she hasn't been a favorite of mine in the past but she looked wonderful. Her partner Gonzalo Garcia - not so much. He looked sloppy to me.' Reichlin in the 2nd movement seemed very insecure and wobbly. Third movement Carmena showed his great jump and looked good. Pereira has never been a favorite of mine. To me it looked like she barely got through anything. Last movement Pollack and Stanley did well. Overall the impression I had was, other than M. Fairchild, it wasn't the A Team. Well it can't always be. Dancers have to grow and develop. All in all the evening was wonderful and I was struck by the amazing level of musicality exhibited so many of the dancers.

Congrats to Miko Fogarty that she is with the Birmingham Royal Ballet. I watched the film First Position that she was featured in with interest. The film left me with questions about the competition scene. Did Ms. Fogarty really need all those private lessons and competition prep to land a corps contract in the BRB (I am in no way denigrating that company)? I don't know. I'm an old timer and things have changed so I don't know the answer. I hope she copes well with standing in line, making formations and not having a coach and mother telling her what to do.

The Lady of the Adventures After the Rain I like it!

I wonder who coaches. I thought Jean-Pierre Frolich coached both companies but I could be wrong. Anyone know? In any event that is a very tricky part of the ballet and times have changed.

I saw last night's performance as well. One personal note about Liebeslieder Walzer. I am a former professional ballet dancer, teacher and long, long time fan. I came to appreciate Liebeslieder late as did my husband who is also a former dancer. About 4 years ago we decided to give it one more try and got tickets that were in the orchestra pretty close to the stage. We fell in love with the ballet. For us it needed that intimacy to convey all it's wonders. Now we see it whenever we can and even though we sit further away, it's magic still works. I agree with another poster that last night's performance was in many ways a work in progress. Witnessing that has it's privileges too. Everyone had moments that touched my heart and it's something to know I've seen these dancers at the beginning of their journeys into the ballet. Krohn's honesty - not a fake move, Tiler Peck's extraordinary musicality, Lovett's lush beauty and Megan Fairchild's precision and openness were all on display. The men were all fine and will go deeper with more experience. All, men and women, knew they were part of something special. I enjoyed it start to finish. One last thing the singers were wonderful - the tenor magnificent. Glass Pieces is a work I go in and out of liking but I always appreciate the craftsmanship. In the pas Danching-Waring looked great and was a wonderful partner. I liked Mearns too. She doesn't have the angularity often displayed by dancers in this role but she can move fast and is musical and I enjoyed seeing what her lush movement quality brought to the role. I enjoy seeing dancers cast off type occasionally. Even if it's not 100% successful I like seeing the different qualities that can be brought out in a piece and it's great for a dancer's development. At NYCB where dancers are not allowed to alter tempos to suit them I usually find it satisfying.

Best: Daniel Ulbricht as Oberon NYCB for outstanding performances by many, many dancers (Unity Phelan is a name to remember). So much rep, so many dancers, so much greatness. Hubbard St. Dance at the Joyce Worst: Kevin MacKenzie's over usage of Hee Seo

There could have been many reasons they didn't rehire her. I wouldn't jump to the conclusion it was purely weight. She was kept on the roster for a while during her health issues even though she couldn't perform. Hiring in a ballet company is complicated. There are budget considerations, the needs of the company in terms of rep, etc. etc. Choices have to be made. Let's say you are a director and you have to pick - Kathryn Morgan back as a soloist (wonderful dancer of questionable health) or 2 new apprentices who you think can be developed. I might not like the AD's decision but I get that there are a lot of factors. ADs do not get to hire every dancer they like.

This may be a bit off topic but changing body types is not limited to ballet. Look at today's baseball players compared to those from different eras. Look at how the average height of the tennis pro has changed. Lots of factors contribute to this. As far as NYCB and weight goes, I have no inside knowledge but I don't think the dancers there are thinner than in other companies. It's funny, a French friend of mine loves NYCB because he sees more variety in body type in NYCB than in POB.

IMO there are definitely weight considerations in ballet. However, in my experience, that never meant the skinnier the better or that thinness trumps technique and artistry - within a range. The NYCB has a range of sizes and types. Some are more full figured, some athletic looking, some sylph like etc. However it is true that at a certain weight a person won't be hired by a ballet company because of not having a desired look.

We in NYC seem to have divided opinions on Sarah Lane. I am a fan and see her as a quality dancer. I was disappointed that Kochetkova was named a principal at ABT not Lane. Others differ strongly. IMO she is definitely a neglected soloist. Case in point. She made a fine debut as Aurora but it took 5 maybe 6 years for her to be cast as Aurora again. Overall I think SFB has a better rep for dancers. Of course this is from a die hard NYCB fan.

Thank you what a pleasure.

I too have watched 5 and that's enough for me. Considering all the press Tiler P and Robbie F got about their marriage, along with announcements of pregnancies at NYCB, the whole show seems so alternative universe. A creepy alternative universe that expects us to believe it's the world of ballet. The creative minds should have just put it in a strip club.

Congratulations to Lindsi Dec and Carrie Imler. I was so hoping to see Imler in NYC this February but since it is not to be I can't think of a more wonderful reason.

I just watched her latest blog. It's the last for me. I don't know what she is trying to do but from what I can see of her dancing, although she has tremendous facility, it is not of a high caliber. She seems to work hard but working hard and working right are two different things. I can't help but feel sad for her with her prima bar and her attempt to make a company fit her ideal. That's my take on it.