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It seems that Sarah Lane has moved solidly into the divided opinions category almost as much as Veronica Part. Personally I'm a big fan but I know others are not.

I can't speak to Womack's work ethic. She seems to work hard. The videos I've seen of her dancing leave me unimpressed. She certainly seems to want to create an audience by way of interest in her story. It is likely she will create followers who have never seen her dance. They will know her thoughts, frustrations and feelings (at least those Womack wants to reveal) but will have never seen her perform and most likely never have an opportunity to see her perform. Strange. I admit that I enjoy learning tidbits about certain dancers' personal lives - Ashley Bouder being pregnant, Gillian Murphy & Ethan Stiefel getting married etc, but my interest began with being a fan of those dancers and seeing them perform year after year. I honestly don't know if that makes a diference.

On the ABT site it's Lane/Simkin and Boylston/Gorak

I'm having a rough time with ABT right now. I won't go to see their production of Sleeping Beauty again. I don't care who is doing it. It was interesting as a historical experience but has too many flaws to sit through again. So much of Ratmansky leaves me unsatisfied. Seven Sonatas and Firebird are out of the question for me. I'll go see Golden Cockerel. I was hoping Lane would get La Fille. She didn't so I think Murphy is the best bet. I don't see ABT filling the Met with what they are offering. More and more I am going to NYCB.

Nice casting here and there but nothing thrilling as far as I'm concerned. More of my money will be going to NYCB. I work at a preschool and when the teachers give out things that are different colors or flavors they say to the kids "You get what you get and you don't get upset." That's what I feel about NYCB casting for the most part even though I have my preferences. ABT is a different thing.

I attended Sun. Mat. and had quite a good time. A few impressions. Ash - Peter Martins/Torke. Ashly Isaacs continues to impress with technique and a strong likability factor in her stage presence. Many of the men looked rushed and somewhat messy. Possibly a problem of the choreography being too fast and busy. Sonatas & Interludes - Richard Tanner/Cage. I didn't expect to like this but I did. Anthony Huxley and especially Tiler Peck gave a wonderful performance. They were musically sensitive, fearless in execution and related to each other in a very human way. I have a feeling the piece wouldn't work if it was poorly performed. Tarantella - I see Spartak Hoxha as a real up and comer. He has strong jumps, beats and turns and good stage presence. It wasn't as polished a performance as I'm used to seeing in this but the last two men I saw were DeLuz and Ulbricht. I think Hoxha will get there and I'm looking forward to following his career. Pereira just doesn't do it for me. She still seems underpowered, often a little late with the music and doesn't cover space well. Nice turns. Rodeo - My first view of this Justin Peck piece and I really enjoyed it. Tiler Peck and Amar Ramasar did the pas and looked great together. One of the things I liked about the piece over all is that it really shows the dancers off well. I loved the way J. Peck moved the groups around with the flow men supporting men. I'd like to see it again. Slaughter on 10th - I miss Maria K's special brand of wit but I did enjoy Sarah Mearns. She let loose, flung that hair around and her legs looked great. It's a piece that is just so well constructed in that brand of musical theater that it IMO it will always work. All in all a fun afternoon at the ballet seeing some fine dancing. One more thing - I've been wondering what will happen when Ashley Bouder goes on maternity leave. She does all those heavy duty ballerina roles like Ballo, T&V etc. Now that Megan Fairchild is back that will help some but I wonder if some new people will be put into those roles. Maybe Ana Sophia Scheller or Ashly Isaacs. I hope Erica Pereira doesn't get pushed too much. Whoever does take on those roles will have some developing to do in many ways. It could be a real treat to watch.

I saw Sterling Hyltin & Veyette last night. Hyltin is a principal dancer who flies under the radar (so to speak), but I've come to like her a lot over the past couple of seasons. I thought her white swan quite wonderful. She brought a fragility and unmannered simplicity to the role that really touched me. Very musical, her arms, torso and eyes showd her fear, uncertainty and finally love for Siegfried. She has a slight frame, so the moment she stepped out to protect the swans struck me as an act of valor in a way that I'd never felt before. In the fourth act her struggle to fight the pull of the spell and stay with Siegfried was poetry. Black Swan was a bit underpowered in her solos. She went at the fouettes with a determination and speed that telegraphed (to me anyway) that she doesn't like to do them but wanted to get through and finish with a double. Not fun to watch but she mostly got through. I did like her characterization and the pas de deux. Again, it was unmannered but truly seductive and evil. I wish I could think of a better word than unmannered, but I can't at the moment. Veyette looked great. He sure has the knack of finishing his turns up. He is a great, great partner. I would never have guessed he was a last minute replacement. I enjoyed Spartak Hoxha as the Jester, even though I'm not crazy about the role. Solid technique and nice stage manner. I hope to see him in more things. Ashley Isaacs was a total joy in her Pad de Quatre variation. She sailed through the technical mine field as if she was having the time of her life. I always find Ulbricht a pleasure, not only for his awesome technique but for his stage presence - warm, likable and very human. Georgina P and Adrian D-W were stunning in Russian. The orchestra sounded great and the company looked great. One more thing about partnering. I admire the men in this company so much for their partnering abilities and I don't think it's mentioned much. I've seen all 4 Ciy Ballet Swan Queens over the past couple of years and know that none of them would have the freedom to be as expressive as they are without a great partner. Bravo men!!

Thank you. I leaves you wanting more of her insights

Going from school to company is a big change. That's why an apprentice time is actually a good idea for all. Learning ballets, the schedule, seeing the demands of the corps up close, feeling the reality of the expectations. I see many reasons why an apprenticeship might not work out, that have nothing to do with anyone killing dreams. As far as dancers changing careers. Again, there are lots of reasons. Having children is one. I was a dancer and when I had my first child I decided it was time to teach. I personally was not up to getting back into shape and juggling rehearsal schedules etc. The simple fact of interests changing is another reason. It doesn't mean hating ballet, or being crushed by negativity (yes this happens) but sometimes it's a matter of being drawn to another interest. I guess I'm saying that sometimes it doesn't take the body breaking down or getting too old to dance to cause a career change. BYW I would't trade my years as a dancer for anything.

Daniel Levins, former principal dancer at ABT and teacher at the Feld School passed away on Sept. 15. He was also a member of NYCB for a time. What a fine dancer he was. Many remember him in Billy the Kid, Fancy Free, Rodeo among other roles.

I agree with you Dreamer. If Ferri was coming back for an opening night gala with something that had been choreographed on her, I'd be all for it. To see her in her 50's doing R&J I believe is a gimmick on the part of ABT. Moving forward is a big problem for ABT.

She was wonderful in Cheri with Cornejo but as others have said this was an older woman/younger man relationship. I've seen her on youtube in rehearsals for things being choreographed on her, and she looks great. Whether or not she can seem youthful beside Cornejo remains to be seen. Personally, my heart sank at the announcement. IMO ABT needs to focus on fostering young talent. Ask her to coach. Ferri will get some press, sell some tickets, be wonderful or not, the audience will love her and ABT will continue to lumber along. If something happens between now and then and Ferri has to withdraw, Hee Seo will be ready.

Well if Imler is cast I'll be there. I got the impression last time that Boal wanted to show off his younger dancers but I really have nothing to base that on. If Imler has a lead in any program I'll buy a ticket.

Personally I've been waiting a long time for a chance to see Imler. YouTube videos are all I've seen. I hope there is a chance.

I admit I am curious about opinions on Kochetkova. There have been a lot of opinions about Lane on this thread, but she was a soloist and remains a soloist. One of the surprises to me on ABT roster changes is Kochetkova.

I don't think anyone is going to be talked into or out of being a Lane fan. My main point in earlier posts was that I don't get having Kochetkova as a guest artist or taken in as a principal. That is the change in roster that puzzles me. She is neither a thrilling dancer nor a ticket draw IMO

I've seen Kochetkova a few times including Nikiya, O/O and something with the SFB when they came to NY. I walked away each time thinking she is a strong dancer but nothing special. For a dancer to be hired as a guest artist and then named a principal dancer I expect a lot more. I'd think that if an AD wants strong and serviceable he'd stick with the home team. Boylston, Copeland, Abrera could use the Swan Lake opportunities that will go Kochetkova's way. Lane (I'm a fan, I know not everyone is) could be cast more in principal roles as should be the newer soloists. If Kochetkova was a thrilling dancer or a ticket draw I could see it. As it is I don't get it.

There will always be differing opinions of this or that dancer. I happen to be a Lane fan. Be that as it may I saw no need to bring Kochetkova on as a guest or a company member. That is one move I don't get.

Interesting. As much as I dislike Peter Martins choreography I have to give him a great deal of credit as a director. The depth of talent in the company is amazing. The dancers at the top get better and better and we see new exciting dancers being given opportunities all the time.

My understanding is that after Harper Lee sent Watchman to a publisher it was sent back with many suggestions. She spent two years rewriting and that effort became To Kill a Mockingbird. In other words Watchman was never accepted for publication prior to her fame and it was never edited. Personally I find it sad that it's been published.

Van Hamel was gorgeous in this. Back in the day, although she had followers, she wasn't a star or perhaps I should say she was a lesser star. Cynthia Gregory, Makarova, Fracci, Kirkland got most of the buzz. In later years when Misha took over he was promoting younger dancers like Susan Jaffe. It's interesting to look back and see such amazing technique and quality. At the time I was such a Gregory fan that there was a lot I didn't notice in other dancers.

I believe this is the 1967 version that NYCB still does. One principal couple and 4 corps women. Is there reason to believe that ABT is doing the older version?

Others might disagree but even back when ABT last did it was already eliciting giggles. It is no longer a show piece for the man and for the woman it is nothing. One reads about how wonderful and startling Nijinsky was in the piece. For me it's best left for the history books and the imagination.

Oh no not Spectre de la Rose!! Why?

Seems like a lot of work on everyone's part for what is basically a two week put in. They must be counting on a jump in ticket sales.