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Cynthia Gregory - For me had the perfect combination of white & black. The biggest disappointments for me have been Markova, Vishneva and Part. Technical failings in all have been too distracting for me. I never saw Anna A unfortunately. I'm sure it was great. I would like to see Cojocaru. It is not an ideal role for her but she is always musical, interesting and backs up her ideas with technical ability. My fault with some performances is that I get the intent but it isn't delivered by the actual steps.

I believe that most, if not all companies only change casts for very, very good reasons. Maybe there is an exception out there (I can't address what others have said about the Bolshoi). On the whole casts changes are a real pain for management. They don't want to get grief from ticket holder. Often one change in casting necessitates other changes. Cast changes are fun for no one. Back to the City Center season - It will take amazing casting to get me to buy a ticket.

Just got my brochure for the ABT City Center season in the mail. The principals shown with head shots on the men's side are Cornejo, Gomes and Sterns. Where's Hallberg? On women's side - Herrera, Kent, Murphy, Part & Reyes. No Irina D. or Max.

I never subscribe because I don't go until I see casting. I know there was some kind of exchange thing but it always seemed too much trouble to me. I wonder if, under the new system, a greater percentage of seats will be subscription, leaving us single tickets buyers at a disadvantage and thus pressuring us to subscribe. Also I wonder if there will be any discount Atruim tickets. This coming season will be a learning experience for us all.

Not to mention Charles Askegard, Joaquin DeLuz, Sofiane Sylve, Ib Andersen, Ask La Cour, Nikolaj Hubbe, and oh, yes, Peter Martins!On the other hand, one could enjoy watching the developoment of ABT's home-grown Herman Cornejo, Cory Stearns, Gillian Murphy, Marcelo Gomes, Julie Kent, Paloma Hererra, and others who are clearly moving up the ranks. I agree to a point, however Murphy & Hererra had such technical prowess that they almost had to be promoted. Wiles, in my opinions fell into that category but failed to develop artistically. The same could be said of the male dancer side. I think the big difference is that the rep of NYCB allows for a more natural development through difficult corps parts, to demi soloists, to solos to principal roles.

It's really funny in a way that the Koch brothers paid for huge renovations of State Theater, and now that theater is cutting off access to people who can't afford hight ticket prices. The same Koch brothers that were instrumental in Kansas doing away with all state funding for the arts. The big argument, in that case, being that some people like Beethoven, but all tax payers shouldn't have to pay for an orchestra to play Beethoven. A simple minded argument. I'm not saying that the Koch brothers came up with the new seating play, but I have to believe they'd approve of it. Moderators - If I'm getting too political please remove.

Thanks Kathleen, it's very helpful to look at those numbers - One question - isn't the 5th ring just the upper most portion of the 4th ring? If they had to shut down anything why not just the 4th ring. I don't get why they are shutting both the 3rd & 4th rings, unless it's to fill the seats with the bad sight lines in the other sections.

Thank you ksk04. We in NYC are having withdrawal symptoms, your reports are much appreciated.

Excellent - Now I'm hoping for a Lauren King promotion.

I'm totally with you on that one! I don't disagree, but I don't see it happening. This season, a decision was made to present a lesser Tudor work (Shadowplay) with 3 new works. The new works were not successful, and ranged IMO from really bad to maybe worth sitting though again if other good things are on the program. Tudor had a major place in ABT, and some pieces are masterworks. Ballet Theater should never let Lilac Garden, Dark Elegies or Pillar of Fire out of the rep. I would love to see Cojocaru in Leaves are Fading. What other works would be in the mix? Kevin M has said R&J would be too expensive. Judgement is Paris (not really a rep piece), Gala Performance (could be fun). Tudor was a genius, but not prolific so while a staple of Ballet Theater never had enough works to fill in a lot of gaps. By the way, NY Theater Ballet does a pretty good job of presenting Tudor. Of course it doesn't have the audience of ABT but at least the works get preserved and performed. I would also love to see some of those early Eliot Feld works again. A forgotten choreographer who did some nice things for ABT (better than he did for his own co. later on). I'm thinking of Intermezzo, Harbinger and At Midnight. I remember those works fondly, although I was pretty young when I saw them, and don't know what I'd think now.

I say this with all politeness but . . . I have to disagree. In my opinion, New York doesn't need a second home for Balanchine. Instead, ABT should revisit its pre-Baryshnikov past for inspiration and renewal -- there's a lot there. I agree miliosr to some extent. I don't want to see ABT do a lot of Balanchine, and they have an extensive history of rep to draw upon. At the same time it's nice to see the ABT dancers do a Balanchine work or two (nothing to dominate the rep). Theme & Variations (correct me if I'm wrong) was done on ABT, so that is part of the history. Also, Balanchine works can offer challenges and growth opportunities for individual dancers. In other words I don't want ABT to mimic NYCB but a Balanchine work or 2 now and then would be nice.

I'm right there with you on the hopelessness bandwagon. This drives me crazy when you consider how much they blew on The Pied Piper and their garish Sleeping Beauty. And there are people around who could help restage the Tudor Romeo and Juliet! Among others, Carla Fracci, Natalia Makharova, Ivan Nagy and John Prinz all performed in it during the 70s, and they're all still around and presumably willing to help. Frankly, I think McKenzie pleading poverty is an excuse. Today's ABT only performs just enough Tudor to keep the critics off their collective backs -- they're not committed to Tudor in any serious and systematic way. I so agree that a lot of money has been wasted/ At the same time maybe it's easier to get rich folks to write a check to fund Sleeping Beauty but not some one act Romeo and Juliet. That's just a guess.

Almost everyone here is wishing for more full lengths. I'm really wishing (a hopeless cause) for more rep. ABT has a history of full lengths and stars, but also a history of great rep. Personally I went to see 3 full length ballets this season based on Cojocaru. Even with Cojocaru, I'd never go to see R&J, the Lady Camilians thing, Eugene Onegin, Manon or any of other "acting" ballets. I'll never go to see Don Q again (I went for the rare chance to Cojocaru, loved her but won't go again ), Giselle (loved Cojocaru, but probably won't go again) Sleeping Beauty (might go, because there is a lot of dancing/technique involved for a number of people). The Marinsky is here with "story ballets" but there are lots of discount tickets available. So story ballets are not a guarantee of sales. I saw Osipova in The Bright Stream and loved her. I hope I get to see her in rep, clearly full length ballets are not my thing. I loved the idea of a Shakespeare night - Kevin M has already said that the Tudor R&J would be super expensive to mount. I have no idea about the ins and outs of these things. So that brings my back to my wish list of rep nights which are not going to happen. Can we at least choose from: Billy the Kid Rodeo Gaite Parisianne Lilac Garden Helen of Troy Intermezzo Whatever Balanchine ballets they can get a hold of 3 Virgins & a Devil Judgment in Paris. Leaves are Fading I'll stop, but could go on forever. For those of us who are not "story ballet" fans, ABT has less and less to offer.

I doubt that ABT would do Jewels. If they do - Abrera in Emeralds, Cojocaru in Diamonds, Rubies not sure

I'd love to see both of those.

Thank you, Trini. I wrote and submitted it today, but I doubt it will be chosen. I will redo it as a letter to the Arts & Leisure Section of the Sunday Times, at least. Thank you Ellen, for trying to be our voice. I hope something is published.

Thank you so much. I just went back and read it.

He did very well on the fish dives last Wednesday matinee with X Reyes. How was Reyes? I have very much enjoyed her in performances , but I never buy a ticket on the fact that she is cast in something. I don't seek her or avoid her, but when I get her I am pleasantly surprised.

What a lovely point Helene. Cojocaru is in a class by herself, at the moment. The details, nuances and use of technique for characterization are amazing. Someone in the company said that her interactions with others on stage are without equal.

The Moors Pavane - yes! Tudor's R& J - yes! Also, I'm serious - Osipova as the cowgirl in Rodeo.

Love some of these ideas. Particularly: Lane - Coppelia Osipova/Vaseliev and Lane/Cornejo in La fille I'd love to see a rep program of ABT goodies from the past. My list would be endless, but to begin with: Billy the Kid with Gomes Intermezzo (Feld) - Many casting possibilites Miss Julie - Kristi Boone (an under utilized dancer at ABT, but was an excellent Siren in Prodigal Son) Push Comes to Shove (Tharp) - I believe the original cast was (correct me if I'm wrong) Van Hamel, Baryshnikov & Marianna Tcherkasski so how about Murphy, Cornejo, Lane And wouldn't it be fun to see Osipova do Rodeo! Also let's have Ashton's Dream back with Cojocaru (If ABT did the Balanchine version I'd love to see her do that second act pas de deux) Also bring back The Bright Stream - all casts seem to work well.

Just got back from Cojocaru/Kobberg and would like to give a few impressions. Cojocaru was amazing. She brings meaning to every moment. 1 example - in Rose Adagio there is a section in which Aurora is center stage & the suitors are in the four corners. Cojocaru was glancing at her mother for encouragement and reacting to each suitor in a clear and nuanced way that I had never seen before. When she dances I find myself watching with the most intensity because I don't want to miss a "word." She uses her technique to this end. The wedding pas was a great example of amazing partnering and connectedness. Kobberg is a classy dancer. I don't think he had a lot more years of the Prince roles in him, but he is classy, musical, has a beautiful movement quality and he is one of the great partners out there. The rest - Again I really wish the fairies woudn't keep popping up, and we could have the characters doing their dances back. I dislike having Bluebird pas followed by the wedding pas. We shouldn't have back to back pas de deux. The spider web thing is still annoying. I know we are stuck with this production (it has been modified, with some major offenses moved) but some tinkering is still possible. Bluebird was Simkin/Lane. No botched lift as had been reported from a past performance. To me he looked like he didn't want to be there. His variation seemed like an abbreviated version. Lane was lovely and did some beautiful phrasing. Of the faries I thought Simone Messmer was the best. Misty Copeland as the "Valor" fairy got the job done but totally ungracious (my husband thought her so forceful that maybe she should go toe to toe with Carabosse) anyway it was a bit much for me, one can be strong and likable at the same time. Kajiya was Lilac. I know she has a lot of fans, but I really didn't like it. To me she goes from step to step trying to hit positions and balance. There seems to be no sense of phrasing, no "juiciness" to her dancing, no overall shape. What we get is an attempt to balance every time she goes on pointe, so I feel like I'm watching step after step after step - sometimes a balance, sometimes 3 turns, sometime a little fumbling - It doesn't add up to much for me.

Wickedly crazy thought - Suzanne Farrell.

Let's not forget ABT is the company that did not permit any exchanges for the day of that blizzard in Dec 2010 - you remember, the one where there was NO public transportation and we got about 20 inches of snow. If companies were to refund tickets based on guaranteed casting, there would be no opera or ballet company in the world that would be in business. There's a reason for that fine print about casting subject to change. I think over the years fans decide for themselves how much to trust the casting lists, especially when they are published well in advance, where illness, injury, overwork, etc. can't be anticipated (at least most of the time). I agree with Helene. ABT this season had a lot of cast changes and replacements, there is no way they could allow exchanges/credits. I understand the disappointment of those who ended up with 2 ticket to see the same cast, on the other hand I think ABT did as well as they could have replacing a star with a star. I'm a little surprised Cojocaru & Kobborg were willing to do it. According to her website they did Giselle in Taipai on July 2.

It would appear that Kevin McKenzie's formula is as follows: The worst of the Lucia Chase directorship (shaky productions of the classics bolstered by a floodtide of guest stars) + The worst of the Mikhail Baryshnikov directorship (ABT as postmodern, downtown New York dance company) + The worst of the Peter Martins directorship at City Ballet (new ballet after new ballet by the latest "hot" choreographer of the moment) I'll say it if no one else will: Maybe it's time for a change at the top as the artistic director seems to be completely devoid of interesting ideas. I'm afraid I agree with you milosr. I don't know what the problems facing McKensie are, but he seems to have no identity as an AD. I'm not really sure what he likes aside from flashy male dancers. Maybe he is a great money raiser.