vipa

I'm glad the the NYT is back to actually reviewing ballets and dancers, whether I agree with all the points in the review or not. What I don't want is a constant rehashing/restatement of the events surrounding the Martins departure. I certainly think it's crazy to complain about his presence in the audience, particularly when it's his ballet.

To add if it hasn't been mentioned, Ashley Bouder was either 21 or 22 when she became a principal (I don't know what month she was promoted). She was born Dec. 1983. She joined NYCB as an apprentice in 2000 and became a principal in 2005. Another dancer who rose quickly.

Me too about Kikta. I also think it's strange there were no promotions to soloist. Given casting I thought Maxwell was a sure thing with Oliva McKinnon close behind. Among other things, Maxwell was second cast principal in Copeland Episodes, doing the Tiler Peck role.

Looking at the current soloist ranks for the woman, as they stand with the new promotions. Sarah Adams, Ashley Hod (announced on insta she'd miss spring season for surgery), Emily Kikta, Ashley Laracey, Miriam Miller, Emma Von Enck and four women who are cast somewhat infrequently: LeCrone, Pazoquin, Pereira and Pollack. Let me know if I'm missing someone. Interestingly Alexa Maxwell danced more soloists roles that some of the current soloists in the fall and winter seasons.

Thanks for the post @pirouette. The instagram story is very cute. Congrats to all. I admit I'm a little sad that it isn't happening for Ashley Laracey, but that was a long shot. Now I'm hoping to hear about a couple of promotions to soloist - Maxwell and Takahashi, maybe

An interesting season is about to conclude at NYCB. One SB to go. Great ticket sales with Nutcracker, Copeland Episodes and Sleeping Beauty. I was hoping for some promotion announcements, particularly for Nadon to principal and Maxwell to soloist. Clock is ticking. Maybe we'll have to wait until spring.

I wish I could see a replay of this, but at the time it seemed to me that LaFreniere was so tilted over during the turn that Walker had to straighten her to vertical, before he could start the fish, and her foot coming off the ground looked late. She tilted every time. Peck is "on her leg" during the turn so there is no fixing for the man, he can just start pushing her off her leg to go into the fish. As I said, I'd have to see a replay to really make a judgement, but that's how it appeared to me at the time. I wouldn't say it was anyone's fault, just coping when things are off.

Such a good and important point. The more an artist is able to create a character/atmosphere/world, the more, as an audience member, I am able to stop focusing on technical lapses. It does take a tremendous amount of mental toughness, artistry and confidence, on the part of a dancer let mistakes go and not let them pull the rest of a performance down.

I was also there tonight, and totally agree with @matilda that Emily Kikta stole the show as Lilac Fairy. She held the stage with a radiant performance and sailed through the technique. It truly was principal dancer's performance. I hope she gets the title. Le Freniere had a lot of difficulties. The rose adagio had a very shaky start, and she didn't seem to recover. The orchestra couldn't have gone any slower to give her time in the second set of balances. Her variation was unshaped and unmusical. She got through the vision scene choreography, but I can't say she brought any atmosphere or nuance to it. The wedding pas was rough. The turns into the fish dives were so off that I thought on the third one there was a chance they'd both go down, but Walker managed to save it. I know Le Freniere is a talented dancer so I chalk this performance up to nerves taking over when a bad start happens. Hopefully she'll build from here. The fairy variations seemed a tad slower this time then the last two times I went (a good thing IMO). I thought Dutton-O'Hara a stand out as Generosity Fairy. In the "jewels" pas de quatre, as mentioned above, Riccardo's variation differed from Harrison Coll's . I have to believe that Peter Martins is OK with alternative versions. LaCrone, Maxwell and Gerrity were all excellent in their variations, but I admit Maxwell always makes me smile at her musicality and attack. I have to remind myself she's still in the corps. Takahashi and Pereira had some very small glitches in Blue Bird pas. Both were excellent in their variations. It's interesting to me that (correct me if I'm wrong), Pereira was only cast in Blue Bird in this run of SB. A few Blue Birds and that's it. No fairies or jewels like most of the other soloists (except Gina P.) Lastly, I enjoyed Hod as Carabosse. I particularly enjoyed her reaction to Lilac Fairy. I couldn't help but notice that this run of SB was very sold out. The marketing dept. must be doing something right. I believe the people next to me were "first timers." I assume that because they were taking selfies of themselves at the ballet. I wonder if these first timers will come back. The applause at the end of this show was noticeably tepid.

I agree with matilda's overall assessment, and I do think change is coming. My question is about Ashley Laracey. She's wonderful in Violin Concerto, a great Lilac and IMO brings a unique flavor to everything she does. However, she's in her late 30's. I'd love to see her promoted but I understand TPTB not wanting to promote someone to principal who will only be dancing for a few more years. Still, there is no sign of her powers diminishing. I'd rather have Laracey be principal for a couple of years while dancers like Miller and Hod remain soloists with time to mature. In a way, management has an embarrassment of riches.

I believe Pollack came back fro maternity leave and then, unfortunately, suffered an injury.

I think short dancers are generally cast as Aurora but in the old, old ABT version in the 1970's, Martine Van Hamel and Cynthia Gregory were tall dancers who did the role. Cynthia was broadcast on TV, here's her very impressive Rose Adagio .

I don't know if this is true or if it really makes sense, but years ago and old Russian teacher ballet teacher told me the finger thrust in different directions represented fate thrusting you this way and that. The fairy gives you courage to stay strong no matter what. That teacher might have made it up, but I guess it's as good an explanation as any!

The pacing/length of NYCB Sleeping Beauty is an interesting question. Running time is about 2.5 hrs with one intermission. Both the Royal Ballet & ABT's Ratmansky versions are about 3 hrs with 2 intermissions. Personally, I'd rather have just 1 intermission, but it does mean plowing ahead through prologue, 16th birthday, hunting party into vision scene, all in one gulp. Still, I would take the tempos down, just a little bit, for the prologue fairies and I'd also keep the act 3 "jewels." I'm not a bit fan of full length narrative ballets in general, but one of the reasons I like SB so much is because I get to see so many different people dance. So, clearly I have no answer for any pacing or running time issues!

I just got home from the Woodward/Huxley Sleeping Beauty and found the entire performance something of a mixed bag. Woodward's warmth and joy, make her a natural Aurora and she had lovely moments in her portrayal, the way she related to others on stage, and in her dancing. At the same time her nerves seemed to get the better of her. There were unexpected technical mishaps and she didn't savor/linger on any moments of choreography. Rose adagio had lovely moments, but not much musical nuance. On the last set of balances, the first was very solid and then she struggled to let go of her partner's hand. Fortunately the conductor was paying close attention and stretched out the music to give her plenty of time. In the wedding pas, Huxley really saved the day a few times, particularly in the turns into the fish. Then his variation was not the pristine dancing I've come to expect from him. Overall for Woodward, I'd say she has the right ingredients for the role but isn't comfortable enough to play with the music and use her technique to the fullest. Definitely a work in progress. Other notes: I enjoyed Megan LeCrone as Carabosse. Suitably evil, she took control of the space. Emily Gerrity as Lilac, grew in graciousness as the ballet went on. I think she has the makings of a fine Lilac Fairy. My opinion on the prologue fairy variations is that they are too fast. I don't want the music to drag, just take it down hair to allow some graciousness to show through. The dancers always seem to be coping. Amazingly, Alexa Maxwell, found a way to do some musical phrasing in Courage. Sara Adams sparkled in Blue Bird pas. Roman Meiia seemed oddly grandiose in his presentation. A bit mannered for my taste. Jewels Pas de Quatre - Majorie Lundgren replaced India Bradley as Ruby. Harrison Coll had a struggle as Gold. Turns that started badly went downhill. Emma Von Enck was crisp, clear and elegant as Emerald and Ashley Hod as Diamond was impressive. As someone else mentioned, in the final section of the ballet I get a kick out of watching Little Red Ridding Hood zip along with all the grown-ups! I enjoyed the evening. Not the greatest performance of Sleeping Beauty I've ever seen, but much to enjoy and many hints of good things to come as these dancers grow.

Another thank you Pirouette! I also wonder what's happening withTroy Schumacher. He's listed as a soloist but doesn't perform much, if at all, unless I'm missing something. I believe he's married to Ashley Laracey and been the director of a company called BalletCollective for a number of years. Is he actively performing?

Agree about Tiler Peck. She is an artist of rare imagination and musicality, and has many, many technical strengths. If her back continues to lose flexibility and her arabesque is further diminished, perhaps her rep will evolve. She had a lot to bring to any role.

If I was interviewing a choreographer for a commission at NYCB my main questions would be - Why do you want to work with these dancers? What's special about them? What do you think you could achieve with these dancers that you couldn't achieve elsewhere.

This may be wishful thinking on my part, but I'm hoping there will be few of these commissions now that Ratmansky is on board. I always thought he did some of his best work at NYCB.

Agree about Kikta, LeCrone and Phelan last night in Episodes. All musical, and technically fine performances. Miller didn't quite there in the Musical Offering section. In recent history I've loved Mearns in this role. I very much enjoyed Rondo, with Nadon and LaFrineiere. It's not the kind of work that blows me away, but watching the full, clear, musical dancing of those two dancers was a delight, as was the manner in which they interacted with each other. On a side note: As I've watched shows this season I find myself awed by the amazing, young talent rising up at the NYCB. Many of these dancers are having a lot of roles tossed at them, in a relatively short amount of time and have been rising to the occasion. I may quibble with this or that performance, or view the rendering of a role as a work in progress, but the level of dancing, commitment, and developing artistry is thrilling. Back to the show! I hadn't seen Fancy Free in quite a while, and it was a reminder of what a theatrical genius Robbins was. Ulbricht, Gordon and Furlan were terrific, although Gordon may have gotten a bit too balletic here and there. Lauren Collett did the "red purse" woman quite well. I'd love to hear other opinions on this. A light tone was maintained, although the section always feels like it can cross a line.

I'm sure you're right cobweb, I forgot about Christina Clark, which is terrible of me because I just saw her in Haieff! It does seem that a lot of tall ladies are in the running for a promotion.

I saw Emily Kikta tonight in Episodes, and she was wonderful. I'll give more of a review tomorrow when I have more time. I think she would be wonderful as Lilac, but in general height might be limiting her casting (just a guess). I believe she's the tallest woman in the company at 5 ft. 10. Being on pointe adds inches. I agree with Abatt that some people may be on their way out. LeCrone was very good in the first section of Episodes tonight but in general isn't cast much. Pazcoguin isn't seen much at all. I'm fiercely rooting for Alexa Maxwell to be promoted to soloist.

Tiler Peck posted on IG her Auroras - 2/16, 2/19 at 1 and 2/24. I wonder who is opening, and if all casts get 3

OK I'm often behind the curve in some things. Would someone explain this to me. When I look at the 21st century choreographer's program it seems that Feb. 9 only has 4th ring tickets available, but for the other dates of that program they haven't even opened the 3rd ring. Of course I could be wrong, but that's what I think I'm seeing.

I was at this afternoon's performance of Copeland Dance Episodes. I'm with abatt. For me, once is probably enough. The sign outside the the seating area said 76 minutes. It felt a lot longer to me. The dancers are wonderful. Miriam Miller's arabesque sings (she did the Mira Nadon role). Alexa Maxwell in the the role originated by Tiler Peck, was radiant. I could single out many, many dancers. There were stunning moments here and there, with the mix of great lighting, soaring music and fine dancing. But, overall I found the movement very repetitious, filled with Justin Peck's typical tilted turns, jutting legs, circular-swinging port de bras. During one woman's variation, it occurred to me that the solo would fit right into his Pulchinella Variations. The choreography is often so dense, there is little time to breath, and the musical attack/accents vary very little. There's a bit of walking around and standing casually, and a bit of men partnering men, and women partnering women, but for the most part it all mostly blends together. That is both a shame and incredible since the dancers are so good. The lead couple, in this case Miller and Russell Janzen, are in a relationship that ends badly (hope that's not a spoiler). I really didn't care. I had zero emotional connection to what their relationship was or what was happening to it. I can't help but contrast this with the feelings I get watching the 2 couples in Stravinsky Violin, a supposedly much more "abstract work." The house was well sold, even some rows in the 4th ring were occupied. The response was enthusiastic. I did have to smile. A girl, maybe 10 years old, was seated behind me. She was quiet and well behaved, but said to her mother at least 3 times - "I want to go home." I'd say this isn't the best choice for a child! I think it will stay in the rep for a year or so, but after a time stop selling very well. I don't think it will be a big ticket seller like Midsummer or Sleeping Beauty.