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According to my information it is showing on Sun. March 21 at 5:00. Movies at MOMA are free with museum admission (after getting your museum ticket go to the film desk and ask for a ticket). "Film program only" tickets are also available and less expensive. They can be bought same day or in advance, if purchased in person no more than 1 week in advance. There is a $1.50 service fee. When I went with a friend last Sat. we got there about 45 minutes before the showing and had no trouble getting a ticket. It did fill up however. I hope that helps, and you enjoy the film. One plug for MOMA membership. It is $75 single - $120 dual - $150 family. It includes admission/films and lots of other benefits. You can bring a guest for just $5. With admission being $20 for an adult and "film only" being $10, membership is a bargain. I'm a member, so for $5 I could bring a friend to enjoy the movie with me.

Saw it Sat. at MOMA and could have watched hours more (with a bathroom break). I could see how an audience could get restless because a clear arc of rehearsal to performance wasn't really established. I loved that it showed so many aspects of the institution - class, rehearsal, coaches, costume shop, cafeteria, building upkeep, what to do for donors, what to do for various dancers, dancers using studio time on their own etc. As for people of color - I just don't look for that in every film I see. Grade as a documentary - A

Since Farrah wasn't really a film star, I can see why to Oscars didn't include her. Yes, she made some movies, but her movie career minus her TV career didn't add up to much. I think the emmy awards is the right place, and I hope it happens.

Noticing that some off stage couples are getting to dance with each other. Aren't Scheller & Phillips a couple? I know Lane & Ribagorda are.

Thank you, that's wonderful. Please keep us posted.

A really interesting book - Nothing to Envy: Ordinary Lives in North Korea it is by Barbara Demick.

Hope it works out well for ABT. Does anyone know what kind of opportunities it might give to company members? By that I mean are are there roles for a number of principals & soloists or is it more of a 2 or 3 person show?

I took her classes as a kid and young teen. I remember her saying to one dancer (I'm paraphrasing but think I'm pretty close)" "You must do 3 pirouettes every time - you are machine." and then to another dancer in the class "You dance like piece of wood, what you think you are machine?" She always got her message across! I'll never forget the loveliness of her arms, head & neck when she demonstrated movement. And as has been stated before her feet were beautifully arched.

I would have loved to see Bouder in Rubies too. My understanding is that she is in Rome doing Giselle.

Thank you. Can't wait to see Mearns in Diamonds. Too bad Bouder isn't cast in Rubies. I'd love to see that. The Lincoln Center discount place is a blessing!!

Off topic but the Gregory clip is amazing. I read an interview with Tiler Peck in which she mentioned viewing Weese, Cojocaru and Bouder doing the role. I think Gregory would be a wonderful model for anyone (including Bouder) to view and take from it what they can. Again, I know this is off topic. Powers that be, feel free to move or what ever.

Thank you for your reporting, I've enjoyed it all. I saw Bouder and Peck. Each in their 1st Aurora of the season. I loved Peck and liked Bouder. I'll spare you my reasons many of which I've previously written about. I think perhaps I should start to opt for 2nd performances of a cast! BT reviews of second performances see to be better than first. Perhaps the nerves are worked out.

In many ballets, even in abstract ballets, the corps can set a tone and add a necessary element. If an error occurs in the corps that catches your eye, the moment can be ruined. I'd say the next time you see a ballet or think about a ballet you have seen, try to picture it without the corps. Think about how different it would have looked. Even if you look at the corps as back up singers (which is not what they always are), think about how a recording would sound without that element. Just a suggestion.

Thank you abatt. I agree with almost everything you said, and you said it better than I would have! I loved Peck's Aurora, and you expressed why. The only thing I disagree about is Gina. I found her deliciously, glamorously evil. I too enjoyed Gilliland as diamond, but my favorite was Abi Stafford's ruby. Her assured presence, technique and playfulness with the variation won me over. I must say again that Lauren King was a delight as Vivacity. She has such a charming and joyful presence and she does the variation very, very well. I also enjoyed Muller as Courage. She had an energy and presence that I found enjoyable. I had never noticed her before, so this is another dancer for me to keep my eye on. I agree that Janie Taylor was miscast. She seemed almost afraid of her variations. But what a triumph for Tiler Peck, particularly as a debut. I won't be able to see Morgan, so I'm eager to hear reports.

I can't believe The Lady with the Little Dog is coming back!

Musician, painter, playwright, athlete etc. Ballet doesn't separate the act of doing from watching any more than any other art or sport. In any endeavor I suppose studying can give one some knowledge of what it is like to do it, but even that is questionable. I play tennis but I don't really understand what it feels like to do what Roger Federer does. At best studying a discipline can inform your viewing to some degree.

Re Howard Zinn - I saw one headline that described him as a leftist historian while another described him as an historian who challenged the status quo. Interesting.

I respectfully disagree. Cojocaru could bring a special kind of beauty to the 2nd movement as did Allegra Kent. I don't really see how Cojocaru is physically wrong for it.

I thought that too Cabro, or rather you put it into words for me. Also for me, I'd rather see less preparation for the balances even if the balances are shorter. The promenade/balance section can be musical and build instead of trying to make each balance as long as it can be. It's a tall order, but if anyone can do it, Bouder can. Also - a real nitpick - the section where she takes the roses and does supported pirouettes that build. For this section Bouder did one turn on her own and was partnered for the rest. This is a lovely way to do supported turns. However one of the great things about the final pas is the way it mirrors the Rose Adage. In the pas she is supported by the prince in single, double, triple (multiple). Because Bouder never did the single in the Rose Adage there was no mirror. A minor thing, but I always think it a shame when little things get lost. Not a flaw in the dancing just a lesser choice made by whoever made that choice. I don't want to leave the impression that I didn't like Bouder's performance. She had many, many moments that were beautiful and intensely musical. In fact, after reading all of your thoughtful comment, I'm going to try to see her again to view it another way. Thank you all.

Thank you for your thoughts. I just want to add a few of mine. Lauren King was a delight as the Fairy of Vivacity. She is a corps dancer whose glowing presence and joy have attracted me for the past couple of years. I'm glad she was given the opportunity to do this part. Her variation was very well done and her presence a delight. I thought Tess Reichlin was a stand out in the Jewels but Morgan and Stafford were also good. I didn't care too much for Stephen Hanna. I think that he could do a lot more in terms of making good lines. Sara Mearns is an ideal Lilac, but I wish the tempo of her solo variation was a bit slower, so that she could savor the movements more. Tiler Peck made the Princess Florine variation (Blue Bird pas) more lively and interesting than I have ever seen it. Ashley Bouder had many, many fine moments but for me was not a convincing Aurora (and I am a big Bouder fan). I'm not sure why I feel that way, so I have to ponder a bit. Hope to read other opinions of this performance and others. As always I appreciate everyone here.

Thank you, I wish there was fuller casting for Birthday Offering. I hope anyone in DC will give a report.

Thank you for that. I looked on youtube and sections are available. It looks good. Do companies do it? So many companies do the same works, without having seen the entire piece, it seems that this would be a nice one to add to a company rep. Thank you again.

Don't know if anyone has mentioned this piece of music - Tschaikovsky Variations on a Roccoco Theme for Cello & Orchestra. I'd love to see someone tackle it. The danger would be to be imitation Balanchine, but I think it is a great piece for dance.

Symphony in C - Wish Balanchine had done Sleeping Beauty that in my imagination would have been the greatest.

Ben Huys did it for Farrell too, that same season. Neal, Huys, Boal . . . I wish she was still importing NYCB dancers, past or present. AMEN