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fondoffouettes

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    avid balletgoer
  • City**
    Jersey City
  • State (US only)**, Country (Outside US only)**
    NJ

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  1. I miss dinners from Epicerie Boulud! I wish they'd bring back their evenings hours. I also found that Le Pain Quotidien closes early now, too. Any suggestions for other grab-and-go options in the immediate area? It's good to know that the bar at the theater isn't offering sandwiches.
  2. Adrian Danchig-Waring's Insta Stories indicate that he subbed last-minute for Angle in Chaconne last night. He refers to it as a "throw-on" performance. So maybe Angle is indeed dealing with some sort of injury.
  3. Same! I was really hoping to see Kowroski with Ramasar. Had Ramasar always been cast in the 10/14 Agon, as well? For some reason, I though that one had been Angle, too, but the casting sheet doesn't indicate a replacement.
  4. Yes, I think the second male name would be the Gangster...or would it be the Big Boss? I think la Cour has traditionally danced the latter role.
  5. Yes, though as California has noted, they are only about five minutes. I did pop out during one intermission to use the restroom, and the ushers were being proactive about telling people how much longer was left in the pause. In a longer program, where more people might get up to use the restroom, I imagine they might extend the pause if needed. Yes, he was awesome! I also thought Lauren King was so, so lovely in the fourth movement. I loved her dancing. I really felt for Meghan Fairchild, who has been documenting her struggles coming back from giving birth to twins (after contacting COVID during pregnancy, no less). She really struggled to get her leg up for just about any arabesque and seemed to have drastically reduced flexibility; she's described the physiological reasons for this on her Instagram. The first movement ballerina is such a great role, but it seemed like she was just muscling her way through it. But then when I saw how emotional she was during curtain calls, I felt so happy for her for what she accomplished. I've only seen Reichlen and Kowroski in the second movement, so it was good to see Mearns, who seemed like her usual wonderful self. The role is a more perfect fit on Reichlen (and Kowroski, when it was still in her rep), but Mearns danced very well and it was great to see her light up the stage again, as she always does.
  6. Thanks, Marta. I must have missed it or didn't get it.
  7. I'm really surprised the company hasn't sent some sort of "know before you go" email to ticketholders about what to expect in terms of safety protocols for tomorrow night (and upcoming performances). I agree with others that no intermissions feels like "safety theater." I haven't heard of any other NYC theaters/performing arts orgs who are doing the same. Having bathroom breaks is important. Intermissions also provide relief for those with disabilities (often invisible) that make it difficult to sit for long periods of time. I wonder if they'll make the pauses longer than usual to accommodate people's needs.
  8. I've always thought that ABT has been using the Dancers sets from 1987 to the present day. Even though the current production is dated to 1998, I think McKenzie reused the earlier sets in the same way he reused the Don Quixote sets from the Baryshnikov production when he restaged that ballet. This is the clearest shot of the Act II set I could find, although it's small: : It looks like the same set used in Dancers, seen in the video below, with some modifications. But if you compare the trees, the set appears to be the same. I thought it odd that the press release called out the fact the sets were so old and from a movie that is hardly known. I believe the scenic designer may have been inspired by Caspar David Friedrich's The Abbey in the Oakwood: https://en.wikipedia.org/wiki/The_Abbey_in_the_Oakwood.
  9. In his Instagram stories, Jovani Furlan congratulates Chun Wai Chan, principal at Houston Ballet, on joining NYCB as a soloist. I wonder if this means news of promotions may be coming. .
  10. Sarah Lane's bio page is still up on the ABT site. If that gets taken down then it will be pretty clear it's not a glitch. https://www.abt.org/people/sarah-lane/ The odds of having a voluntary retirement at ABT are so slim.
  11. This discussion of her lightness and very special stage presence brought me back to this video of her in the Dawn variation from Coppelia. All those very special qualities come across, even in an imperfectly recorded video. When you'd open your program and see her name in roles like this one, it always felt like luxury casting.
  12. Abrera discusses that DC Giselle, which ended up being her final peformance, in this NYT article. She was the first ballerina whose artistry I fell in love with, I believe because of a performance of Symphonic Variations in which she and Marcelo Gomes were the leads, if I remember correctly. In addition to her incredible Giselle debut, I'll always remember the warmth and beauty she brought to the role of Lilac Fairy; the way her arms and hands spoke was incredible. Benevolence personified. https://www.nytimes.com/2020/06/10/arts/dance/alvin-ailey-retirements-coronavirus.html I've been pretty out of the loop regarding goings-on in ballet these past couple months, so my apologies if these details of Stella's retirement have already been discussed elsewhere.
  13. If you needed something to make you feel more depressed, ABT's "gala" was it.
  14. What is any city without its cultural and communal life? But yes, I understand the burdens of city life can come into high relief when there aren't the benefits to offset them. The parks were the last "normal" thing I'd been enjoying in Jersey City, where I live, but they've now closed the last of them.
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