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Posts posted by fondoffouettes

  1. 33 minutes ago, Balletwannabe said:

    Question: are the "pauses" enough time to use the restroom?

    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. 

    26 minutes ago, abatt said:

    I have to point out in particular that Joseph Gordon rocked the house with his stellar technique in the first movement of Symphony in C.

    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.

  2. 1 minute ago, Marta said:


    I received the email below yesterday, but my tickets aren't until Oct 16 & 17.


    In advance of your trip to Lincoln Center this fall, please be aware that the David H. Koch Theater and all of its lobby areas will open one hour prior to curtain. We strongly encourage an early arrival to avoid long entrance lines and to allow for plenty of time to use the restrooms as fall performances are being performed with pauses but no intermissions.

    Every audience member attending NYCB repertory season performances must be fully vaccinated and will be required to show in-person proof of vaccination, authorized by the FDA or WHO against COVID-19, upon entering the Theater.

    Proof includes:

    • The free Health Pass by CLEAR to confirm identity, vaccination status, and/or negative test result. Download the free app to gain access to faster entry lanes when arriving for your performance and to avoid long lines. Please follow these detailed instructions on how to use the app.
    • Physical/digital vaccination cards, NY State’s Excelsior Pass, or NYC COVID SAFE app (Apple) / NYC COVID SAFE app (Android) — all requiring an accompanying photo ID.
    • A photo or hard copy of an official vaccination record for one of the following vaccines administered outside the United States: AstraZeneca/SK Bioscience, Serum Institute of India/COVISHIELD and Vaxzevria, Sinopharm, or Sinovac; along with a government-issued photo ID.

    As a reminder, we will not be accepting proof of a negative COVID-19 test for entry.

    In addition to our vaccination policy, as a tool to further try to mitigate the spread of COVID-19, NYCB will require proper mask usage. All staff and patrons in the Theater will be required to wear a mask covering both the nose and mouth at all times, except when eating or drinking, while in the David H. Koch Theater.

    If you are not feeling well, or are exhibiting any COVID-19 symptoms, please contact us at 212-496-0600 or email us at customercare@nycballet.com by noon on the day of your performance. We would be glad to assist you in rescheduling your tickets for another date, or provide a refund for your fall performance.

    If you have specific concerns about our safety protocol, please contact our Customer Care team at 212-496-0600, where associates stand by to assist you Monday-Saturday from 12-7 PM and Sunday from 12-5 PM.

    We look forward to seeing you at the Theater soon.

    Thanks, Marta. I must have missed it or didn't get it.

  3. 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. 

  4. 2 hours ago, abatt said:

    I've been doing a little reading up on the 1987 production and sets, and the press I have found seemed to be very negative about this production.  Anyone recall the 1987 production?

    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 Oakwoodhttps://en.wikipedia.org/wiki/The_Abbey_in_the_Oakwood


  5. 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. 


  6. 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.


    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.

  7. 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.  

  8. 1 hour ago, Becki Lee said:

    This is so disheartening, to say the least. If the coronavirus is expected to peak in May, I don't see how ABT can expect their season to go on. I wonder if there's any possibility of ABT pushing their season further into the summer, assuming the Met is dark in July and August. I realize this might not be desirable or feasible for various reasons...

  9. 20 hours ago, nubka said:

    I was just thinking the same thing!  So many things are being cancelled now, including the World Figure Skating Championships, which were to be held in Quebec.  I feel for those athletes that have trained so hard, but I hope they will be able reschedule for sometime this year.  Stay safe, everyone!

    The Kennedy Center has canceled performances through March 31, so at least NYCB's opening night is canceled. Press release below.



    Thursday, March 12, 2020 at 4:00 p.m. EST



    All Kennedy Center Performances and Public Events Canceled Through March 31 in Response to the COVID-19 Pandemic

    (WASHINGTON)—The Kennedy Center’s highest priority is the health and well-being of all our patrons, artists, volunteers, and staff. In conformance with the specific public health recommendations issued by D.C. Health and Mayor Bowser, and due to the increasing threat of COVID-19, all public performances and events scheduled at the Kennedy Center through March 31 will be canceled effective Friday, March 13.

    Until further notice, the Kennedy Center campus and its facilities will be closed to visitors, however, administrative staff will be on hand to continue basic business operations. The restaurant, café, and other food service will also be closed due to canceled performances. Kennedy Center programmers are exploring options for rescheduling artists and productions for a future date where possible.

    The following events on Thursday, March 12, will continue as scheduled:

    • Shear Madness
    • Millennium Stage
    • Forté – A film by David Donnelly

    Kennedy Center President Deborah F. Rutter stated: “While this is an extraordinarily difficult decision to suspend all performances and activity throughout the month of March, it is the right thing to do to protect the health and well-being of our patrons, artists, and staff. Kennedy Center leadership has taken swift action and will do our part to help in the serious containment efforts called for by our city’s and country’s top government officials and medical experts.”


    The Kennedy Center is committed to providing the utmost flexibility for our patrons in light of these circumstances. Ticket holders for performances scheduled to take place between March 13 and March 31 have the following options:

    • Exchange your tickets for a future date or alternate show (where possible)
    • Donate your tickets, and receive a tax deduction for the total ticket value
    • Exchange your tickets for a Kennedy Center gift certificate, or
    • Receive a full refund for the value of the ticket and associated fees

    Kennedy Center Box Office agents will be ready to accommodate individual patrons’ needs. However, due to anticipated volume, we ask for your patience as we address each and every case. For assistance, please contact the Box Office at 202-416-8540 between 10 a.m. and 5 p.m. daily or email BoxOffice-AdvanceSales@Kennedy-Center.org.


    For the most up-to-date information regarding the Kennedy Center’s response to COVID-19, please visit the Kennedy Center website.

  10. 5 minutes ago, LadyBubbles said:

    That's what I've thought ever since casting came up. Will this be her last season or will she get cast in a single Wednesday matinee next season? 


    At least with dancers like Dvorovenko and Part, who essentially stopped being cast, their retirements would have likely happened anyway within the next couple years. I feel Lane is in that sweet spot of her career where she's at the height of her artistic and technical abilities. There has been no decline in her dancing, and in fact, she's dancing better than ever. 

  11. In reviewing the casting for Of Love and Rage, I noticed that the Tharp piece has been renamed Ghost Catcher. (My apologies if this has already been reported up-thread.) I wonder if she's also reworking the choreography, which I found to be rather unfocused and uninspired. 

  12. 21 minutes ago, aurora said:

    Exactly (I think I mentioned Simkin and his lack of ABT appearances in my earlier post). 

    Oops, sorry -- missed that. 

    24 minutes ago, aurora said:

    Ratmansky opting to no longer cast her in his own choreography.

    Just as Ratmansky hasn't been utilizing Copeland in new works recently, nor casting her as Florine in his SB, which I think is a role she could probably still dance well unless the hops are an issue. It's actually my favorite classical role I've seen her in. 

    To be fair, plenty of other Ratmansky favorites -- Abrera, Boylston and Cornejo come to mind -- have not been cast in his new ballet. He has mainly cast taller dancers. Perhaps he was going for a certain aesthetic and wanted "statuesque" dancers to represent this story from ancient Greece. Some of the costumes look quite heavy and elaborate, and perhaps a smaller dancer would drown in them. 

    But it's truly a head-scratcher that Lane hasn't been cast as the TBA Rose in The Seasons. It's not like she has other obligations that week, unless she's guesting somewhere. 

  13. Just now, aurora said:

    Of course she can. But one of her great advantages was in being a dancer that did pair well with the shorter (and thus more tricky to find partners for) men. Lane might be lovely with Stearns, but you can't very well imagine Teusher dancing with Cornejo.


    Simkin being engaged just once for the entire Met season has also dealt a blow to Lane's career. The same could be said for Gorak somewhat petering out as a potential principal; the fact that they swapped Stearns into Lane's R&J is telling. 

  14. For some reason, I'm not sure why, I don't feel the post is about Skylar Brandt. If Lane is indeed being pushed out, or feels like she's being pushed out, perhaps the reference to money has something to do with ABT's limited finances. Remember when Part was being pushed out and she posted about how ABT essentially said they didn't have the funds to support her slot as a principal? I know Lane's language seems to criticize a dancer for investing money in his/her career, but it's just hard for me to fathom her throwing such obvious shade at a soloist, or any one of her colleagues. She's essentially been a class act on social media, perhaps except for that one post on Cornejo's anniversary (though the purpose of that post was somewhat ambiguous, at least in my opinion). 

  15. 2 minutes ago, LadyBubbles said:

    Some comments were deleted. She kept the reasonably critical ones.

    Trust me, I wouldn't use the word heat too loosely. I'm not one of those people who overreacts and over-analyzes everything on social media.

    And now she’s taken down the quote.



  16. 6 minutes ago, Helene said:

    [Admin hat on]

    Dancers, like members, have the right to their own religion and politics.


    [/Admin hat off]


    6 minutes ago, LadyBubbles said:

    Well now Lane is getting HEAT for using that quote. Let's see what she has to say about that. I can't even sure she knows who this person (whose name I refuse to say) is what she represents. I've seen so many people find random quotes they like and use them carelessly on social media. Some don't even cite the source, which is wrong. Others do, only to be horrified when they're told who that quote came from. Well, the latest comment was rather straight up "how could you?" so we'll see if she a) responds, b) ignores, c) deletes the comment and ignores, e) deletes the quote, or f) delete the post entirely. I can't defend her; she's a big girl. You put it out there, you answer for it.

    As for the rest of the post, I wouldn't put too much thought into it. Was it about Brandt? Maybe or maybe not. Copeland? Maybe or maybe not. A random reflection she thought of while taking a shower? Maybe (or not). The timing was unfortunate. If this was meant to be shade, then this is no different than any other workplace. There will be drama, there will be tears, there will be fights, and there will be make ups at some point. I personally have to deal with it, as in deal with the conflict resolution, all the time. Of course, I'm not allowed to comment on anyone's drama outside of my little team bubble, but boy do adults really get into the drama of life.

    She quoted someone who represents an administration that's anti-LGBTQ, anti-immigrant, anti-human-rights, anti-reality. Hopefully she realized the implications.

  17. 18 hours ago, silvermash said:

    The strike is not finished but as it is now. The trade unions are only calling the cancellation of Premieres and the shows happening the day of a national strike. These days are decided by the National Unions sometimes from one week to another, so difficult to forecast. The two first shows of Balanchine triple bill have been cancelled but it finally started last Monday.

    Thank you for the info, silvermash. 

  18. 7 hours ago, Laurent said:

    Yesterday's « Giselle » with Ludmila Pagliero and Mathias Heymann brought tears to my eyes. These two are true artists. They are living on stage "dans ce ravissant chef-d’œuvre  de chorégraphie”, as the 19-th century critics were calling « Giselle », they don't just represent. I was thinking of that great Muse of Serge Lifar, Nina Vyroubova, when watching Pagliero's Giselle. Heymann is a sublimation of masculine balletic art. In the end, if ballet wasn’t capable of moving you profoundly, if it wasn’t lifting you up, it would not be the Grand Art it is.

    I wish I could see the POB dancers in Giselle again; they were extraordinary in the ballet when they visited NYC several years ago.

    Does this mean the dancers are no longer striking, or are they continuing to strike but still performing on select dates? I'm supposed to see their all-Balanchine program when I travel to Paris early next month. It will be my first time seeing the company in their home country, and I'd be so disappointed if it's canceled. 

  19. I just called the box office and they said March 22 at noon. Since single-ticket sales are far more popular than subscriptions these days, I don't know why they make this info so hard to find. I guess they want to push subscription as much as possible...

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