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Everything posted by fondoffouettes

  1. Ah, okay -- so Murphy's Instagram post was from when she was in the first cast. Then I guess I haven't seen anything on Instagram that has shown any of the second cast dancers mentioning the piece, for what it's worth.
  2. It's true that the two performance dates that were supposed to have Copeland in two pieces sold very well. But I think ABT had every intention of having two casts, and here Murphy mentions rehearsing the piece. I can't remember a time when there have been so many casting shifts without any apparent injuries (I mean prior to Seo's injury). I wonder if two premieres, plus reviving two pieces they haven't done in a while (In the Upper Room and Symphonie Concertante), stretched the company to its limits. It sounds like at some point, the two casts' dates were swapped, too, based on this post from Brandt (or was only Brandt swapped into the other dates?):
  3. I'm looking at the calendar and can't figure out any logic as to why these changes were made. It means Cornejo no longer dances Other Dances right after the Lang piece on 10/28, but it's hard to imagine that being an issue, unless the Lang piece is really grueling. They do allow exchanges now for a $20 fee, which I know is annoying. I believe this started during last spring's Met season, and I assume it applies to their Koch season, as well. https://www.abt.org/faq/performances/
  4. I stupidly watched the Farrell video the night before and still found Laracey's performance incredibly moving and beautiful. She and Reichlen have set the bar really high when it comes to that role. I'm so glad she's getting more opportunities thrown her way.
  5. I can't imagine why they wouldn't offer discounted tickets to performances where the orchestra section looks like this. Does TDF regulate how many tickets you can offer and when? I wonder if they are considering canceling any of the poorly performing dates, like the Hungarian State Opera/Ballet recently did for their rental of the Koch Theater. I don't see how that would help from a financial standpoint, though. But I also can't imagine what it would feel like for the dancers to perform for a house that's less than half-full. Even when ABT doesn't sell well at the Met, like for the Giselle performances last spring, it's never this bad.
  6. The've managed to move a modest number of tickets since the end of last week, though the four dates featuring Afterite aren't budging much at all. I noticed a bunch of ABT dancers posted similar-looking pics on Instagram yesterday, with performance dates superimposed on top of images of them dancing or posing. I wonder if it was coordinated by ABT's marketing department as a last-ditch effort to try to sell tickets. Perf date: Seats available on Friday -> Seats available today (# sold since Friday) Oct 17 (gala): 412 -> 241 (171 sold) Oct. 18: 928 -> 838 (90 sold) Oct. 19: 284 -> 284 (0 sold) Oct. 20 mat: 1,154 -> 1,108 (46 sold) Oct. 20 eve: 951 -> 862 (89 sold) Oct. 21 mat: 1,034 -> 967 (67 sold) Oct. 23: 513 -> 390 (123 sold) Oct. 24: 1,350 -> 1,316 (34 sold) Oct. 25: 1,454 -> 1,421 (33 sold) Oct. 26: 1,240 -> 1,197 (43 sold) Oct. 27 mat: 515 -> 525 (inventory increased by 10) Oct. 27 eve: 879 -> 763 (116 sold) Oct. 28 mat: 1,351 -> 1,310 (41 sold)
  7. I watched it again on a big screen, and it really looks like Carlos Lopez to me, too. Based on this long humble-brag of an Instagram post, which mentions de Luz as an afterthought at the end, Fairchild may not have been that invested in the farewell. He does seem invested in staying in the closet, though.
  8. I think that's just how those three generally dance these days. I know that sounds harsh, but you'd think they were on the verge of retirement, not de Luz. Exactly, and I wish they'd insert an additional intermission for the long sleep; it feels really odd not having one there. Then maybe they wouldn't feel like they had to rush through the ballet to make it doable with only one intermission. Some of the cuts and rearranging of the score really don't work for me.
  9. I pretty much agree; I only really have an issue with the pacing of his Sleeping Beauty, not the choreography itself. But of course these are the two full-lengths in which you see the least of his stamp as a choreographer, especially Sylphide, for which he only has a "staged by" credit. But yeah, I'm not sad about the reduced number of Martins originals this season. It seems like the interim leaders have been smart about which ones are worth saving.
  10. If Adrian D-W isn’t even putting weight on the foot right now, a recovery in time for the winter season seems unlikely. I think there will need to be at least two new Apollos. I’d be surprised if Stanley were cast, only because he’s so different from the physical type they usually cast. But maybe part of that was Martins casting men who were cut from the same mold as he.
  11. I wonder if anyone can shed light on the career trajectory of Ashley Laracey, who spent ten years in the corps before being promoted to soloist. I wasn't following her in her early days, but I've found her to be an exquisite dancer in recent seasons, especially last year in Concerto Barocco and most recently in Emeralds. I'm just curious -- did it take her a while to develop into a stand-out, did she suffer from injuries or other setbacks, or was there simply a surfeit of female talent and she had to bide her time? I'd love to see her in more principal roles, and for her to be promoted, as well.
  12. I just noticed they've canceled seven of their performances, and it's unclear to me who is dancing in the one remaining Don Quixote (both casts are still listed if you click on November 9). The ticket prices are very reasonable and there are a ton of seats available, so I may try to catch the Don Q or Swan Lake I'm sorry this run has sold so poorly for them, though I've seen zero advertising for these performances, and I don't believe they are a well-known company here in NYC.
  13. ABT's season is five days away and these are the numbers of seats currently available for the various performances. (The Koch Theater's capacity is 2,586.) I guess there will be no shortage of discounted tickets available. Oct 17 (gala): 412 Oct. 18: 928 Oct. 19: 284 Oct. 20 mat: 1,154 Oct. 20 eve: 951 Oct. 21 mat: 1,034 Oct. 23: 513 Oct. 24: 1,350 Oct. 25: 1,454 Oct. 26: 1,240 Oct. 27 mat: 515 Oct. 27 eve: 879 Oct. 28 mat: 1,351 October 19 and 23, which both feature Copeland in two works, are among the best-sold performances. And ABT seems to have done well with that family-friendly matinee on October 27 for which they've offered discounted tickets. The four dates that feature Afterite are currently the worst-selling performances, with less than half the house sold for three of them.
  14. Apparently Hallberg was in a relationship with Robert Curran for seven years. https://www.leoweekly.com/2018/10/ballet-directors-dance-story-loss-identity/ Not a particularly interesting interview, but I was surprised to stumble upon this article, given how closely Hallberg guards his personal life.
  15. Did a new, expanded role for Farrell at the Kennedy Center ever materialize? The news reports from when her company was disbanded indicated she had been in talks with Rutter about it: https://www.washingtonpost.com/entertainment/theater_dance/suzanne-farrell-ballet-to-disband-in-2017/2016/09/21/c9877a2e-8025-11e6-b002-307601806392_story.html She may just have a rather full plate, between being a professor at FSU and whatever her role at the Kennedy Center is. But I'd love to see her invited back to NYCB, if she's interested.
  16. Where did he used the term "colored"? It's not in the Eartha Kitt post. In the Arthur Mitchell post above he says "people of color," which, along with ALAANA, is the terminology I see employed most frequently nowadays. I can only imagine using "colored" in an air-quotes sort of way, when referring to something historical.
  17. I can't believe he has latched onto this little detail from the interview. The interviewer brings up Young Apollo and Woetzel drifts off into an unrelated anecdote, and then they never get back to Young Apollo. This happens all the time in interviews. It's a conversation, not an acceptance speech. Sheesh. I thought Clifford was tagging dancers that were relevant to or mentioned in his posts, but now I see he's just tagging random NYCB dancers.
  18. So, as long as you take no for an answer and don't force yourself onto someone and/or ruin their career, you are a gentleman? Wow. This just makes him seem even more out of touch. Also, his opening sentence basically seems to be stating "I was physically attractive, so of course I'm a victim of sexual harassment." This kind of thinking isn't so far away from blaming victims for bringing on harassment/assault because of the way they dress or look.
  19. If I were on the search committee, Clifford’s campaigning on social media would put him out of the running. It’s unprofessional. I’m also growing tired of him saying that everything was ideal in terms of sexual propriety and the way women were treated during Balanchine’s era.
  20. I will pass on sitting through Whipped Cream again (I could use a year or two break from it- but understand that it probably sells well). It sold very well it's first year but not at all this past summer; they really struggled to sell tickets but ultimately got the house decently full (maybe due to TDF or other discounting?). I really thought they'd give it a rest. I don't think Corsaire is a great ballet for the company right now; they can't deliver night after night of must-see bravura dancers with their current roster. If ABT were to forgo Bayadere next season, that would be pretty unusual for them, wouldn't it? I feel like they always do two seasons in a row of it. But maybe all the issues they had this past season with fielding 24 solid corps members for the shades scene might dissuade them.
  21. I can't think of a soloist who has ever been cast as Manon at ABT, but I think Trenary could be ravishing in the role, and there's something about her that seems just right for a ballet (maybe her old-world glamour?). But they seem to cast mature for the role.
  22. Brittany Pollack is back. I guess her "reporting relationship" with Jonathan Stafford isn't an issue, despite NYCB's policy, or she's reporting to one of the other interim leaders. All the more reason that NYCB needs a new AD in place. Is it a great idea to have J. Stafford potentially involved in casting (and supervising) both his wife and his sister? There was enough nepotism in the Martins era.
  23. I won't be holding my breath for the Hallberg's return to Swan Lake, following his aborted return to Bayadere last season, as much as I'd like to see him return to that rep, rather than just dance Giselle, Onegin and MacMillan ballets for the rest of his career. It could be a good vehicle for Abrera at this stage of her career. (Oops -- I see you already suggested this above!)
  24. It's true -- there are some dates where about 75% of the orchestra section is unsold. NYCB's fall season and "Balanchine: The City Center Years" offer such great rep that I felt no need to see ABT this fall. Nothing about ABT's fall-season is a must-see, besides perhaps Lane and Cornejo in Other Dances. And if you want to see the rarely performed Symphonie Concertante, you can go see it at City Center (that's what I'm doing anyway).
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