Peg

I second that. Huxley, Mearns, Hyltin, Ball all shone. Peter Walker was a touching and funny Bottom. And great to see Pazcoguin in her element as Hippolyta. I love this ballet. I brought family members who have never seen it before and they were enchanted. I’m going again tomorrow to see alternate casting but tonight will be hard to beat.

I did not attend either performance today but walked past the theater at 5 pm. Pazcoguin exited the side door as I walked by and was visibly limping.

And Ramasar will dance the Divertissement with Hyltin on May 29 and June 1.

And Joseph Gordon has been promoted to principal, plus six promotions to soloists and three apprentices are now officially in the corps. https://www.nycballet.com/NYCB/media/NYCBMediaLibrary/PDFs/Press/2018-10-13_NYCB-Dancer-Promotions-2018-Fall-Season.pdf

I was lucky enough to be there last night for the Fall Gala. The dancers assembled on stage made a very strong impression at the opening, and the support and warmth from the audience after Reichlen had finished reading were palpable. It was heartening to learn from Macaulay’s post today that Reichlen and Danchig-Waring wrote the statement. The works were wildly different and it was a lot to take in after one viewing, but I liked all three, the ones by Neenan and Abraham in particular, and together they showed the strength and virtuosity of the Company. For me that was thrilling. Neenan’s THE EXCHANGE was a great vehicle for Kowroski, Tiler Peck, Gordon and Huxley in particular. Of course it was sad not to have Adrian on stage but Jantzen partnered Kowroski beautifully. The long red skirt with slits to the waist showed off her legs beautifully. I really liked those costumes (although not so much the S&M-seeming strips of what loooked like black leather on Sean Suozzi and a few more of the men—twowildly different styles of dress for this one), and the Dvorak was gorgeous. Reisen’s JUDAH showed the dynamism of Lovette, Woodward and LeCrone, and Harrison Ball was terrific—so good to see him after a long absence. It was different and good to see Preston Chamblee partnering Lauren Lovette. Music was by John Adams, much of it more dissonant than his other music that’s been set to dance, again played beautifully by a string quartet. The audience went wild for Kyle Abraham’s THE RUNAWAY. It opened with a long and riveting solo by an incredible Taylor Stanley. Wow!! I think he’s terrific but have never seen this kind of virtuosity from him. The audience exploded in applause when his solo ended. Music then changed from Nico Muhly (live piano and violin) to recorded Kanye West, Jay-Z, and James Blake—not what we’re used to hearing at NYCB. The women’s costumes were wild, with feathers/tall collars almost completing covering their faces. I honestly only knew when Sara Mearns was dancing by process of elimination. Abraham’s choreography for Georgina Pazcoguin was perfect for her jazzy dramatic flair. Ashley Bouder was dynamic, in alarger role than Mearns’s. Roman Mejia was fantastic! We need to be seeing more of him this season. I really must see these again to say anything more specific. It will be good to hear from the professional critics. But it was a great night for the dancers, and for those of us who love them.

I agree that it was an excellent conversation. I wondered, though, why there was no mention of Tracey’s sister Kathleen who also performed with NYCB as a principal and is currently a ballet master with the Company. It seemed very odd that she was not mentioned in any way, even when Margaret reflected on her family background.

Martins has been gone since December. The NYT article illustrates the bureaucracy of search committees. I’m grateful they’re being thoughtful and proceeding carefully, but they have yet to invite candidates?? This limbo period has to be very difficult for the dancers, as some of their recent posts on social media have indicated. I’m hoping we won’t be seeing defections or a decrease in quality as a result.

I’ve wondered how he can juggle it all. However, in the interview with Woetzel that the Conversations on Dance podcast released last week, he said that he plans to continue his presence and that the timing of the Festival is at a good time of year when activities at Juilliard are on summer hiatus. I guess we shall see.

I just can’t get enthusiastic about seeing The Band’s Visit. Agree that My Fair Lady is a fabulous production but they tried to do too much with their Tonys medley. I was so pleased for Justin Peck with his well-deserved Tony but I hope he is able to stay focused on NYCB. The dance number from Carousel was thrilling— Amar is such a star but I miss him very much at NYCB!

Salstein in was in the corps of Carousel Wednesday night.

I went to a special preview, was so disappointed and bored that I left after an hour. It’s hard to believe that it’s generated positive reviews. Every character and performance was over the top. Very little dancing, not memorable.

Wikipedia says ‘natural causes.’ I’m wondering if it was related to the spinal tumor which ended his dancing career and was removed in the late 1980s.

I was there today and the performance seemed very joyful, upbeat. I went into the performance with some trepidation but left with my spirits restored. Lovett was a radiant SPF, and Phelan a beautiful Dewdrop. And it’s always a treat to see Huxley.

The NYCB did two morning performances this week for NYC public school students. This is an annual activity of the NYCB Education department. There were 2300 students at Tuesday’s performance, filling the theater up through the entire 4th ring. Most of the children seemed to be no more than 9 or 10 years old, and their enthusiasm was delightful to witness—audible gasps, laughter, applause at unlikely places, etc. I’m sure it is very gratifying for the cast. Indiana Woodward was a beautiful SPF on Tuesday, and Taylor Stanley her elegant Cavalier; Erica Periera was a serviceable Dewdrop. Lauren Lovette posted her excitement about performing on Wed. on her instagram account earlier this week.

This program will also be performed at 3pm on Sunday (December 3) at SUNY Purchase. It’s very surprising to me that this performance isn’t being more widely noted, especially in the New York press. When I checked a couple days ago, some seats were still available.

Canbelto, I agree with you about the disappointing choreography, most especially in the Funeral Dance. I think Wheeldon did better directing here than choreographing. I liked Patrick Wilson better than you did, but missed Stephen Pasquale (who is miscast in the disappointing Junk now on stage at the Mitzi Newhouse). Pasquale and O’Hara are a match made in heaven. That being said, I’m so glad to have seen this. Kelli O’Hara is sublime, and I enjoyed Robbie Fairchild’s dancing much more here than in An American in Paris.

I couldn’t agree more about Adrian. And I’m very glad he’s recovered from his leg injury. I listened to the podcast too. Conversations on Dance gets better and better.

I attended this fascinating program at the Guggenheim last night (to be repeated tonight). It was conceived and moderated by food scholar Meryl Rosofsky (who incidentally is married to the son of Melissa Hayden). Jacques d’Amboise and Allegra Kent shared memories of Balanchine, food and wine, and their respective friendships with Le Clercq. Jared Angle and Adrian Danchig-Waring, both accomplished cooks, curated the dance portion of the program: excerpts from ballets Le Clercq, Kent and d’Amboise were known for. The most exciting was the “Gluttony” portion of The Seven Deadly Sins, staged by Kent and Susan Pilarre, featuring Emma Von Enck and Georgina Pazcoquin; we also saw excerpts from The 4 Ts Choleric (featuring Teresa Reichlen) , Bugaku (beautiful Maria Kowroski and Jared Angle), the Fourth Campaign pdd from Stars and Stripes (Megan Fairchild and Joseph Gordon), and 4th movement rondo from Western Symphony (Reichlen and Catazaro). There were some beautiful clips of Le Clercq dancing, and many photographs. Edward Villella was in the audience and acknowledged by Kent but did not speak. Rosofsky announced that there is an effort underway to interest publishers in a new edition of The Ballet Cook Book. We can only hope. Tonight is sold out, but last night was also and I saw assorted empty seats. There were no comments about live streaming. I hope I’ve put this post where it belongs, but wasn’t sure.

He will be missed by many. At the September “The Dance Historian is in” session, the NYPL announced that the monthly program would continue and that David Vaughan’s name would continue to be associated with it.

Thank you so much, canbelto, for your impressions and for the video. I watched every second of it. I was at Saturday’s matinee and agree that Robbie and Sterling were incredibly graceful, eloquent, poignant in Duo Concertant. Robbie is a gifted dancer who has always emulated Gene Kelly but I’m so sad to see him leave NYCB at this stage of his career. The complexity of the reasons for his departure at this point in time make it all the more sad for those of us who love him as a classical ballet dancer and felt his dancing ability was underused in An American in Paris.

That's odd. I saw a rehearsal of the NYCB premiere today. The dancers were Alberda, Applebaum, Blutt, Likolani Brown, Farley, Hod, Hoxha, Kikta, Claire Kretzschmar, Mann, Sanz, Segin, Staker and Walker. (I didn't remember all this but am referring to the list we were given!)

I saw Ashley in dress rehearsal Tues but it was clear she wasn't 100%. She later posted on Instagram that she was battling a stomach flu.

It's great to read this piece. Her dancing has been on another level since On the Town and her split from Veyette. (The quality of his dancing, on the other hand, has waned.). More power to her!

I have attending performance-only portion of several past galas, but not for the last three years. It's fun watching the attendees in their finery and can be exciting to see the premieres. Some of the new works created for the gala are slight (emphasis on designer-created costumes rather than substantive choreography) and are not repeated during the balance of the season.

He was so gifted. The most beautiful remembrance I've seen thus far is by Patti Smith: My Buddy http://www.newyorker.com/culture/culture-desk/my-buddy-sam-shepard