Dancerboy90210

The MET summer season is already shortening to 5 weeks, given the Met Opera's new schedule. This could allow them to deemphasize the big story ballets needed to fill the Met and beef up other seasons (like their Fall Season and maybe introduce other options) that would allow for works not conducive to the Met stage. Also- totally totally out there, but what if the Met Opera and ABT merged? Combined they'd have synergies (particularly introduce new donors, etc.). The Met could send on ABT on tour, much easier than the opera. They could also add ballets into the rotation, during a regular Met Season. If they were going to pivot into the digital space, having both ballet and opera options would broaden their appeal too. Their MET HD app could include on-demand and live ballet performances, as a "value add". Also, dance education (similar to how English National Ballet started their fitness/dance training app), could also introduce new revenue. I know this would almost certainly never happen, but both organizations would gain from strengths of the other organization (but saying this without knowing the hard financial implications..)

I 2nd the Sasha/Stella combo being a great pick. They have the right balance of appreciation for ABT/ballet's traditions with the ability to be forward thinking. Max/Irina would be a good combo too, but my guess is they'd double down on the current model and might struggle with being more forward thinking.

I hope neither are considered. In my opinion, ABT needs someone to bring their business model into the times. Julie and Angel seem to be largely sticking to the ABT model in their respective companies (not showing much innovation outside of it) and neither has demonstrated proficiency in the digital space. What about Nina Ananiashvili? Maybe Vishneva?

I think this is the right choice. Ballet is at an inflection point where the next generation of leaders need to really understand the web and young audiences. I just hope the board doesn't hire a Kevin 2.0 (nothing against him, just time for a new perspective). I think the ABT model needs some revitalization (even before COVID), so a new set of eyes can really take it to great places. Luckily Kevin has built a company with tremendous talent and an international reputation that will really help the new director. I know this is a bit "out there"- but, if I was on the search committee, I'd be going after Tamara Rojo. She knows the classics very well, is familiar with a lot of the ABT rep via her time at the Royal Ballet (Ashton, McMillian, etc.), and, in my opinion, she has revitalized English National Ballet (which has a similar model as ABT- touring, classics, new works, and "ballet as an occasion"). Beyond showing signs of developing talent well, ENB has done great things online. They're streaming performances, launched a "fitness" app for everyone from beginner to advanced level dancers, their youtube page has hundreds of thousands of views, etc.. It would also be nice to see a woman at the helm of the company.

It is unfortunate this wasn't posted for longer. The choreography was so creative and engaging. This is the type of dance that I think translates well on film- so I hope to see more exploration of these types of works, at least in this "digital" era.

Fortunately, Trump wasn't able to eliminate the National Endowment of the Arts during his tenure. The NYTimes is out with the story of how bipartisan support in Congress helped the NEA survive. I'm hopeful, this could lead to increased funding for the arts, on an ongoing bases, or at a minimum money to help arts organizations recover from COVID. This coupled, with Biden's plan for the arts, gives me hope! Trump Tried to End Federal Arts Funding. Instead, It Grew.

"Tiny Pretty Things’ Falls for Big Ugly Ballet Stereotypes" An interesting article in the NYTimes on Tiny Pretty Things and dance on film more generally. I think it is an interesting conversation, given the necessity of "delivering" dance to audiences in the absence of being able to perform live in theaters. If the goal is to attract the masses via film, I wonder how dance will be represented. I think we'll need pure "dance" performances (like shows in theaters), but also some combination of dance based acting shows (like Tiny Pretty Things or shows that are 75% dance/25% acting) to pull more people in. I've always had a strong reaction to cartoonish/stereotypical representations of ballet culture, but maybe its necessary (to some degree) to attract eyeballs...

I 100% agree- its past time for new blood at ABT. I just worry who they'd pick and if they'd want more of the same or a big shake up. Some of the previous contenders are less viable now (Marcelo is out, Ethan's leadership track record isn't great, Julie Kent seems to be struggling at Washington Ballet with managing budgets/fundraising, Angel has had lots of friction with dancers at PA Ballet). I would hope they'd pick a younger person that can bring new ideas and innovative on their current model. The current model seems be slowly dying. I think a big shake up with a person like Danill Simkin (with his social media/digital background), Tamara Rojo (she is doing well at ENB and managing COVID seemly well), or Irina/Maxim as co-directors (I think they have good taste and Irina's experience acting might bring in new ways to revitalize the ballet), would be most exciting and get me back to the theater quickly when its safe. Or, a diverse smallish/managable artistic committee that makes artistic decisions and reports to the Executive Director.

Is anyone surprised that bigger streaming companies didn't pick up the NYCB's Nutcracker? Earlier this year, when NYCB mentioned finding new ways to stream the Nutcracker, I thought a Netflix or DisneyPlus would swoop in and buy the streaming rights for the month of December. It seems like such low-hanging fruit. I know Hamilton isn't the Nutcracker, but Disney paid $75 million for Hamilton's streaming rights. NYCB makes ~$15 million a year from Nutcracker ticket revenue, so maybe selling to a larger company would've generated more revenue (potentially equal or more to their normal season) and, I'd imagine, would've opened up the Nutcracker to new audiences (along with a greater marketing budget). I don't foresee people wanting to sign up for yet another streaming service and then paying an additional premium to watch. I think a better approach would've been to sell the streaming rights for a flat fee to a streaming company that would reach a much larger audience (including people that are newer to ballet). Marquee is likely only going to attract people that are already interested in ballet and the arts.

I found this recording of Stella's Giselle premiere. I'll never forget that performance. If only ABT had a full recording of this performance that they could stream as a tribute.

Maybe a Mcgregor or Forsythe next season? or Joffrey/Aprino? (Although not living). Wishful thinking?

I’ll write more later, but I was proud of ABTs performance last night. The theater looked full and the energy level was great (very enthusiastic audience). I think deuce coupe was the most successful. Stella looked perfect. To me, she was the standout. In the Upper Room, while always a crowd pleaser, looked like it was danced at 95%. I think they looked tired and a little timid towards the end. Either way, the audience loved it.

I was at the performance tonight. I’ll post more later, but I couldn’t get over how empty the theater was. I’ve never seen the Met so bare. It impacted the show, because there didn’t seem to be any energy. The dancers were “okay”, not great, but I partly blame the empty audience. I also forgot how little dancing this production has. I couldn’t help but think the empty audience was a metaphor for ABT’s declining product the past few years. Also depressing to think their season will be cut 3 weeks in 2021 (when the Met Opera extends theirs). How soon until they realize they need to do something different? Sad to think of all the star power and buzz the Met had back in the early 2000s and how much of that is gone now.

I was hoping stella would get the Manon performances. I’ll take a hard pass on Copeland in Manon.

I don't mean "throw acid in his face", but if his job is to develop world class talent, he isn't doing a good job. Those should be the standards the boards holds him too, in addition to other goals. Normally, when do you don't do your job or do it poorly, there are repercussions....

Any guesses on whether they'll announce more retirements before the summer? Maybe Stella is planning on retiring this coming season? But, given how little Kevin is using her, what would she retire in? Its a bit insulting how little they're using here, especially with so many Sleeping Beauty performances- they couldn't give her a show... she also performed Aurora in Paris. I wish we could hold McKenize accountable for what he has done to Stella's career. I know she had a big injury, but she was sidelined during her prime years. We had to wait way too long to see her in principal roles. IMO, she should've been promoted at a similar speed/trajectory as Gillian (they joined the same year, I think). How did Seo and Boylston get promoted before her? It is a similar case for Sarah Lane. Seems like Kevin has two approaches to promoting/developing talent. The super fast track (Seo, Bolyston, Teuscher, Whiteside, Stearns, etc.- where they're still very much developing artistically/technically in front of our eyes- making basic mistakes and/or the audience doesn't really understand why they're being pushed in front of us). The other approach is the slow (what is he waiting for approach), that claimed Abrera, Lane, Part, maybe Cornejo to some extent). I think New York City Ballet does a better job of developing talent overall. Give opportunities (trial by fire) a few times and see how it goes. I don't see super talented dancers with high potential sitting for too long in the lower ranks there (but maybe I'm missing something). Also- we're not accounting for all the people that left ABT and went out to have great careers elsewhere (seemingly because McKenize wasn't budging on them).. Golding, Kajiya, Maria Riccato, Eric Underwood, etc..

Disappointed that Stella isn't getting more "prime time" roles. Boylston with Hallberg in Manon... feel like that should've gone to Stella... (Bolyston doesn't have the maturity in her dancing to pull it off, but seems like Kevin is trying his best to force it to happen, like Seo).

No new Ratmansky? Maybe in the mixed rep? What if they brought in some Joffrey rep (Aprino and/or Joffrey)? That would get a ton of buzz and sell. I’d imagine their Swan Lake is due for a refresh soon. I truly hope they don’t go with Ratmansky’s reconstruction he did in Zurich (one reconstruction is enough for me). A new Swan Lake production would be a good “anchor” for the season, because it could really sell and get lots of publicity. They could stagger it, so a half a week (split with the mixed rep) and then a full week later on in the season. I always wonder why they don’t try for the full length Paquita (doesnt Ratmansky already have one?), Marco Spada (good ballet for Hallberg), maybe even the Pharohs Daughter.... (I’d rather that than Corsaire for the millionth time) . A full length Esmeralda would be interesting too. 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). Obviously, most of this is a wish list. I wouldn’t expect McKenzie to be this imaginative lol.

It is depressing to think about the upcoming Met Season, because the casting options are so unexciting. What a tragedy to potentially have Stella cast as Manon alongside Sterns or Whiteside (that is if she gets cast). Imagine the potential of a Stella/Marcelo Manon. One can dream... Seems like they're trying to make the Bolyston/Hallberg pairing a new thing, so I wouldn't be surprised if he dances Swan Lake with her. McKenize seems intent on shoving Bolyston, Seo and Copeland down our throats, but they're not international stars (on their abilities alone), not even close. Their trajectories don't seem to indicate the potential to get there. I wouldn't be surprised to see Manon be cast with Bolyston, Seo, Copeland and maybe a guest appearance by Ferri, but no Lane, Abrera, or even Murphy (rather see her get a go at the role, over the other options). I used to love the ABT Met Season. International ballet stars performing productions that are vehicles are superstars. Every night was a true "occasion". These productions don't work with two regional level performers (with clearly limited rehearsal time and a limited bench of coaches) and are even worse when they pair an international star, like Hallberg, with someone that isn't anywhere near his level. This mis-sizing/miscasting is more apparently then anywhere, on the Met stage (empty seats, unexcited crowd, Odile's that cannot do 32 foutettes ever, etc.). Certainly not an "occasion". Between this and the Met Season being downsized to 5 weeks, seems like ABT needs a new direction. How much longer until the board pushes for a change? The product is clearly declining. Clearly a talent crisis, with no path out..

Report on Friday June 2nd Performance I don't think I'd say that Lane had the worst go of the variation ever, but she clearly got into her head too much as the variation progressed. She appeared to be thinking about nailing those triple pirouttes (there was a momentary pause before each turn/she was sitting in plie and not going right into it) and I think a double with the nice extension out would've served her better. She feel off pointe in the releves in arebesque coming down the diagonal. When she misses something up on stage, she seems to always have this "I completely give up/defeated look" that makes it quite obviously she messed up and its not covered up well. I think she needs to stop doing that... I had a hard time understanding why they cast Stephanie Williams. First off- did she cut out one of the first develope sequences, by walking out to the music vs. starting right on the music? I don't recall seeing that before. Also she was really really struggling to get up on pointe and the accent on her movements always seemed to be "down". I think the point of that variation is that everything is "up" to show the balance/control. Shevchenko did "okay", but for a principal cast in a soloist role- she didn't really knock it out of the park. I keep remembering that video of Osipova doing that variation and she really brought the house down. Shevchenko did a reliable job, but it wasn't a slam dunk. The corps de ballet tonight was just "okay" in the beginning of the second act (coming down the ramp, etc.). The tempo did seem a bit fast though. However, as the act progressed, they were ALL over the place. Not well rehearsed at all (bad lines, not together, arms/legs at different heights). It's sad to see the corp de ballet at a "world class company" look that amateur. Also in the pas d'action scene, many of the demi-soloist groups of 4 women- looked horrible. Some seemed to barely be able to get through it. Many of them couldn't jump at all and the big group of women were all over the place. The corps men looked like school kids compared to the men that danced it in the last ABT run. However, the night belong to the principals. Hee Seo really surprised me. She mostly nailed it tonight (slowish start in Act 1). There were moments in the beginning that she seemed to be trying to be "pretty" vs having a real character that dances from the "soul". But, as the night progressed- especially in the 2nd Act she nailed it. It's great to see her finally making progress. She looked at home with Kim. They have a really good partnership (strong partnerships seem to be lacking at ABT). Maybe ABT can entice him to join, even if only as a regular guest for the Met Season. Kim is perfect for Solar. A few times, I wish he was more princely- but I can't think of a better role for him than Solar. Murphy, as always, really delivered. In the first act, she seemed to overpower Seo. But, by the third Act- Seo took more ownership of the stage (seemed to be more confident). My only complaint is that the flower basket that kills Nikiya in the 1st Act didn't really look like a flower basket from where I was sitting. Did they change it out from their last run of Bayadere? I also thought Seo rushed through the snake biting scene. I remember it being way more clear that Nikiya was bit by a snake (I think the snake was held at her neck for a few seconds to make it clear she was just bitten). I had to explain to my friends with me what happened/how she died. I'm not sure if that was a miss on Seo's part or an edit in the production.

I still think that Abrera will get a Juliet. I always thought of it as a more "senior" role that is less technically demanding. Vishneva danced it for a while and Julie Kent retired in the role. I think if anyone gets a debut in R&J, its Abrera. I have a feeling that she'll partner with Gomes a lot more this coming season, now that Vishneva is out of the picture. I think they'll certainly do Giselle together. Gomes has retired Solar from his rep, so I think Abrera might have a harder time finding a partner for Nikiya- but I think she could handle the role. A few parts in the Shades scene give me a little pause, but I remember that she danced a Nikiya variation in a recent gala and posted about it on Instagram- so that makes me think she feels its within her range. I think artistically she has more to offer than a lot of the other principal women (they really need to bring in some additional coaching for all their young principals). They might default to giving Bolyston Nikiya, but I can't think of anyone more ill suited for the role... I think that Shevchenko could develop into a strong Nikiya with time and coaching, but I think Kevin sees her as taking on Murphy's roles. Murphy took a while to get Nikiya.

Fingers crossed that both Stella and Sarah Lane get a stab at Juliet. Seems like the bench of Juliet's has really cleared out (with retirements), so we should see a lot of debuts. Fingers crossed that they don't just give Misty an insane number of shows to try and sell tickets. I'm assuming that we'll see Christine Shevchenko tackle Odette/Odile- probably replacing Verionika's slot. I wonder who will debut as Nikiya, as I highly doubt we'll see Ferri back this coming season (no much "senior" ballerina rep in the season). Maybe Bolyston and Shevchenko, but I rather see Stella give it a go. From her Instagram, it looks like Skylar is preparing Kitri, so I wonder if that is for the upcoming Met Season. If so, I wonder who would partner her? The short female slots appear to be rather full at the principal level. Unless, Sarah Lane doesn't get a Kitri and/or Maria K doesn't get a show. any other thoughts on casting? Also- can we change the title of this thread to 2018 Met Season?

The Isabella/Nina video just made me think of how incredible of a coach Nina would be at ABT. They don't seem to have replaced Georgina Parkinson (in terms of a really strong 2nd female principal coach). Irina is getting older. How much money do they need to pay to get Nina back to ABT? She seems to have a great understanding of ballet with an ability to communicate well. One can dream....

I'm so excited for Stella's Giselle!! Her and Marcelo are going to give quite a show!!

I wonder what is going on with Ana Sophia Scheller. She used to dance a lot, but lately seems to rarely be cast. Wasn't she an Aurora in previous runs? There seems to be a lot of dancers that make principal and suddenly start performing way less often.