Juliet

She and her husband also designed Miami City Ballet’s new Nutcracker. RIP.💐

She is dancing in Serenade and Artifact. If anyone is able to attend perfomances, please report! 💐

This is a magnificent production--- Zack Brown did the designs, Graham has added many interesting nuances, and it is a completely rewarding experience for anyone seeing it. Highly recommended!

Alas, Simone Messmer did not dance Saturday or Sunday. Lauren Fadeley did the Company B “I can dream...” role for all three performances.

And now this: https://nypost.com/2018/09/06/show-doesnt-go-on-for-dancer-accused-of-sharing-explicit-pics/

Your sources? "Punters" embraces a rather large range of the audience spectrum.......

I agree about the high cost of parking at KenCen........lately, I drive to the Metro and take it to Foggy Bottom.

and they wonder why they aren't selling tickets? ONE week, and they throw R & J at us. So stupid. Especially given the Martins debacle, why not program Coppelia, or some such?

Ms. Scheller's partner in the Cortege pdd segment is Chas. Askegard.

Actually, second cast pulled out of this afternoon. First cast on Sunday.

Perhaps the move up in the theatre was at fault, but: Lauren Fadely danced the ballerina role in Walpurgisnacht both Friday and Saturday nights. She is pictured above. Simone Messmer does not dance Walpurgisnacht. She is 5'5" and not, by any stretch of the imagination, bulky. The gypsy and bride costumes she wears are long and heavy. They almost completely obliterate the dancer's movements. The lighting does not help, the solid dead white of the bridal dress calling attention to the fabric, rather than the dance. Jeanette Delgado looked stunning in her bridal gown and it lent a lovely, flowing touch to her variations, rather than hindering a quicker, more quicksilver quality of the Fairy. It also fit her properly (Simone's was much too loose and too long.) I attended both performances this weekend, and will see the matinee tomorrow. I reserve judgement until I see the same cast again tomorrow.

I found the first act bobble less of a distraction (given that it was a debut on opening night....) and the mad scene a bit more nuanced than "tepid." It may have not played well to a large house, and perhaps it was more an unravelling of a young and sensitive spirit than a mental destruction painted with broader strokes. The second act continued with the same delicate, entirely loving characterization---a perfect portrayal of Emily Bronte's "the loving spirit lingers long, and would not pass away" ... I think that Giselle works best if one views the ballet as a whole, after seeing both acts one often realizes why certain choices were made in the first act. The characterizations often change as dancers become more comfortable in the role, as well. I hope that the tempi remain a bit more consistent in future performances----the switch into zippy double time during Giselle's hops was a bit jarring..... A great choice for a season opener, I think. The audience (connoisseurs or not!) certainly agreed. The generosity of the audiences and the commitment of the dancers to a relatively uncommon genre for them, romantic classicism, is refreshing.

I agree----my old video is fast losing it's grip on life..........I keep hoping......

Yes. She has done Myrtha (wonderfully), but not Giselle.

Thank you for this---I hadn't watched it in a while---- long may our beautiful muse live and prosper