mimsyb

I would just like to add an addendum to my previous post. Perhaps this is a topic or "thread" for another day, but how would ABT fans feel if the company were to adopt a casting policy similar to that of NYCB? Instead of announcing casting in brochures months in advance, put casting up one, two weeks prior. I recognize that ABT fans are un like City Ballet fans, but we(I) go to see City Ballet based on the work at hand, not necessarily who's dancing on any given night. Disappointments? Sure. But just as many times I've come away delighted at seeing someone different. Maybe then we wouldn't be playing the "blame game" on a company AD. But of course this idea would punch a huge hole in the "Misty sells tickets" as a business plan.

I agree! The rehearsal schedule can be pure madness and it's not always the best decision to cast over worked dancers in a new role at the last minute. That can sometimes cause even more injuries that can lead to further casting complications. An AD has to look at so many possibilities and from so many angles. There may just not be time to train someone (anyone!) to take on a roll at the last minute. Choreographers, coaches, teachers, etc. all have much on their plates already. Besides, injuries can happen in an instant with no "advance" warning. In a rehearsal, in class, walking to the subway. There is absolutely no way of predicting a safe, injury free season. Look at what befell Osipova as she was jumping in "Giselle" last season. Anyone who witnessed that (as I did) will clearly understand that injuries can happen in any number of fickle ways. Plus, her absence may not be, in fact, an injury. Any number of other reasons could come under the heading "medical". One may think they possibly have a tummy ache (and able to dance), and it turns out to be appendicitis. (clearly un able to dance!) That one can come upon anyone and suddenly! Or it might possibly be something else????............. I think given that the Opening is next week, Kevin is doing his very best to make it all work. And remember that sometimes a dancer who may not seem the "ideal" for a role can surprise you.

Please don't blame Polina. Perhaps it's happy news and not an injury.

Ditto

And many dancers today, while they profess to wanting to "do it all" admit that doing so many styles can wreck havoc on their bodies. More injuries happen. Some lose stability in their more "classical" training in an attempt to do the more Contemporary stuff. Something has to give.

Both Blaine Hoven and Daniel Mantei are sort of from that time. Both could be used more. But the fact that ABT couldn't use (and thus lost) dancers such as Joseph Phillips, Eric Tamm and Luis Ribagorda is not encouraging. I understand that sometimes dancers simply want to move on, either to other dancing gigs or simply to other things in life. Still, it would have been wonderful to have seen any one of these men given more opportunity when they were at ABT. And the loss of Jared is a biggy!

I think it's very possible ABT could lose other dancers, not just to Pennsylvania, but to other companies. I sight one fairly recent example. Nicole Graniero is a beautiful dancer; one that one would think could go far with ABT. But after several years in the corps and not being moved up, she jumped to Washington Ballet. This Season she was given the ballerina role in "Theme and Variations". I think we will be seeing a lot from her in the future! One could sight Sarah Lane as one who didn't jump soon enough. It's now debatable if she will ever be a Principle at ABT, and as someone a bit older now, she may not be able to find an appropriate position elsewhere. Other examples of dancers who left are Ashley Ellis (now Principle at Boston) and Simone Messmer (now at Miami). A dancer's life is short. One has to take opportunities when they can.

Really? He seems to be a bit underwhelming, to put it mildly. But perhaps he has skills Kevin needs right now. He does come to the position with a lot of knowledge and awareness of the ballets. Time will tell. What ABT really needs is someone who can coach the younger men coming up. Perhaps that's a better job for Ethan. Again, we'll see......

Well, there are certainly other companies now in America who do quite well by Balanchine. San Francisco Ballet, Boston, Miami City Ballet and of course, Pacific Northwest Ballet. All dance Balanchine on a very high level of achievement. What concerns me more, based on what I saw recently at the Joyce, is the direction Corella might be taking Pennsylvania Ballet. The choreography was truly sub par, for the most part, and the dancers didn't particularly shine in anything. ( How could they? It all looked alike) Perhaps with dancers more to his liking, new things can happen. But based on what was shown a few weeks back it would seem Corella is taking the company down a path of "oh no, not that same old so called Contemporary stuff again". That would be a huge shame. My hope is that this will not be the case. And I also hope the dancers released from their contracts will find better opportunities soon. As for Baca. It seems to be a huge loss for ABT, as he appeared to have a lot going for him here. Height, great technique , a winning way on stage, etc. All things they will need in a male dancer a few years down the road. And one would hope that the jump from corps to Principle will not be too big or too fast. It takes time to build an artist. But then, right now he'll be a big fish in a much smaller pond. One can only wish him well.

I'm still waiting for Gorak to demonstrate some "punch" when he performs. He's a beautiful technician, looks very pretty on stage, etc. but he seems to lack any discernible personality that makes him become a character. I prefer him in neo classic roles, but even there at times he just doesn't seem to be involved in what's going on around him. Time will tell, but there are a few more men at ABT that seem to be making their way forward right now.

Also there on Thursday night. What an amazing and exciting group of dancers! Thrilling to watch. I too do not know many of these dancers, but felt the overall quality to be of a very high standard. An extraordinary group! "Symphony in # Movements" came on like shot from guns; very high energy. Everyone jumps amazingly here. Musicality and cleanliness of technique was very much in evidence. I wanted to see it all over again the minute it ended. "Sweet Fields" was shown to wonderful effect. One of Tharp's most wonderful of works (why don't we see this more?), it had many of her signature squiggles, but with a certain fluidity of movement that related well to the music. Dancers looked so happy to be doing this work. Just wonderful. Ratmansky's Symphonic Dances" had an awful lot going on and nothing going on. Very busy. Lots of emotional moments that didn't seem to be rooted in much of anything. Lots of symbolism; not sure what it all meant. Some wonderful dancing however, and proved that this company is one of our very best. MAybe I need to see it again. It just seemed overly long and convoluted to me. But all in all a most wonderful evening of ballet. Cheers to Lourdes Lopez for bringing us this company. Please return soon! Looking forward to Saturday PM when a more contemporary rep will be given. Plus the most wonderful "Bourree Fantasque". I remember seeing LeClerc in this ballet many years ago. Does any other company still dance it? Kudos to all at MCB!!

Wow! What a rep! Deux Pigeons" and "Checkmate". Double wow! "Facade" and "Apparitions" Triple wow! It's enough to make a person head South for this Season.

I just came home from tonight's performance. I don't know. Every ballet looked just like the other one, pretty much. Even within each work, the movement was so repetitive with one move looking just like the last. Energetic, for sure. Still trying to decide if the dancers were any good or not. So much athletic slinging of the legs around and fussy, non sensical moves made for it all looking like "grease on a hot griddle" after a time. Relentless. Non stop. Response to the music was pretty much "step for note" with no contrasting moments. Costumes were either overly fussy, plain silly, or well, leotards with slashes in them. Girls' legs were bare in every piece. Guess the company doesn't have a fund for tights! I was expecting a lot, but when the quality of the choreography is sub par, it's difficult to get a good read on the company. I don't need to see "Don Q", or even Balanchine every time out, but this was disappointing. MO

And what I've also noticed, both last year and this season, is that he sometimes will perform more as an ensemble dancer, giving his more usual solo work over to another dancer. I'm wondering if he wants to learn all the other roles within a piece, perhaps in preparation of his one day taking over for Bettie De Jong or even for Mr. Taylor himself. He is already listed as the Associate Rehearsal Director.

Don't know others' opinions, but for me Trusnovec is one of the finest male dancers out there, in any genre. That he's had such a long sustained career with Paul Taylor is stunning. Strong technician, extraordinary partner, an actor who can do comedy as well as signature roles such as seen in "Beloved Renegade" (to name just one). Not just a brilliant soloist, but also a strong ensemble dancer. Along with Gomes at ABT I can't think of any other male dancer I would prefer to watch in any production. Simply a standout. I would pay money to see Michael and Marcello read the phone book!

Oh, I agree totally! Not sure Taylor has it in him at this stage of his choreographic career to do a whole new work, but as to Michael guesting with NYCB, wow! That would be incredible! How does one put a bee in Peter Martin's bonnet about this? Or, conceivably, this could be something Damian Woetzel could put on at his Festival. Crossovers are common there.

Absolutely stunning! The sheer breadth of her movement, her musicality, the way she re-acts and responds to her Princes and to her parents are truly amazing. Her technique, while astonishing, never seems forced. She attains the "look at me" moments in the most naturalistic of ways. She "is" the 16 year old Aurora; her awareness of this very special moment is breath taking. While the "new" old version of "Sleeping Beauty" currently on view with ABT may be historically accurate, I find it to be cluttered, over wrought, and has far too much going on when all we should be seeing is the freshness and beauty of this young woman, coming of age. To see Gregory present this in such an open and easy fashion is to see the purity of the choreography. The story telling is clear. This is all about Aurora, as it should be. Thanks for this video. It brought back to me all the reasons I used to love seeing this ballet.

OK. Good to know this. I must have missed this information somehow. Let's hope this mess at the BO wasn't of her doing. I'm guessing not. Onward!

And ABT really needs to get a competent Executive Director to bring the company into this century. I haven't heard anything that they have that person, or am I wrong?

I've just returned from the Met BO where I was indeed able to purchase the single tickets I would have bought on Sunday last had we been permitted to do so. The BO person rolled her eyes when I mentioned the "mis-communication" between ABT and the MET BO. She said it was never the Met's idea to do this "new policy" and she iterated again that the Met fought to not have it done. I'm afraid this has to lie at ABT's feet. I'm glad I was able to make my transaction without having to make a trip down there on Sunday, when the crowds will be heavier. I got excellent seating in the center front row of the G. Tier, so I'm guessing tickets are not rushing out of the BO for many performances. And since I didn't buy on last Sunday I was able to reassess what I did want to buy and what I could do without. Suffice to say I came away with fewer performances than I had originally planned on and much more money in my pocket than in ABT's!! ABT really needs to re-think it's subscription policies.

I can only remember her performance of "Swan Lake" last season which had her fans making quite a bit of noise *talking, cheering, etc. And this was before she had even danced a step!!) In the white pas when things are supposed to be sublime, tender, emotional all I heard was constant clapping (in many wrong places) and again loud talking. And the black pas was almost like a Dancing With the Stars Night. I'm all for diversity and if not now, when, etc. But I also go to the ballet to be moved and "changed" by a performance. When there are distractions, etc. it becomes an entirely different experience. MO

I agree about "Firebird". Not for me, no matter who performs. So the good news is that it is being performed last on the program, so if I wanted to see the new Ratmansky I can always leave before "Firebird". But that would mean spending $$$ for only a partial program. My guess is that if this new ballet gets fair to rave reviews it will be repeated in the Fall Season at the State Theater, where the tickets aren't quite so expensive and the sight lines are better. So this is yet another example of a ticket I would have purchased had I been able to, but now re- thought it and have crossed it off my roster.

I agree. Not many "hot tickets" other than the ones you mentioned. Happily, I did get a subscription which included the Ferri performance. As for the others, not much interest in them whatsoever. Zero interest in Misty. I leave that to her screaming minions. I hope her fans understand they will have to sit through two other ballets before they can see her "Firebird". Bring on the dynamic pricing!

Interesting, Abatt that you say this. Years ago before I became a subscriber, I usually stood in line to buy single seats and almost always came away with great seats. It was a one time standee time allocation. Then I became a subscriber partly because of the exchange privilege, but also because I could add on the singles. Usually by MArch I know my schedule going forward into the Summer, which I don't know in December and thus know what performances I can now attend. Also, usually by March the casting has become more solidified (not always) and I could base my choices on that. Plus, I have found that by going to the box office (either to exchange or buy additional seats) I have always gotten better seats than were assigned to me with my subscription. No matter how many times I request perhaps a better location, it's always the same. My point is that I'm finding fewer and fewer reasons to be a subscriber. As noted, there's no up front discount on a subscription and now there are even fewer "perks" to warrant putting up money in advance. And at my age I really don't need any prestige to the fact that I'm a "subscriber". I still love to see good ballet, but really hate being made to feel as if I, as a subscriber don't really matter. Also, the policy of "donations" at the BO going to the Met is truly odious. In not being able to buy the additional seats last Sunday, I reassessed and decided against about five I would have bought. I sit in the Grand Tier, so anyone can do the math on what money is lost to ABT. In future, I really need to examine if I want to continue as a subscriber under this current policy. ABT's loss.

I agree, but of course once the out of towners who are not regular attendees of ABT get involved, the going rate for seats will be whatever ABT wants to charge. It's pretty sad when the powers that be make these kinds of decisions. It really only alienates the loyal subscribers more. What's their problem with getting in more money up front, early, and knowing the house will be more completely sold? I don't get it. I will happily spend my money across the Plaza at NYCB.