mimsyb

I'm not so sure that will happen. Wheeldon and Josh Bergasse (On The Town) were choreographing to classical music, so there was a more natural fit with ballet. (Frankly, a lot of Bergasse's choreography is derivative of Jerome Robbins in On The Town.)

But so many new musicals are "juke box" type musicals where ballet choreography would not work.

Well, Robbins did the original choreography for "On The Town", so it's perhaps a bit natural for Josh Bergasse's choreography to resemble it. Perhaps more 'tribute' than 'derivative'. And I'm not entirely sure I would label either "AIP" or "OTT" as "classical music". Both Gershwin and Bernstein were classical composers who also wrote for theater, etc. And not all musicals are of the 'juke box' variety. Good choreographers, directors, actors, singers, and dancers also do shows with perhaps a bit more substance to them. My wish would be for these talented choreographers to find material suitable to their talents and gifts. And bring the ballet world along with them, if appropriate and possible.

All of the above mentioned are so worthy additions to the list. But Hanna in Billy Elliot might be the most recent. All of the other shows mentioned were quite a few years ago now and were choreographed by ballet choreographers. Well, not Fosse, perhaps. I'm just hopeful some of the current big name ballet choreographers make the leap to the musical. Hopefully, with Wheeldon's success that can happen. I think Justin Peck has the wit and style certainly. And there are others for sure. I think crossover of dancers will happen more often if the choreographers get on board. And that also will bring new audiences to Broadway and to ballet.

years ago of course saw makarova and galina panov in on your toes...

OMG! Forgot about Makarova. She was brilliant in "OYT". And, of course years ago there was Zorina. But not so much in recent times. The choreography in many B'way shows wouldn't be a good fit. Kinky Boots, MAtilda, Les Miz to name just a few. All good or fun shows, but not so much need for ballet dancers making a crossover. I still believe it will take a more concentrated effort by name "ballet" choreographers to be involved in shows to make any trend happen.

And one more: Tiler Peck is due in "Little Dancer". Coming soon.

Bigger question: What is with ballet dancers flocking to Broadway? I see a trend, and am wondering why? Is ballet not enough for them? Does ballet not offer enough of a living salary? Is there a bigger perspective that needs to be looked at towards a declining ballet culture? This may be a question(s) for another thread....

What trend? Two shows in a season that has well known ballet dancers is hardly a "flock". Before AIP and OTT this season, I can't re-call any big name ballet dancers running to do Broadway. Irina did an "Encores" of "On Your Toes", but that was strictly a limited run. Ashley Tuttle did "Movin' Out" a few years back. I think "After Midnight" might have had one or two ex ballet dancers in it. But in truth most really good Broadway dancers do study ballet, along with their jazz, tap, contemporary and modern, etc. As well as their acting and singing studies. They need to be versatile and able to do (and do well) anything a choreographer might throw at them. Fosse used to say he loved the dancer who could do ballet really well AND do his particular style. Michael Kidd could spot a ballet trained dancer at any audition. Oona White used to give 16 changements at her auditions and said she could tell who could dance and who couldn't just from seeing that. In many ways Broadway dancers are far more adaptive than dancers in a classical company. That said, I think the average Broadway "gypsy" may earn more than say a corps member in a major company. But, of course, that depends on if one can land a show that is long lived. So many shows don't run for very long. If one can land a place in "Phantom" or "Lion King", then of course one can buy that house in the country! If not, it's endless auditions and try outs. Right now I don't see a 'trend' in more ballet dancers crossing over. That could change, of course, if Wheeldon does more shows, or if Ratmansky were to try his hand at a musical. Or if Justin Peck were to say yes to trying on Musical Theater. All worthy talents that could make a difference for the Broadway stage.

No, actually I'm referring to the current production at ABT that has two distinct groups in the first Act. The Aristocrats (who dance in pointe shoes), and the Peasants who dance in soft slippers. But they are not doing National character dances here, but rather a more generic "country style" of dance. But it is ballet. As to the photo up thread of Michelle Wiles in "Dark Elegies" (courtesy of Decoster), the lead does wear pointe shoes, but not the other women. I don't believe the wearing of pointe shoes should be the bottom line to calling something "ballet dancing". What is "After The Rain Pas de Deux"? Most definitely ballet.

Two more! "Baker's Dozen" and "Sinatra Suite". No pointe shoes, very much ballet.

Are you talking about the national dances in the 3rd act of Swan Lake? Cause those are character dances, which are often part of a ballet (also see the Mazurka in Raymonda), but they are not ballet, they are character dances (except in the Bolshoi's version where Grigorovich puts them on point and turns them into kind of a mash up of character & ballet). Also, the Prince's Mother, Bathilde in Giselle - those are character roles, they dancers portraying them are not dancing ballet. In these two cases they aren't even dancing, they are walking & acting.

No, actually I'm referring to the current production at ABT that has two distinct groups in the first Act. The Aristocrats (who dance in pointe shoes), and the Peasants who dance in soft slippers. But they are not doing National character dances here, but rather a more generic "country style" of dance. But it is ballet. As to the photo up thread of Michelle Wiles in "Dark Elegies" (courtesy of Decoster), the lead does wear pointe shoes, but not the other women. I don't believe the wearing of pointe shoes should be the bottom line to calling something "ballet dancing". What is "After The Rain Pas de Deux"? Most definitely ballet.

Wonder why she isn't doing the evening shows... aren't those the biggest box office draws?

Eight shows a week can be tough! For anyone. Depending on the show and choreography, of course. I can't speak for "OTT", but it's possible it's harder to do eight times than one "Swan Lake" in a week. Plus there's the singing and the acting part of it all. Some stars even have it in their contracts they only do six shows a week. And after Copeland, who?? Teaching a role takes time and money and the cast has to rehearse each new person coming into a show. If the show is already not doing well financially, my guess is that it will close. Producers must have known for a bit of time about Megan leaving, so Misty's name was most likely in the mix for awhile. It's to their benefit now that she's become a Principal at ABT. They would not have been able to advertise that had she not been promoted. "New York, New York", it's a helluva town!"

I suppose it's not a ballet, technically speaking. When I said "going to the ballet," I meant going to see a ballet company perform.

But I don't think ballet requires pointe shoes. Is Les Noces a ballet? What about Fancy Free?

"Dark Elegies", "Moor's Pavanne", "Glass Pieces". "Upper Room", uses both pointe shoes and sneakers. The list of ballets not using pointe shoes is quite long. What about the use of soft shoes in the first act of "Swan Lake", for example. Are these dancers not doing"ballet"?

The Mark Morris piece is most likely going to be modern. The only classical Morris piece that I know of is Sylvia for SFB. I do hope for a balance diet with classical ballets and tutus. I may skip any all-modern programs. The fall season will be announced this Wed.

Morris choreographed "Sandpaper" on pointe shoes. Not sure if his "Pacific" is on pointe for the women. He's OK with the pointe technique. Inventive, challenging. I wouldn't be scared off from Morris doing a work for ABT.

Thank you, Sandik, for your information. I read the Wikipedia article and I definitely want to see it. The article says it is Kurt Jooss' most popular work and in the repertoire of ballet companies worldwide. From the essay: "Lasting about 30 minutes and subtitled "A dance of death in eight scenes," The Green Table is a commentary on the futility of war and the horrors it causes." Sadly, it couldn't be more relevant today, could it?

David Hallberg was sensational as Death. Harrowing, in fact. I think Thomas Forester would be splendid in the role. Possibly a great role for Roman Zhurbin also.

I'm glad her last performance was recognized: the corps won't be the same without her.

Oh, I agree. She along with a few others always made me sit up and take notice. Renata Pavam was one. Melanie Hamrick. Isaac Staapas, Julio Bregado-Young and of course, Joseph Phillips. I'm so glad to see Luciana Paris finally move up. And Aaron Scott. These dancers (some gone, but not forgotten and others who moved up or on) made, for me, any performance at ABT a special one. If I wasn't really all that interested in a Principal dancing that performance, I could always rely on someone in the corps to hold my interest. I find it fascinating how so many can make a career (in Butler's case, a 20 year one), while bringing singular satisfaction to watching them dance.

Nunez was spectacular last night, and so were Whiteside and Part. All three brought out the deep humanity in Prokofiev's score. I'll remember this performance forever.

Yes, me too. I don't think I've ever "heard" this score in quite the same way as I did with Nunez dancing. Every detail was revealed. She's my idea of a complete artist.

Yes she did, both in CA and NY. If memory serves me correctly, she did all scheduled performances of the Firebird and then pulled out of the rest of Met season.

She danced one performance in NYC and then pulled out of her second performance.

My two "stand out" moments this year in dance (among sooooo many, to be sure), were the menage pique circle that Nunez did in "Cinderella" (on both nights. Absolutely flawless). The other was Sara Mearns in "Walpurgisnacht' during HER menage and downstage diagonal of the fastest footwork I've ever seen. In both cases I wanted to see them again (and again) immediately after they were danced. I'm still catching my breath thinking about those two moments. (again, among many).

To all you lucky people seeing Cinderella this evening: Leanne Cope just tweeted that she'll be there.

Saw her on the Grand Tier level walking towards the windows. Nice haircut! Performance was stellar! Nunez so warm and gracious as a performer and technically as wonderful as can be. Such port de bras, creamy upper body and musicality. Whiteside also good again tonight,both in his solos and with Nela. At times I felt they were one person dancing. Beautiful! Part was simply the most elegant Fairy Godmother ever! Delicious. Entire cast was great and both step sisters(Easter and Forster) were very funny. I saw someone must have given Marian Butler a bouquet for the final bows, as it was her farewell performance with ABT. Nice. She was very teary eyed. What a nice long career she's had at ABT. Good luck to her in the future. Grant deLong, also giving his farewell, sent a kiss out to the audience. Macauley was also there again and stayed through the entire bows! I think he must be a fan! He looked very happy. How quickly the season has passed. Ups and downs, injuries, cancellations, promotions and retirements, etc. A very full banquet, indeed. I'm looking forward to a bit of a rest, as I hope the dancers are also. Sorry I had to miss the "fireworks" this year, but surely there were plenty of them on the Met stage tonight!

It would make a great advertising poster for the LA stint: the three new women at the Principal rank are California girls

Perhaps put them in tutus on surf boards! California dreaming!

If Eric decides to come back to dancing, is it still possible for someone who has not dance for several months? Just curious.

I also miss Luis Ribagorda. He had great stage presence and was beginning to get more to do. Not sure what he's up to currently. Also wonder how his being away will affect Lane's decisions. It doesn't seem to have been a factor as yet.

I do live in London, I've watched her since she joined the company and it's been wonderful seeing her grow and mature into the lovely ballerina she is now. I should add that she's as nice off stage as she is on, and if ABT tries to poach her, war will break out between ABT management and Nela's British fans. Kevin MacKenzie beware!

Wait! Didn't America win TWO wars with the British? Just kidding. Hahahahaha. But I find it quite fitting that Nunez, from Argentina, and currently with an English company should get the final performance with an American company. Happy Birthday, America!!!

seconded! She was so warm and lovely. the shifts between crispness and melting softness were just gorgeous (sorry for my poor wording; bad night of sleep).

She really seemed so happy to be here and to be so appreciative of her partner, the conductor. It was really lovely.

I liked Salstein giving Whiteside his bouquet, nice touch.

Whiteside was a good partner and much better overall than Hammoudi had been on Tuesday.

I "third" everything said about Nunez! Her Cinderella was magnificent. Possibly the best menage circles I've seen in some time. Effortless, yet shimmering and precise. Her upper body all luxurious cream and her batterie work absolutely glistened. Pure delight. And I felt she brought out a new maturity and joy in Whiteside. Sometimes he seems to be just "doing the work", but last night he too shone with a new brightness. A good partnership. Please, ABT, bring her back!!

The problem is that Lane, for the most part, continues in the same roles she has been doing for years. McKenzie doesn't really give her the opportunity for growth. The same thing was true about Abrera. Her only full length lead this year was supposed to be Cinderella, which she has been doing for a period of years (albeit with different choreography). Her appearance in Giselle was a fluke, a completely out of left field opportunity brought about by circumstance. It was at that performance that McKenzie probably fully realized the extent of her ability, and also became more keenly aware of a pent up demand among a segment of ABT's audience to see her in lead roles.

The same could be said about Veronika Part. Just not used enough. I'm hopeful Stella doesn't get "mothballed", as you say. She has yet to be seen in other roles at ABT other than her "Giselle", and the hope is that the rep going forward will afford her many opportunities to shine. I'd love to see her do "Bayadere", or "Corsaire". Kitri, even. And next year at the Met she should dance Aurora. (which I'm pretty sure will be repeated again). So much depends on what's offered in the rep.

I agree with Natalia. Sarah Lane has not necessarily proven herself as being ready for principal status at this time. Her work in SB was overall very good, but she simply has not been given enough roles to demonstrate the consistency of her work. That's McKenzie's failing, not Sarah's. But, McKenzie has also promoted others who also were, in my opinion, not ready for principal status. Hee Seo is one example, although she has improved a lot since the time she was promoted. Ditto Cory Stearns, who has also improved over the years.

It is unfortunate that McKenzie has gone out and hired Kochetkova for a permanent place at ABT, which, I believe, will significantly diminish Sarah's potential opportunities for roles. In my opinion, Kochetkova's presence will probably end up being a permanent barrier to Sarah's potential advancement. The roster of short, small ballerinas for lead roles is now pretty full. Without Kochetkova, I might have guessed that Sarah had a chance for promotion in a year or two, depending on how things went. Now, I believe there is no real chance that she will end up with a promotion at ABt in the next few years. The guest artists strike again.

Lane has done some excellent work and given many excellent performances, and I hope Lane will be given some more chances at additional lead roles so that her signficant talents can further develop and emerge. I do like Lane's dancing very much, and will always come to the theater to see her whenever she is cast. I would love to see her given a chance at Lise, Giselle or O/O. That wish probably won't come true.

McKenzie has difficulty seeing the value of people who are right in front of his nose, and Sarah is the victim of that myopic view. If the confluence of events had not resulted in a situation where (a) Abrera was ready to perform Giselle due to her recent guest appearances elsewhere and (2) Polina's absence left a spot open for a Giselle, I have a feeling Stella might never have been elevated either.

Companies need good, solid dancers in the "soloist" category also. Despite some wonderful performances in lead roles, is there any possibility that McKenzie needs a dancer such as Sarah in his soloist ranks at this particular moment? I look at someone like Craig and think he's where he is because he too is a very solid performer in the middle rankings. She may see it otherwise (as do many of us), but mid-rank performers are very necessary to the overall strength of a company. Plus they really get to dance more often than Principals (unless, of course you are Hee Seo!) While I also believe that more should be done to train and coach those in the company who are not of Principal rank, sometimes it might be better to remain a soloist, dance more often (perhaps with a few Auroras and "T&Vs" thrown in) than to have the extreme pressure of being a Principal. Or in the case of Veronika Part, totally underused. We do not know at this time what the rep will look like for either the Fall or next Spring. But it may be more advantageous for Sarah to be a soloist at this time.

Gosh, it's hard to sit through a lot of the stepsister shtick, especially in the first act. Forster and Easter (I'm pretty sure he was the second sister -- correct me if not!) were great in the roles, but there's only so much unfunny physical comedy I can take in one evening. Even when I was watching the Dowell/Sibley recording recently, I was struck by how no one in the audience seemed to be laughing at Ashton as the stepsister. Have the stepsisters ever been funny? Did mid-century British audiences find them a hoot?

Well, possibly so. Ashton seemed to honor and evoke the British Music Hall tradition here, as well as his love of pantomime was used. Not sure that American audiences understand it as well.

Tall men as partners ? Gray Davis and Daniel Mantei are just waiting for the big break.

YES! To both.

um surely Grant was the original Jester and Helpmann the original, other sister.

My book on the Royal Ballet, the First Fifty Years, says that the original step sisters were Ashton and Helpmann. It was originally cast with Moyra Fraser and Margaret Dale, but Fraser left the company temporarily at that time and Ashton decided to have the sisters performed by men instead.