abatt

Hamrick is still listed, as is Semionova.

This is a NY Times slide show on how Gina prepares for her role in Cats http://www.nytimes.com/slideshow/2016/08/01/arts/dance/arm-warmers-whiskers-and-warm-ups-a-ballerina-becomes-a-jellicle-cat/s/03LASTNIGHT-slide-O7QG.html?action=click&contentCollection=arts&contentPlacement=5&module=stream_unit&pgtype=sectionfront&region=stream&version=latest

Here is the review of Cats from the NY Times. Here's what they had to say about Gina:. In the most prominent female dancing role, Georgina Pazcoguin, on leave from New York City Ballet, continually catches the eye with her smooth, precise, sinewy movement as Victoria, the white cat. If you click the link, there is also a photo of Gina. http://www.nytimes.com/2016/08/01/theater/cats-broadway-revival-review.html?rref=collection%2Fsectioncollection%2Farts&action=click&contentCollection=arts&region=rank&module=package&version=highlights&contentPlacement=1&pgtype=sectionfront&_r=0

I think the rep of NYCB makes it much easier to give lead roles to corps and soloists than the full length ballets that are the bread and butter of ABT. In that respect, Martins' job regarding casting choices is much easier than McKenzie's. The lead roles at NYCB tend to be shorter in duration, so there is less of an investment in time and money in teaching a new role to a NYCB soloist or corps dancer. It is a vast undertaking and expenditure of time and resources, however, to teach the lead role in a full length ballet to someone new. Also, if the new person at NYCB gives a poor performance, so what. There are usually two more ballets at least on the program, and it will not impact the audience's overall enjoyment of the performace or willingness to buy tickets in the future. The negative consequences when ABT puts someone inadequate in a full length role are much more profound and risky. I think these factors all play a role in why it takes McKenzie so many years to assign new lead roles to certain dancers at the soloist level.

I think that now is Laracey's time. She is being given many important debuts - the lead in Emeralds last season, her debut in Concerto Bar. in Saratoga. She also debuted in an important role in Liebeslieder (last season?). If she can stay injury free for the 16-17 season, I suspect there may be many exciting debuts in her future. If she does well, I think she will be promoted. The casting of leads in SB in Feb will tell us much about which soloists are on the path to promotion.

I read in the NY Times today that American in Paris on Broadway will close earlier than origianlly announced. The new closing date is Oct 9. It was previously scheduled to close on Jan 1, 2017.

Re Sonatine, I never saw the originators of the role, but it is clear that Martins is now casting the soubrette technicians in this ballet. Like Megan Fairchild, Bouder is similarly lost in this ballet. I agree that Tiler Peck is far better in the role than either Fairchild or Bouder. I think there are ballerinas currently at NYCB who could do the role justice (Mearns, Laracey), but alas, they have not been cast.

I doubt most of the Parisians know any of the Aurora leads from ABT. It's not going to matter in terms of ticket sales that McKenzie is casting a soloist in the lead for opening night. Personally I feel that Murphy would have been the best choice for opening night, but Trenary is a close second. Hee Seo is too technically weak for an opening night slot on tour (wobble wobble on the Rose Adagio). I like Boylston, but there is arguably a lack of elegance in her style which may be particularly visible to Parisian eyes Abrera also does Lilac Fairy, so she will probably do that role a number of times during the tour. I was very impressed with Trenary's Aurora and look forward to seeing her in many roles going forward.

True, but I'm anticipating (hope that they will at least give casting for Ratmansky's Plato, Tharp's Brahms Haydn and Ashton's Monotones in advance.

Last season they posted the Koch fall casting in late July. I'm hoping they do the same thing this year.

The problem is that given Mick's age, it is highly unlikely that Mick will be alive to see the child reach its 18th birthday. The reality is that this child mayl have very few years to get to know it's father, and most of the work will rest in Melanie's hands. Additionally, while everyone seems to get along now, all it takes is a disputed will disagreement to throw controversy and delay into Melanie's share of the financial pie. I certainly hope Melanie is able to obtain a vast amount of support from Mick, and that Mick's will is ironclad and very clear. Unlke the other mommies of his kids,who I think were able to continue with modeling careers, it appears that Melanie's career as a ballerina is at an end.

Thank you clearing up who was dancing in the third movement of Symphony in C. I knew that it didn't look like Erica P., but I had no idea who was dancing in her place. I hope they do show this on PBS. It was a terrific program, and the Paris audience seemed very enthusiastic.

One of the articles I read (and now there are many such articles on the internet) stated that Melanie will not return to ABT, and she is contemplating whether she will move to Los Angeles (where Mick spends a lot of time) or Connecticut (where her family lives).

Response of Ricky Gervais (via twitter) to the news: "Soon Mick Jagger will be buying nappies for two."

I recall reading that Herman is making some appearances in the coming months with Ferri , but I don't recall the specifics about the dates.

No Herman Cornejo?! My interest level in Prodigal just dropped off quite a bit. No Kochetkova either.

I would be interested to see the official press release to see who is listed to appear for the Koch engagement.

ABT hasn't done Prodigal in a very long time. You may be thinking of PNB, which did Prodigal on their visit to NYC last season. I can't recall if Herman did Prodigal during the last run. However, I recall that Simkin was one of the Prodigal's during the last run. All of the previous ABT Sirens have retired. Interesting that NYCB will also be doing Prodigal during the Winter season after an absence from the NYCB rep of several years.

I doubt they will have more than 2 Prodigal casts. Siren must be a tall woman. Neither Copeland nor Boylston is tall enough for the role. Abrera and Part would be the appropriate size and height for the role. Maybe Devon.

http://www.abt.org/performances/groupsales_koch.asp See attached. Prodigal Son, and lots of Ashton! Looks great. I've never seen Daphnis and Chloe. Herman as Prodigal please! And Stella as Siren, hopefully.

Isn't McKenzie negotiating the exchange artist from ABT that the Mariinsky gets. I wouldn't assume that Seo's appearance at the Mariinsky was because she was a great ballerina that the Mariinsky management had a particular or acute interest in. McKenzie steered it that way, and in return ABT got Xander Parish this season as a guest (in Sylvia). Bart, you have not seen Seo on "off nights". My conclusion is that any night of work that requires fouettes, balances or other difficult technical challenges is very likely to be an off night for Seo. Any night that depends more on lyrical interpretation (Juliet, Tatiana or any other "long skirt role") is usually a pretty good night for Seo.

I'm not sure that they announce when someone's anniversary celebration will be until well after the subscriptions go on sale. I don't think I knew when either Stella's or Gillian's anniversary performances were until a few weeks before the season, when they noted it on the online performance calendar. It's virtually a certainty that Gomes will dance w. Vishneva for his anniversary, so I'm sure it will not be too difficult to figure out the date since Vishneva generally is doing only 2 or 3 shows per season w. ABT.

ABT may actually be happy that he did not review Corsaire. Every time he does he calls it foolish. No publicity is better than bad publicity. His review would probably not have helped ABT sell any additional tickets. Back in the day, ABT didn't need any review to increase Corsaire sales. The idea of seeing Ananiashvilli, Bocca, Carreno and Malhakov on the same night meant that tickets flew out the door. Alas, not anymore....

I thought Seo's SB last season was better than her efforts this season. I'm not necessarily in agreement that more performances = improved performances. A prime example is Cory Stearns. He's been a principal for several years and has been doing the same lead roles for several years (in NYC and also on tours), but as pointed out in the NY Times, he still seems stunted in leading classical roles. Bad coaching?

From what I observed, the first few weeks sold poorly, but the R&J, Swan Lake and SB sold very well. When you add to that the fact that every Copeland performance sold very well or was a sell out, perhaps that's enough to finance the emply seats for Ashton and other poor selling ballets. I became a Boylston convert this year. I've avoided her performances for a few years. She has improved a great deal.