abatt

Laracey blew me away in Emeralds today. She was excellent. Deep back bends, beautiful arms. She had a small bobble (came off pointe) but the rest of her performance was gorgeous. More of her please. The rest of the new cast performed well, but there is definitely room for improvement for each one of them. Watching the Emeralds performance today made me realize the deep pool of talent at NYCB in the corps - H. Ball, I. Woodward, A. Scrudato are the future of the company. The new Rubies cast was exciting. I especially liked Huxley's performance. He has such a strong technique, and just seems to get better and better. Emily Kikta had a lot of flexibility, but isn't a big jumper. I disliked Megan LeCrone's tall girl earlier in the week. She is too tentative and too stiff. I've seen Lovette do the main pdd of Rubies before, but never the entire role. She has definitely improved, but she can't touch the brilliance and technical finesse of either Sterling Hyltin or La Bouder in Rubies. Mearns and Tyler Angle in Diamonds = Pure Joy

One of ABT's biggest blunders was not promoting DeLuz, who jumped ship to NYCB. He has had a great career at NYCB and we New Yorkers are lucky that he stayed in New York. One could also say that McKenzie missed the boat on Mathew Golding, now a principal at the Royal. And let's not forget Yuriko and Jared. Yes, a lot of talent has slipped through ABT's hands under McKenzie.

Casting up for week four. http://www.nycballet.com/NYCB/media/NYCBMediaLibrary/PDFs/Press/Casting/NYCB_Casting_May-10-15,-2016_lobby.pdf As always, many interesting debuts are scheduled. The only head scratcher for me was Lovette and Finlay in the Merry Widow section of Vienna Waltzes. Yeah. Maria K returns for Vienna Waltzes.

It is a terrible thing to lose a job, but at least they had plenty of notice due to union rules. That is a lot more notice than most workers get before being let go. I would guess that most saw the handwriting on the wall for some time. Clearly he came in and immediately changed the artistic staff and brought in many new dancers that he favored. Any rational person would have concluded that it was only a matter of time (as dictated by the union rules) before he would "clean house" with respect to the dancers too. The hardest thing for me to get used to is to come to terms with this tough management aspect of his personality. He is such a nice and friendly person. I have had the pleasure of interacting with him a few times over the years. Many friends of mine have also had personal interactions with him, during which he is very warm and kind. .But I guess that to be the boss, you have to have a tough side too.

Yes, thanks for finding that info Emma.

I've become used to people trying double fouettes (Bouder), so that the McBride variation looks less technically demanding in compairson. I think Isaacs is capable of doing so much more technically, and I was surprised that she chose to do the coda in this manner.

Have they abandoned the program where they sell every seat in the house for $30 during certain dates (usually during the Winter season) to attract "new audiences". I don't see any info on it, but I didn't exactly do an exhaustive search either.

Yes. Isaacs did what McBride did in that recording. You don't see that version much on stage at NYCB these days, based on my experience.

Entire 16-17 season info now available on the NYCB website.

Yes, I think Isaacs needs some time to work out the kinks in her performance of Tschai pdd. As discussed above, there were problems with Finlay's partnering in certain areas during the pdd. Also, in the coda, in the section where she does the fouettes, she played it very safe. She did not do continuous single fouettes. Instead, after each fouette she simply did a spin instead of a fouette. Perhaps someone with better knowledge of the terminology could elaborate better. Anyway, it is definitely a work in progress.. Loved Emily Gerrity in Moves. I want to see her in some neoclassical ballets. Sara Adams, Indiana Woodward and Huxley were especially wonderful in Bournonville.

Here are Sept and Oct programs: Stravinsky program: Stravinsky Violin Concerto, M&M, Duo Concertant, Symphony in 3 Movements: 9/21, 9/24 at 2 PM, 9/29 and 10/8 at 8PM Balanchine Austria program: Divertimneto 15, Episodes, Vienna Waltzes 9/22 9/23, 9/24 at 8, and 9/25 Jewels: 9/28 9/30 10/1 at 2 PM and 10/2 21st Century Choreographers- Everywhere We Go plus unspecified additional ballets 9/27, 10/1 at 8, 10/5, 10/15 at 2 Glass Pieces, Thou Swell, Stars and Stripes 10/4 10/6 10/9 at 2 and 10/16 Serenade, Amer Rhapsody, Tschai pdd, Western Symphony 10/7 10/8 at 2 and 10/12 Dances at a Gathering and Firebird 10/11 10/14 10/14 and 10/15 at 8 (Amer Rhapsody is the new Wheeldon that will premiere two weeks from now.) (Edited by Abatt to add DAAG Firebird program info.) Sorry, no time to post info about the Winter and Spring right now.

Audreydoll, the Richard Rogers program dates at Feb 22, Feb 24 and Feb 26 at 3 PM. Program is Carousel (Wheeldon), Thou Swell (Martins) and Slaughter (Balanchine).

Audreydoll, I could not see the program info for next season until I signed into my account. Only then was I able to see every program for every date next season.

Enjoy Robbie Fairchild's performances while you can. He will be going to London's West End to star in American in Paris starting in March 2017. I'm sure that it is at least a one year gig. Frankly, given his complaints regarding the physical demands of the role, I'm a little surprised that he agreed to move to London for a year to do this role again. I guess they made him an offer he couldn't refuse.

Official Press Release AN AMERICAN IN PARIS Broadway’s Tony® Award-winning new musical Dominion Theatre from March 2017 Tickets now on sale AnAmericanInParisTheMusical.co.uk An American in Paris bursts into life on the West End stage for the first time when Christopher Wheeldon’s multi award-winning new Broadway musical comes to London’s Dominion Theatre next spring. Inspired by the Oscar® winning film and featuring the timeless music and lyrics of George Gershwin and Ira Gershwin with book by Craig Lucas, An American in Paris has preview performances from Saturday 4 March 2017 with the official opening night on Tuesday 21 March 2017. Jerry Mulligan is an American GI striving to make it as a painter in a city suddenly bursting with hope and possibility. Following a chance encounter with a beautiful young dancer named Lise, the streets of Paris become the backdrop to a sensuous, modern romance of art, friendship and love in the aftermath of war... An American in Paris features many of George and Ira Gershwin’s most iconic songs including I Got Rhythm, ‘S Wonderful, and They Can't Take That Away From Me, together with George Gershwin’s sweeping compositions including Concerto in F and An American in Paris. Fresh from originating their roles on Broadway, Robert Fairchild (a New York City Ballet Principal dancer) will play Jerry Mulligan and British Royal Ballet dancer Leanne Cope will play Lise Dassin. These acclaimed, award-winning stars, who will be making their West End debuts, will lead a company of over 50 actors, dancers and musicians. Further West End casting to be announced. “a perfect integration of dance, romance and classic Gershwin” The New York Times An American in Paris is directed and choreographed by the internationally renowned, British-born Christopher Wheeldon, recipient of the Tony® Award 2015: Best Choreographer for this production. An Artistic Associate of the Royal Ballet, Wheeldon received an OBE in the 2016 New Year’s Honours 'for services to promoting the interests and reputation of British classical and theatrical dance worldwide’. The set and costumes are designed by the celebrated West End and Broadway designer Bob Crowley (The Audience; Mary Poppins) with projections by the prominent British designers 59 Productions (War Horse; London 2012 Olympic Games Opening Ceremony). Christopher Wheeldon’s stunning reinvention of the MGM film, which starred Gene Kelly and Leslie Caron, premiered in 2014 at the Théâtre du Châtelet in Paris to ecstatic reviews before transferring to The Palace Theatre on Broadway, where it now in its second hit year, becoming the most awarded musical of the 2015/16 season, including four Tony® Awards. A major North American tour begins later this year. With music and lyrics by George Gershwin and Ira Gershwin and a book by Craig Lucas, An American in Paris is directed and choreographed by Christopher Wheeldon, with set and costumes designs by Bob Crowley; lighting by Natasha Katz; sound by Jon Weston and projection designs by 59 Productions. The musical score is adapted, arranged and supervised by Rob Fisher with orchestrations by Christopher Austin; dance arrangements by Sam Davis; musical supervision by Todd Ellison; additional orchestrations by Don Sebesky and Bill Elliott and musical direction by Nigel Lilley. An American in Paris is produced in London by Stuart Oken, Van Kaplan, Roy Furman, Michael McCabe and Joshua Andrews. Robert Fairchild is appearing with the support of UK Equity, incorporating the Variety Artistes’ Federation, pursuant to an exchange program between American Equity and UK Equity. Dominion Theatre, 268-269 Tottenham Court Rd, London W1T 7AQ First Performance: Saturday 4 March 2017 | Opening Night: Tuesday 21 March 2017 Box Office: 0845 200 7982 Website: AnAmericanInParisTheMusical.co.uk Twitter: twitter.com/AmericanParisUK | @AmericanParisUK Performance schedule: Monday to Saturday 7:30pm Wednesday & Saturday 2:00pm [No Wednesday 2:00pm performances until 29 March 2017]

Jewels last night was mostly sublime. Tiler Peck in Emeralds was fluid and poetic. I thought her solos were perfection - deep backbends, gorgeous arms. I'm not sure that she and Ramasar are a great pairing. I'm generally not a big Krohn fan, but Emeralds suited her beautifully. Rubies belonged to Reichlin's tall girl. She dominates the stage in fearless and bold attack. I'm glad that Reichlin is also getting the lead in Diamonds (in future performances next week) as she moves her way up the NYCB hierarchy of roles, but I hope she can continue in the Tall Girl role just a while longer. She is great in that role. Megan Fairchild and Garica were fine, but not terribly impressive. She has very little plasticity. Garcia does not have the virtuosity for this role. Beautiful performance of Diamonds from Mearns and T. Angle. My quibble is that Mearns was too rushed in her solos, and sometimes sacrificed clarity and attention to her upper body movement in her solo in order to keep up with the music. I miss Maria K's long, slender limbs in Diamonds. Maria has a grandeur that can be breathtaking. Nothing against the wonderful Mearns, but we need Maria K. back from maternity leave.

I thought the company did a fantastic job, and I very much liked the rep they brought. I was especially interested in Symphonic Dances and Heatscape, both of which I wish I could have seen over and over again. Both were fascinating ballets. I'm happy to give Lopez credit, but I think Vilella also deserves at least as much praise.

Strangely, Gorak seems to have all the drive and discipline that Hammoudi lacks, not to mention beautiful technique, and yet Gorak is not making any progress in casting. Hammoudi of course fits the physical attiributes that ABT needs now- tall, relatevely strong. Gorak needs to work on his upper body strength, because if cannot handle all the big partnering jobs he's going to have difficulty advancing irrepsective of his ambition or his very fine technique. I recall reading a NY Times piece on Gorak a few years ago, and he was very forthright in saying that his ambition is to make principal at ABT, and he intended to do whatever was needed to get there. I think it's everyone's dream, but I'm not sure that others always express it so directly.

Right, Hammoudi debuted in SL on tour with Misty (in Australia?) but was never cast in NYC. I knew it was only a matter of time before they took Lendorf's name off the casting of SL.

Although Lovette and Huxley are listed for debuts in Rubies, I think they did the main pdd at an NYCB gala a few years ago. I think it was the Valentino gala. I've also definitely seen Lovette do the Rubies pdd at a YAGP gala with Cornejo, and neither was very good at that performance.

The NYCB homepage now provides a little more info (very little) about next season. Balanchine ballets that will return include Prodigal Son, Firebird and Divertimento 15. Robbins' The Cage and Dances at a Gathering will return. It seems like Prodigal and Divert. 15 have been missing from the rep for a long time, so it is good to see the return of those ballets.

If I'm reading the cast list correctly, Simone Messmer is getting the Waltz Girl in Serenade. Congratulations to her. Her NYC fans (including me) will be there to cheer her accomplishments. I remember Maya Collins from the corps of NYCB and wondered what happened to her. I see that she is now with MCB.

http://artsbeat.blogs.nytimes.com/2016/04/11/annenberg-grants-to-aid-a-range-of-emerging-artists/?ref=arts Congratulations to Devon.

I think it's sad that within ABT, the ballerinas who continue to dominate the ticket sales are the very same ballerinas who dominated sales more than a decade ago - Ferri and Vishneva. Other than Copeland, ABT has not been able to establish any of its own stars among the current roster. (By "stars" I am referring to ticket sales only and the ability to bring large numbers of people into the theater.) Boylston and Murphy get great press reviews, but that's not necessarily translating to ticket sales.

Indirectly and unintentionally, Semionova helped Abrera into her promotion. McKenzie had no plans to give Stella Giselle last season (or EVER), but Semionova's absence created an opening that Abrera was able to fill on short notice because Abrera had performed the role in Australia only a few weeks earlier. (Hee Seo was already overbooked, I guess.) If Semionova had never been part of the ABT roster, who knows when or if Stella would have gotten the chance to dance Giselle at ABT. Probably never. Abrera's performance helped to move her into consideration for promotion. The stars aligned for Abrera, finally. I'm not sure, but I think Semionova does sell a good number of tickets. I like her in certain ballets like Swan Lake and Sylvia. I did not like her as Juliet, Giselle or Myrta. I think she could be a beautiful Lilac Fairy, but I doubt she will be cast in that role. I would also like to see her as Medora, but she is not cast.