abatt

Personally, I find Macauley's comments on personal appearance distressing and rude. I know that personal appearance is part of the performance, but it seems completely over the top to single out someone's hair color, hair "streaking" (known in the real world as highlights) or eye makeup. If someone has dyed their hair green, okay- fair game because the persoanl appearance has created a distraction from the performance. However, the fact that he persoanlly does not care for a partiuclar hair color shade or highlight job really should not make it into the review. Most recently he has complained that Sara Mearns wore too much eye makeup, while Sterling Hyltin wears too little. I also recall comments in the past about the hair colors of Gillain Murphy, Savanah Lowery and, I believe, Jennie Somogyi. Of course, there was the Hitler Youth comment about Steifel mentioned above. I believe he had also mentioned Darci Kistler's hair coloring a number of years ago. If you want to discuss someone's execution of the choreography or their acting, that's fair game. I don't believe that he should venture into the area of cosmetology, however.

I recall that review. He was referring to Steifel.

I liked Reichlin in the Bournonville Divert., but Catazaro was her partner on Sat afternoon (not Tyler Angle). The problem again is that she is too sophisticated and tall for the role. Her decision to wear diamond earrings didn't help to create the illusion of a peasant girl, either. However it was well danced. Ashley Isaacs was my favorite.

Ok. What is "streaked" hair. Is he saying that Boylston has highlights in her hair that he dislikes? I saw her earlier this week and I did not notice anything odd about her hair. Anyone have a clue?

I saw the Huxley Lovette Sylphide yesterday afternoon. I thought Huxley was the best James of the three casts I saw. His technique is flawless and he makes everything look effortless. In the past he has looked a bit wooden on stage, but in this I thought he did a pretty good job with the acting. Lovette was my least favorite of the three casts I saw. She is not a high, big jumper. Nor is she a great actress in this, but her footwork is crystalline clear. It was a good performance, but not up to the high standards of either Bouder or Hyltin, in my opinion. (I liked Lovette much better as Juliet in February with her Romeo Chase Finlay. Now that was some great chemistry.)

I think the fact that it was "Alumni Weekend" also played a factor in Stella getting this role. How pathetic would it look if on a special evening celebrating ABT dancers he had two guest artists in lead roles. He had to have a Giselle that came out of ABT. Thank goodness he picked her to do this. Hate to say it, but Semionova's bad misfortune turned into Stella's incredible fortune. I would love to see Shkylarov as many times as they invite him. Think of all the great Stella performances we and Stella have been robbed of over the last decade.

Now that I'm more awake I can write more. It was such an exciting evening. Yes, as Amour mentioned, the "weakest" part of Stella's performance was that she didn't cover much stage space in the hops on point in Act I. However, I will note that I saw Hee Seo's performance on Friday (an exchange to use up one of my no-show-Osipova-SB tickets) and Hee covered even LESS stage territory than Stella. Yes,the second act was so moving. Stella's port de bras and line are so gorgeous. This was not the athletic performance of Osipova. It was a mature, emotionally charged, beautifully executed characterization. And did I mention that Shkylarov did 34 entrechat sixes. Yes, kids, you read that right. An as he did more and more his elevation became higher and higher. Instead of dropping to the floor after he did them he remained toward the back of the stage area so that he could immediately be in place for his next partnering maneuver. He made Stella look weightless His partnering was flawless. What a stroke of luck that Stella ended up with him as her partner instead of someone like Stearns or Hammoudi. I've seen Shkylarov many times over the years in NYC and Washington. He outdid himself last night. I saw him as Albrecht a few years ago at the KC and I don't recall him giving the kind of perfect performance he gave last night. The partnership with Stella was magic. It was like they had been working together all their professional lives. Although he is not party to all the casting nonsense that goes on at ABT, he seemed to know that this would be the most important night of Stella's career at ABT and he, being the ultimate gentleman, was more than happy to let her have all the glory. Stepping away at the curtain call to let Stella stand alone was beyond classy. The audience went bananas at curtain calls. I guess they were having a party afterwards, so the house staff raised the lights. But the audience was not having any of it. They would demand through the unrelenting screams and applause, at least one more curtain call. From the sublime to the not so sublime, here is a brief synopsis of Friday's show. Hee was lovely, with lovely lines. She did not fall off point, but I was not particularly moved either. Cory has improved a lot as a partner and as an actor. However, his solos were low energy and not impressive. Poor elevation. He did brises down the diagonal, but they were not particularly well executed. He didn't dance till his death. He danced until he was slightly tired and in need of a nap. The evening's glory was the fabulous Gillian Murphy as Myrta. So hopefully by Monday morning, after reading the newspapers, the entire world will wake up to the info we on ballettalk have known for years about Stella, and her mistreatment by McKenzie.

Tonight was one of the most special evenings of my ballet going years. Stella was a heartbreaking Giselle, and Shkylarov 's performance was among the best I've ever seen. Pure magic. Hopefully McKenzie got the message LOUD and CLEAR that he has been a fool.

Can't believe they cut two variations from Raymonda. Tragic. Why didn't they just call on Peck. She is second cast and will perform the role next week.

Many cast changes for the rest of the week. Erica Pereira replacing Bouder in Raymonda tonight. So disappointed. Also, Mearns, Korowski and Ramasar are all replaced for tonight's Morgen. Mearns is replaced in all her assignments through the weekend.

Thanks for posting that link. In addition to the news about Diana and Hench, I had no idea that Kyra Nichols and her husband were involved w. PA Ballet.

I wish they would just let Abrera and Shkylarov have their moment in the sun, without diluting it by adding bows for the alumni. They just had their party on Monday. Abrera has been waiting years for this spotlight.

I attended last night. Ramasar and Mearns were replaced in Rodeo by Adrian DW and Pollack. Adrian is a mature presence, so I didn't feel that the comic aspects of Ramasar's role really came through. Also not much feeling in the romantic pdd with Pollack. Pollack, who is usually very technically reliable, fell in the final section of the ballet. (She got up and did not appear to be injured.) Symphonic Dances is too long and becomes boring in parts, but it was well danced by Catazaro and Reichlin. Great performance by Huxley, Tiler and Tyler in Mercurial. Went with a friend who was seeing Rodeo for the first time. She loved it, and the audience was also very enthusiastic again at the curtain calls.

Jock and Wendy are collaborating on a new chamber work, Hagoromo, that will premiere at BAM Nov 5-8, 2015. Choreography is by David Neumann, and the show is directed by Wendy's husband. http://www.bam.org/dance/2015/hagoromo

http://www.nytimes.com/2015/05/22/arts/dance/maggie-black-esteemed-ballet-and-modern-dance-teacher-dies-at-85.html?ref=arts

I agree. Whiteside is an excellent dancer, but the choreography and acting that was required of him was awful. Not his fault. As noted above, everyone in the cast did their utmost with the ghastly material they were given. Whitesides acting drew laughter, as noted by California, not because he is a bad actor. He did what Lubovitch required. Subtle is not a word in the Lubovitch lexicon.

Per the new casting sheet in the lobby of the Met, the Florine and Bluebird for Sat May 30 at 8 PM will be Copeland and Shayer. It is currently TBA on the website.

I saw last night's cast with Gomes. Everyone on that stage was doing fine work and giving it their all. However, there is only so much you can do with this kind of workmanlike choreography. I completely agree with Macauley's review in the NY Times today. This is bottom drawer choreography. Sadly, the most fascinating part of the evening was noticing that a glass armonica was used in certain portions of the score. You rarely find that instrument in the symphony, much less at the ballet. The last time I recall seeing it played was during the Met's run of Lucia a few years ago (not the recent run this season). The choreography for James Whiteside was particularly goofy and silly, as he contorted, threw his arms around and made nutty faces as his "acting". At the close of Act II, when Othello sinks into mad jealousy, the closing tableau was James Whiteside standing in a spotlight, raising his hand and stroking his hair in victory. Mr. Abatt turned to me and said "It's the Fonz". (For those of you youngsters who never saw Happy Days, check it out on wikipedia or youtube. The Fonz was known for stroking his hair, among other traits.) The Times asks why it was revived. I would guess to give Julie Kent an easy role to do in her farewell season. The audience was less than 50 percent full. How is ABT paying its bills with these dismal attendance figures. I looked at the seating chart for Hammoudi's performance today, and ticket sales are even worse than for the Gomes cast. .

Her attempts to adjust to the newly added weight may explain why she seemed insecure in certain portions of Symphony in C, where she was momentarily unsupported, which was reported by various people on this forum.

I was there too cobweb. For me, the evening's highlight was La Valse. Mearns' dramatic intensity is riveting. Reichlin was lovely in Walpurgsnacht, but that ballet requires much more energy and excitement from the ballerina. Adrian DW, however, was quite an improvement over the first cast (Ask LaCour). Bouder is such a great dancer, but I felt that her exaggertated facial expressions to the audience diminished Sonatine. I'm glad Maria's pregnancy is now public info. So happy for her and her husband. That baby has some exquisitely gorgeous parental genes. A. Isaacs and J. Gordon were so great in the third movement of "C". NYCB is bursting at the seams with talented corps members who deserve promotions. Whenever they are onstage I am in awe, and I can't wait to see them in new roles.

The casts of many shows, including American in Paris and On The Town, will perform on the Tony Awards telecast, Sunday June 7th. Your chance to see Robbie Fairchild and possibly Megan Fairchild on TV. http://www.playbill.com/news/article/see-which-non-nominated-shows-will-perform-on-2015-tony-awards-broadcast-349550

Here's a slide show of gala photos from the NY Times http://www.nytimes.com/slideshow/2015/05/21/fashion/20150521SCENE.html?ref=fashion

LOL. My 15 minutes (2 minutes?) of fame. Mr. Abatt and I were playing a version of Where's Waldo (Where's Abatt and Mr. Abatt) last night upon reviewing gala red carpet photos from various news outlets.

The family circle feels like it's a million miles from the stage, so I would avoid that section. I would also avoid the side boxes on all levels.

Frankly, I think all tickets bought by a subscriber must have the person's subscriber number printed on the ticket. So yes, there is a likelihood that the agent will know that the tickets were not actually bought by the person trying to do the exchange. But it's worth a shot. The worst that can happen is that the agent will say no. I guess they are trying to encourage people to become subscribers, but this new policy may end up having the exact opposite effect. It may encourage people to just wait until shortly before a performance to buy a ticket to make certain that no casting changes will occur. Better to risk having a poor seat to a show you really want to see than be stuck with a bunch of excellent seats for casts you have no interest in seeing. In fact, I have noticed that the best seats tend to open up in the Orchestra and Grand Tier a short time before the performance date, and if you check frequently and are willing to buy on the computer and pay the handling fee, you will often get a seat that is better than people who bought way in advance.