abatt

Perhaps you can try another box office agent. Alternate idea is to find a friend who is a subscriber and have them present their subscriber card to the agent and do the exchange for you.

I happen to have a ticket for the Miller performance and I'm looking forward to it. Also fascinating is that Ulbricht is FINALLY leaving Puck behind and is elevated into Oberon. Also looking forward to seeing Huxley as Oberon.

Glad you liked Othello Batsuchan. I'm seeing that same cast tonight. Wasn't Cornejo originally scheduled to dance Cassio back when the original casting came out? I'm not complaining. Looking forward to seeing Gorak.

Yes, Irina is an exquisite fashionista and always looks gorgeous. Vishneva is beautiful but, in my opinion, has no fashion sense based on the outfits I've seen her in at events over the years.

Staying on pointe is a skill that all dancers at ABT should have mastered. Let's not even focus on the fact that Seo is a principal. This has nothing to do with injuries. This is par for the course with Seo. It is inexcusable and unprofessional at this stage of the game.

You have to wonder what is motivating KM. I'm sure he must see these problems time and again in her performances. Does he think the audience members are too dumb to notice. Well I guess the rich donor crowd probably had no idea since most of them go to the ballet only for galas, and they pay the bills.

Press Release: THE JOYCE THEATER ANNOUNCES ITS 2015-2016 FALL & WINTER SEASON World premieres, U.S. debuts, anniversary celebrations, and live music ranging from jazz trios, to classical ensembles, to a four-piece Buenos Aires band—all this and more will be experienced at The Joyce Theater this fall when spectacular artists take center stage. The season features some of the most intriguing New York-based companies performing today, with Camille A. Brown & Dancers, Dance Heginbotham, Abraham.In.Motion, Gallim Dance, and Pam Tanowitz Dance all appearing at The Joyce’s Chelsea theater. More highlights include audience favorites like Garth Fagan Dance, Complexions Contemporary Ballet, Parsons Dance, Keigwin+Company, American Dance Machine for the 21st Century, and Limón Dance Company, marking its 70th anniversary with a dance festival showcasing the master choreographer’s enduring vision. Also on tap—an Alwin Nikolais Celebration and Daniil Simkin’s INTENSIO, with American Ballet Theatre company members joining Principal Dancer Simkin for a program of spirited contemporary ballet. The international dance scene is well-represented by Batsheva Dance Company Ensemble, from Israel, performing Artistic Director Ohad Naharin’s dazzling all new Decadance; The Social Tango Project featuring Argentinian tango artists; Johannesburg-born choreographer Dada Masilo’s re-imagining of Swan Lake; and BalletBoyz, the wildly popular London troupe under the direction of Michael Nunn and Billy Trevitt, former dancers from The Royal Ballet. * * * The following is a complete roster of companies who will appear at The Joyce Theater next fall and winter. Twyla Tharp David H. Koch Theater, Lincoln Center November 17 - 22 Tuesday-Thursday 7:30pm; Friday 8pm; Saturday 2pm & 8pm; Sunday 2pm Tickets are $35-150 and can be arranged through DavidHKochTheater.com or by calling 212-496-0600 Publicity Contact: Ellen Jacobs Associates, (212) 245-5100 A flourish of trumpets heralds the double bill of premieres that celebrates Twyla Tharp’s 50th anniversary. John Zorn provides the show’s vibrant introductory Fanfare, followed by Preludes and Fugues. Radiating with Tharp’s generous spirit and humanity, the dance is set to J.S. Bach's The Well-Tempered Clavier. The wild and raucous humor that Tharp locates in the jazz of Henry Butler and Steve Bernstein runs rampant through Yowzie, the second new dance. With immaculate technique and joy, her fierce band of dancers brings the choreography to life. In each premiere, Tharp turns her decades of experience—dances for Hollywood films, television, and the Broadway stage, ballets, modern dances—into living proof that time is her partner as she continues to deepen and expand the singular imagination which makes her one of the century’s most treasured artists. Camille A. Brown & Dancers BLACK GIRL: Linguistic Play September 22 - 27 Tuesday-Wednesday 7:30pm; Thursday-Saturday 8pm; Sunday 2pm Tickets: $10-$40 (Joyce Members $23; $30) Publicity Contact: Richard Kornberg & Associates, (212) 944-9444 Bessie Award and Doris Duke Artist Award-winning choreographer Camille A. Brown and the women of Camille A. Brown & Dancers present the world premiere of BLACK GIRL: Linguistic Play, a work revealing the complexity of carving out a self-defined identity as a black female in urban America. Live music with collaborators Tracy Wormworth and Scott Patterson encompass the rhythmic play of African-American rooted steppin’, Double Dutch, and Juba. The company will also perform New Second Line, which celebrates the spirit of New Orleans. Each performance culminates with a third-act dialogue, allowing audiences to engage with the artists on stage. Batsheva Ensemble Decadance September 29 - October 4 Tuesday-Wednesday 7:30pm; Thursday-Friday 8pm; Saturday 2pm & 8pm; Sunday 2pm & 7:30pm Curtain Chat: Wednesday, September 30 Tickets: $10-$75 (Joyce Members $38; $56) Publicity Contact: Richard Kornberg & Associates, (212) 944-9444 “Its immediate visceral and kinetic impact mostly makes you want to jump onstage and dance,” proclaimed The New York Times about the original Decadance, created in 2000 by Batsheva Dance Company’s acclaimed artistic director Ohad Naharin. For their Joyce debut, the talented young dancers of the Batsheva Ensemble perform an all new Decadancein which, once again, Naharin combines excerpts from dazzling previous works into a seventy minute “greatest hits” package set to music ranging from The Beach Boys to Vivaldi. This presentation is underwritten by Saul & Mary Sanders and supported by the R. Britton Fisher and Family Gift for International Dance. Aparna Ramaswamy October 6 - 8 Tuesday-Wednesday 7:30pm; Thursday 8pm Curtain Chat: Wednesday, October 7 Tickets: $10-$40 (Joyce Members $23; $30) Publicity Contact: Richard Kornberg & Associates, (212) 944-9444 “Rapturous and profound,” says The New York Times about Aparna Ramaswamy, the Bharatanatyam dancer/choreographer who makes her Joyce debut with They Rose at Dawn. In this solo work, women are depicted as carriers of ritual who navigate inner and outer worlds as they invoke a sense of reverence, of unfolding mystery, of imagination. A stellar Carnatic musical ensemble accompanies Ramaswamy as she explores the spontaneous interplay between music and movement and the dynamic contours created by the artists onstage. Dance Heginbotham October 10 - 11 Saturday 8pm; Sunday 2pm & 8pm Curtain Chat: Sunday, October 11 Tickets: $10-$40 (Joyce Members $23; $30) Publicity Contact: Richard Kornberg & Associates, (212) 944-9444 Dance Heginbotham has been celebrated for its vibrant athleticism, humor, and theatricality, as well as its commitment to collaboration. Brooklyn-based choreographer and performer John Heginbotham's work is known for its “tight formal structure and inventive movement, bolstered by a disarming wit and strangeness” (The New Yorker). The company’s Joyce debut includes the New York premiere of Easy Win, featuring a commissioned score by pianist Ethan Iverson, performed live by the composer. This presentation is underwritten by Steven & Michèle Pesner. José Limón International Dance Festival October 13 - 25 Tuesday-Wednesday 7:30pm;Thursday-Friday 8pm; Saturday 2pm & 8pm; Sunday 2pm & 7:30pm Next Generation performances ($10-$30): Saturday, October 17 & 24 at 2pm Sunday, October 18 & 25 at 7:30pm Curtain Chat: Wednesday, October 14 Tickets: $10-$60 (Joyce Members $34; $45) Publicity Contact: Audrey Ross, (212) 877-3399 To commemorate the Limón Dance Company’s 70th anniversary season, the José Limón Dance Foundation presents an International Dance Festival showcasing the variety and depth of this master choreographer’s humanistic vision. The programs promise to be glorious as Limón dancers, guests artists from acclaimed companies like the Royal Danish Ballet and the Bavarian State Ballet, and dancers from among the world’s finest education programs like the Juilliard School, North Carolina School of the Arts, and the University of Taipei join forces to bring Limón’s magnificent artistry to life in such signature pieces as Missa Brevis, Orfeo, and The Moor’s Pavane. Ballet Memphis October 27 - November 1 Tuesday-Wednesday 7:30pm; Thursday-Friday 8pm; Saturday 2pm & 8pm; Sunday 2pm Curtain Chat: Wednesday, October 28 Tickets: $10-$50 (Joyce Members $26; $38) Publicity Contact: TBD “The ache and darkness…put onstage was more than a dance, it was an echo of human experience,” declared the Washington Post about Ballet Memphis who, pairing innovation with raw emotion in every stunning step, delivers a new vibrancy to the dance stage. This mixed repertory program features contemporary works grounded in the classical aesthetic that the company has presented so exquisitely on stages around the world. It includes Matthew Neenan’s The Darting Eyes and Julia Adam’s Devil’s Fruit, commissioned works from the company’s lauded River Project series, which usher in with realness and grace Ballet Memphis’ commitment to creating distinctly American dance. Garth Fagan Dance November 3 - 8 Tuesday-Wednesday 7:30pm; Thursday-Friday 8pm; Saturday 2pm & 8pm; Sunday 2pm & 7:30pm Curtain Chat: Wednesday, November 4 Joyce Family Matinee: Saturday, November 7 Tickets: $10-$60 (Joyce Members $34; $45) Publicity Contact: Ellen Jacobs Associates, (212) 245-5100 The Fagan aesthetic—“balletic rigor and precision in conjunction with a desultory looseness of body and unbridled bursts of energy” (The New York Times)—is on display when the company returns to The Joyce with a terrific program of new pieces by Garth Fagan and Norwood Pennewell and some of Fagan’s best work throughout the years: Passion Distanced, from 1987; No Evidence of Failure, from 2013; and Mudanfrom 2009, “quite possibly one of the finest works Mr. Fagan has created.” The New York Times Abraham.In.Motion November 10 - 15 Tuesday-Wednesday 7:30pm; Thursday-Friday 8pm; Saturday 2pm & 8pm; Sunday 2pm Curtain Chat: Wednesday, November 11 Tickets: $10-$50 (Joyce Members $26; $38) Publicity Contact: Richard Kornberg & Associates, (212) 944-9444 2013 MacArthur Fellow Kyle Abraham is a Princess Grace and Bessie Award-winning choreographer whose work is often characterized by a sensual and provocative movement vocabulary combined with a strong emphasis on sound. This season celebrates that love of sound by treating Joyce audiences to the company’s first ever live music program. Highlighting the program--The Gettin’, featuring music by Grammy Award-winning jazz artist Robert Glasper and his trio, who reimagine Max Roach’s We Insist! Freedom Now Suite, and the New York premiere of Abstract Matter, a new work created in collaboration with Blue Note recording artist Otis Brown III, multimedia artist Tahir Hemphill, and costume designer Karen Young. This presentation is underwritten by Steven & Michèle Pesner. Complexions Contemporary Ballet November 17 - 29 Tuesday-Wednesday 7:30pm; Thursday-Friday 8pm; Saturday 2pm & 8pm; Sunday 2pm & 7:30pm; No performance on Thanksgiving, Nov 26 Curtain Chat: Wednesday, November 18 Tickets: $10-$60 (Joyce Members $34; $45) Publicity Contact: GOGO PR and Marketing/Sin Gogolak, (917) 626-0525 Complexions makes it “sensationally, jaw-droppingly clear that we live in the age of the super dancer, at a time when technical virtuosity is being redefined as an expressive state” (Dance Magazine). Under the artistic direction of Dwight Rhoden and Desmond Richardson, Complexions continues to lead the way with its unprecedented approach to contemporary ballet. For its Joyce season, the company performs the world premiere of an evening-length work by Rhoden--a provocative romance exploring dark desires, beauty, dominance, obsession and control, all set to an eclectic musical mash-up ranging from Tchaikovsky and bebop to rap and trance. Also on tap: a world premiere set to Metallica; a work about unrequited love set to Bach; and the debut of the company’s Icon Series, honoring Maya Angelou and featuring a performance by Desmond Richardson and a special guest. Gallim Dance December 3 - 6 Thursday-Friday 8pm; Saturday 2pm & 8pm; Sunday 2pm Curtain Chat: Friday, December 4 Tickets: $10-$50 (Joyce Members $26; $38) Publicity Contact: Richard Kornberg & Associates, (212) 944-9444 Described by The New York Times as “excellent, inventive, impressive,” Gallim Dance is known for its ambitious multidisciplinary works.This world premiere will be no exception when the company performs a full-evening piece created by artistic director and 2014 Guggenheim Fellow Andrea Miller in collaboration with her acclaimed dancers. Marking the first time Gallim Dance has been accompanied by live music, the work addresses themes of love, sex, and domesticity while displaying Gallim’s virtuosic physicality and uncanny narrative structure. KEIGWIN + COMPANY December 8 - 13 Tuesday-Wednesday 7:30pm; Thursday-Friday 8pm; Saturday 2pm & 8pm; Sunday 2pm Curtain Chat: Wednesday, December 9 Joyce Family Matinee: Saturday, December 12 Gala: Tuesday, December 8, 212-278-0691 to purchase tickets. Tickets: $10-$50 (Joyce Members $26; $38) Publicity Contact: TBD The company takes The Joyce stage with a program that captures Artistic Director Larry Keigwin’s electrifying brand of dance, displaying why his works have been called “intricate, neat, rapturous” (The New York Times). In the New York premiere of Panic, Keigwin performs his first solo in over a decade, set to an original score by composer Glen Fittin. Keigwin also debuts his curatorial prowess with the world premieres of the company’s first commissioned works by two young choreographic stars, Loni Landon and Adam Barruch, while K+C’s powerhouse dancers explore a fusion of the pedestrian and virtuosic in the acclaimed Sidewalk, a 2009 piece set to Steve Reich’s Double Sextet. The Social Tango Project December 15 - 20 Tuesday-Wednesday 7:30pm; Thursday-Friday 8pm; Saturday 2pm & 8pm; Sunday 2pm Curtain Chat: Wednesday, December 16 Tickets: $10-$50 (Joyce Members $26; $38) Publicity Contact: Richard Kornberg & Associates, (212) 944-9444 Straight from a sold out run in Buenos Aires, The Social Tango Project is a celebration of the people who dance tango socially around the globe. Making its U.S. debut at The Joyce, a company of twelve dancers, two vocalists, live music, and projected images is certain to capture the imagination and reveal the sensual and mysterious world of tango for both dancers and dance aficionados alike. This presentation is supported by the R. Britton Fisher and Family Gift for International Dance. American Dance Machine for the 21st Century December 22 - January 3 Tuesday 7:30pm; Wednesday 3pm & 7:30pm; Thursday 3pm; Saturday 2pm & 8pm; Sunday 2pm & 7:30pm No performances on December 25 or January 1 Curtain Chat: Wednesday, December 23 Tickets: $10-$60 Joyce Members $34; $45) Publicity Contact: TBD Founded by Producing Artistic Director Nikki Feirt Atkins, American Dance Machine for the 21st Century, a living archive of musical theater dance, played to enthusiastic audiences when the production appeared at The Joyce in November 2014. For a return engagement this fall, ADM21 will again reconstruct original choreography from revered musicals for an enchanting new program filled with live music and special guest stars. Daniil Simkin’s INTENSIO January 5 - 10 Tuesday-Wednesday 7:30pm; Thursday-Friday 8pm; Saturday 2pm & 8pm; Sunday 2pm Curtain Chat: Wednesday, January 6 Tickets: $10-$75 (Joyce Members $38; $56) Publicity Contact: Richard Kornberg & Associates, (212) 944-9444 Acclaimed by The New York Times for possessing “a beauty of line and a spacious grace,” American Ballet Theatre Principal dancer Daniil Simkin is joined by equally exceptional artists for INTENSIO, a program featuring works by choreographers Alexander Ekman, Gregory Dolbashian, Jorma Elo, and Annabelle Lopez Ochoa. In addition to Simkin, the cast of INTENSIO includes American Ballet Theatre company members Isabella Boylston, Alexandre Hammoudi, Blaine Hoven, Calvin Royal III, Hee Seo, Cassandra Trenary, and James Whiteside, as well as Céline Cassone, a special guest artist from Les Ballets Jazz de Montréal. A Joyce Theater and Sunny Artist Management Production. American Dance Platform Dedicated to the memory of Theodore S. Bartwink of The Harkness Foundation for Dance January 12 - 17 Tuesday-Wednesday 7:30pm; Thursday-Friday 8pm; Saturday 2pm & 8pm; Sunday 2pm & 7:30pm Tickets: $10-$40 (Joyce Members $23; $30) Publicity Contact: Richard Kornberg & Associates, (212) 944-9444 The Joyce Theater’s American Dance Platform showcases some of the most captivating American companies performing today. This year’s festival includes four programs and is guest curated by Paul King and Walter Jaffe, the directors of White Bird, the acclaimed dance presentation series based in Portland, Oregon. The Joyce Theater’s American Dance Platform is sponsored by The Harkness Foundation for Dance. Parsons Dance January 19 - 31 Tuesday-Wednesday 7:30pm; Thursday-Friday 8pm; Saturday 2pm & 8pm; Sunday 2pm & 7:30pm Curtain Chat: Wednesday, January 20 Joyce Family Matinee: Saturday, January 30 Tickets: $10-$60 (Joyce Members $34; $45) Publicity Contact: TBD Parsons Dance returns to The Joyce with its blend of sexy athleticism and stunning ensemble work for the New York premiere of Finding Center,David Parsons' collaboration with Kansas City-based visual artist Rita Blitt. Also on the program: a world premiereby Katarzyna Skarpetowska exploring the connection of an eastern European childhood juxtaposed with the urban folklore of adolescence in NYC, and Caught, the stroboscopic masterwork that continues to wow audiences around the world. Four family friendly matinees will feature repertory for dance fans of all ages and a special opportunity to meet the dancers. "This is a 'dance your heart out' (at all times, no excuses) kind of enterprise." The New York Times Dada Masilo’s Swan Lake February 2 - 7 Tuesday-Wednesday 7:30pm; Thursday-Saturday 8pm; Sunday 2pm Curtain Chat: Wednesday, February 3 Tickets: $10-$60 (Joyce Members $34; $45) Publicity Contact: Richard Kornberg & Associates, (212) 944-9444 Combining classic and contemporary dance that is strongly influenced by her African heritage, Johannesburg-born dancer and choreographer Dada Masilo creates explosive, passionate work. Her reimagining of Swan Lake is no exception as the dancers are not only propelled by Tchaikovsky but also by Steve Reich as they turn the classic Swan Lake on its head to tackle issues of gender and homophobia in a country ravaged by AIDS. This presentation is underwritten by Kerry Clayton & Paige Royer and supported by the Robert Sterling Clark Foundation and the R. Britton Fisher and Family Gift for International Dance. Alwin Nikolais Celebration February 9 - 14 Tuesday-Wednesday 7:30pm; Thursday-Friday 8pm; Saturday 2pm & 8pm; Sunday 2pm & 7:30pm Curtain Chat: Wednesday, February 10 Tickets: $10-$60 (Joyce Members $34; $45) Publicity Contact: TBD Under the artistic direction of Murray Louis and Alberto del Saz, the work of Alwin Nikolais comes back to The Joyce for the first time since the 2010 worldwide centennial celebration of the life of master choreographer Alwin Nikolais. “A true dance luminary, a choreographer, designer, composer of electronic music and a pioneer of multi-media dance” (The New York Times), Nikolais will be honored with a program performed by The Ririe-Woodbury Dance Company that will include Tensile Involvement (1955), Gallery (1978), Mechanical Organ III (1983), and Crucible (1985), some of the most renowned works that he created during his long and successful career. Pam Tanowitz Dance February 18 - 21 Thursday-Friday 8pm; Saturday 2pm & 8pm; Sunday 2pm Curtain Chat: Friday, February 19 Tickets: $10-$50 (Joyce Members $26; $38) Publicity Contact: Richard Kornberg & Associates, (212) 944-9444 "Some of the dance steps, phrases and constructions by choreographer Pam Tanowitz are among the finest being made anywhere today,” declared The New York Times about Heaven on One’s Head when the work premiered at The Joyce in 2014. A 2009 Bessie Award winner and a “clear sighted modernist" (The New Yorker), Tanowitz brings Heaven back to The Joyce along with a Joyce-commissioned world premiere, an abstract love letter to romantic ballets set to a new electronic score by Dan Siegler. The evening features live music by the FLUX Quartet and displays Tanowitz’s distinct vision for reimagining classical ballet vocabulary in an ultra-post-modern framework. This presentation is underwritten by Steven & Michèle Pesner and supported by King’s Fountain. BalletBoyz February 23 - 28 Tuesday-Wednesday 7:30pm; Thursday-Friday 8pm; Saturday 2pm & 8pm; Sunday 2pm Curtain Chat: Wednesday, February 24 Tickets: $10-$60 (Joyce Members $34; $45) Publicity Contact: Richard Kornberg & Associates, (212) 944-9444 Under the direction of former Royal Ballet dancers Michael Nunn OBE and William Trevitt OBE, the all-male, contemporary dance ensemble BalletBoyz “encourages dancers, inspires audiences, thinks with flair and ingenuity” (Financial Times), and sells out houses around the world. The troupe arrives at The Joyce with the New York premiere of Christopher Wheeldon’s Mesmerics, a Joyce co-commission, and The Murmuring, a new work commissioned from Alexander Whitley, former affiliate choreographer of The Royal Ballet and currently a New Wave Associate at Sadler’s Wells. This presentation is supported by the R. Britton Fisher and Family Gift for International Dance. * * * CURTAIN CHATS The Joyce Theater holds free post-performance dialogues with artistic directors and/or company members following a weekday performance during each company’s engagement unless otherwise noted. These dialogues are open to all audience members attending that evening’s performance. FAMILY MATINEES Created to help build dance audiences for the future, The Joyce’s popular family-oriented performance series will return this fall with three family-friendly matinees, each followed by a special chance to meet the artists. Kids’ tickets are only $10. Children who see all three the family matinees automatically become Joyce Junior Members and save 40% on the price of their tickets ($10 reduced to $6). Children, ages 6-14, must be accompanied by an adult (maximum four kids to one grownup). Joyce Junior Members get a special “Backstage-at-the-Joyce” tour, a T-shirt and gift coupons. This fall/winter season’s Family Matinee series is as follows (Kids (ages 6-14) must be accompanied by an adult): Garth Fagan Dance – Saturday, November 7 at 2pm KEIGWIN + COMPANY – Saturday, December 12 at 2pm Parsons Dance Company – Saturday, January 30 at 2pm Sponsored by First Republic, Stanton Public Relations & Marketing Special support provided by: Con Edison ABOUT THE JOYCE THEATER The Joyce Theater Foundation, a non-profit organization, has proudly served the dance community and its audiences for three decades. The founders, Cora Cahan and Eliot Feld, acquired and renovated the Elgin Theater in Chelsea, which opened as The Joyce Theater in 1982. The Joyce Theater is named in honor of Joyce Mertz, beloved daughter of LuEsther T. Mertz. It was LuEsther’s clear, undaunted vision and abundant generosity that made it imaginable and ultimately possible to build the theater. One of the only theaters built by dancers for dance, The Joyce Theater has provided an intimate and elegant home for more than 320 domestic and international companies. The Joyce has also commissioned more than 130 new dances since 1992. In 2009, The Joyce opened Dance Art New York (DANY) Studios to provide affordable studios for rehearsals, auditions, classes, and workshops for independent choreographers, non-profit dance companies, and the dance/theater communities. New York City public school students and teachers annually benefit from The Joyce’s Dance Education Program, and adult audiences get closer to dance through pre-engagement Dance Talks and post-performance Dance Chats. The Joyce Theater now features an annual season of approximately 48 weeks with over 340 performances for audiences in excess of 135,000. TICKET PRICES AND MEMBER INFORMATION To become a Joyce Member, ticket buyers simply purchase tickets to four different companies at the same time and they automatically save 25% on tickets (not applicable for $10 or $20 tickets). Joyce Members are entitled to the 25% discount on additional tickets purchased throughout the season – until August 2016. For more information on becoming a Joyce Member, please visit www.Joyce.org or call JoyceCharge at 212-242-0800. Single ticket prices range from $10-$75. Tickets can be purchased by calling JoyceCharge at 212-242-0800, in person at the Box Office (Monday - Friday 12-6pm), or online by visiting www.Joyce.org. Please note: ticket prices are subject to change. The Joyce Theater is located at 175 Eighth Avenue (at 19th Street). * * * JOYCE THEATER FALL ’15 / WINTER ‘16 DANCE SEASON September 22-27—Camille A. Brown & Dancers* $40; $30; $20; $10 (Joyce Members $30; $23) September 29-October 4—Batsheva Ensemble* $75; $50; $20; $10 (Joyce Members $56; $38) October 6-8—Aparna Ramaswamy* $40; $30; $20; $10 (Joyce Members $30; $23) October 10-11—Dance Heginbotham* $40; $30; $20; $10 (Joyce Members $30; $23) October 13-25—José Limón International Dance Festival $60; $45; $20; $10 (Joyce Members $45; $34); The Next Generation: $30; $20; $10 (Joyce Members $23; $23) October 27-November 1—Ballet Memphis* $50; $35; $20; $10 (Joyce Members $38; $26) November 3-8—Garth Fagan Dance $60; $45; $20; $10 (Joyce Members $45; $34) November 10-15—Abraham.In.Motion* $50; $35; $20; $10 (Joyce Members $38; $26) November 17-29—Complexions Contemporary Ballet $60; $45; $20; $10 (Joyce Members $45; $34) December 3-6—Gallim Dance* $50; $35; $20; $10 (Joyce Members $38; $26) December 8-13—KEIGWIN + COMPANY $50; $35; $20; $10 (Joyce Members $38; $26) December 15-20—The Social Tango Project* $50; $35; $20; $10 (Joyce Members $38; $26) December 22-January 3—American Dance Machine for the 21st Century $60; $45; $20; $10 (Joyce Members $45; $34) January 5-10—Daniil Simkin’s INTENSIO* $75; $50; $20; $10 (Joyce Members $56; $38) January 12-17—American Dance Platform $40; $30; $20; $10 (Joyce Members $30; $23) January 19-31—Parsons Dance $60; $45; $20; $10 (Joyce Members $45; $34) February 2-7—Dada Masilo’s Swan Lake* $60; $45; $20; $10 (Joyce Members $45; $34) February 9-14—Alwin Nikolais Celebration $60; $45; $20; $10 (Joyce Members $45; $34) February 18-21—Pam Tanowitz Dance* $50; $35; $20; $10 (Joyce Members $38; $26) February 23-28—BalletBoyz* $60; $45; $20; $10 (Joyce Members $45; $34) Prices and programs subject to change

Did anyone else notice that ABT forgot to mention on the slip inserted in the programs containing the casting and program changes that Semionova was replaced by Kochetkova. Oops. No mention of it on the sign at the entrance to the Met either.

I'll just add that Hee Seo's Gamzatti variation was also not up to standard and not controlled. I also thought it was tragic that Part has been a principal for many years, and SL has been her calling card since her days at the Mariinsky, but all they could find for her to do was as part of an ensemble in Sinfonietta. The SL excerpt for Misty was really brief and truncated. It was mostly the portion where Swamp Rothbart and Siegfried fight over the ballerina, she runs to the ramp and dives in and Siegfried follows. They also showed the last part where the corps waits for the sun to rise. The parts of intimate storytelling between OO and Siegfried were completely deleted. For me Cornejo has the right technique for Push, but lacks the sexy swagger of its originator, and therefore falls a bit flat. Wanted to add that I saw a lot of the red carpet arrivals in front of the Met. Vishneva walked the red carpet looking completely relaxed. If she is injured, you wouldn't have known it from her appearance. Additionally, at around 6 PM Misty emerged from the Met in her gown, accompanied by her publicist. She escorted Misty to the red carpet area so that Misty could have her photo taken. Since her publicist is also apparently the publicist for ABT, this was orchestrated in order to make sure that Misty's photo ends up in the news. I did not witness any other dancers who were scheduled to dance coming out for a photo op before the performance. My favorite moment of the red carpet was when Angel Corella arrived. A few people spontaneously applauded him, including me. That brought a smile to his face. How I miss the old days of ABT, when quality mattered.

Just back from tonight's gala. Looked like a sell out. Too tired to go through each ballet so I'll keep it brief. Gorak danced impressively in Etudes and the finale of T&V. Gorgeous lines and excellent technique. This guy is destined for big things. Murphy also knocked it out of the park with her variation in Etudes, where she spun like a top with incredible velocity and perfect precision. She also did an impressive job in a short excerpt of Fall River Legend. In the Ratmansky ballet excerpt Piano Concerto, Christine Shevchenko performed with controlled abandon. Really great work. Gabe Stone Shayer , taking over Vasiliev's old part, also did wonderfully. Too many people and ballets to discuss. Boylston tried for too much in the wedding pdd excerpt from Don Q, and ended up coming off point twice and veering all over the place in in her fouettes. If you can't do doubles, don't even try. Hee Seo also managed to come off pointe at least once, perhaps twice, during Leaves are Fading pdd. More tomorrow.

Misty is 5 ft 2 inches, but she's being cast in some wonderful roles. So the explanation cannot be based on Sarah's height.

Yes, Boylston and Gorak were scheduled to lead the SB on the Wed matinee. Talk about false advertising. How do you advertise Osipova and Sarafanov SB for months and months, and then remove both of them from SB only a few weeks before. Unreal. Really tacky for ABT to engage in this kind of bait and switch. Cast changes due to injury and illness are part of life. But those cast changes are completely unrelated to illness and injury. It was just a big lie that they were going to perform SB.

Seo and Stearns are taken out of the premiere weekend of SB (May 30 evening) and replaced by Boylston Gorak. Interesting.

I've seen Seo in Giselle, but not in quite a few years. I would say that her weaknesses become most apparent in Petipa.

Gomes has not partnered Part in SL for quite a number of years. I think that's intentional, not a coincidence.

I guess we are quite lucky that McKenzie decided to give Stella the one Giselle. We are lucky that he didn't stick Hee Seo into that Giselle, too.

I think McKenzie objects to Lane. Since she is so tiny, I can't imagine anyone objecting to partnering Lane. However, I bet Bolle and Gomes will not dance with Part (in SL) because she is too big. Part could have easily picked up a SL and a Bayadere. Wonder if Kimin Kim also refused a Part hook up because she is so tall. I wonder if Vishneva was offered any of these assignments and turned them down. Why, why would he not at least give Murphy the opening night R&J. She has danced that ballet with Cory before. Stay tuned for the next installment of the soap opera As ABT Turns.

Best to call the box office and order by phone to get exact seat locations you want.

Does McKenzie think that forcing Hee Seo on the public repeatedly is going to increase box office. My future plan for next season is to buy fewer tickets in advance, since nothing really sells out at ABT anyway.

Gulp. I have a lot of ticket exchanges to make. I still want to see Kimin Kim, so I might end up keeping the Bayadere, in spite of Hee Seo.

It's official. ABT website updated re tonight's gala. Vishneva is out, Kent is dancing Manon pdd with Gomes. Cornejo no longer listed for Bayadere solo, but is listed for Fancy Free and Push. Vishneva still listed for her Giselle next week. Fingers crossed.

I've only seen two casts of Sylphide (Bouder/Veyette and Hyltin/DeLuz). Bouder's technical achievements werre breathtaking, but my main negative reaction was to her over-acting. I felt that she was too flirtatious, to the point of being cloying. I wished she would tone it down. I thought Hyltin's characterization was much better, even though her jumping abiltiy and elevation are not at Bouder's level. As between the two men, they were both very good. I've had to tune out during Madge's scenes and pretend I'm watching Freddie Franklin or Victor Barbee. They have improperly coached this role at NYCB. I thought the Sat. afternoon cast of Bournonville overall was better than the first cast of opening night. The younger cast just seems much better at the required technique. Maybe it's because they recall it better since they didn't leave SAB that many years ago. Ashly Isaacs was outstanding in the main pdd. Carmena was too short for her, and some of the partnering looked off. That gets a pass, though, because Carmena was a fill in for Catazaro. I thought some of Carmena's landing positions were fudged. Ushers were apparently missing in action at the Saturday afternoon matinee on the right side, second ring. There was a mom there with her two kids- a girl that was 8 or 9, and a boy who was 5 or 6. The boy was whining during the Overture of Sylphide. The mother got up during the show and dragged the kid out in the hallway and LEFT HIM THERE ALONE. She came back to her seat. During Sylphide, you could hear him crying out in the hallway by himself. The mother finally got up again and brought him back into the theater, still crying. Eventually he settled down. I have never seen anything like that in all my life. No usher anywhere to prevent disturbance to everyone seated in the vicinity or the constant up and down and in and out of this family. So much for new and improved policies at NYCB. PS Special mention for Taylor Stanley who has been doing great work in so much of the rep, including in Bournonville Divert. Additional PS - Just read a review of Sylphide in Danceview Times online. Turns out Catazaro had to fill in for Ask LaCour in Bornonville Divert

The updated casting sheet still lists Cornejo for the gala on Monday, for Fancy Free and Push Comes to Shove. His Solor solo from Bayadere, however, is no longer listed. Also, the casting sheets in the lobby now have the secondary casting info for SB in June June 8 Vishneva Gomes Part Raffa Boylston, Simkin Trenary June 9 Murphy, Whiteside, Abrera, Salstein, Trenary, Zhang, Lane June 10 Matinee Boylston, Gorak Teuscher Salstein Brandt Shayer Copeland June 10 evening Osipova Sarafanov Part Gomes Shevchenko Hoven Abrera June 11 Lane Cornejo Teuscher Raffa Brandt Shayer Copeland June 12 Seo Stearns Shevchenko Gomes Trenary Gorak Boylston June 13 matinee - Murphy Whiteside Abrera Salstein Boylston Zhang Lane June 13 evening Vishneva Gomes Part Raffa Shevchenko Simkin Trenary Semionova's name is still listed for Bayaderes, SL and Juliet

I don't know much about Mitchell's roles, but what was he doing at NYCB before Balanchine created Agon on him. Was he previously cast with a white woman at NYCB in any ballets?

Well I hope anyone who is coming into NYC along the Northeast Corridor to see ABT in the near future has already arranged transportation. In view of the Amtrak disaster and the closure of that rail route, the airlines have signficantly jacked up the fares. Wonder if the bus has lines have also done that. http://nypost.com/2015/05/15/airlines-jack-up-fares-along-closed-amtrak-corridor/