abatt

Although Lane is usually cast with short men, there is no reason why she could not also be cast with any medium or tall dancer. In fact, she danced with Stearns in VA in Swan Lake in a side gig. If McKenzie isn't using her much, I don't think it's because there is nobody to partner her. The fact that McKenzie never again cast her in her own Swan Lake after just one performance a few years ago says a lot about what he thinks. It's even more insulting that he then used Lane for the ballroom scene only in SL when Misty had the flu and couldn't make it through the entire ballet, even though Misty's version of the ballroom scene is considerably easier compared to what any other ABT ballerina does. McKenzie clearly has little respect for Lane and her talents.

Having seen several Swan Lakes in close proximity, it's fair to say that Bouder rules in the ballroom scene. She has technique to spare, and takes risks that payoff and send the audience into a frenzy. Her weakness, in my opinion, is Odette. She certainly does the steps, but her back is not pliant or flexible. As an example of what I'm talking about, at the end of the lakeside scene Odette moves forward and stays in place while the corps of swans move around her. Instead of just standing in place in a static swan pose, which is what Bouder did, Mearns takes the opportunity to bend her torso all the way forward, as though she may be taking water from the lake. When she straighten up, Mearns then bends backwards, arching her back quite a bit. There are many little moments like this as Odette where Mearns makes full use of her head, back and torso to create character. Bouder doesn't do these things, and is therefore much less successful as Odette.

I agree with that. If Lane has something to say, then just say it. Don't speak in riddles or code. Also, I never thought of Hope Hicks as one of America's philosophical guiding lights. Oy.

I think the only other person besides Brandt who was in the running for a Giselle debut but has not yet gotten a chance is Trenary. She seems like a good fit for Giselle, more so than Shevchenko, who strikes me as better at the Petipa roles than the romantic role of Giselle.

So how expensive is it to get coaching from Irina and Max on the side? We know that Royal is doing it, and he is getting a soloist salary. We also know that Lane has done the same in the past, and that Shevchenko is also getting coaching from them. Murphy got her coaching initially at New Zealand ballet, where she did Giselle many times years before McKenzie ever gave her the role at ABT. Stella also did numerous Giselle performances at Australian ballet before she got the role at ABT by virtue of the fact that Semionova cancelled her entire ABT season. So knowing the role, and having performed the role many times, doesn't serve as a guarantee that McKenzie will give you the role.

Despite the fact that Brandt comes from a well off family which donates to ABT, I've never felt that Brandt was getting opportunities at ABT that were not deserved or the result of favoritism.

There is at least one other ABT ballerina who is cast in roles based on financial considerations rather than artistry. I'm glad Brandt, Irina and Max have "liked" Sarah's post. It's clear that a lot of ABT dancers are investing in themselves. The article mentions that Calvin Royal and Shevchenko also get outside help from Irina and Max.

Hasn't Lane also received outside coaching from Max and Irina? I didn't think this was necessarily a reference to Brandt.

I saw the production a few weeks ago and disliked it. I hated the fact that many of the scenes took place in the extreme back of the stage in the box set, so that the only way you could see what was happening was to look at a video projection. I had no idea that the bedroom scene was in a completely different part of the theater until I saw the 60 Minutes piece. What's the point of going to live theater if most of the important scenes are played in places where the audience can only observe it on a video? I saw it when Tony was still out with an injury, but I didn't think the acting was particularly convincing. It will be interesting to see what the critics think.

Isn't the fourth act ending also based on the Balanchine version?

Lopez already acquired the rights to the Ratmansky SL (see thread link above). It will debut in "2020" which I assume means sometime next season.

Whelan danced Ballade a long time ago w. Robert Tewsley. I hope Whelan revives Ballade. I also hope they get Tzigane - which I've only seen in excerpt on video.

60 Minutes did a story on this production tonight. Here is a link https://www.cbsnews.com/news/west-side-story-broadway-behind-scenes-60-minutes-2020-02-16/

It seems like Whelan's focus is hiring choreographers to create new contemporary work. I think the number of new works each season must cost a lot of money in terms of paying the choreographers, designers, and rehearsal time for both the dancers and the orchestra. Nobody wants the company to become a museum, but I think the number of new works that are box office duds every season is starting to become a problem. I don't think new full lengths are a priority for the company at the present time.

I thought that the chemistry created by Cote and Mearns made a big difference in their portrayal compared to the Bouder - Furlan and Reichlin-Walker pairings, which had zero chemistry. Also, the small details in the performances of Mearns and Cote made all the difference. Cote is a very charismatic actor, and he was the most convincing of the three Siegfried dancers this weekend. Reichlin has utterly beautiful lines and most of the time wonderful extension. However, sometimes you can see she is rushed to keep up, so she clips the end of a phrase, thereby diminishing the impact of the choreography. She acquitted herself well, in my opinion, but her performance was emotionally somewhat blank. For a debut, Walker did well, although he sometimes made mistakes in the execution of his solos. This couple was an emotional blank as far as I was concerned. Furlan was the most impressive technically of the three Siegfrieds. He and Bouder are both technical marvels, but the performance left me cold. There is a little more flow to Bouder's dancing than there used to be, but her phrasing still leaves a lot to be desired in this role. As for the other characters in the production, Ulbricht was a marvel as the Jester. I wish the company used him for more ballets. Loved Gerrity in the Russian dance.

I saw three casts this weekend. For me, the only pairing that had dramatic force was Mearns and Cote. All the other couples were fine, even better than fine in some instances. But it was all just executing steps without any ability to convey deep meaning. Only Mearns and Cote conveyed a personal, emotional connection that brought the audience into their story.

Having seen two SL performances today at NYCB, this confirms that Tsch pas is not part of the NYCB Swan Lake.

Yes it was removed.

If they are coming only to see a public figure named Misty Copeland, then I'm not sure any other person who takes the role would diminish their disappointment, regardless of how wonderful the performance was.

"The audience I bring in..."?? I guess Misty assumers that Cornejo, who is one of the world's most notable male dancers, doesn't sell tickets.

Brandt has danced with Cornejo before, so she may be comfortable with the change. The audiences probably are not going to be rude, although I wonder what her fans will post on Copeland's social media about the cancellation. Many of her fans have been down this same road before. If memory serves, she also previously cancelled a SL in DC a few years ago.

I so wish I could be in DC tonight! Reports please. At this point, I'm pretty sure Copeland cancels more shows than she performs in, at least if it involves a classical role.

Get well soon. Hope you have a full recovery.

I also think that Brandt is now directly competing against Trenary and Hurlin for important role debuts. Brandt knows that this is a zero sum game. The next ABT promotions are likely to be focused on the men (Bell, Forster).

The story Brandt tells mirrors how Abrera got her Giselle years ago. Abrera had performed the role in either Australia or New Zealand several months before the ABT season. When Semionova cancelled, Abrera was ready to step in due to her own efforts in previously learning and performing the role of Giselle elsewhere. It is a disgrace that this is how ABT works internally.