abatt

The statement was carefully worded to avoid a direct reference to the firings, resignation and the Waterbury lawsuit. However, I don't think there's any doubt that the statement was the direct result of the firings, resignation and Waterbury lawsuit, and was an implicit reference to these events. I have not seen any info to suggest that there was a vote on the Reichlin statement. We know that it ws written by Reichlin and Adrian D W. Since individuals are not normally given a platform to give speeches from the stage at a special event on topics of their own choosing, I'm comfortable with the assumption that the speech was prompted by, and approved by, management. Added: It's also no coincidence that the text of the speech was distributed to the media for reporting purposes, in order to promulgate favorable news coverage pertaining to the speech. This was done through the NYCB publicity/public relations department.

NYCB's own conduct raises serious questions regarding the legitimacy of the firings. The fact that they initially only suspended them for four months, and a week later fired them, suggests that NYCB itself initially concluded that there was no grounds to fire them. What facts came to light during that one week period that moved them from the relatively minor punishment into the opposite extreme of firing? Was it the feelings of a few dancers? Was it bad publicity from the Waterbury media blitz? Under the circumstances that transpired, the legitimacy of the firings needs to be evaluated by an impartial person like a mutually acceptable arbitrator. The union isn't just going through the motions of doing its job - there are significant issues at stake here. I'm probably in the minority here, but I thought the stunt of having Reichlin read a prepared statement with all the dancers surrounding her on stage was inappropriate. The dancers were being used as pawns by the company (management) to give the company some much needed positive publicity. But that's not their job. Their job is to dance. To the extent that individual dancers feel strongly about what's happening, they can express their feelings on their own social media platforms. Requiring them to be herded on stage in a show of unified support was not appropriate in my opinion. Added: We now know that there is no unified position among the dancers regarding the firings. Some support the terminations; others do not.

Peter Martins must be relieved that he retired and doesn't have deal with all this. The timing worked out well for him.

If NYCB is to believed, the firings were purportedly prompted by the fact that certain female members of the company informed management that they would no longer be comfortable dancing with Catazaro or Ramasar. So there is is a divide within the company, and NYCB decided to fire them instead of leaving the suspension in place pending further investigation. I found it astonishing in the above article that some dancers were upset that their union was challenging the firings. That's the core function of the union - to make sure management deals fairly with employees.

Yes, I believe his warning not to rush to judgment relates to the fact that he was wrongly accused of sexual misconduct. At least in his case, he was able to clear his name and continue to have a major career. I think the damage is already done for the three dancers at issue. Two have already been fired, and the media circus surrounding Waterbury's lawsuit, and orchestrated skillfully by her attorney, has made it look like all defendants, the institutions and the individual defendants, are guilty. Even if Catazaro and Ramasar are cleared, their careers in ballet are probably finished.

I 've seen Boylston's SL twice - once with Gomes, and once with Lendorf. The one with Gomes was more dramatically incisive than the one with Lendorf. No surprise there. Gomes could always improve the performance of his partner by his presence and charisma. As the NY Times wrote about Boylston's SL with Lendorf, it lacked tragic dimension. Boylston's problems with sloppy upper body , neck and arm positions have not really improved much over the years. Since upper body beauty are an integral part of the Odette role, Boylston will never be a great interpreter of this role until she can address these problems. She is more suitable for whiz bang roles with lots of spinning and jumping, like Kitri.

Why does he feel he needs to congratulated for a remark about a dancer? Weird.

I was holding out hope that if they revived Manon, maybe Osipova would come and do one guest performance with Hallberg. But based on Hallberg's statement, I guess we will not be seeing Osipova at ABT this spring.

Perhaps you can exchange the ticket?

Major program change, folks. For the Sat Oct 6 matinee, they have replaced the Ratmansky masterpiece Concerto DSCH with the decidedly NON-masterpiece New Kyle Abraham work. The Concerto DSCH was the main draw on that program. (See updated casting sheet posted today.) I assume this was necessitated by the firings/resignation/injuries. It's having a ripple effect. You can see that the Angle brothers are once again being drafted into additional performances due to lack of available principal men. They still have not figured out yet who will replace Adrian at the DeLuz farewell in Todos Buenos Aires. Oh, and the casting for This Bitter Earth on that same program is changed from Tiler & Tyler to Reichlin and LaCour. Glad I decided to skip the Oct 6 matinee.

I doubt they ever even discussed any settlement figures. NYCB's lawyers most likely advised them that the claims against NYCB were flimsy, and that they should not submit to this shakedown.

I assume Manon will be the next stop on the Ferri Comeback Tour, and that Bolle would be her partner. No doubt Misty will ge the role too. Does that leave open one spot for another Manon?

As long as he and ABT are up front from the outset regarding his scheduled assignments, I don't have a problem with him doing only a few shows. What really bothers me and others is when ABT advertises that he will be appearing in certain ballets for months, and then he is suddenly replaced because he doesn't feel like doing that role anymore or because he got a better or more interesting offer elsewhere. Yes, Boylston does get good reviews in some tragedies. In fact, the NY Times thought she gave a better performance than Hallberg when they were partnered together in R&J last season. I didn't see the performance.

Boylston as Manon? I guess I shouldn't be surprised, because she is cast is every role. I find it hard to picture her as a sultry courtesan. I have my fingers crossed for Stella as Manon.

Someone from NYCB must read this forum, because the error has been corrected on the website.

I was looking at the online program listings (not the casting sheets), and the Allegro Brilliante entry for Oct 2 reads as follows: Music by: Peter Ilyitch Tschaikovsky Choreography by: George Balanchine Principal Casting: SEPT 29 mat, 30 mat: Sara Mearns, Tyler Angle SEPT 29 eve, OCT 7: Tiler Peck, Roman Mejia* (*first time in role) OCT 2: Erica Pereira, Anthony Huxley (*first time in role) Since Allegro Brilliante was never scheduled for October 7, is this a typo? I would be thrilled to see Allegro on Oct 7, so I hope this is not a typo error.

.https://www.vogue.com/article/new-york-city-ballet-fall-gala-2018 Here are some photos from the gala. Of particular note is photo number 4 of Tiler Peck and her smokin' hot date, model Tommy Dunn. Based on their public instagram accounts, they have attended a number of recent events together.

That's very true, and it's the case for many Balanchine ballets. You can only see the Balanchine geometry - the patterns and formations - from higher up. I recently sat up in the fourth ring for Jewels, and the difference in perspective helped enhance my appreciation of the placement and formations of the corps. I'm not complaining about sitting in the lower rings, but there should be more freedom of choice regarding seating locations. Audiences were robbed of this when Ms. Brown and Peter Martins decided to close half the theater on most nights.

Yes, this is completely true. We keep seeing the same few principal men filling in everywhere. How long before one of them is injured from being overworked?

On Sunday this program ran 3 hours because we had a mandatory See The Music lecture, which added about 15-20 minutes to the performance time. Carousel is a 15 minute ballet, so why did we need a 20 minute intermission before and after it? I suspect that when this was originally scheduled, the plan was to show Allegro, Easy and Carousel, have one 20 minute intermission, and then begin Sylphide. Due to Adrian DW's injury, however, Tyler Angle had to perform the leads in both Allegro and Carousel, so they decided to add an intermission before Carousel for all performances of this program. Under normal circumstances they would have had Catazaro doing Carousel. Since they now have a bare bones staff of male principals, they had to alter the timing of the program. The dancing in all of the ballets was first rate, although Tyler Angle is, in my opinion, an odd choice for Billy.

Interesting that Wendy stayed away from City Ballet for a period of time because she said she could not watch others doing her old roles. (That was either in an article or in her film Restless Creature.) Recently, there have been many sightings of her at NYCB shows. I saw her at the opening night of Jewels last week. And based on the post above she attended last night's gala. Hmmm.

I did not go. However, from reading Alastair Macaulay's instagram, it's clear that Russell Janzen replaced Adrian DW in the new Neenan work last night.

Thanks for posting the Macaulay photos and info. From reading his post, it appears that Russell Janzen replaced Adrian DW last night in the new Neenan work.

Not necessarily. The amended complaint was only filed last week, and he would filing an answer to the amended complaint, not the original complaint. Also, extensions to file are routinely granted.

Here are some photos of the costumes and makeup for the new ballets: https://wwd.com/fashion-news/fashion-features/fashion-new-york-city-ballet-1202844354/ I'm trying to keep an open mind, but some of the costume and makeup choices appear to be distracting and awful.