abatt

I agree with this statement. It wasn't merely the absence of the fouettes that made this an extremely weak performance. Copeland tries to hit her positions on time with the music, but there is no grace, beauty or fluidity in her phrasing. Her movement style is stacatto - not what you would ever want in SL. Unfortunately, since Cornejo is Copeland's regular partner now in SL, I will probably not see Cornejo again in SL. Such a shame to pair the best classical male principal with the worst female principal.

Bingo! This is ABT's solution to another video potentially leaking out demonstrating that Misty is not able to perform fouettes.

I was there only for the acts after the intermission (acts III and IV). This was my first Copeland SL, and it will definitely be my last. I really went to see Cornejo, because I have my doubts about how many more years he has left. Copeland has given up even attempting any fouettes. She now enters stage left and simply does chaine turns for the duration of the music. As noted, she lost speed at the end. The audience didn't seem to know that the choreography was changed, or they didn't care.

https://pagesix.com/2018/06/19/michael-jackson-musical-coming-to-broadway-in-2020/ Chris Wheeldon will direct and choreograph a new musical about Michael Jackson on Broadway. The show will debut on Broadway in 2020.

Interesting how any time Hallberg or Copeland sneeze, there is a piece in the NY Times about it. Cirio's departure didn't get any mention.

I haven't seen this production of Angels yet, but you are underestimating Nathan Lane as an actor. His calling card has been in musical comedy, but in recent years he has taken on more dramatic roles with success. The NY Times, in its review of Angels, said that Lane's Cohn was a "career high". .

Watching the performance from the Band's Visit, I felt that Lenk could barely sing. I was surprised how well Lauren Abrose could sing. Have not yet seen MFL.

https://www.nytimes.com/2018/06/11/books/review/henry-alford-and-then-we-danced.html?rref=collection%2Fsectioncollection%2Farts&action=click&contentCollection=arts&region=stream&module=stream_unit&version=latest&contentPlacement=2&pgtype=sectionfront Apparently Misty is now writing book reviews for the NYTimes.

I have no specific information on why Misty is not appearing in Harlequinade. However, I can offer these facts about her Sat evening performance of Bayadere. She only completed 4 Italian fouettes in her big solo for Gamzatti, and filled out the rest of the music by doing something else. In that same solo, she only completed a few regular fouettes, and then filled in the rest of the music by doing something else. The audience cheered anyway: either they were completely unaware of the standard choreography or they knew but didn't care. I don't think Ratmansky takes kindly to alterations of his choreography, whereas it seems to be standard practice now to permit alterations of works of classical choreography at ABT. Petipa can't say no to these alterations. (Boylston and Cirio were excellent in Bayadere.)

Although there was no review in the paper, Macaulay did write about the Teuscher/Ahn performance on his public instagram account. He saw the debut at the Wed matinee. He had very positive things to say about both the leads. I don't recall any mention of Gamzatti. Correction: He did also comment positively on Shevchenko's Gamzatti.

Maybe when Hallberg decided he could no longer perform Solor, ABT and Mariinsky did a swap - we'll loan you Kimin Kim for Solor, and you loan us Hallberg for Albrecht.

Ditto Harrison Ball.

Hamrick has been injured. She returned for one performance of Giselle, but seems to have been absent after that due to injury.

In prior years McKenzie went completely overboard in relying on guest artists, many of whom were unreliable. Now the plan seems to be that the school is going to produce a pipeline of talent for ABT if we are patient. However, I do not believe that the JKO school attracts the best talent, so I don't think the JKO pipeline is going to be a source of abundant talent in the future. I think the best dancers flock to other more prestigious schools, not the JKO school. While I like a lot of the new dancers who are rising within the company, it is highly questionable whether they will ever become superstars who will sell massive numbers of tickets. People are looking to attend "events", and the Osipova Hallberg performance was such an "event".

Yes, there are people who bring their own cushions. I'm not talking about people in wheelchairs; I'm referring to people who are 100 percent mobile on their own two feet. As far as I know, the bag inspectors don't care. They are looking for weapons, not cushions.

I know people who always bring their own cushions. It's a small investment if you attend performances regularly.

I don't think it's necessarily that the audience is bored by the rep. I think they are bored by the dancers. to a large extent. It's no coincidence that the only show that has sold out during the season was the Osipova Hallberg Giselle.

https://www.nytimes.com/2018/05/31/arts/dance/new-york-city-ballet-dancers-graduate-from-college.html?rref=collection%2Fsectioncollection%2Farts&action=click&contentCollection=arts&region=stream&module=stream_unit&version=latest&contentPlacement=1&pgtype=sectionfront Wonderful article about the college graduates of NYCB for 2018. In additon to Dieck and Lowery, Likolani Brown is also retiring and pursuing a medical career. Abi Stafford will be going part time to St. John's law school in the fall.

I never worried about Gordon being able to pull off the solos. I'm more concerned about the difficult partnering in the final act.

I was sitting in the orchestra on the right side. I could see something protruding in the area where she tripped during the entire second act, even before she tripped. In fact, the protrusion was so obvious I thought to myself that someone was bound to trip on that before the show is over. Sure enough, several minutes later Hee tripped. The protrusion appeared to be part of the set. Her accident had nothing to do with Bolle.

I thought the choreography looked like most of the other McGregor works I've seen in the past. He uses the same jerky overwrought movement style, but the bells and whistles change - the set design, the lighting, the "concept".

The fact that the gas chamber was the means used to exterminate an entire race means that any depiction of the use of a gas chamber on stage, in film or in other contexts should be undertaken with sensitivity and thought. I've seen scenes in films like Schindler's List and Life is Beautiful where gas chambers were depicted, but those films were addressing the Holocaust. In those instances, it seemed appropriate as part of the story being told. In contrast, the McGregor chamber appears to be a terrarium or greenhouse throughout the entire work, until the very end when it suddenly becomes a gas chamber. If Howard Stern is the shock jock, I guess Wayne McGregor is the shock choreographer With ABT's apparent blessing, McGregor decided that a device that killed millions could be used to serve his desire for a coup de theatre.

This is not good news for dancers who deserve promotions, unless the interim team plans to take on that task.

Watching an adult woman dance herself to death by jumping around and up and down seems far less terrifying for a child than watching an actual little girl be placed in a gas chamber and gassed to death. Also, people have been referring to kids who read Lord of the Flies and the Lottery. When you read a book you use your imagination. That's a completely different experience from a child sitting in a theater and seeing a little girl on stage placed into a sealed box and gassed.

Schindler's List had an R rating, so I assume the school obtained the permission of parents before allowing 8th graders to see it. Is that the case?