abatt

Forgot to mention that I loved Miriam Miller in the third theme of 4T's. More please. Looking at the casting for the next few weeks makes me realize the abundance of talent in the company. Very much looking forward to seeing important debuts for Phelan, Gerrity and others. A few bold face names are missing from upcoming casting: Harrison Ball, Ashly Isaacs and Georgina Paz. Are they all on the injured list? correction: I see Georgina is doing West Side Story next week. Glad to see her back on stage.

For me, the clear highlight of both Tuesday and Wed evenings was Maria Korowski. She was outstanding in Concerto B. on Tuesday and as the lead muse in Apollo last night. Elegance, grace and refinement are the best adjectives to describe her dancing. She and Russell Janzen look spectacular together in Concerto B. I thought Chase Finlay looked better as Apollo than in the winter. He is becoming more and more comfortable in the role, and he didn't seem as winded as he did during the winter season. However, he still has a lot of work to do in Agon. His performance with Reichlin in the Agon pdd was completely lacking in tension and excitement. This is the blandest Agon couple I've ever seen. Agree with everyone that DeLuz and Peck were thrilling Tschai pas.

Maria Korowski's belt once came undone on stage during one of the leotard ballets. She tried to ignore it, but it was not possible, so when she was near a stage wing she took it off and quickly threw it into the wings.

https://www.nytimes.com/2017/09/22/arts/dance/megan-fairchild-swan-lake.html Here was the article. It does not give his name, but provides some general info about Megan's boyfriend, where they live and how they met.

There was an article about Megan and her boyfriend in the NY Times a few months ago.

Great news. So glad she was able to navigate her way through the Veyette betrayal and find happiness. I guess this means that she will not be dancing with DeLuz at his farewell in October. She was his most frequent partner.

I would love to see the RB's Mayerling. I wonder if there is any plan to visit NYC

Boylston was doing Gamzatti for a few years, and she was good in the role. I don't see her a Nikiya at all. I saw Boylston's Giselle last year, and I thought it was technically very strong. She excels at jumping and spinning. However, she is not a lyrical or dramatic dancer, so that aspect of her performance was less satisfying.

Tiler Peck was the only female principal dancer who did not appear at R. Fairchild's farewell in October. Draw your own conclusions as to whether R. Fairchild was "open abut his preferences" with her.

It makes sense to raise the price of the lowest priced tickets, although in the aggregate I'm not sure that price increase really amounts to much in terms of the company's overall financial health. However, in the past I've seen many, many NYCB programs on tdf, so they have trouble selling the high priced tickets for many programs. Increasing the prices doesn't seem to make sense for the higher priced tickets. Oh well. I guess even more tickets will end up on tdf or at the half price line across the street at the Atrium.

Notice that there is also no new Troy Schumacher ballet next year either. He was getting a new ballet almost every fall season the past few years under Martins.

they were rehearsing Don Q pdd in the video posted by Boylston

Prices are increasing for next season. I see that the lowest priced ticket is now $35 plus facility fee. For the past few seasons the lowest price point was $30 plus facility fee. It appears that every ticket price point has increased. Looks like the interim AD's really like Bigonzetti. In addition to bringing back Oltremare, they are also reviving his In Vento.

The NYTimes called Amar's performance in Carousel "electric". I'm guessing that he is going to be nominated as best supporting actor in a musical when the Tony noms are announced next month. I don't think we will see him back at NYCB during the Fall season or Winter seasons.

Justin Peck was apparently in charge of some programming. I think that might explain why Times are Racing appears on 3 programs. Yes, actually, it is very popular. Although I'm not a fan of this ballet, I thought it looked much less exciting without Robert Fairchild. Ashley Isaacs doesn't have the charisma to pull off R. Fairchild's role.

Jewels returns. Excellent. DeLuz's retirement is on the final day of the fall season. Program TBA, but it looks like they are reviving Prodigal, Other Dances and Fancy Free around that time. Any or all are likely for his farewell.

All info re next season is now available on the nycb website.

I guess I'm cynical, but since Justin Peck was in charge of or instrumental in selecting the last two new works, it was unlikely that Peck would pick a competitor within NYCB to make a new work. Also, Lovette's work has been okay, but it has not been groundbreaking or exceptional in any way. If part of the goal is to increase diversity, it made sense that they would choose Abraham, who also happens to be a MacArthur Genius award winner.

La Sylphide and Sleeping Beauty to be revived next season. New choreography is discussed in the attached article. Not much other substantive info revealed. The article is mostly about the trials and tribulations of planning the season by the interim directors. Oh, and the search for Martins' replacement is in the "early" stages. https://www.nytimes.com/2018/04/16/arts/dance/new-york-city-ballet-new-season.html?rref=collection%2Fsectioncollection%2Farts&action=click&contentCollection=arts&region=stream&module=stream_unit&version=latest&contentPlacement=1&pgtype=sectionfront

A rave review. https://www.nytimes.com/2018/04/12/theater/carousel-review-broadway.html?rref=collection%2Fsectioncollection%2Farts&action=click&contentCollection=arts&region=stream&module=stream_unit&version=latest&contentPlacement=1&pgtype=sectionfront

I've seen dancers start again if the first 2 or 3 turns go wrong. That should be plan B.

Damian Woetzel has appointed Alicia Graf as the new director of the dance division at Julliard. Great choice. https://www.nytimes.com/2018/04/10/arts/dance/alicia-graf-mack-juilliard-dance-division.html?rref=collection%2Fsectioncollection%2Farts&action=click&contentCollection=arts&region=stream&module=stream_unit&version=latest&contentPlacement=2&pgtype=sectionfront

When she refers negatively to audience members who come into the theatre as a critic armed with judgment, she is really talking about audience members who come into the theatre armed with knowledge of the choreography, a background of having seen the choreography executed by others over a period of years, and knowledge of the history behind the choreography That's not being armed with judgment. It's being armed with education and information. Big difference. She should be listening to McKenzie and her coaches, not audience member or critics. I wonder what McKenzie and her coaches are telling her, if anything.

https://www.nytimes.com/2018/04/03/arts/dance/jack-ferver-everything-is-imaginable.html?rref=collection%2Fsectioncollection%2Farts&action=click&contentCollection=arts&region=stream&module=stream_unit&version=latest&contentPlacement=1&pgtype=sectionfront James Whiteside channels Judy Garland.

I once saw an interview with Ramasar on PBS's NYC Arts program, in which Ramasar said that throughout his childhood he loved acting and was involved in acting projects. He said it was very difficult for him to choose between going to SAB to pursue a career in ballet or pursuing acting. Acting has been a lifelong passion for Ramasar, not something he is now first experimenting or dabbling in. I