abatt

Not surprised she's injured. She KILLED IT in Russian Seasons on Thursday. It was a magnificent performance. Wishing her well. Anyone know who will replace Mearns tonight?

Thanks for the info on the live stream.

https://www.nytimes.com/2018/02/02/arts/dance/jacques-damboise-national-dance-institute.html?rref=collection%2Fsectioncollection%2Fdance&action=click&contentCollection=dance&region=rank&module=package&version=highlights&contentPlacement=1&pgtype=sectionfront If anyone goes to this upcoming lecture, Balanchine Guys, please report. Sounds fascinating.

I was there last night for the debut of the Walker ballet. I thought it was much better than his first ballet for the company. It was attractive and conventional. It's not something I would mark my calendar for to seek out, but it's not something I would intentionally avoid either (like Spectral Evidence). It looks derivative of many other ballets, particularly some Wheeldon ballets, in terms of the partnering manipulations. I had not seen Red Violin since it's debut. Now there's a ballet I don't need to see again- ever. The only masterpiece on the roster last night was Russian Seasons. Mearns gave a tour de force performance as a young girl who is being forced to marry against her will. Amazing and unforgettable. I think she would be a fascinating choice to lead Les Noces when it returns in the Spring.

Just noticed that next week's casting has been updated. Veyette is replaced in the Fall section of Four Seasons by Catazaro. That part requires a virtuoso. Catazaro is a fine dancer in many respects, but he is no virtuoso. They should give that part to Huxley. The casting is particularly lopsided because the other leads in Fall are Bouder and Meija, both of whom are virtuosos.

We're talking about all the people that were interviewed by the Times complaining or alleging that Martins had either sexually harassed them, or physically assaulted them. Presumably those people, and others, were interviewed by the law firm conducting the investigation. It's not a question of guilt by association. If the allegations are deemed to be true after the investigation, who within management knew or should have known about the misconduct that occurred.

Just because people are willing to subject themselves to misconduct to get ahead doesn't mean that the misconduct should be tolerated. There may indeed be a steady flow of applicants to SAB, but the alleged mismanagement at the school and the company needs to be addressed regardless of whether they have a continuous influx of student applications.. However, I don't agree that any info about whether Martins had some DUI's, had disputes with his wife, cheated on his taxes, jay walked, or destroyed private property when he was a teenager have relevance. The issue is whether he committed sexual misconduct or physical assault during the course of his employment. This is about the power of an employer or teacher over students and employees. It's the exact same power issue that was at the heart of the Weinstein, Lauer and Rose debacles.

The difference is that Martins rotated in new SL casts over time = Reichlin, and most recently Megan Fairchild and Tiler Peck. .

I had the exact same reaction. I think it's intentional because any mention of Copeland might get them an extra "click" on the article.

Actually, the only lead debut roles for the R&J casts are the two new Romeos, Coll and Walker. All of the Juliets are repeats from prior seasons. In fact, Tiler Peck, Sterling Hyltin and Erica Pereira have been doing Juliet since the production debuted in 2007. Perhaps this will be their last season in the role. It would be nice to see some new Juliets. I recall being pleasantly surprised by Lauren Lovette and Chase Finlay in the leads. However, when I saw them they were still engaged to be married. I wonder if the chemistry will be the same this time, since they split up.

I seek that Veyette has been replaced in all of his shows this week. He is apparently injured.

https://www.nytimes.com/2018/01/30/arts/dance/square-dance-balanchine-new-york-city-ballet.html?rref=collection%2Fsectioncollection%2Farts&action=click&contentCollection=arts&region=stream&module=stream_unit&version=latest&contentPlacement=1&pgtype=sectionfront An interesting article on Square Dance.

Let's assume for a second that Martins is guilty of everything he is accused of. Usually people who are abusive at work are enabled by others who have looked the other way and stayed silent. If all the charges are true, it's not enough that Martins is gone. There has to be a top to bottom investigation and accounting of who else at SAB or NYCB was an enabler, and what actions have to be taken with regard to those individuals.

I think transparency is much more important to SAB and NYCB in comparison to the Met because the alleged misconduct was committed against young people (teenagers and young adults) who were either students or employees at these institutions. (The claims against Levine involved conduct elsewhere, not at the Met Opera.) The life blood of these institutions of SAB and NYCB depend on parents who are willing to entrust that their young sons and daughters will be treated properly, and in order to move forward there has to be a full public accounting of exactly what happened. It cannot be swept under the rug.

I agree that NYCB may never publicly reveal the results of the investigation. However, since SAB is an institution which teaches and supervises youngsters at its school, and since NYCB employs minors as apprentices and in the corps, I think it is a grave mistake for them not to release the findings. Let's also not forget that these institutions are supported by both taxpayer funds and by donations, which also heightens the idea that the information should be made public. I don't think either SAB or NYCB can move on if the results are hidden from public view. Anything less than full transparency will leave a black stain on both institutions that will never be removed. If necessary, the names of the witnesses can be redacted from any report, but the conclusions of the investigation should be made public.

The investigation into Martins' behavior started on or about December 4. We are now almost at the two month mark since it started. Is the investigation complete? If so, what was the outcome?

Veyette and DeLuz are both cast in the upcoming high octane role in Fall of the The Four Seasons. Very much looking forward to seeing DeLuz again in this. By the way, Huxley was excellent in his debut in Year of the Rabbit, a role that I think was originated by DeLuz.

Whoever ends up as the new director, I hope he or she will give additional consideration to certain dancers who have been marginalized or written off. In particular, I'm talking about Laracey. She was the most exquisite Ballerina on stage in Divertimento. Also, why are Applebaum, Scrudato and certain other men languishing as permanent corps members. They were both far superior to Veyette in Divertimento.

I went to the program on Friday that had the Wind Will Carry Us, Composers Holiday, Spectral Evidence and Year of the Rabbit. I like Year of the Rabbit. It's a very well crafted work. Composers Holiday was also worth watching. But it was difficult to sit through Wind and Spectral, which seems to go on forever. That will be my one and only viewing of that program.

It's only the first week of the Winter Season, and Mearns did not perform on Tuesday, Thursday or Friday. Of course, I know they rehearse even on days they aren't scheduled to perform. If she's on weak legs at this early stage, that doesn't bode well. Since the error has been in the exact same spot twice, I tend to think that it's not fatigue, but a partnering or skills problem causing the repeated error in Chaconne. Mearns seems to have a lot of outside projects. Maybe it's time to cut back.

Yes, it was like deja vu all over again in Chaconne. The blooper was at almost the same spot as earlier in the week, as discussed with canbelto. Nevertheless, an exquisite program with almost uniformly wonderful dancing.

Agree with you 100 percent.

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Okay. I'll qualify. This is my interpretation of Martin's words. He spoke those very words about noticing dancers either in an TV or print interview a long time ago, but I can't place it exactly. Do we really think he was using code for sexual assault by expressing that sentiment in a public interview? I guess that sound could have been a gasp, but I thought that whatever sound it was came from the stage, not from audience.

I wish I could get an instant replay. The Mearns /Adrian mishap happened so fast it was hard to discern exactly what happened, but it was certainly NOT part of the choreography. I guess we'll have to see their next Chaconne together to compare and contrast.