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ksk04

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About ksk04

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    Silver Circle

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    dancer
  • City**
    los angeles
  • State (US only)**, Country (Outside US only)**
    ca

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  1. I got on about an hour ago, after I saw your message California. I got tickets into my cart but then a big mess with my password that wouldn't work (despite it being correct). When I called, the guy said they weren't actually releasing them online for another hour so he was surprised I could even add them to my cart? Seems like a series of unfortunate technological mishaps, but I did get one date (so far) by phone.
  2. Oh come on, that's just cruel substitution on Friday evening!! I mean I'm happy for Stella to get an additional performance but...🤐
  3. Finally here! Thursday, January 17 at 7:30 p.m. Isabella Boylston James Whiteside Gillian Murphy Thomas Forster Friday, January 18 at 7:30 p.m. Sarah Lane Alban Lendorf Stella Abrera Calvin Royal III Saturday, January 19 at 2 p.m. Skylar Brandt Daniil Simkin Hee Seo Alexandre Hammoudi Saturday, January 19 at 7:30 p.m. Cassandra Trenary Tyler Maloney Christine Shevchenko Blaine Hoven Sunday, January 20 at 1 p.m. Isabella Boylston James Whiteside Gillian Murphy Thomas Forster Luckily I have Friday night tickets already!
  4. ksk04

    ABT in D.C. - Jan 2019

    So the SCFTA dates are two weeks before this, yet we get no casting for that? Grumble grumble. I guess I see who the casts will likely be, but I need dates!
  5. While I am happy to hear the union is involved, I don't know that this expresses any particular moral or ethical stance by the union regarding their "alleged" behavior. This is part of the contract, to have representation and ensure due process. I could be complained about at work and my union would still need to provide me with representation in any grievance whether or not they thought I was guilty or at fault; the point is that they ensure the processes outlined in the contract are upheld. The union may end up advocating in both sides of this: if there was a violation of the contract with the firing of Catazaro/Ramasar (if if if) AND if the dancers complain about the work environment and want the union to be involved with ensuring a harassment free workplace/code of conduct/whatever (if if if).
  6. I understand now, thank you. I do wonder about the "revenge porn" law that several people have referenced though and whether that could apply to the other men...I'm sure there are a lot of nuances for the law that are difficult to assess for a lay person.
  7. I'm a little confused about the slight writing off of Ramasar and/or Catazaro's behavior because they "only" or "simply" shared images (and yes I read the lawsuit). This is a much larger violation than the fifth-grader sex banter these guys had. If a colleague sent me nude pictures of someone we worked with, my first impulse wouldn't be to reciprocate but rather report them to HR and tell the poor naked colleague what was going on.
  8. This is so much more horrible than what I was expecting. I am shocked that Ramasar and Catazaro are only being suspended, especially considering that many female dancers at NYCB were potentially violated. edit: reading the court documents, the allegations about other behavior (like the rehab, domestic violence, rape, assault) are even more horrific.
  9. I would imagine that any dancer who has been reprimanded for even a whiff of inappropriate behavior is exactly who SAB wouldn't want to welcome to avoid potential legal issues of them being around minors, especially since the company seems to be very focused on appearing pro-active after the Martins stuff. But that's just my thinking--perhaps it will be different.
  10. They are doing Mayerling, though, in addition to the new McGregor work you posted about, unless something has changed: https://www.musiccenter.org/tickets/events-by-the-music-center/Glorya-Kaufman-Dance/1819-season/royal-ballet/
  11. ksk04

    2018 Nutcracker - Costa Mesa

    I already rolled the dice with my subscription and have tickets--not sure how I have been able to "select" Copeland's shows so well without casting two years in a row now, but I will be exchanging into Lane and/or Shevchenko. Have to decide if I want to keep the Abrera ticket or not--love her, love her in the role, but haven't been able to work out seeing Sarah Lane as Clara since the Nutcracker decamped here.
  12. Thanks for the info everyone! I guess it shows I don't do the Instagram thing...
  13. I keep going back and forth with this because last I checked tickets were still available, but ultimately want to know what they are dancing (can't take another evening like Isadora so soon after the last). There's no one I want to see enough to throw so much caution to the wind.
  14. Josette, I thought the same thing and my mind started wandering to what other horrors the season subscription holds. I do agree it was nice to hear the Prokofiev score instead of something atrocious; I just kept replaying moments from Ashton's Cinderella in my head. Some of the interview from the Press Telegram article makes no sense. For example, " Varnava emphasized that his examination of Duncan, set to the score of Sergei Prokofiev’s “Cinderella,” isn’t strictly autobiographical. He’s more interested in her art and legacy. 'There is so much to explore besides the details of her life, which I think are sometimes paid too much attention. I’m more interested in what she achieved as an artist.'" I saw literally nothing of what Duncan achieved "as an artist" in this production. All it seemed to do was explore, poorly, details of her life? Whatever...
  15. I'm putting my impressions on Isadora here, I guess. Basically as expected based on the promos, past experiences with Ardani productions, and the last Osipova solo vehicle. I feel like I cannot give an unbiased judging to choreography whose main vocabulary is squatting, flex feet, jutting legs, and turned in legs as a stand in for emotional expression. There were really absurd parts to the narrative (the giving birth in car scene comes to mind) and the character of Isadora never feels like a person who is making any of her own decisions; in the ballet she is directed from one scene to another, sort of haplessly, by (I think) a Terpsichore figure. Having it danced to the score of Cinderella was extra disappointing as I can see better choreography in my head throughout the whole evening. I am not an expert on Duncan's dancing but I have read a bit about her, seen "the clip" of her on Youtube, and also Ashton's 5 Brahms Waltzes and I didn't see anything of the lightness and freedom I associate with Duncan in this piece (which are also qualities of Osipova, no?). Even when she jumps there is some nonsense flexed foot which takes away any of the lightness. The whole evening seemed to make Osipova as ugly and ungainly as possible. Lots of strained emoting. There's a fairly large supporting cast for something like this and lots of costume changes. I'm glad Veronika Part can cash this paycheck but that is about as much as I can offer on her. She is there as a satire of a ballerina and given terribly clunky, unballetic (imo) choreography and a gaudy costume. I enjoyed fleeting moments of her port de bras, but overall lackluster. As usual, it seemed like people loved it. Standing O, etc. I hope someone else can share their opinion!
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