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Spring 2015: Romeo and Juliet


Helene

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Best seat for Romeo and Juliet in the orchestra? Better to be far away and center or closer and off to the side? The seats they gave me are the former. There aren't many seats left but enough, if they let me exchange. If this tells you anything, I have sat in both the most expensive parterre seats for Don Quixote and a few rows back to one side, and I preferred up close. I don't know if that would be true across the board or if it had anything to do w/ Don Quixote in particular. With R&J, I imagine the choreography is more subtle and acting more extreme, but I don't know. I should also mention, I much prefer to pas de deux and solos to choreography with large groups (except the swans in SL. But peasants dancing leave me cold. Think the first act of Giselle.)

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R&J you'd probably want to be close. some of the expressions during the pas de deuxs are best seen up close, IMO.

However, you don't want to sit on the right side of the audience because you'll miss some of the most beautiful moments in the balcony scene. How far back are you?

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I'm in Row S! And it's Eugenia Obratzova. If they don't let me switch, I might sell them and buy closer ones on the left. They put me in row G for Giselle, which I'm happy about, row X for Sleeping Beauty, which is very far back, but I'm less concerned as I really want to see Obratzova's Juliet up close, whereas I'm ok to take in the whole scene for Sleeping Beauty from a distance. Very silly of me not to check until now, of course, but there you have it. For $125, I didn't think it was possible to go as far back as X. It's less than I usually pay for orchestra prime, but not by much.

Thank you for the advise re: the balcony scene. So I want to sit on the left side of the audience and the right side of the dancers?

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I'm in Row S! And it's Eugenia Obratzova. If they don't let me switch, I might sell them and buy closer ones on the left. They put me in row G for Giselle, which I'm happy about, row X for Sleeping Beauty, which is very far back, but I'm less concerned as I really want to see Obratzova's Juliet up close, whereas I'm ok to take in the whole scene for Sleeping Beauty from a distance. Very silly of me not to check until now, of course, but there you have it. For $125, I didn't think it was possible to go as far back as X. It's less than I usually pay for orchestra prime, but not by much.

Thank you for the advise re: the balcony scene. So I want to sit on the left side of the audience and the right side of the dancers?

correct! left side of the audience!

S isn't too bad. I'm sitting in row R (center) for Giselle, and I'll let you know how the seats were. I actually see some recent left-orchestra seats in row M for Obratzova's Juliet... and I have a similar ticket for another Giselle show this weekend. After I sit in both I'll give you my assessment!

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Has Hee Seo always had back to back performances of Juliet on the 15th and 16th? Was Semionova in that spot? Crazy to have her dance two nights in a row.

Semionova had originally been scheduled for opening night on the 15th.

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correct! left side of the audience!

S isn't too bad. I'm sitting in row R (center) for Giselle, and I'll let you know how the seats were. I actually see some recent left-orchestra seats in row M for Obratzova's Juliet... and I have a similar ticket for another Giselle show this weekend. After I sit in both I'll give you my assessment!

Thank you so much! Very much appreciated. Enjoy! I've seen Giselle before, but only at the Kennedy Center. I'm fine with those seats, it's SB and R&J I want to change. But R&J is much more important to me. For SB, I am fine to see the corps, they patterns, to take in the tableau in it's entirety. For R&J, the acting and the detail of Obratzova's expressions and movement matter more. My seats for the opening/ 75th Gala weren't great, but I bought them only several days before on a whim, so it was to be expected. I bought these the day they went on sale and invested- it's important!

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Thank you so much! Very much appreciated. Enjoy! I've seen Giselle before, but only at the Kennedy Center. I'm fine with those seats, it's SB and R&J I want to change. But R&J is much more important to me. For SB, I am fine to see the corps, they patterns, to take in the tableau in it's entirety. For R&J, the acting and the detail of Obratzova's expressions and movement matter more. My seats for the opening/ 75th Gala weren't great, but I bought them only several days before on a whim, so it was to be expected. I bought these the day they went on sale and invested- it's important!

M7 was great for Giselle -- could see the entire stage and facial expressions. I would recommend moving to a similar seat if you can for R&J

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The orchestra section is SOLD OUT for Misty Copeland's R&J.

She is definitely being made principal at the end of this season, whether we like it or not!

Um, just checked her Swan Lake and everything but balcony and family circle is sold out. Wow.

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The orchestra section is SOLD OUT for Misty Copeland's R&J.

She is definitely being made principal at the end of this season, whether we like it or not!

I'm surprised they don't give Misty one of Seo's back to back Juliet's. Then ABT could make even more money.

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I'm surprised they don't give Misty one of Seo's back to back Juliet's. Then ABT could make even more money.

I know that this is crazy and has nothing to do with money but I wish they'd give it to Sarah Lane. She learned it. Has an amazing look for it. I just don't get why they don't give it to her.

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I know that this is crazy and has nothing to do with money but I wish they'd give it to Sarah Lane. She learned it. Has an amazing look for it. I just don't get why they don't give it to her.

Lane would be a natural and gorgeous Juliet but Mckenzie clearly doesn't like her.

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I know that this is crazy and has nothing to do with money but I wish they'd give it to Sarah Lane. She learned it. Has an amazing look for it. I just don't get why they don't give it to her.

I completely agree. But artistic integrity means squat to KM, it's all about that star strategy.

I'll lose it if Osipova withdraws and they replace her with....wait for it....poor Hee Seo.

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I completely agree. But artistic integrity means squat to KM, it's all about that star strategy.

I'll lose it if Osipova withdraws and they replace her with....wait for it....poor Hee Seo.

Read that first statement and the second and apply logic.

He pushes Hee Seo. He cares only about big stars.

This makes no sense. One of the narratives on this board is clearly wrong, or at least flawed.

I don't particularly like Hee Seo, and I know ABT does rely on the star system to an extent (this is NOT particular to him--it has gone on at ABT forever, and I notice pretty much everyone likes the star system to an extent when it is stars they themselves love).

But to say he doesn't give dancer X or Y a chance because of the star system, and in virtually the same breath complain about too many chances being given to people like Hee Seo (and Isabella Boyston...or even Misty, who yes is a star in the eyes of many but has certainly put in her time toiling in the company ranks) is illogical to say the least. Hee Seo is not a star, she is probably the principal with the least star power.

Also can we at least say something like "if Osipova is forced to withdraw"

She had a fairly catastrophic fall in Giselle, it was not clear if she could get up, and when she did she was horrifically unsteady on her feat. She did finish the ballet (mostly partnered work) like a professional but it was obvious she was not 100% and she was visibly limping and having difficulty walking at curtain calls.

One is of course entirely correct in calling her action with regards to Bayadere "withdrawing" --it is what she did, but it is not as if she chose to do so, and given all the moaning and rending of hair about cast changes it would be nice if that was made clear.

I'm sure she would have preferred to not have fallen, not be injured, and to be able to perform as scheduled.

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Read that first statement and the second and apply logic.

He pushes Hee Seo. He cares only about big stars.

This makes no sense. One of the narratives on this board is clearly wrong, or at least flawed.

I don't particularly like Hee Seo, and I know ABT does rely on the star system to an extent (this is NOT particular to him--it has gone on at ABT forever, and I notice pretty much everyone likes the star system to an extent when it is stars they themselves love).

But to say he doesn't give dancer X or Y a chance because of the star system, and in virtually the same breath complain about too many chances being given to people like Hee Seo (and Isabella Boyston...or even Misty, who yes is a star in the eyes of many but has certainly put in her time toiling in the company ranks) is illogical to say the least. Hee Seo is not a star, she is probably the principal with the least star power.

Also can we at least say something like "if Osipova is forced to withdraw"

She had a fairly catastrophic fall in Giselle, it was not clear if she could get up, and when she did she was horrifically unsteady on her feat. She did finish the ballet (mostly partnered work) like a professional but it was obvious she was not 100% and she was visibly limping and having difficulty walking at curtain calls.

One is of course entirely correct in calling her action with regards to Bayadere "withdrawing" --it is what she did, but it is not as if she chose to do so, and given all the moaning and rending of hair about cast changes it would be nice if that was made clear.

I'm sure she would have preferred to not have fallen, not be injured, and to be able to perform as scheduled.

I'm not faulting Osipova by saying she "withdraws"

Whether one withdraws from injury or because they withdraw for other reasons, they are still withdrawing. That is not being negative towards Osipova or faulting her, it's the truth.

The star strategy is not a myth. Their own CFO discussed it openly. Several of the retiring dancers have openly discussed it.

As for KM's reliance on Seo, no one quite understands it. I agree she is not a "star" ( although I actually enjoy her dancing in some roles). She's the fallback option for KM when his star strategy falls through (for whatever reason). She gets a ton of performances thrown on her, increasing her risk for injury, when the problem could be solved by giving more of the soloists and talented corps members a shot at learning these roles. What happens if Seo needs to pull out for whatever reason? A company as talented and esteemed as ABT should have many dancers (FROM WITHIN THE COMPANY) that can fill in on a moment's notice.

You don't see the Mariinsky calling around the outside world when one of their stars get injured.

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Also can we at least say something like "if Osipova is forced to withdraw"

She had a fairly catastrophic fall in Giselle, it was not clear if she could get up, and when she did she was horrifically unsteady on her feat. She did finish the ballet (mostly partnered work) like a professional but it was obvious she was not 100% and she was visibly limping and having difficulty walking at curtain calls.

One is of course entirely correct in calling her action with regards to Bayadere "withdrawing" --it is what she did, but it is not as if she chose to do so, and given all the moaning and rending of hair about cast changes it would be nice if that was made clear.

I'm sure she would have preferred to not have fallen, not be injured, and to be able to perform as scheduled.

Good point. Though I'm sure the fact that she started off the season with a withdrawal from Sleeping Beauty (from a performance that had been publicized for many months, and one that seemed doubtful to ever happen, given the idiosyncrasies of the Ratmansky choreography) left a sour taste in many BA mouths. Which is not to excuse the tendency you're deriding, just to offer a bit of explanation.

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I'm not faulting Osipova by saying she "withdraws"

Whether one withdraws from injury or because they withdraw for other reasons, they are still withdrawing. That is not being negative towards Osipova or faulting her, it's the truth.

The star strategy is not a myth. Their own CFO discussed it openly. Several of the retiring dancers have openly discussed it.

As for KM's reliance on Seo, no one quite understands it. I agree she is not a "star" ( although I actually enjoy her dancing in some roles). She's the fallback option for KM when his star strategy falls through (for whatever reason). She gets a ton of performances thrown on her, increasing her risk for injury, when the problem could be solved by giving more of the soloists and talented corps members a shot at learning these roles. What happens if Seo needs to pull out for whatever reason? A company as talented and esteemed as ABT should have many dancers (FROM WITHIN THE COMPANY) that can fill in on a moment's notice.

You don't see the Mariinsky calling around the outside world when one of their stars get injured.

I think this is another good point. The star strategy and the Seo conundrum are indeed related. If a company is going to survive with a star strategy in place, it at least needs to ensure that a healthy, full roster of company dancers is still being cultivated. The two must work in tandem, and I don't think it's illogical to find fault with both sides of the strategy when neither side is being instituted in a manner that's really functional and workable for the long term.

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I know that this is crazy and has nothing to do with money but I wish they'd give it to Sarah Lane. She learned it. Has an amazing look for it. I just don't get why they don't give it to her.

I absolutely second that! I've heard mixed comments about Sarah's dancing in the sub-forums, but the three times I've seen her, most recently Wedneday night's Giselle, she's quite lovely.

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I'm not faulting Osipova by saying she "withdraws"

Whether one withdraws from injury or because they withdraw for other reasons, they are still withdrawing. That is not being negative towards Osipova or faulting her, it's the truth.

I made it extremely clear that what you said was the "truth." I just pointed out there was a way to very easily express that at least in the case of Bayadere and any possible further withdrawals, there was a clear and unfortunate reason for it. Given how incensed people have been over changes to casting, using 2 extra words to make that explicit would just be a nice thing to do.

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I made it extremely clear that what you said was the "truth." I just pointed out there was a way to very easily express that at least in the case of Bayadere and any possible further withdrawals, there was a clear and unfortunate reason for it. Given how incensed people have been over changes to casting, using 2 extra words to make that explicit would just be a nice thing to do.

I'm not one of the incensed over cast changes, though (except for the invitation to Cojucaru, because at that point, they DID have time to teach that role to an in house ballerina).

One of the casting changes (which was unfortunately due to injury) allowed me to see one of the most exquisite Giselles I've ever seen.

I really love ABT, and I just think it's a shame that the loyal soloists and corps members (who work their butt off for the company, day in and day out) are not rewarded the way they should be. No disrespect intended for the guest artists who are wonderful dancers.

Just to make clear: not complaining about injury withdrawals, I'm complaining about the way they are handled.

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