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Helene

New York City Ballet Fall Season

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20 minutes ago, Helene said:

He's not in the closet. 

Not all out people divulge details about their private lives, and some who had in the past have decided not to anymore, which is their right.  

Agreed on your second sentence, but the first seems at least debatable. He only ever divulged details in a very veiled manner, from what I recall, and he's since deleted those references. I think it's at least arguable that he remains "in the closet" in at least some sense. The closet is not always something one is definitively IN or OUT of, as queer theorists have explored at great lengths. For instance, one can be "in the closet" in certain spheres of one's life and "out of the closet" in others.

Edited by nanushka

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42 minutes ago, vipa said:

Just a few years ago, Veyette did some amazing performances of Theme & Variations as well as Oberon in Midsummer. It saddens me to see him in the shape he is currently in.

Re: Veyette because I was there one awful night he was doing Donizetti Variations. He landed hard on a jump, you heard something CRACK from the audience, and he limped offstage. Ashley Bouder improvised the rest of the ballet on her own, and constantly looked into the wings. He never came out for curtain calls. He has never been the same since.

Edited by canbelto

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Guys I really apologize I accidentally deleted the farewell video from my own channel. I reuploaded it:

 

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Thanks for posting the curtain calls.   What a great occasion!

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Thanks for posting this, Ivy.  This video is  wonderful for those of us who couldn't see it in person.

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Tess Reichlen picking up Joaquin will never not be adorable. I also must say that NYCB knows how to seem like a happy family when doing farewells. This has not been the case with some recent ABT farewells, which had glaring no-shows and general awkwardness.

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9 minutes ago, canbelto said:

I also must say that NYCB knows how to seem like a happy family when doing farewells. This has not been the case with some recent ABT farewells, which had glaring no-shows and general awkwardness.

If it says anything at all about the actual respective levels of morale in the two companies that’s a pretty remarkable statement about ABT, given the currrent circumstances at NYCB.

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5 minutes ago, nanushka said:

If it says anything at all about the actual respective levels of morale in the two companies that’s a pretty remarkable statement about ABT, given the currrent circumstances at NYCB.

I don't know how much this impacts on company morale/connectedness but in NYCB everyone spends time in the school. They've been in summer intensive's together, shared dorm life at the school - grew up together in a way. They share life goals and accomplishments. Every woman has been in the corps and experienced the crazy long Nutcracker season. I don't know if this is a factor in company cohesion, I'm just putting the possibility out there. 

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NYCB also has a much, much longer season where everyone is together. I think it's the longest season for an American ballet company. Fall season, the craziness of Nutcracker season, winter season, spring season, touring in the summer. So whether you like these people or not, you have to find a way to be in the same space as them because guess what, you're stuck with them. 

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21 minutes ago, canbelto said:

NYCB also has a much, much longer season where everyone is together. I think it's the longest season for an American ballet company. Fall season, the craziness of Nutcracker season, winter season, spring season, touring in the summer. So whether you like these people or not, you have to find a way to be in the same space as them because guess what, you're stuck with them. 

Also, they don't have guest artists who take precious opportunities away from homegrown dancers or principals who also dance with other companies thus only performing with their "home" company a few times a year, much unlike ABT (though the later has done away with their heavy guest artist policy for now it seems). They are all together all year long.

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On 10/15/2018 at 9:56 PM, ABT Fan said:

Also, they don't have guest artists who take precious opportunities away from homegrown dancers or principals who also dance with other companies thus only performing with their "home" company a few times a year, much unlike ABT (though the later has done away with their heavy guest artist policy for now it seems). They are all together all year long.

NYCB dancers also have so much more repertory. When one dancer gets injured it's like EVERYONE ends up picking up the slack. One injury can richochet up the entire schedule.

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On 10/13/2018 at 8:50 PM, canbelto said:

Well tonight was apparently Giovanni Villalobos' last appearance with the company because he got a solo bow at the end of "West Side Story Suite" and he brought out a flag of Puerto Rico and the dancers cheered heartily for him.

He's joined the faculty of Pacific Northwest Ballet:

 

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On October 11, 2018 NYCB performed in its program: Afternoon of a Faun; Other Dances; Moves; and Something to Dance About. There were two other events of interest that evening, and no compelling necessity to view three of the ballets scheduled. However, the two gorgeous performances of Afternoon of a Faun with Sterling Hyltin during the previous spring's Jerome Robbins Centennial Celebration struck a chord deep enough to induce me to immediately snatch a ticket as soon as a convenient seat became available in the auditorium. The superb performance of the ballet that evening—with an excellent Joseph Gordon in the male role—is one of the most significant art events I have ever attended, serving as the catalyst for reflection about what is a remarkable and special work.

As part of their installation of the Art Series for the Winter Season of 2019, NYCB had affixed three large panels, high in the windows of the theater's facade, which included the words—one in each—"WHO ARE YOU". Created in 1953 when Robbins was 34 years old, Afternoon of a Faun essentially poses the same question. In addition to anything else, this 10-minute ballet engenders contemplation about the issue of identity, the nature of intimacy, and the meaning of art. Frankly, a more telling work could not have been fortuitously programmed for a season in which the company was under siege.

Notwithstanding any flaws or shortcomings in Robbins' character, it is proper today to acknowledge the genius reflected in his greatest works.

One should, furthermore, pay tribute to the woman whose beauty and artistry inspired Afternoon of a Faun, and who first interpreted its female role—Tanaquil LeClercq. As well as to the male lead at the premiere, Francisco Moncion. And—this great ballet being in part about all dancers—in a broader sense to all those performing it subsequently.

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