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3 hours ago, canbelto said:

The few times I've seen Ashley Laracey this season (as Rubies, also as Lilac Fairy) I have been shocked by what I've seen. She just isn't dancing like she normally does. Can't explain it. But there's no energy to her dancing. She also looks frighteningly thin.

It seemed to me that Unity Phelan, who danced Diamond last night, was even thinner than Ashley Larceny. Did anyone else notice that?

 

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19 minutes ago, cobweb said:

Totally agree. This is a mess. It's been over a year - what is going on internally that no new AD has been named?

We're on the same page cobweb. Personally, I'm starting to doubt everyone judgement, and the messier this gets the less attractive the job gets. 

I was so glad to hear glowing reports if Indian Woodward's Aurora, I wasn't able to go, so I'm grateful for everyone's reports.

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41 minutes ago, angelica said:

It seemed to me that Unity Phelan, who danced Diamond last night, was even thinner than Ashley Larceny. Did anyone else notice that?

 

Yes I did notice that both Unity and Ashley Laracey were frighteningly thin. But Unity danced very strongly I thought while Ashley's dancing just didn't have the beauty and sparkle I'm used to seeing from her. 

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11 hours ago, atm711 said:

 

The perfect argument for getting rid of Martins works once and for all!!

I’ve been wondering about that. The article emphasized that SB had already been programmed for the season, but it seems like there needs to be a few classic full lengths each year for box office revenue. Would it be worth it to redo one Martins already choreographed like SB or SL? Or would they commission a Giselle or something from a new choreographer?

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10 minutes ago, Leah said:

I’ve been wondering about that. The article emphasized that SB had already been programmed for the season, but it seems like there needs to be a few classic full lengths each year for box office revenue. Would it be worth it to redo one Martins already choreographed like SB or SL? Or would they commission a Giselle or something from a new choreographer?

I'd vote for replacing Martins' Swan Lake and Romeo and Juliet with their hideous Per Kirkeby sets and costumes. I haven't been able to bring myself to see either production more than once.  

If they need another full-length ballet, I'd rather they get a brand-new one than another version of Giselle, particularly when there is another company in their immediate proximity that performs it regularly.

Of course, what actually happens will depend on the new AD, whoever he/she may be.

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The idea of Martins changing casting at the last minute, and presumptively walking backstage before the dancers had finished their show is utterly confounding to me.  It seems to be a power play, and one that must be responded to immediately, as Stafford hinted they would do.  He needs to get out of there and let this company recover and heal and move on. 

It is unfortunate that their blockbuster audience hits are choreographed by Martins.  It is hugely expensive to make a new production, with all new costumes and sets etc.  But do they have a choice in the long run? 

I was also dismayed to read of the loyalty to Peter in the board member quoted, and presumably other board members that he must have groomed and seduced during the years of his tenure.  How are those people, who may or may not know anything about arts admin or personnel issues, etc, how are they to come to agreement on a new leader if they are still loyal to Peter?  It sounds like a mess.  We need a good spring cleaning over at that board for starters, and a new AD, and Peter gone for good.

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1 hour ago, canbelto said:

Yes I did notice that both Unity and Ashley Laracey were frighteningly thin. But Unity danced very strongly I thought while Ashley's dancing just didn't have the beauty and sparkle I'm used to seeing from her.

Unity’s public facing Instagram account has documented a pretty nasty sickness she’s been battling—cold/winter stuff I think. I don’t think she missed a performance, but she showed footage of making soup, picking up a prescription, etc. this weekend. An illness on top of her current rep (I’m thinking of watching her in Hermann—she was beautiful, but it definitely seemed like a ballet that would require a great deal of stamina!) might be to blame. 

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I understand where Ashley can come off as self important in the article, but I also applaud her for speaking out. If she hadn't then we would not know how much of an influence Martins still holds. I find it appalling that he was able to behave this way considering the reasons for his exit. I place that blame solely at the foot of the board who still seem to hold him in greater esteem than the dancers. I think it is fair for her to criticize why she was switched cast if it was truly done at the last minute. Maybe bringing to light these issues will speed along the reform that needs to happen and finally have them decide on an AD. As she said in one of her posts about the Waterbury incident, these things have festered in their leaderless state. NYCB needs to get their act together, while the performance on stage seems to still be strong that may not continue without a strong foundation.

 

Also I am so happy to hear about Woodward's debut, I hope this heralds a promotion to principle.

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Uh ... well in the midst of all this discussion. Has anyone seen the Bouder/Gordon/King/Reichlen cast? I unfortunately only went to the Hyltin/Janzen/Reichlen, Peck/Angle/Laracey and Woodward/Huxley/Lecrone performances.

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1 hour ago, nanran3 said:

It is unfortunate that their blockbuster audience hits are choreographed by Martins.  It is hugely expensive to make a new production, with all new costumes and sets etc.  But do they have a choice in the long run?

 

Couldn't they keep the physical production for Sleeping Beauty but make some tweaks to the choreography so that it's no longer a Martins production? I think this is what ABT did with Baryshnikov's Don Q, right? 

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26 minutes ago, fondoffouettes said:

Couldn't they keep the physical production for Sleeping Beauty but make some tweaks to the choreography so that it's no longer a Martins production? I think this is what ABT did with Baryshnikov's Don Q, right? 

"Tweaking" a production as large as The Sleeping Beauty is no simple task. Martins has both choreographer and staging credits for this version, so it's really a matter of replacing the production entirely with say, the Ratmansky version, or whatever.

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38 minutes ago, DanielBenton said:

NYCB is looking more and more like a criminal enterprise run from the top

More like a bad soap opera.  As the Ballet Turns.

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12 hours ago, FPF said:

I'd vote for replacing Martins' Swan Lake and Romeo and Juliet with their hideous Per Kirkeby sets and costumes. 

Replacing R&J is a good start..I suggest they pay homage to one of their 'giant' choreographers by reviving Tudor's R&J--and he did it all in one hour!

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3 hours ago, atm711 said:

Replacing R&J is a good start..I suggest they pay homage to one of their 'giant' choreographers by reviving Tudor's R&J--and he did it all in one hour!

I was thinking the exact same thing! And Balanchine held Tudor's version in very high regard . . .

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What everyone seems to forgot is that the only reason NYCB has these full length/blockbuster/cash cow ballets is BECAUSE of Peter Martins.  They do fill the house which brings in money.  

And from what I've read on here, these productions do not stop BA'ers from attending in order to see multiple casts.  It is no different than most of us complaining about ABT's current Swan Lake, but still attending multiple times. 

So yes, new productions are always welcome, but I still enjoy the ones currently in rep. 

Anyway, that's my two cents. 

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4 hours ago, atm711 said:

Replacing R&J is a good start..I suggest they pay homage to one of their 'giant' choreographers by reviving Tudor's R&J--and he did it all in one hour!

Now there would be a true reversal: NYCB preserving Tudor when the mothership, ABT, seems to have left it on makeshift life support on a gurney in the hallway.

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12 minutes ago, Helene said:

Now there would be a true reversal: NYCB preserving Tudor when the mothership, ABT, seems to have left it on makeshift life support on a gurney in the hallway.

.....and NYCB has the perfect Romeo --- Taylor Stanley who looks uncannily like Hugh Laing on stage! -- complexion notwithstanding!

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4 hours ago, Helene said:

Now there would be a true reversal: NYCB preserving Tudor when the mothership, ABT, seems to have left it on makeshift life support on a gurney in the hallway.

I saw the Tudor R&J at ABT many years ago. Yes, I'm old! It is one act with music by Delius. It's a great work which distills the emotional content of Romeo and Juliet in an amazing way. I believe the original title was The Tragedy of Romeo and Juliet.  I think it would take a concentrated rehearsal period, with someone who knows the dramatic intent of each moment to put it together. Also, by virtue of the music and style I don't see it replacing a blockbuster in ticket sales. I really dislike the Martins R+J, but Tudors one act won't replace the ticket sales. 

It is a shame it isn't done by ABT. I believe New York Theatre Ballet does it sometimes. That small company has become the repository of Tudor works.

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Just in from a final performance of Sleeping Beauty. I saw four performances this run:  Tiler & Tyler, Woodward and Huxley, and Lovette and Gordon... and then Lovette and Gordon again, tonight. They were my favorite pair. I loved both Peck and Woodward, but Lauren's way of acting is more natural and fresh, someone up-thread called her endearing, and I agree. She had a difficult time in the final attitude-turning section of the Rose Adagio, kind of stumbling and falling off-pointe during the third turn and appearing quite unsteady; when the fourth suitor, Jared Angle, took her hand, he made the wise decision not to take her on the turn, and just held her there in place to fill the music. Other than that, she was resplendent and radiant, and spellbinding in the Vision scene. And Joseph Gordon, what can I say, I'm really loving him. 

Miriam Miller was again a fairly bland and tentative Lilac Fairy, and had a few small bobbles as well. However, got a huge response from the audience at curtain call. Harrison Ball has done Gold in three of the four performances I've seen, and he's looking insanely beautiful. MORE PLEASE. Baily Jones did Ruby tonight, probably the most prominent role I've seen her in, and she was very charming and engaging. Alec Knight and Claire von Enck did White Cat and Puss in Boots with a kind of madcap comic fervor that delighted the audience. From what I've seen, Knight appears to enjoy campy roles where he can overact, and while I didn't care for his over-the-top Mother Ginger in Nutcracker, this role was perfect for him. A few notes on the suitors. Most of them stand around looking bland. In the performances I saw, Silas Farley stood out as Africa, making as grand an entrance as one could possibly make, summoning up all his height and dignity with the billowing purple cape behind him. And Andrew Scordato was pleasingly competitive with his fellows, as someone said up-thread he was shooting dagger eyes at the other guys. 

On a totally different note, I look forward to Liebeslieder!!

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Well whatever the merits or demerits of this SB it's done well at the box office. I was going to go one last time this afternoon for Indiana and Anthony and the house is pretty much sold out except for the nosebleed seats.

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Uh so ... did anyone attend the final performance with Indiana and Anthony?

 

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1 hour ago, canbelto said:

did anyone attend the final performance with Indiana and Anthony?

I too would love to hear any reports about the final performance!

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22 hours ago, cobweb said:

Just in from a final performance of Sleeping Beauty. I saw four performances this run:  Tiler & Tyler, Woodward and Huxley, and Lovette and Gordon... and then Lovette and Gordon again, tonight. They were my favorite pair. I loved both Peck and Woodward, but Lauren's way of acting is more natural and fresh, someone up-thread called her endearing, and I agree. She had a difficult time in the final attitude-turning section of the Rose Adagio, kind of stumbling and falling off-pointe during the third turn and appearing quite unsteady; when the fourth suitor, Jared Angle, took her hand, he made the wise decision not to take her on the turn, and just held her there in place to fill the music. Other than that, she was resplendent and radiant, and spellbinding in the Vision scene. And Joseph Gordon, what can I say, I'm really loving him. 

I am sorry to here that Rose Adagio went so badly for Lovette in her second performance. Having seen her first show, I think she had the potential to be a great Aurora. Cojocaru is my all time favorite. 

I too am looking forward to Liebeslieder although a funky schedule has prevented me from buying a ticket yet. I hope to get there.

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Hmm this isn't really a knock against Lovette but I don't think she'll ever have the technique for major classical roles. It's too bad she doesn't have a choreographer who can really choreograph for her strengths (her charm and beauty and lyricism).

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