2023-2024 Season

[Kathleen O'Connell]

5 hours ago, BalanchineFan said:

Bald men?

Judging from Wednesday's performance of DAAG it looks like Tyler Angle might be adding a goatee to his current look, which is just fine by me. His shaved head looked better than fine in DAAG, although I'll admit to finding it a bit jarring when paired with a jeweled tunic.

I'd love to see NYCB's men drop the shellacked pompadour altogether, and I don't think some facial hair would be out-of-place in more than a few ballets either. A few of the younger corps men have appeared onstage sporting absolutely glorious untamed mops, and I'm here for it.

[FauxPas]

2 hours ago, SaraBW said:

Longtime lurker, first time poster: I do appreciate the willingness to evaluate our prejudices about various aesthetics as ballet evolves. I remember when Sara Mearns first came on the scene. I really disliked her "look." Her broad, high shoulders/short neck, in particular, bothered me a lot. As I watched her perform, I fell in love with her style and musicality and now I'm a onboard to see anything she does. I was so used to the "typical" Balanchine look that I almost didn't give her a chance. And I don't mind seeing dancers who are bigger than what has been the super-skinny (often unhealthy) norm for so long. I just want to see beautiful technique and artistry. If that isn't there, then the dancer's body becomes a distraction. It's such a fine line to walk, especially for dancers whose bodies don't fit the "ideal," and I absolutely appreciate that. With Ashley Border, it just seems so clear that it's time for retirement, that her body just isn't going to be capable anymore of what it once was, and that's rough to watch. Her Instagram post last night made my heart hurt - it definitely won't endear her to her colleagues and reinforces the impression that she's not ready to exit the stage with grace. I can't imagine how hard it is for a dancer who's had so much success to transition to the next phase. I feel for her.

Bravo on your first post Sara.  It is a really tricky line to navigate because it is a fraught and emotional subject that is also a very sensitive one.  There is a few extra pounds and/or a deteriorated technique but the two don't always go together.  There are thin dancers who are "out of shape" technically and there are dancers who may be perceived as overweight but are dancing well with good technique.  Of course dancing well with good technique regularly is cardio and promotes thinness in a dancer, being overweight can impede stamina and flexibility impeding technical ability (but not always).  Tyler Angle is thinner but still a little over the weight he was before the pandemic but he is dancing well with good technique.  Preston Chamblee was heavier and dancing with effort and diminished flexibility - this season he has come back strongly and is looking lean and mean and ready for bigger things.

I think that Jonathan Stafford, Wendy Whelan and the rest of the administrative and coaching staff are aware that dancers were coming off of a two-year enforced break.  So certain dancers were allowed to find their way back slowly.  Many dancers have been injured especially when going back to dancing full time after a long break.  (Ashley has been injured  including a big one in her first Fall season in 2021 right after the pandemic and then another severe one early last year)  So I think everyone has been a little more forgiving.  Also many of these senior dancers, like Bouder, were colleagues of Jonathan and Wendy and they are not going to kick them out unceremoniously.  (However, Abi Stafford was something of a special case...)  Jared Angle clearly was past his best and most useful years as a principal and was not cast in anything but smaller roles with just partnering, no solos.  But he was allowed to stay on for a few years until he found a position abroad as a dance master.  There seems to be a policy of not enforcing retirements or kicking people out until they are ready/willing to go.  Is that always a good policy?

In the case of Bouder she seems to have little self-awareness of how badly her technique and physical conditioning have declined.  She can make accusations of weight discrimination and age discrimination but the bottom line is - Can you dance?  How well can you dance?  Are you able to handle the repertory?  If you can't dance well and do justice to the choreography, don't stay on the stage.   She also doesn't seem to be a team player.

Bouder when she was pregnant with her first child kept dancing past the point where she was showing and in difficult classical roles.  I remember a Sugar Plum Fairy in "Nutcracker" where Andie Veyette had to change the partnering and adjust the lifts to accommodate the baby bump.  Bouder was taking company classes late into her third trimester doing pirouettes on pointe, etc.  After she had the child and had gained weight, Ashley hired a trainer and worked hard in the studio and classes to get back into shape, lose the weight and reclaim her old, demanding classical repertoire.  She did that (but I felt with some loss of fluidity and grace).  Management may have assumed that after the pandemic enforced hiatus and the various injuries, Ashley would have the same determined work ethic. Well it's over two and a half years later and she still hasn't recovered her technique...

That Ashley is not today's Ashley.  Maybe her body can't bounce back any more.  She is retreating into victimhood and accusations.  Under Peter Martins there were times when principal dancers were let go without a retirement performance (especially if it was felt they couldn't perform well in such a program).  Nilas Martins, his own son, was one of those dancers who was retired with no celebration or announcement.  If Bouder continues to make problems on social media and run to the press and appear on TV belittling management then I would not blame them if she wasn't rehired for next year and simply dropped with no parting celebration.  I wouldn't want to be the one to have the "conversation" with her about a quiet, graceful, timely retirement.  The board member or whoever who told her privately a year or more ago that it was time to look at a life after dance may have thought they were being kind and helpful.  Their intervention led to a tearful Instagram rant that lasted several minutes.

I also wonder how this top leadership person supposedly told the audience not to clap for Ashley?  Did they address the audience from the stage?  Was there an announcement over the loudspeaker?  Did they put a flyer in the program "Don't applaud Ashley, it will only encourage her"?  I mean maybe the company leader told their companions in their row to not applaud her?  Were company members attending the performance told not to clap before the show started?  Okay but is that the public slight that Ashley was suggesting?  It seems a private internal matter.

I wonder if contracts for next season have been signed already.

Edited May 3 by FauxPas

[abatt]

I think that the deadline for NYCB to notify the dancers regarding contract renewal was in February. If Bouder was not renewed we would have heard about it directly from her on her social media. 

 

I was at one of the DAAG shows where Bouder did Green, and I can confirm that there was no announcement or slip of paper telling the audience not to applaud her.  

 

It seems like they are doing their best to put her in roles that she is still capable of doing, but that is a pretty small list.  If she were smart she would ask to learn the final movement of Vienna Waltzes and dance that role next spring as a farewell.  Long dress, no lifts, no difficult choreography.

Edited May 3 by abatt

[KikiRVA]

39 minutes ago, abatt said:

If she were smart she would ask to learn the final movement of Vienna Waltzes and dance that role next spring as a farewell. 

Hear, hear.

[Fernie M]

5 hours ago, SaraBW said:

With Ashley Border, it just seems so clear that it's time for retirement, that her body just isn't going to be capable anymore of what it once was, and that's rough to watch. Her Instagram post last night made my heart hurt - it definitely won't endear her to her colleagues and reinforces the impression that she's not ready to exit the stage with grace. I can't imagine how hard it is for a dancer who's had so much success to transition to the next phase. I feel for her.

Thank you @SaraBW. Clear and concise articulation of the issue at hand. I agree with your comment about her IG post, it is heartbreaking.

[cobweb]

5 hours ago, abatt said:

It seems like they are doing their best to put her in roles that she is still capable of doing, but that is a pretty small list.  If she were smart she would ask to learn the final movement of Vienna Waltzes and dance that role next spring as a farewell.  Long dress, no lifts, no difficult choreography.

That is a great idea. 

Are there no reports on last night's gala? 

[Helene]

I think it's always difficult for a dancer who is known for their technical prowess and daring when those aspects of their dancing diminish.  It's a more graceful transition for dancers who are known for elegance and interpretation, because it doesn't really matter if they did five or six beautifully placed and finished pirouettes back in the day, and now they do three-four-beautifully place and finished pirouettes to finish an elegant, stylish combination. 

It's also rare, at least in North America, where fewer and fewer companies have character dancers on the roster, for a virtuoso to become an expert at character roles.  In Seattle, Jonathan Porretta did just that, and i think his John Adams-like gentleman farmer Grandfather in The Nutcracker, Gamache in Ratmansky's Don Quichotte, and Carabosse in The Sleeping Beauty were among his greatest performances.  Has Bouder ever done Carabosse?  I think she'd be wicked in the role.

I do not think for a minute that Bouder's weight, whatever it is now, is a matter of lack of discipline.  Bodies change, especially as people get older, and they don't always respond to the same punishment time after time after time.  In fact, they often resist.

Although Makarova was the first ballerina I'd seen with a major company -- and fell in love with her partner's, Ivan Nagy's, dancing  in the process -- it was Cynthia Gregory and Martine van Hamel that were my ideal ballerinas growing up, and they were muscular, strong dancers.  Everyone has their own starting point from which they might or might not move in either direction.  I'm an outlier from what I can read, but I know the qualities of ballet dancing I prefer, and that more often done with a wider range of bodies than those that are usually represented in ballet companies.

[MarzipanShepherdess]

The situation with Bouder is just heart-breaking to witness.  I do think in the context of all that she has given to City Ballet over the course of her long, illustrious career some grace has been earned. Sometimes late career dancers can find new artistic depths even as technique wanes, I think Bouder deserves a chance at that which she is being given now with her DAAG outing and hopefully some other roles to follow. If it doesn’t work out it doesn’t work out but she’s earned a chance to try.
 

I don’t understand what Bouder hopes to achieve by airing these grievances and accusations publicly WHILE remaining with the company. There seems to be a pretty binary choice, strategically, between leaving and telling all and staying and putting up with the existing management conditions.

[abatt]

I agree with the above post that she has earned the right to grace after her long distinguished career.  But she also has to show grace herself, which she has not done.

.

[abatt]

Per the lobby casting sheet miller replaces lafreniere in year of the rabbit next week

[vipa]

I was at the afternoon show. Anyone else?  Rubies with Fairchild, Huxley and Nadon was terrific. Megan Fairchild was playful and assured. She still looks great in this role. Nadon is great in the "big girl" role. As others have said she's very different from Kikta. I enjoy both approaches. Nadon adds a touch of sultry to her power. There was a blooper, that I think was the conductor's error. I believe there is supposed to be a breath before the very last note. It wasn't there so everyone on stage quickly moved to the last pose, a bit late.

Dig the Say, is a Justin Peck vehicle for Mejia and Tiler Peck. It's fine as such, but I'd rather see Mejia/Peck in something else! I didn't really get the playing with the ball gimmick in the first part, and I'm really tired of the gimmick of dancers walking one and off like pedestrians. The choreography had the usual Justin Peck trademarks: quick changes of direction, tilted turns with the knee turned in, flicking legs. These steps were interspersed with things like  fouettes and a la  seconde turns. It was as if Justin Peck told them to pick flashy  ballet steps they were good at. Tiler Peck did a fouette combo I've seen her do in Tsai Pas. 

My first viewing of Justin Peck's In Creases. Frankly I don't need to see this one again. It seemed like a little of this and a little of that, and a little of something else and repeat. My thought is that with Phillip Glass music you really have to create a strong choreographic structure, or there is nothing really to hang on to. I think Robbins was very successful in Glass Pieces.

Underneath, There Is Light. Choreography by Amy Hall Garner. I wish this had been the opening ballet. It would have been a decent opener, and I wouldn't have come to it worn down by 2 Justin Peck ballets. 4 sections, each a different composer. Very uneven IMO. Some sections or parts of sections were engaging, and some of the dancers were shown to their advantage particularly: Chun Wei Chan, Gil bert, Bolden, MT MacKinnon, Emma Von Enck, and in particular Miriam Miller. On the other hand the piece didn't seem particularly musical. At one point it crossed my mind that any music could be playing. At another points the fact the the music was a fugue was ignored. I'm not saying the dance had to have a fugue structure, but it felt odd hearing a fugue and watching movement that had no relationship to that structure. The other thought that occurred to me was about the pointe work. For the most. part it seemed pointe shoes were not needed. I wonder what Garner's experience with the pointe shoe is. At the same time, sections were pleasant and compelling.  I'd give this one another viewing.

The lesson of the day for me was, good choreography is hard and great choreography harder. I would have. been happier if the Garner piece opened and Rubies closed. 

[eduardo]

6 hours ago, vipa said:

I believe there is supposed to be a breath before the very last note. It wasn't there so everyone on stage quickly moved to the last pose, a bit late.

I'm not sure whether this is what vipa is talking about. Since I saw Rubies for the first time, I've always thought that the music falls short to the choreography, i.e. the dancers are still moving when the music ends. I find that odd. Is that just my (maybe wrong) perception?

[Rock]

Rubies ends in the air. The last note is the top of the jump. They land in silence.

 

[deanofdance]

Just a few thoughts on tonight’s and last night’s performances (same program — I held off writing on last night’s performance till after tonight’s):

1) Rubies — tonight’s performance was actually not as good as last night’s (this happens) — it just felt flat — as the performance went on, I thought about Jovani partnering Emma last year — and how wonderful the 2 of them were — having fun and being loosey goosey, jazzy, and having a friendly competition in their solos — and that perfume was missing these the past 2 nights.  Gordon currently lacks the jazziness, the loosey goosey energy —  (just like in Fancy Free — Jovani delighted, Gordon was earnest) — and there lacked a sense of playful competition between him and Emma.  I then thought that Gordon was actually miscast — he’s a bit too Apollo, not enough Dionysus.  And glad to see David Gabriel back in action — and near the end of ballet — thought he would be a better partner for Emma.  
2) Dig the Say — now here was Playful Competition!  Tonight’s performance was improved from last night’s — and last night’s was marvelous!  It’s always a real treat to see these 2 pyrotechnically insane dancers go at — and I eat it all up!  I was fortunate enough to see the event this past Monday where the PUBLIQuartet played excerpts from the piece — at the time I wasn’t sure about the music — but now I see how propulsive this music is for dance.  Tiler and Roman —tonight these stars were supernovas — now sorta kinda regret not getting their tee shirt at the gift shop last season. 
3) In Creases — this dance was a happy surprise last night and more wonderful tonight.  So much that I enjoyed — what a really outstanding ensemble this was — all 8 dancers were strong, athletic, and danced tightly as a group — I could sense that these dancers are pouncing on any opportunity to make an impression — and they impressed — their collective excellence uplifted the choreography — and all but one are still in the corp — Depth.  I’m singling out Preston — he looked physically renewed (I’ve never seen him in better shape) and determined — his dancing now has a force and conviction — I hope he’s cast in more this season.  Also Dominika — she seems like a choreographer’s dream, so many things she seems capable of doing.  And I just noticed Charlie Klesa — more please!

4) Underneath, There is Light — this piece diminished on second viewing — the piece starts out well enough, but the second half lacks musicality and gradually sinks.  

Edited May 5 by deanofdance

[bellawood]

@deanofdance I had many of the same feelings. Joe Gordon is too innately elegant for Rubies. He looked wonderful but there’s not enough playfulness. I think he might be able to get there (as this was his debut) thinking of him as Brick Boy in DAAG. Emma looked wonderful. You said everything about Tiler and Roman that needs to be said and the audience ate it up.

Tonight was an excellent opportunity to get a look at the corps. I don’t think there are too many surprises in my list: Domininka A., MT MacKinnon, and Naomi Corti were all standouts, as was David Gabriel dancing in both Rubies and the Garner piece (in the latter in place of Taylor Stanley — though they didn’t announce the substitution at curtain up, just said David “would be dancing as well”). Miriam Miller was terrific as the soloist last week in B-SQ, but I found her flat in the new choreography.

As for the new piece itself, I found that there were moments of beauty, but it suffered from the similar fate that befalls many guest choreographers when they are first presented with this company. I think they all get so excited about how fast everyone can move that they never allow the dancers to stand still. 
The end result is often a frenetic mess of running around and limbs flying. I have to say I don’t understand the massive expense in terms of costuming that went into this production. As many of you know there’s a full costume change in this ballet for no apparent reason. The first costumes, which are black, look like pairs figure skating costumes, particularly on the men who are wearing black slacks and velvet mock neck long sleeve turtlenecks. The women’s very low cut tops were not designed with any mesh, so I saw a few “wardrobe malfunctions” on stage as they raised and lowered their arms! Then, in the last movement, the women show up in diaphanous off-yellow dresses, and the men show up in bedazzled gray hot-pant-length rompers. It’s a tough look if you have any tan lines. Plus there’s some sort of sparkly sculpture hanging from the ceiling that moves throughout. Why? Bells and whistles like this always signal a lack of confidence in the choreography.

[bellawood]

10 hours ago, Rock said:

Rubies ends in the air. The last note is the top of the jump. They land in silence.

 

Yes this! It’s amazing. Didn’t totally happen Saturday night but I bet Fairchild/Huxley/Nadon cast nailed it.

[vipa]

On 5/4/2024 at 8:31 PM, vipa said:

I was at the afternoon show. Anyone else?  Rubies with Fairchild, Huxley and Nadon was terrific. Megan Fairchild was playful and assured. She still looks great in this role. Nadon is great in the "big girl" role. As others have said she's very different from Kikta. I enjoy both approaches. Nadon adds a touch of sultry to her power. There was a blooper, that I think was the conductor's error. I believe there is supposed to be a breath before the very last note. It wasn't there so everyone on stage quickly moved to the last pose, a bit late.

 

Just to clarify, if I can. At the very end of Rubies something seemed off about what would be heard as the last musical cue. Nadon actually looked disconcerted for an instant and there was a ragged feel to it. I don't want to overstate this. It was an instant at the end that felt a bit off to me.

Edited May 6 by vipa

[eduardo]

15 hours ago, Rock said:

Rubies ends in the air. The last note is the top of the jump. They land in silence.

 

Good point. I never thought of it in that way.

 

4 hours ago, vipa said:

Just to clarify, if I can. At the very end of Rubies something seemed off about what would be heard as the last musical cue. Nadon actually looks disconcerted for an instant and there was a ragged feel to it. I don't want to overstate this. It was an instant at the end that felt a bit off to me.

I didn't intend to make any mess with your post, vipa. It's just that what you described reminded me of my own questions about the end of Rubies.

Edited May 5 by eduardo
typo

[abatt]

First, I have to agree that Joe Gordon is too elegant for Rubies and may be miscast.  I feel the same way about Huxley.  But he danced it well.  Furlan is missed in this.

 

About the new Peck work, the choreography lacked craft.  As noted above, it looked like Peck spent little time on it, and just told Tiler and Roman to do their best tricks.  As an example of lack of craft, there is a section where Tiler goes off stage and then comes back by daringly leaping into Roman's arms.  The first time the audience gasped.  The second time there was some reaction.  By the third time all I could think was oh please not again.  There was silence.  Enough. An why was there a ball gimmick.  Tiler and Roman impressed in the execution of the choreography, but this was like a piece you would see on the competition  circuit.  

 

The Garner work was pleasant but overstuffed.  Too many people coming in and leaving but it didn't add up to anything.  Why was there bird chirping sounds at the end.  Did she not trust that the music was sufficiently interesting on its own.

 

Clearly the most distinguished work on the program was Rubies.  Another evening of new works that did not impress.

[NinaFan]

I attended Saturday’s matinee and enjoyed the entire program. I loved Justin Peck’s new work. Lots of fun, very musical and danced to perfection by two extraordinary dancers. I thought the ball set the mood for the playfulness between Peck and Mejia. I can’t wait to see them in Other Dances.

I haven’t seen In Creases in a while, and it was interesting to see how far Peck has come as a choreographer. I’ve always liked his work, and at least to me, he keeps getting more and more creative and interesting.

Fairchild and Huxley were exquisite in Rubies, and Nadon just blew me away, but then she always does.

While not my favorite, the new piece by Garner was good and I could easily see it again. Ditto as others have mentioned at the other performances in that they made an announcement about Garbriel dancing, but made no mention that Stanley would not be dancing.

[cobweb]

I was dragging my feet about going to this afternoon's matinee, as the only part of it I wanted to see was Symphony in C. I already saw this program twice in the past few weeks, but both times I saw Phelan and Knight in the 2nd movement, and I wanted to see Sara and Tyler after so many comments about them. So at the very last minute, Mr Cobweb and I decided to go for it and bolted out through the rain.

Bourree Fantasque, despite some nice moments and lots of good dancing, just doesn't capture my interest. I know the Kikta-Takahashi pairing is meant to be a hoot, but you couldn't help but worry he wasn't strong enough to hold her up, or that she would crush him with her leg. Kudos to Gerrity and Bolden, Maxwell and Abreu, all looked good. After Steadfast Tin Soldier, Mr Cobweb said, "so far this program is all powdered sugar." He didn't feel much more positive after Errante (Tzigane) either, feeling that it was neither a serious effort at folk dancing, nor was it a sendup, a la Rondo alla zingarese in BSQ. 

Symphony in C redeemed the afternoon, in spades. Megan Fairchild looks astounding in the first movement. Peter Walker, in I believe his debut, could do more to project, and honestly I was paying more attention to others. McKenzie Bernardino Soares and Jules Mabie both looked sharp and elegant as the male demisoloists. Sara Mearns and Tyler Angle were sublime in the second movement -- spellbinding. So glad I came to see this. This whole movement is so full of beautiful, beautiful formations. The third movement comes on like a bolt of joy, and the whole piece thunders on from there, coming together like a river gaining force as it heads to a massive waterfall. Roman Mejia and Emma Von Enck looked great together in the third movement. And Alston Macgill and Aaron Sanz looked sharp in the 4th movement. I am thrilled to see Sanz back and dancing well, and Macgill has a charisma that just lights up the stage. This is such a great piece that shows off the depth of talent in the company. They are right to keep it in constant rotation!

[jeff-sh]

7 hours ago, abatt said:

Tiler and Roman impressed in the execution of the choreography, but this was like a piece you would see on the competition  circuit.  

it can be used for their frequent (gala) gigs around the world

3 minutes ago, cobweb said:

  Roman Mejia and Emma Von Enck looked great together in the third movement.  

Was their second entrance (repeat) cut? or maybe I dosed off

[BalanchineFan]

16 hours ago, jeff-sh said:

it can be used for their frequent (gala) gigs around the world

Was their second entrance (repeat) cut? or maybe I dosed off

I, too, thought that Dig the Say would be a very useful piece for Tiler Peck and Roman Mejia. They look spectacular in it and it's lots of fun. The pyrotechnics are amazing, as always. It's nice to see Justin Peck working with music from a different composer. I love Vijay Iyer and the quartet sounded fabulous.

Mejia and von Enck danced all of Symphony in C, 3rd movement, including the repeat. At least on Sunday.  They are the best 3rd movement pair I've seen in awhile. No one jumps like him. He makes it look easy, and, dare I say, it IS easy compared to what he does in Dig the Say. I think von Enck/Mejia is a great pairing and I'm glad that he's getting a chance to develop partnerships with dancers other than Ms Peck, much as I like seeing those two together.

I'm eager to see Underneath, There is Light again. I thought it was  beautiful, and it was nice to see Miriam Miller, MT MacKinnon and Naomi Corti featured. Who was the other tall dark haired woman who had a few featured moments and ended the ballet at center? Was it Grace Sheffel?

There was a point where I tired of the dancers running around like crazy. It was a marathon of curved pathways and such, but I'd been to see NJ Ballet (Harrison Ball's Purcell Suite made it worth the trip, Lauren Lovette's ballet was a flop) and this was so much better than the NJ Lovette that I didn't mind. Garner Hall's experience and skill showed through ultimately. I liked the pointe work too.

In Creases had a very young cast. I've always liked the ballet, the formations and the combination of solos and ensemble moments. Dominika Afanasenkov, Ruby Lister and Jules Mabie shone particularly brightly. Malorie Lundgren and MT MacKinnon also looked noteworthy. It was like the youngest and newest of the up and comers, and Preston Chamblee (dancing well!) there for a touch of experience.

Two really nice programs for a great weekend of ballet.

Edited May 6 by BalanchineFan

[deanofdance]

Just a few thoughts on this afternoon’s performance:

1) BF — I was just struck near the end of this ballet — by the energy that was coming off the stage — the full out dancing — that I thought of these words by the the author Robert Garis in his book Following Balanchine, “ …I also miss the company’s dancing style as a whole, especially the fast dancing: brilliant, full, life-sized, sincere, generous, humane.”   And I thought — this is what NYCB is capable of NOW — dancing that is brilliant, full, life-sized, sincere, generous, humane —  and capable of giving me such joy.  
2) The Bizet — this ballet is why I’ve attended all 5 performances this season — Garis again, “And at the end of a particularly great performance of  Symphony in C, when 50 dancers filled the stage with disciplined, free vitality, I felt an exhilarated happiness.  My friends felt it too, we defined it in the same way, and we agreed on its value.  When that exhilaration failed to come — for it did not come at every performance — we agreed about that too, for this happiness was too important to fake.  It was one of the great things in our lives, and one of the great things in the century.” 
This afternoon’s Bizet left me — for some reason — lukewarm — the exhilaration failed to come.  Except for the opening night Bizet with the first cast (joy!)  — since then I preferred all the second cast’s performances over the first cast — Emily and Chan, Unity and Knight, Baily and Takahashi (I know, even over Roman and Emma!).

Edited May 7 by deanofdance

[LittleGhost]

Hello fellow dance lovers! first time posting, depsite years of reading so before anything else thank you all for all of the thoughtful insights and discussion.

 

I was wondering if anyone could share a report on how Olivia Boisson did in the Garner piece. It seems like she took over a major role from Indiana Woodward and I would love to hear how it went as I find her to  be an incredibly lovely and underused dancer. Thank you!