abatt Posted August 31 Share Posted August 31 11 hours ago, balletlover08 said: Couple of things that sort of relate to the fall season casting. Susan Jaffe has done fairly even casting for the female principals. They each have two - three roles. If anyone has less roles this time around it is Brandt, Teuscher and Seo. Boylston: Neo, Ballet Imperial, Children's Song Brandt: Ballet Imperial Hurlin: Etudes, Neo Misseldine: Ballet Imperial, Sylvia PDD Murphy: Etudes, Sylvia PDD Seo: Nikiya Shevchenko: Ballet Imperial, Nikiya Teuscher: Etudes Trenary: Sinatra, Great Galloping, Crime and Punishment And, Jaffe gave two female soloists a leading role. Granlund cast as Raskonikov and Park in Great Galloping Gottschalk. As for the rest of casting, my guess is it either isn't finalized yet (perhaps finalized during the rehearsal period) or just not yet announced. Susan also could have been in London for a number of reasons, There were several other ADs/famous dancers also there at opening night or at Chloe's evening performance (Kevin O'Hare, Alessandra Ferri, Nikolai Tsikaridze). I highly doubt that Jaffe was there to coach Chloe or watch over her, it's Nina's production and she is clearly seen giving class and running rehearsals. We complain all the time on here and other forums about ABT's dwindling performances and weeks at the MET. This is a company that relies on having a large stable of stars, something they lack right now. If ABT is going to increase touring, performances etc. there needs to be buzz and excitement around their young dancers. Part of the allure of promoting someone so young is the hope that they are able to be stars of the company for 2 decades. It's also not a zero sum game, just because Jaffe sees something in Chloe that she wants to nurture doesn't mean she doesn't see the same star quality in the others. Also, I think Yan Chen is not nearly as involved as some of us think. I like that she isn't in the company hierarchy directly as a coach. She teaches classes here and there for the main company but I think it's better that she's more closely involved with stuco and jko. She's been involved with summer intensives and Stuco for years now, before Chloe ever joined stuco. Chloe has said in a podcast with James Whiteside that her mom loves teaching and she's happy doing it. The roles in Ballet Imperial for Brandt and Misseldine are soloist roles. NYCB always has soloists in those roles, not principals. I think we will certainly see Brandt in Upper Room. Link to comment
Papagena Posted August 31 Share Posted August 31 12 hours ago, balletlover08 said: We complain all the time on here and other forums about ABT's dwindling performances and weeks at the MET. This is a company that relies on having a large stable of stars, something they lack right now. If ABT is going to increase touring, performances etc. there needs to be buzz and excitement around their young dancers. Part of the allure of promoting someone so young is the hope that they are able to be stars of the company for 2 decades. It's also not a zero sum game, just because Jaffe sees something in Chloe that she wants to nurture doesn't mean she doesn't see the same star quality in the others. Also, I think Yan Chen is not nearly as involved as some of us think. I like that she isn't in the company hierarchy directly as a coach. She teaches classes here and there for the main company but I think it's better that she's more closely involved with stuco and jko. She's been involved with summer intensives and Stuco for years now, before Chloe ever joined stuco. Chloe has said in a podcast with James Whiteside that her mom loves teaching and she's happy doing it. Thank you. Not sure why anyone would have a problem with Jaffe going to London to watch Misseldine during the off season? It would be a missed opportunity if she did not go. International ballet legend Nina Ananiashvili asked young ABT star to headline her Swan Lake, which doubled as Misseldine's major principal debut in London. Misseldine is an ambassador of sorts for Jaffe's new era at ABT, so this was also a networking and publicity opportunity for Jaffe. Jaffe's close focus on her for a couple years has paid off. And who's to say that Jaffe is not actively looking for the next star to mentor as we speak? Link to comment
abatt Posted August 31 Share Posted August 31 Never heard of an AD coaching a dancer for a guesting gig at another company, but maybe I'm mistaken. Jaffe already personally coached Chloe for her debut at the Kennedy center with ABT. Worked with her for a period of time well before the KC engagement, per Chloe's own interview w. the NYTimes. Link to comment
jeff-sh Posted August 31 Share Posted August 31 3 hours ago, stuben said: Clinton wasn't much of a special dancer during his tenure as a corps in ABT and nothing much as Kevin's assistant AD, and I thought a new AD would mean a change for assistant too, so I was truly surprised he was promoted to associate! Clinton was named associate AD in 2020 before Susan came in 2022 https://www.abt.org/the-company/artistic/ Link to comment
ABT Fan Posted August 31 Author Share Posted August 31 1 hour ago, abatt said: Never heard of an AD coaching a dancer for a guesting gig at another company, but maybe I'm mistaken. Jaffe already personally coached Chloe for her debut at the Kennedy center with ABT. Worked with her for a period of time well before the KC engagement, per Chloe's own interview w. the NYTimes. Where does it state that Jaffe actually coached Misseldine in London? If that was written somewhere I missed it. All I’ve seen is a photo of Jaffe onstage with her at bows. Link to comment
California Posted August 31 Share Posted August 31 2 hours ago, Papagena said: Thank you. Not sure why anyone would have a problem with Jaffe going to London to watch Misseldine during the off season? It would be a missed opportunity if she did not go. International ballet legend Nina Ananiashvili asked young ABT star to headline her Swan Lake, which doubled as Misseldine's major principal debut in London. Misseldine is an ambassador of sorts for Jaffe's new era at ABT, so this was also a networking and publicity opportunity for Jaffe. Jaffe's close focus on her for a couple years has paid off. And who's to say that Jaffe is not actively looking for the next star to mentor as we speak? I don't want to sound TOO crass, but there are likely wealthy Americans living/working in London. I would be surprised if there weren't some private get-togethers for them, Jaffe, Misseldine, and perhaps others. Like it or not, fund-raising is part of the AD's job -- something that Baryshnikov said he hated. Link to comment
ABT Fan Posted August 31 Author Share Posted August 31 13 minutes ago, California said: I don't want to sound TOO crass, but there are likely wealthy Americans living/working in London. I would be surprised if there weren't some private get-togethers for them, Jaffe, Misseldine, and perhaps others. Like it or not, fund-raising is part of the AD's job -- something that Baryshnikov said he hated. Not crass, it's a reality, like you said. I wouldn't want to have to do it myself, personally. Further veering off topic - When ABT's 2024 Met promo materials came out (last winter?), there was an entire page dedicated to the "Dazzling debuts in Swan Lake" from their KC run that would be repeated at the Met. (If only I could attach the photo here.) Misseldine was prominently featured, but so were Roxander and Joseph Markey for their debuts as Benno and Purple Von Rothbardt, respectfully, with photos and text. I never saw any soloist or corps dancer shout-outs during the McKenzie era. Also, the corps de ballet celebration evening, which also had a full page in the promo materials - pretty sure McKenzie never did that either. So, it seems to me that Jaffe is trying to garner attention for all the up-and-comers while showcasing the entire company. I've seen the same attention given on their IG page (not sure if the dancers still run that or not). For all of the talk about the many lackluster principals and soloists, lack of excitement for the company in general, I'm flummoxed that Jaffe's capitalizing on a new, exciting principal is creating so much rancor. This is the first principal that Jaffe has promoted, she's very young and she was promoted on stage - all of that is a big deal. Further, where is the proof that Jaffe is showering her with undivided attention and at the expense of the rest of the dancers? If there is proof, I haven't seen it. So far, the Fall casting is fairly evenly distributed. The comments and general tone that the only reason Jaffe is paying any attention to Misseldine whatsoever is because of her mother is baffling. If favoritism and a connection to a parent are the only consideration, then one wonders why Hannah Marshall, Cheryl Yeager's daughter, is still in the corps after 11 years and has never been given even a demi-soloist role since Jaffe took over. Yeager was a principal at ABT at the same time Jaffe was and has also been on faculty at the JKO school. Charles Barker (principal conductor at ABT) has a son, Max, who is currently in the Studio Company. Are we to assume that Jaffe is already holding a principal slot for him? If Misseldine is so undeserving of being a principal and leading a full-length, then why did Ananiashvili, whom many agree was one of the true greats, bring her to London to star in several performances of her Swan Lake? Link to comment
California Posted August 31 Share Posted August 31 2 hours ago, ABT Fan said: If Misseldine is so undeserving of being a principal and leading a full-length, then why did Ananiashvili, whom many agree was one of the true greats, bring her to London to star in several performances of her Swan Lake? When I saw the initial reports that Misseldine would guest in London, I thought it was smart of Ananiashvili, whose company is not well-known in London. With all the publicity about Chloe's Met debut, it must have seemed like a smart bet to attract audiences. And smart of Jaffe to make the most of this as well. We regularly talk about the challenges to classical ballet nowadays. Looks like they both saw a great opportunity to draw audiences, possibly raise money, and raise the profile of Misseldine and the Georgian company. I haven't seen reports about audience size, but I hope it was healthy. Link to comment
volcanohunter Posted August 31 Share Posted August 31 I have no way of knowing the answer to this question, but how much were London audiences aware of Misseldine? How many read the New York Times? How many read this board? How many New Yorkers read the London press? How well informed are they about debuts in Swan Lake at the Royal Ballet or English National Ballet? Ananiashvili may have been keeping an eye on the rise in Misseldine because she has longstanding ties to ABT. But as for boosting ticket sales, Misseldine may not have been the most obvious candidate to accomplish this. Link to comment
balletlover08 Posted August 31 Share Posted August 31 44 minutes ago, volcanohunter said: I have no way of knowing the answer to this question, but how much were London audiences aware of Misseldine? How many read the New York Times? How many read this board? How many New Yorkers read the London press? How well informed are they about debuts in Swan Lake at the Royal Ballet or English National Ballet? Ananiashvili may have been keeping an eye on the rise in Misseldine because she has longstanding ties to ABT. But as for boosting ticket sales, Misseldine may not have been the most obvious candidate to accomplish this. The general London audience I have no idea. I suspect many probably just purchased tickets to the ballet without knowledge of who any of the dancers were. As for the frequent ballet goers or balletomanes there was some interest in online forums of going and many of them did seem to purchase tickets specifically to see Chloe. If you look now, many have posted reviews of Chloe's performances. I suspect many of the frequent ballet goers may have heard about her promotion or read the article in the NYT. Alastair was there at her first performance and wrote a review. I think most people who don't love ballet have no knowledge of debuts in Swan Lake across the pond but that those who frequent these spaces (like on here) are aware. I've always thought that the ballet world itself is very small and Ananiashvili is more connected to ABT than others. She may have heard about this talented young dancer in the pipeline earlier before the rest of us even knew. I believe Chloe said that Nina invited her when she was still a soloist after hearing about her performance at Kennedy Center. Random note, Ferri attended Chloe's performance tonight and took a photo backstage. It's on Chloe's story if anyone wants to see it. Link to comment
California Posted August 31 Share Posted August 31 50 minutes ago, volcanohunter said: I have no way of knowing the answer to this question, but how much were London audiences aware of Misseldine? How many read the New York Times? How many read this board? How many New Yorkers read the London press? How well informed are they about debuts in Swan Lake at the Royal Ballet or English National Ballet? Ananiashvili may have been keeping an eye on the rise in Misseldine because she has longstanding ties to ABT. But as for boosting ticket sales, Misseldine may not have been the most obvious candidate to accomplish this. I suspect many serious fans in the UK read this board, just as many of us read theirs! And they probably follow some of the same social media that we see. It's hard to know what influences attendance. But with companies eager to get attention and bring people in (true for both ABT and Georgia), it was worth a try! Link to comment
choriamb Posted September 2 Share Posted September 2 (edited) The Fall season brochure just hit with a few extra clues: Teuscher is shown with Forster as the lead in the new Bond work Brandt is shown with Stearns as a first movement woman in In the Upper Room (this will be such an interesting departure for her!) Sierra Armstrong is used to illustrate the Abraham piece and the Kingdom of the Shades (which seems to bode well for her) (Aside: It will be interesting to see if management power-cast the three Shades in Bayadere with soloists one night, as they won't need to field multiple Gamzattis. Ordinarily, I've only see those variations danced by rising or experienced corps.) Oddly, the brochure's Crime and Punishment photos (a neon-lit setting and black minimalist clothing place it somewhere between the '80s and the future) and the dual-gender casting are making me more optimistic about it. If it were an acting-driven piece in period dress, I'd spend the entire time wishing that ABT had simply invested in one of Ashton or MacMillan's lesser-seen works. But now I'm expecting modern dance vignettes rather than a linear narrative. And, given Cornejo and Granlund's gifts, this seems far more likely to be more about movement quality rather than pure acting. (And, if Trenary's leading it, I'm seeing it.) And I'm surprised that they didn't trumpet that every night includes at least one female choreographer and over 50% will be works by women. I think including four well-liked existing works (Tharp, Tharp again, Makarova after Petipa, Taylor-Corbett) with a one-act new work (Bond) and a full-length new work (Pickett) makes a stronger argument for equity than a larger group of debuts. It gives new choreographers fewer opportunities...but it shows the audience why investing in female choreographers is worth it. Edited September 2 by choriamb Link to comment
ABT Fan Posted September 2 Author Share Posted September 2 7 hours ago, choriamb said: The Fall season brochure just hit with a few extra clues: Teuscher is shown with Forster as the lead in the new Bond work Brandt is shown with Stearns as a first movement woman in In the Upper Room (this will be such an interesting departure for her!) Sierra Armstrong is used to illustrate the Abraham piece and the Kingdom of the Shades (which seems to bode well for her) (Aside: It will be interesting to see if management power-cast the three Shades in Bayadere with soloists one night, as they won't need to field multiple Gamzattis. Ordinarily, I've only see those variations danced by rising or experienced corps.) Oddly, the brochure's Crime and Punishment photos (a neon-lit setting and black minimalist clothing place it somewhere between the '80s and the future) and the dual-gender casting are making me more optimistic about it. If it were an acting-driven piece in period dress, I'd spend the entire time wishing that ABT had simply invested in one of Ashton or MacMillan's lesser-seen works. But now I'm expecting modern dance vignettes rather than a linear narrative. And, given Cornejo and Granlund's gifts, this seems far more likely to be more about movement quality rather than pure acting. (And, if Trenary's leading it, I'm seeing it.) And I'm surprised that they didn't trumpet that every night includes at least one female choreographer and over 50% will be works by women. I think including four well-liked existing works (Tharp, Tharp again, Makarova after Petipa, Taylor-Corbett) with a one-act new work (Bond) and a full-length new work (Pickett) makes a stronger argument for equity than a larger group of debuts. It gives new choreographers fewer opportunities...but it shows the audience why investing in female choreographers is worth it. Brandt has done Upper Room before. She’s excellent as one of the stompers. Same with Teuscher. I hope I get to see them both again. I’m also curious who will be cast as the shades soloists. I’m hopeful new soloist Fleytoux, and I’d expect Park and maybe Granlund. Beyer, Armstrong, and Young would be good candidates from the corps. Who could forget McKenzie casting new principals Lane and Shevchenko in those roles. Link to comment
bingham Posted September 2 Share Posted September 2 2 hours ago, ABT Fan said: Brandt has done Upper Room before. She’s excellent as one of the stompers. Same with Teuscher. I hope I get to see them both again. I’m also curious who will be cast as the shades soloists. I’m hopeful new soloist Fleytoux, and I’d expect Park and maybe Granlund. Beyer, Armstrong, and Young would be good candidates from the corps. Who could forget McKenzie casting new principals Lane and Shevchenko in those roles. E Beyer would be good in the the slow variation( 3rd ?) but would be fine in the other as well, IMO. Link to comment
ABT Fan Posted September 3 Author Share Posted September 3 Coker has just posted on her IG that she's out with injury so will miss the fall season. She posted a picture wearing a boot. It's not clear if this is the same injury that took her out of half of the Met season. She's really had it rough with injuries. Link to comment
ABT Fan Posted September 10 Author Share Posted September 10 This doesn’t belong here, but Irina has posted that Beyer and Simkin are doing Corsaire pas together- not sure of the location. Pretty big deal that she gets to dance with him. Good for her! https://www.instagram.com/reel/C_riV9ZMxQR/?igsh=MjZtNzAxdzlheDVl Link to comment
DPell Posted September 10 Share Posted September 10 (edited) Skylar Brandt posted her Fall performances on her website. https://www.skylarbrandt.com/calendar Edited Wednesday at 01:25 AM by DPell Link to comment
ABT Fan Posted September 10 Author Share Posted September 10 4 minutes ago, DPell said: Skylar Brand posted her Fall performances on her website. https://www.skylarbrandt.com/calendar Since it’s for the gala, assume she’s doing the rose adagio with Cornejo. Link to comment
Dale Posted Thursday at 04:17 PM Share Posted Thursday at 04:17 PM Gala release: AMERICAN BALLET THEATRE 2024 FALL GALA TO BE HELD AT THE DAVID H. KOCH THEATER, OCTOBER 23 2024 FALL GALA FEATURING ABT PRINCIPAL DANCERS, ABT APPRENTICES, ABT STUDIO COMPANY, AND STUDENTS OF THE ABT JACQUELINE KENNEDY ONASSIS SCHOOL EVENING TO HONOR LEGENDARY BALLERINA AND CHOREOGRAPHER NATALIA MAKAROVA TICKETS ON SALE NOW NEW YORK, NY (September 12, 2024) – American Ballet Theatre will host its 2024 Fall Gala at the David H. Koch Theater at Lincoln Center on Wednesday, October 23. The Fall Gala will include an unparalleled performance, beginning at 6:30 P.M., featuring beloved classic and contemporary excerpts showcasing ABT’s roster of Principal Dancers. The evening will also highlight talented young dancers from ABT’s Training Programs. ABT is proud to honor Natalia Makarova, a legendary figure in the world of ballet, for her extraordinary talent as a ballerina assoluta and her significant contributions to the art of ballet staging and choreography. The Fall Gala will celebrate the 50th anniversary of Makarova’s 1974 staging of The Kingdom of the Shades on American Ballet Theatre. Chairs for the 2024 Fall Gala are Alexandra Airth, Sarah Arison, Avery and Andrew Barth, Emily Blavatnik, Mr. and Mrs. Austin T. Fragomen, Lillian E. Kraemer, and Chai Vasarhelyi with Lizzie Asher, Casey Kohlberg, Lilah Ramzi, and Porter Stracke as Junior Chairs. ABT apprentices, ABT Studio Company dancers, and more than 140 students from the ABT JKO School, including over 70 students from the Children’s Division and over 70 students in the Pre-Professional Division, will perform a pièce d’occasion set to music by Georges Bizet, choreographed by Rubén Martín and Caridad Martinez. ABT apprentice Brady Farrar will additionally choreograph a movement of the pièce d’occasion for ABT Studio Company. ABT’s Training Programs provide young dancers with the industry standard in ballet training, preparing them for careers in American Ballet Theatre’s main Company or other leading national and international companies. Notably, over 90% of current ABT dancers are alumni of either the ABT JKO School, ABT Studio Company, or an American Ballet Theatre Summer Intensive. In celebration of the 2024 Fall Gala, ABT dance will perform a special mixed repertory program. Christine Shevchenko and Guest Artist Isaac Hernández will lead an excerpt from The Kingdom of the Shades by Natalia Makarova after Marius Petipa with music by Ludwig Minkus and orchestration by John Lanchbery. Calvin Royal III and SunMi Park will perform the pas de deux from Lynne Taylor-Corbett's Great Galloping Gottschalk with music by Louis Moreau Gottshcalk. “The Dream” pas de deux from Raymonda will be performed by Hee Seo and Cory Stearns with choreography after Marius Petipa and music by Alexander Glazounov. The central pas de deux from Jessica Lang’s Children’s Songs Dance, with music by Chick Corea, will be performed by Isabella Boylston and James Whiteside. Skylar Brandt will perform the Rose Adagio from The Sleeping Beauty with choreography after Marius Petipa and music by Peter Ilyitch Tchaikovsky. An excerpted pas de deux from Kenneth MacMillan’s Manon with music by Jules Massenet will be performed by Devon Teuscher and Thomas Forster. Chloe Misseldine and Aran Bell will perform George Balanchine’s Sylvia Pas de Deux with music by Léo Delibes. Cassandra Trenary and Herman Cornejo will perform excerpts from Twyla Tharp’s Sinatra Suite. An excerpt from Études with choreography by Harald Lander, music by Carl Czerny, and orchestration by Knudåge Riisager will be performed by Gillian Murphy, Guest Artist Isaac Hernández, and Jake Roxander. Catherine Hurlin and Daniel Camargo will perform a pas de deux from Don Quixote with choreography after Marius Petipa and Alexander Gorsky. Gala guests are invited to a cocktail reception at 5:30 P.M. Following the performance, guests will enjoy dinner and dancing on the promenade. For more information on ABT's 2024 Fall Gala or to purchase tickets and tables, please contact Kristin Sarli, Associate Director of Special Events, at ksarli@abt.org. Additional performances during ABT’s 2024 Fall season will run from October 16–November 3 at the David H. Koch Theater featuring four programs, including three World Premieres, one Company Premiere, and a selection of beloved works from ABT’s repertoire. Tickets, beginning at $30, are available for purchase online, in person at the Koch Theater box office, or by phone at 212-496-0600. For more information, visit ABT’s website at www.abt.org. Programming and casting are subject to change. ABOUT AMERICAN BALLET THEATRE American Ballet Theatre is one of the greatest dance companies in the world. Revered as a national treasure since its founding season in 1940, its mission is to create, present, preserve, and extend the great repertoire of classical dancing for the widest possible audience. Headquartered in New York City, ABT is the only cultural institution of its size and stature to extensively tour, enchanting audiences for eight decades in 50 U.S. states, 45 countries, and over 480 cities worldwide. ABT’s repertoire includes full-length classics from the nineteenth century, the finest works from the early twentieth century, and acclaimed contemporary masterpieces. In 2006, by an act of Congress, ABT was designated America's National Ballet Company®. Leadership support of ABT’s New Works Initiative is provided by the Blavatnik Family Foundation, The Ted and Mary Jo Shen Charitable Gift Fund, and through an endowed gift from The Toni and Martin Sosnoff New Works Fund. In addition, the Fall season’s three World Premieres are made possible in part with support from the Rockefeller Brothers Fund. Commissions and presentations of new works by women choreographers are supported by the ABT Women’s Movement. Champion support for the ABT Women’s Movement is provided by Jenna Segal. Special thanks to Denise Littlefield Sobel for her leadership gifts to: ABT Today Fund, advancing the Company’s mission; and ABT RISE, fueling the Company’s commitment to diversity, equity, and inclusion. ABT is supported, in part, with public funds from the New York State Council on the Arts with the support of The Office of the Governor and the New York State Legislature; and the New York City Department of Cultural Affairs, in partnership with the City Council. For more information, please visit www.abt.org. Link to comment
ABT Fan Posted Thursday at 05:35 PM Author Share Posted Thursday at 05:35 PM (edited) So, Ahn is not dancing in the gala - that’s odd to leave a principal out. Guest artist Hernandez gets 2 performances. Guess they really want to show him off. Happy Roxander and Park are included. Actually, Ahn is not cast for the entire fall season. Must be out injured or something. Edited Thursday at 05:45 PM by ABT Fan Link to comment
Victura Posted Thursday at 08:16 PM Share Posted Thursday at 08:16 PM Are tickets to the gala performance only not being sold anymore? I didn’t see it as an option when I looked yesterday, but it certainly used to be possible to see just the performance. Link to comment
abatt Posted Thursday at 08:31 PM Share Posted Thursday at 08:31 PM Not sure what you are looking at. I just clicked on to Oct 23 (gala night) on the Koch website and there are plenty of seats open for purchase. Link to comment
Victura Posted Thursday at 09:28 PM Share Posted Thursday at 09:28 PM 55 minutes ago, abatt said: Not sure what you are looking at. I just clicked on to Oct 23 (gala night) on the Koch website and there are plenty of seats open for purchase. Thanks for that! I was looking at the ABT gala page, which only had benefactor tickets (starting from $3000!): https://www.abt.org/support/special-events/fall-gala/ The regular tickets are much more reasonable! Link to comment
abatt Posted Saturday at 03:38 PM Share Posted Saturday at 03:38 PM I received an email from the Guggenheim on an upcoming Works and Process program regarding Crime and Punishment. The dancers who will appear for the presentation are: DANCERS Cassandra Trenary (Raskolnikov) Christine Shevchenko (Dunya) Calvin Royal III (Razumikhin) SunMi Park (Sonya) Joseph Markey (Luzhin) Ingrid Thoms (Pulcheria, Raskolnikov and Dunya's mother) The program is on Sept 22. If anyone goes please post. Link to comment
NinaFan Posted Saturday at 08:30 PM Share Posted Saturday at 08:30 PM (edited) On 9/10/2024 at 2:22 PM, ABT Fan said: This doesn’t belong here, but Irina has posted that Beyer and Simkin are doing Corsaire pas together- not sure of the location. Pretty big deal that she gets to dance with him. Good for her! https://www.instagram.com/reel/C_riV9ZMxQR/?igsh=MjZtNzAxdzlheDVl It could be Simkin's two performances at City Center in January. His partner has still not been posted on City Center's website. https://www.nycitycenter.org/pdps/2024-2025/ibstage-stars-galas/ Edited Saturday at 08:32 PM by NinaFan Link to comment
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