Bruce Wall

The name is 'Tiler' ... There is a Tyler in the current NYCB company - but that is Tyler Angle - who has sometimes partnered Tiler.

My word that's a lot of nominations for Tiler. I'm sure she'll be delighted - and surprised! Very happy too that she's back dancing again in the NYCB Spring Season.

@Jeannette, happily Ratmansky's Solitude - a true masterwork IMHO - will be repeated in the NYCB '24/25 season. It is a work I'm confident will withstand any one nation's time; one whose rich choreographic heart will beat long beyond you and certainly me.

I find seven a good (well, refreshing in comparison) number ... The SL is for two weeks (14 performances) at the end of the '25 NYCB Winter Season and MSND is - as per tradition - at the end of the Spring season (another 7 performance outing). It is always The Nutcracker that arms itself to match the RB records. It will - as usual - have 43 performances - all in one concentrated chunk giving the new NYCB intakes plenty of opportunity to show their fanciful wares.

One definitely positive aspect to the new NYCB season is (a) the regimentation of all evening curtain times to 7.30 pm [previously the Friday and Saturday evening slots were 8pm] and - in response to NYCB audience requests - (b) a reduction - in the majority of cases - from two interval programmes to one. This should ensure that the similar quality is delivered within a more minimum time frame. I would imagine that this would mean the majority of performances will end just before or very near 10 pm from EVERYONE's perspective. Very healthy for family and working life. Well done, Wendy and Jonathan.

Here's the NYT's coverage - but that will, of course, be covered by a paywall.

Here's a Broadway World overview - I think this is available for most UK readers.

Sure a press release will follow shortly. The calendar is not a bad way to look at it. You can click on the different programme's titles and see a list of the works to be performed.

Sorry, @Estreiiita but - at least for me - this link is not working.

Details here - includes new Ratmansky and new Peck and three full-lengths: Coppelia, Swan Lake and Midsummer Night's Dream.

I think NYCB is a definite exception to the above stated rule - and, quite frankly, always has been. Apprentices are often thrown into the deep end VERY QUICKLY and DANCE A LOT - but then the Company dances more rep per annum than any other Company on earth. That stamina is built into them at SAB - which is why Balanchine always insisted that any dancer joining the Company from outside (and they are extremely few and far between for very significant reason) would spend six months at SAB - just to be fair to them. It is VERY different in that regard from any of the other Companies referenced.

Dave, I fear this British attitude has long been the sad - but all too real - case. Being actively involved in this area within this isle - as well as being privileged to be active in many other parts of the world - I proactively see the results of this with vibrant effect. I've simply given up here I fear and accepted what you write as now a simple fact of life - That way nothing really surprises. The 'universal (British) THEY' have forced such sadly. These things seem NOT to alter. It is especially sad given this country's previous history of precedent setting. Sadly, you can't live on that - as much as some STILL try. Things really came into focus for me when Oxford made Shakespeare an 'elective' for English degrees in the latter part of the last century. This is one of the few countries on earth where you can have a degree in the English language and - in practice - never actively have touched the Bard. The results speak for themselves I fear - and will long after I'm gone. There are some things that you simply can't 'buy back'.

Source This could be exciting for Companies in the UK - Perhaps, say, London City Ballet. There are many Robbins' works that have never been seen in this country. I would be curious to see how much 'say' the Robbins' estate will have in the selection however. Up until now they have been really quite strict.

I went to the matinee after the Sadler's premiere. It was all that I could get a ticket for and was grateful at that. I had to rearrange my schedule to make it I remember. I really wanted to like this after all the response here and the hype. I really wanted it to be a hopeful marker for BRB's new leadership. I found it tawdry and boring. It was bitterly disappointing. You'd have to pay me to see it again. Best wishes to those who love it.

Really admired this endeavour and it had so many imaginative touches and adorable spirit. It's always wonderful to be able to really appreciate the core Petipa constructs. We so often only see it obscured. I was so grateful to be able to see the Paquita in Munich that Fullington worked on with Ratmansky. It was such a lovely production which a later Russian Director of that Company sadly had destroyed. I loved the use of demi-pointe to give speed. Balanchine definitely played with this as well. Thought the final principal couple were by some distance the strongest but all the 'Nikki's' were able dancers - and could 'move'. The highlight for me was really Larry Moore's orchestrations. No question. I adored them. Here was an idiosyncratic score that had been 'opened up' rather than obscured - or 'covered over' in the Martin West/Royal tradition. The idea - let alone the buoyant reality - of this is a massive gift. There is so much that should be tackled not just from an Asian perspective but from a 'Meetoo' one in these regards as well. Blessedly our world IS - or certainly can and SHOULD BE - a different one. I wonder, will people look back and see this as a kind of '19th Century Shakespeare' treatment moment? I won't be about ... but I would so love to know.