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  1. You’re welcome, Jan! I agree, she’s overcome not just her health condition with an under researched, under treated illness. But also her personal struggles and it’s amazing to see her come up on top again. She advocated for herself repeatedly and it’s very inspiring that she succeeded.
  2. So, I know American ballet isn’t discussed here quite as often as the British and let alone particular American dancers... but I thought this was super interesting. I can’t recall many instances of dancers returning to a professional career in this type of circumstances so it seems quite extraordinary to me.
  3. Yep. Not to mention, that it also implies that the right of the female dancers to have a safe, dignified work environment is not a priority for AGMA if it gets in the way of the career of any man causing their distress.
  4. Regardless of one might think about NYCB's current management team (or about how long it's taken the board to name a new director), this is what can happen when there's fresh leadership and young people are brought to the table.
  5. Honestly, this. And I feel like dancing is one of those things where separating the artist from the person is not at all easy. He'd be out there dancing Spartacus with that hideous tattoo and as an audience, we're supposed to not care? Nah I'll pass. There's a bouquet of incredibly talented, charismatic dancers who can project far more positive, enlightening, delightful things onstage than he can. I often feel that Polunin dances for himself anyway, while a lot of other dancers dance with the audience, so to me that's way more valuable.
  6. Like others are saying, I agree that this isn't surprising. Thiago was being cast less and less over the last couple of seasons and that always inevitably starts to signal that either something else is going on for the dancer or at least that they're winding down their career. Regardless of whether he returns just once (hopefully for Onegin) or regularly, I wish him the very best, truly. I loved him in some MacMillan roles, he was so delightful as a dramatic dancer. I wish I'd gotten to see him on Judas tree, but I never got the chance.
  7. Having watched the broadcast, I'd like to add in some points about the ending. I may be biased because I personally just adore the orchestration for Un Poco di Chopin, but I think the lack of it for this production is part of what makes the ending feel a little unsatisfying. While I personally agree with Liam Scarlett's idea that the music calls for a tragic ending, I also think that the Driggo orchestration for that particular piece gives more context to the sad ending and I really enjoyed it on the Dowell production. The black and white swans and their sad, slow steps, it all felt exactly like a sad ending. And while Scarlett choreographed a gorgeous, moving PDD, it feels more like a reconciliation can lead to a happy ending and it's disappointing that it doesn't. Having said that, I'm on the camp that loves a tragic ending for Swan Lake.
  8. What a sad thing to hear! I love Emma and I saw so much love from Lauren on IG after this performance but I had no idea it was because she's leaving. She will definitely be missed.
  9. He doesn't have to agree, that's true. But to bring in someone who's being openly homophobic into an environment where there are a diverse group of dancers is a slap in the face to those dancers. To a degree, this is what happened with Dupont. I read more than one dancer on Twitter saying they had expressed discomfort at the idea of sharing the studio and the stage with Polunin after those comments. What company that respects and upholds its LGBTQ dancers is going to be comfortable bringing him now? Do we really think the LGBTQ dancers won't say anything? I mean, he just did the Nureyev movie, he has to know the degree to which LGBTQ dancers have always been a part of ballet. This is exactly how I feel and what I've been saying for some time. And I can only imagine that the reason people keep bringing him on is because he has made a lot of noise for himself since leaving the ROH. People who watched his music videos may be inclined to buy a ballet ticket when they wouldn't have for someone else that we'd consider a better (or at least more centered) dancer. But I agree, he's had his chance so many times. Lately, I feel like he didn't just renounce the discipline of the company life, he just renounced discipline in general. Maybe because of his upbringing or maybe because of how quickly he found himself at the top. But nonetheless, it always made me sad how instead of finding comfort in the discipline and routine of ballet tradition, he rebelled against it at the expense of his mental and physical health.
  10. Aaw thank you! I've been registered for ages but I don't read often and have never commented cause everyone here is so knowledgeable, I mostly come here to learn
  11. Well, they call it a "flexible polymer" but yeah it's plastic. It's a type of plastic that can always keep its shape, regardless of how many times it's bent in a different direction. That's why it lasts so much longer. The other reason it lasts longer is because it doesn't need the extensive tweaking that traditional shoes do. There's no banging on the walls, no wetting and stepping on the box, no bending the shank until it's broken. Most dancers who wear GM only sew their ribbons and elastic and go on to dance like that. I know some ROH dancers on GM also do darning but I think only Osipova does further tweaking to the shoes because she opens up the vamp.
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