Bruce Wall

What a great programme - and so exciting to see the two outings for the brilliant Mr. Wagman. I'm so looking forward to seeing him in the new Ratmansky in Munich in May. Isn't Thomas Docquir now an Etoile?

It is interesting to note that today the body (not complete) of creative artists for this year's Vail Dance Festival (the fantastic Damian Woetzel, Founder/AD) has just been announced. Tiler Peck is again choreographing (as well as, of course, appearing) as are many of the individual NYCB associated artists who were in her recent Wells' programme (e.g., Mejia, Grant, Lovette, Nadon, Takahasi and India Bradley - who had been originally cast for London but was replaced by the phenomenal Quinn Starner). NYCB's Mearns, Chan, Phelan and Bell are also appearing on the Colorado bill. There are original pieces there being choreographed by Kyle Abrahams (now known to London audiences for his two Covent Garden pieces) and internationally celebrated Justin Peck - (who here would be largely known for his film work with Spielberg - although his first contemporary piece was seen by the LA Dance Project some years ago at the Wells about which the late Clement Crisp rung rhapsodic.) I was wondering if - given the HUGE success of Turn It Out with Tiler Peck - if she might put together another similar London treat for next year - should a suitable time/space be available in Theatre/Artist calendars. One can, of course, but pray.

Congratulations to this talented artist on his new placement. I'm sure we all wish him nothing but the best. He has offered so many wonderful performances at BRB. One that will always stand out in my memory is his vivid Moor in The Moor's Pavane. I look forward to catching him with the Swiss Company.

Isn't it tomorrow at 9am???? .... Just checked .... It appears to be - View priority booking dates General: 13 April 2023, 9am Friends: 14 March 2023, 9am

If last night was wildly solid, tonight was truly electric. So many of the rough edges - the nervous jags in so many of the opening night departments - were well and truly 'Turned Out' so that the sharp edges of the music - thrillingly rendered - were rightfully enhanced - especially in Time Spell where Lauren Lovette was TRULY SPECTACTULAR - SO ENTIRELY MOVING in her solo which was choreographically quite different from the night before - much as Ishimoto left his 'on the head hip hop' at home tonight in favour of tours thus making the final panoply of that vivid piece's whole all that much more substantive in its ravishing end. Moreover, the wit engendered at the heart of the Forsythe was let thrive afresh in the very euphoria of its merriment's thrust. Starner continued to flame - (something tells me this girl ain't gonna be in NYCB's corps for long) - and KJ's partnering was oh, so much improved from the night before. You could feel the whole evening grow; each burgeoning piece flowering afresh. Two things remained heart-endearingly the same though - (i) The magnetic Mr. Meija was as irresistibly arresting as ever and the second - well, at least for me - the second (ii) was the beatitude of Christopher Grant's buoyant thrill at at just being allowed to shine. I can't express how much the quiet clarity of his rapture moved me. At one point you could actually see this boy who has been in the NYCB corps for so long actually smile. The sultry joy of his partnering of the ever effervescent Jillian Myers literally had me in tears. The boy from Jamaica (the one in Queens, NY that is) had done good. Well done YOU, fella. You deserve it!! YOU DESERVE IT!!! BELIEVE IT!!! And Brava to the incomparable Tiler Peck for sharing these fortuitous strokes of balletic opportunity with us. Stepping up to plate with Tiler (as much as the world-beating-triumph that is Michelle Dorrance) remains, as ever, a life-refining fortuity.

SO pleased to read this. Good on her I kept muttering as I scanned the article. Thanks so for posting.

So glad people are enjoying the artists in this programme. It was life enriching for me to catch Lovette again. I always did like her and so regretted missing her NYCB retirement programme. So sweet to see Meija and KJ Takahasi together ---- as KJ went to his parent's school (so easy to forget they are both SOOO young) before going to SAB and I know they are good friends. So taken by Quinn Starner. She only joined the NYCB corps in 2022 - but well deserves her featured prominence here. Also so glad to see Grant used to advantage - as I sometimes feel he is undercast at the main house. It's a bit of a waste of Furlan's talents just to have him in the first piece - but I assume that's because he had been pulled from his Princely NYCB Sleeping Beauty duties due to a family emergency in Brazil. Still so glad he was able to make it at all. Meija only ever goes from strength to strength. He does so remind me of a 17 year old Ivan Vasiliev - only he is the better 'ballet' dancer. Still, like Vasiliev he can always make me giggle. His good humour just flows - abundantly so. That's something he shares with Tiler who musically is charisma personified. She was ever thus. In ALL a gift. I sincerely doubt, Anna, you will be seeing the main NYCB Company any time soon in London - as opposed, say, to Paris - (especially given the HUGE increase in unit company individual visa charges by the Home Office - much as is now sadly also the case in the USA as actioned by the Department for Immigration and Naturalization - I assume for the same reasons - and thus I'm thinking no RB Company visit for NYC any time in the near future) - but it would be lovely to think that Tiler might be invited back to host a similar-sized programme. Who knows, perhaps it could become an annual event? It would also be grand if they could extend a similar invitation to Damien Woetzel to bring a Team from Vail. A goodly number of British/European artists have taken part in that. (A few of those might save on air fares and pick up some more of the local audience.) A three performance limit now seems a good range for London - much as NYCB is doing just three performances of one programme at the Teatro Real. Here's hoping those sell out too. Best always to leave them wanting more methinks. (Oh, and NYCB's Danny Ulbrecht has had his own '& friends' pick-up company for years. Perhaps he might have a Sadler's turn much as he has had in capitals throughout Europe.)

Robert Perdziola is as much a victim of criminal Russian whims as is Ratmansky. Both are so hugely talented. The horror of these actions - like so many currently aloft within Russian realms - can - and ultimately WILL I pray - be let to speak for themselves.

I was disheartened last night when I flipped open my phone and read this news during the interval of a play. Lynn Seymour always brought me such instructive delights. She inhabited an imaginative world ripe with her own unique Canadian rigour. No matter whether hot or cold her musical realm was always scrupulous in terms of the spontaneity of its characterful meticulousness. Those fortunate enough to have experienced it will always have much to be thankful for. May she RIP now and forever.

I saw two performances of the same programme in Paris recently and wholly agree with your estimation, Shiela. If people wanted to see Balanchine (Square Dance) and Robbins (his last work, Brandenburg - which I don't believe has ever appeared in the UK) they can at the end of this month drop into the Teatro Real in Madrid (lovely it is too) when NYCB is there (23-25/3/23). I saw some rehearsals for these pieces in NYC a couple of weeks ago and they were looking good. It is on a programme with a Peck sneaker piece, The Times are Racing.

Not to worry. My frustration fed the work I needed to do in any regard. That in and of itself was a useful instruction.

Quite obviously NOT in Alison's office!!! Do you see any pumpkins out of the window, Alison? If so, I hear they are of the 'technical error' variety. Sadly, hardly rare nowadays ...

I think a goodly many will be doing the same. Certainly I am. It says 'try again later'. Will take their advice.

Sorry, of course you are right. ...... Thanks for that, Jane.

Certainly the Russians presented the Ratmansky take in London at the ROH.

The $38 tickets on the centre sides of the 2nd Ring are excellent value. I don't think you should have any problem getting one for the performance of your choice. Unusually this season NYCB are doing all mixed rep in the Summer season as Sleeping Beauty was done at the end of their Spring one.

Just checked, prices are steep at $75.00 being the cheapest .... and a $7.50 online service charge - AND A $3.50 IN PERSON AT THE BOX OFFICE SERVICE FEE ... When did THAT start I wonder???

Hope they give us the casting in advance with dates of the core Northern Ballet dancers and not just when the guest artist is involved. I would be keen to see those.

Here gifts given have been as spontaneously monumental as they have been bright .... and to hear her speak in an interview session is to feel laughter from the soul. A rare breed in need not only of celebration but cherishing. May her example live on in the hearts of all who have the privilege to remember.

I am one of those who have not received this survey - and am, again, another who perhaps wishes it is one pleasure that might be indefinitely postponed. It all sounds a most distressing round towards what - on the surface at least - appears to be an already self-determined end. If the prices are in reality at a level such as has been suggested above, I will, I fear, simply make more pilgrimages elsewhere for my balletic and operatic fare and wish the good people of Covent Garden well in their marketing efforts. I simply drop this note asking: Wasn't there a previous marketing effort by a third party agency hired by the ROH management which - in its infinite wisdom - appeared to want to do away with so-called 'regulars'? I seem to recall that there was. From what I'm reading, this current survey appears to simply be a further 'wish fulfilment' of their previous efforts. These actions I believe can and will speak for themselves.

Somehow I think it is a case of: 'If you have to ask .... DON'T.'

I think it's not just in London that the prices are running havoc. I'm here in NYC for a bit (to be read NYCB of course) and having a whale of time. Most nights - well, practically all nights - the Fourth Ring (the one I used to stand at the back of all those years ago - and twice saw Balanchine up there - and actually plucked up the courage to speak with him once) is nowadays usually closed. Some nights the third ring is closed too. That is SO sad. They have had two performances where ALL seats - meaning EVERY SEAT - including ones that you can otherwise buy cheaper - are $42.50 including State and City tax. (That's roughly £34.84 in today's UK monies.) That's far less in the US where many receive substantially higher salaries ON AVERAGE. [Believe it or not - during the core pandemic months - nine of them - months that is - EVERYONE OVER 18 got $1,300 (£1,065.57) PER WEEK NO LESS. Then when that was cut off EVERYONE got two $1,400 top-ups for good measure.] NYCB sponsors these Access Nights. There have been two in the Winter Season. One - of the new Peck (with the choreographer himself very amusingly setting it out in advance - and being cheered like a Rock Star) - was last night. EVERY SEAT WAS TAKEN - and that included in the Fourth Ring. IT WAS SO NICE TO SEE IT OPEN AT LAST. Just for old times sake. I got myself a seat in the centre of the front row of the Second Ring though - and wasn't complaining. I wonder if any of these people come back to the regular programmes when they can actually get seats cheaper? It was just so nice to see it full. At the end of both programmes they had a dance in the main State Theater foyer for audience members - which is enormous - certainly in Covent Garden terms. ALL WERE INVITED. Last night they were offering everyone free Beer and Bourbon. I didn't stay - but it seemed the folk - very much a younger crowd - but that's true for most performances - that did were having a grand ol' time of it.

And it would be great too if Damian could bring his illustrious wife, Heather Watts, herself a former NYCB Principal (like her husband) and protégé of Balanchine. Together they are a VERY potent team.

Have written a PM. Would love this ticket.

Just a brief note to say that last night Tiler Peck and - my, oh, my - Roman Mejia (in his case a chip BEYOND his father's old block) - personified balletic excitement. Of course the crowd went wild. Peck was as ever luxuriant in her phrasing with an almost regal control. This afternoon in the same slot will see the glorious Indiana Woodward and Joe Gordon in the Donizetti Variations. What a STAR he has become. He was, of course, always talented but NOW! One of the most thrilling things - evident is so much of the NYCB fare - is to see the NYCB men in canon. It is a sight and sound to behold. They land silently (unlike the ensembles and soloists in many other companies - and this largely thanks methinks to the training that Stanley Williams so stunningly began at Balanchine's invitation). They are always in respect of the music - and in total unison. The strength of their stealth is palpable and is always met with a potent roar from the admiring crowd.