Bruce Wall

Too late with my corrections - have put them here. One thing I don't understand is why the American equivalent to BcoF - which clearly is on the same platform it seems - [e.g., on those occasions when the overall system goes down for BcoF it does the same for the American equivalent as well] - still the latter does NOT have the half hour time limit set for edits. Is this a setting selected by the respective organisers? It suggests that it must be. Just asking. I know as a self respecting dyslexic I am most grateful to be able to go in and correct myself. I will keep seeing things backwards beyond the time limit. Just saying .... Tonight London got Sara - that's Sara Mearns - in her now one and only London performance of this run - in just one of oh, so many NYCB roles that she has originated - and we saw her in the solo variation and the PDD with Gilbert Bolden in Rotunda - (again the originator - and that when he was still in the corps) - and both glittered. Again, this work was commissioned by/for the Wells and I understand it is to be retired after tomorrow by NYCB. Sara is a star in the old-time mold and she thrust forward with the dramatic weight that made the central segment of this work count mightily this evening. Again, this is NOT a programme that would EVER be done in this fashion at State Theater - or anywhere else I would imagine. This is a programme devised by Sir Alistair Spalding and it clearly worked for HIS audience - and the capacity attendance was one of the most heartening things about this little adventure. It made my heart weep when I thought of just how empty SFB had been. Perhaps they too should have been programmed by Spalding. He has clearly built his audience - and they adore him and his taste. I doubt sincerely this will ever happen again in NYCB's regard. There's not much in it for them really. One thing it has proven to me I think is that things are best left in their proper spaces. I so admire MacMillan and McGregor by the Royal Company on the ROH stage. They are built to serve those works and they do so SO very beautifully in their appropriate environment. Balanchine, Robbins, Ratmansky and Peck should stay at State Theater or its equivalent. Each are there - in appropriate spaces - for a very significant reason and their purpose rightfully served with companies expressly trained to honour such - and who do glory - expressly in each particular construct. (For this reason the Rotunda built for the Wells simply swam in the larger climb.) Still, NYCB honoured their commitment - no one can now say that they didn't - which at the time would have been JUST Rotunda and that initially negotiated at some distance before the pandemic. They have at very least done that now with pride .... baring the item below - which I have to confess truly SHOCKED ME. Why? Well, there was something this evening that I have NEVER seen with NYCB before. ONLY IN LONDON it seems. In Love Letter Roman was dancing the role created by SVV. Still, he only did PART of it tonight. In this evening's performance that long central variation at the heart of the work WAS ENTIRELY MISSING. Roman DID do it twice on Thursday - BUT NOT AT ALL TONIGHT. The piece seemed knocked back. I have no idea what's going on - but I have NEVER seen NYCB do any work where part of the core choreography was cut. Certainly there was no announcement. Most strange. Why SVV could not have done the performance - and partner Quinn Starner - as he did Olivia Bell - I have no idea. Heaven knows he would have partnered both of these ladies any number of times in segments of a vast array of works in NYC. Was it to simply have Roman on the performance roster? I assume that segment will be back when SVV does the final performance tomorrow. I sincerely hope someone consulted Mr. Abraham. If not the lack of respect for the material being served is manifold.

This afternoon the performance you reference would have been danced by Olivia Bell, a relatively petite lady with a lot of delicate might. She is in the NYCB corps.

Tonight London got Sara - that's Sara Mearns - in her now one and only London performance of this run - in just one of oh, so many NYCB roles that she has originated - and we saw her in the solo variation and the PDD with Gilbert Bolden in Rotunda - (again the originator - and that when he was still in the corps) - and both glittered. Again, this work was commissioned by/for the Wells and I understand it is to be retired after tomorrow. Sara is a star in the old-time mold and she thrust forward with the dramatic weight that made the central segment of this work count mightily this evening. Again, this is NOT a programme that would EVER be done in this fashion at State Theater - or anywhere else I would imagine. This is a programme devised by Sir Alistair Spalding and it clearly worked for HIS audience - and the capacity attendance was one of the most heartening things about this little adventure. It made my heart weep when I thought of just how empty SFB had been. Perhaps they too should have been programmed by Spalding. He has clearly built his audience - and they adore him and his taste. I doubt sincerely this will ever happen again in NYCB's regard. There's not much in it for them really. One thing it has proven to me I think is that things are best left in their proper spaces. I so admire MacMillan and McGregor by the Royal Company on the ROH stage. They are built to serve those works and they do so SO very beautifully in their appropriate environment. Balanchine, Robbins, Ratmansky and Peck should stay at State Theater or its equivalent. Each are there - in appropriate spaces - for a very significant reason and their purpose rightfully served with companies expressly trained to honour such - and do glory - expressly in each particular construct. (For this reason the Rotunda built for the Wells simply swam in the larger climb.) Still, NYCB honoured their commitment - no one can now say that they didn't - which at the time would have just been JUST Rotunda and that initially negotiated at some distance before the pandemic. They have at very least done that with pride .... baring the item below - which I have to confess truly SHOCKED ME. Why? Well, there was something this evening that I have NEVER seen with NYCB before. ONLY IN LONDON it seems. In Love Letter Roman was dancing the role created by SVV. Still, he only did PART of it tonight. In this evening's performance that long central variation at the heart of the work WAS ENTIRELY MISSING. Roman DID do it twice on Thursday - BUT NOT AT ALL TONIGHT. The piece seemed knocked back. I have no idea what's going on - but I have NEVER seen NYCB do any work where part of the core choreography was cut. Certainly there was no announcement. Most strange. Why SVV could not have done the performance - and partner Quinn Starner - as he did Olivia Bell - I have no idea. Heaven knows they he would have partnered both any number of times in NYC. Was it to simply have Roman on the performance roster? I assume that segement will be back when SVV does the final performance tomorrow. I sincerely hope someone consulted Mr. Abraham.

Mea Culpa - That was me not having a cast list to hand. Those programmes handed out at State Theater are most helpful in that regard. Olivia Bell is a stunning dancer. She was second cast in Tiler's new ballet in the role India Bradley originated and meant to be opposite Olivia McKinnon - but sadly the latter Olivia was not able to dance that performance so Emma Von Enck again danced the role she originated. No complaints here. They were both stunning in it. That's a lot of Olivias though. I think Olivia Bell must one of the smallest women in the company - but that said she is all that much more entirely radiant.

@Emeralds, (i) Flowers at NYCB are reserved for either (a) new work premieres or (b) dancer retirements - where each dancer/person participating offers traditionally one flower and the directors bouquets. In that way it makes them particularly special. (ii) The full curtsies are done - but only during front of curtain runs, i.e., by soloists and principals. I always find people like Tiler Peck and Indiana Woodward particularly gracious in this regard. There are, of course, no front of the curtain runs at at Sadlers. (That too saves some time -as there are always at least two - but they are much more quick than at Covent Garden no question.)

Just have to post this - It's an overview article from the NYT on the NYCB winter season - (I think to come out in hard copy in the Sunday paper tomorrow) - and I agree with almost all of what they write - and lovely that they include video clips from the NYCB feeds. (All performances by NYCB in NYC are filmed by multiple cameras controlled electronically from the media centre at the back of the stalls. All NYCB principal and soloist dancers have access to their feeds - which is why you sometimes see them have immediate access to some stunning footage in their social media ('And here you can see me tonight ....') ..... This isn't just frivolous. It's there for a very practical reason - and has been from the venue's opening in 1966. This is another aspect that Balanchine led on. These dancers dance more rep than any other company on earth. (In Balanchine's day NO TWO PROGRAMMES WERE EVER THE SAME COMBINATION - JUST IMAGINE - THE MIND BOGGLES - AND I SAW A LOT OF THEM.) The reason for the access is so that they (i.e., the dancers/creative staff) can meaningfully review their performances and also use other ones to learn roles in advance. In the old days (i.e., before the media center was revamped this century) there were just two cameras. There was a mid shot and a close up. For those who may be interested - and may find themselves in NYC - you can see MANY OF THOSE in the Lincoln Center Library for the Performing Arts. You will have to get a library card - but I believe they are still very open to foreign nationals. I notice now that some of this material is restricted but the vast majority of the old footage is not. It is there for you to learn as well. Moreover, it is entirely free of any charge. https://www.nytimes.com/2024/03/08/arts/dance/new-york-city-ballet-winter-season-solitude.html So pleased to see them hail Solitude as the masterwork that it truly is. I, for one, am not going to miss any of these upcoming Ratmansky premieres. He is - at least for me and I know in London there are some who have really struggled with him - at the height of his powers and I'm convinced his work for NYCB is his very best. Would there was somewhere in London to share these. NYCB had suggested they might introduce a streaming service - but that seems to have gone by the boards. The physical impact is just so vital in the live interactions I agree. So pleased to see Jules Maibe picked out for that 4Ts performance. It was thrilling simply because it was unexpected. It was one of those 'thrown on' situations - where fate had more of a hand than anything else. David Gabriel (who is not here - much as the majority of the Company) IS thrilling and deserves ALL of the praise he receives. Agree, there is NO QUESTION but that Emma Von Enck WILL be promoted to principal ... and I would put Alexa Maxwell (who IS here) in that mix. BOTH RIGHTFULLY DESERVE IT. So, so much to celebrate.

What a difference a night - and perhaps a little recovery from jet lag - makes. It was almost as if this was a different show tonight. Quickly - On the DANCING ONLY - Rotunda - KJ went in for Sebastian VV. (I won't spell out last names because no one at Sadler's gets a programme let alone a cast list so what difference can it possibly make). Roman had not danced any one of his assigned Rotunda performances - two I think - at NYCB this past season and certainly he was not in the original. (Not surprisingly this season because he was the male lead - but of course - of Tiler's new ballet and that came next on the bill.) This made a WORLD of difference. KJ and Roman are basically the same height - (Danny is MUCH shorter than SVV) - and so the balance in their duets was riveting. The emotion in Roman's final variation was thrilling - perhaps even more so because I hadn't expected it AT ALL. Well done, Roman. He is so growing as a dancer. (He's always been a star - no question of that - but this work certainly is perhaps not his explicit metier. (For a very similar reason it was glorious too to see him grow in Lieberlieder Waltzer - where he partnered the glamorously TALL Unity Phalen. He grew in that too. In his second performance at least he didn't step on Unity's hem.) It was ALL so much more balanced because of this and ALL and you could see aspects of the choreography - some very clever - which hadn't been noticeable (at least to me) before. Megan (now dancing her own performance)was here partnered - as at State Theater - by Peter Walker - and a very good fist they made of the PDD too. It's so different from Gilbert and Sara - but that I think can only attest to the strength of the Peck's construct. Perhaps it's a choreographic grower. Duo Concertant - This was Indiana and Taylor's first bash at these roles and stunning they were in them too. It was really VERY different from Megan and Huxley - but then that's the gift of Balanchine. Indiana swept with a ravishingly innocent French chic. Taylor was buoyant and playful in their response. A thrill - and the audience responded in turn. Gustave - Tonight the effervescent Emily Kikta was in for Adrian DW. Love Caroline Shaw's music (so hope one day someone makes a ballet to it) and tonight's grouping enhanced the pleasure of this conceit. It was glorious to have four tallish girls - with Kikta (such a phenomenal dancer) with the already legendary Ms. Nadon - being here an equal match in both stealth and size. It sang (at least for me) in a way it hadn't previously. That said I'm not certain I'd rush to see it again. Love Letter - THIS CHANGED THE MOST. Why? Because Sebastian Villarini-Velez (there I've typed it) or SVV as I have often typed before hereabouts was dancing the role HE ORIGINATED. It made sense tonight in a manner it just didn't with Roman. Roman was trying to make it into a showpiece. It isn't. SVV was telling the story he had helped form. I have to confess - SVV is FAR from my favourite NYCB dancer - but credit where credit is due - He was excellent tonight - and deserved the reception he received. It really altered the construct of the overall piece itself for me. I'm now really looking forward to seeing it again at the Sunday matinee with this cast. It was here just so much MORE of a whole because of it. Olivia Boisson (such a lovely NYCB corps dancer) was in for her fellow colleague, Quinn Starner. She too was incandescent. (Both of these ladies have yet to receive any significant soloist responsibilities in New York.) Softer than Starner (who had originated her role) I ADORED the SASS Boisson added to her second variation - and how she built the overall effect. Well done, Olivia. Because of this balance - Alexa Maxwell - who is such a find - (and will - alongside the vivacious Emma Von Enck clearly be the next female NYCB principals just because of their current castings) - was even MORE vivid. This is the role that Tiler would have danced and I'm sure she would have been VERY proud of Alexa's work. Also the lanky Peter Walker was blistering together with Olivia in that PDD. When Walker IS good, he is VERY good. (I type that having seen him be far less than good in other things - and having seen him once ALMOST dangerously DROP MIRA NADON - A crime against balletic history's nature.) Loved the duet between him and Christopher Grant - (and doesn't Grant look potent in this - he manages to make that costume sing - now THERE's an achievement). Watching them together with their now added Indian headdresses in that one section I came to realise that they are in fact there to symbolise the vibrancy of NYC street life. They do so brilliantly - and AT LAST it makes total sense of the wit of the duet's end. I've seen such reactions on the street myself. IT IS INSPIRED, MR. ABRAHAMS!!!! TOTALLY. Because of the new-found overall balance this work actually ended tonight - rather than just stopped with the track as it certainly appeared to do at its Sadler's opening. It was profoundly moving at that juncture when the lithe Taylor Stanley now heavily - at least here - ambled forward towards his amour. Jules Maibe again was entirely sensitive in that portrayal - and I have a feeling this is quite a stretch for this lad - which may well have been part of the reason for casting him in it. Watching it tonight - with all the meaningful changes - I'd love to have seen the very tall McKenzie Bernadino-Soares (how's that for name) have a bash in this role. He's only in this ballet here. He's that very tall svelte guy with frizzy hair who is ALL legs. He never gets a chance to dance any - even small - soloist roles and I've seen him often picked out (or is that on) in rehearsals for correction. 'Oh, Mckenie' they'll call. Something tells me he would be very good in this. He always appears to be just so very vulnerable yet has and maintains the sweetest smile going. Due to those gargantuan gams he has - when fully stretched - the most stunning legato line - plus its clear he just so LOVES dancing. It might have served this very well ... certainly given it a different twist - but, that said, I was HUGELY appreciative for Maibe's reserve and also his thrilling balance with the always intoxicating Stanley. For me, tonight, this WAS a different work. Thank you, SVV (and, again, I don't often say that believe you me) and ALL.

I saw ALL of those performances @bridiem - Wouldn't have missed them for the world. It was such an exciting undertaking. That was however - a one off - a very special anniversary programme - with MANY companies - including NYCB and the Royal - and even Russian ones - (how times have changed) - in the mix. THAT was possible because it only involved each Company doing a small bit before coming together under the one famous (and now beautifully restored) roof. They also had special programmes in the famed 'Studio 5' where Balanchine actually mounted many of his masterworks. Even fewer people saw those of course. NYCB bit off two major bits - For one they did the City Center staging of SiC. It was fascinating to see - and I so envy @bridiem your seeing its original in 70's London. I would have just got my PhD and been going to NYC at that time so saw them there - but only at State Theater and so those versions. That must have been so special - what you saw. Such a extraordinarily important piece of balletic history. When Villella revolutionised Miami City Ballet he did many of the City Center Balanchine stagings - many of the works Villella had of course done with Balanchine's direction himself. He brought a tour of those same to City Center at the time. It was a revelation. 4Ts had an even greater potency in that frame - at least to me - I well remember. It was as if you could reach out and touch it. Sambe and O'Sullivan (replacing Hayward) were the Royal's only reps in the 2018 CC Anniversary special series. They did Tschai PDD and Tarantella and were coached by both Patty McBride and Villella. I so preferred their Tschai PDD there than the version they eventually gave of it at the ROH. It was so much cleaner, musical and more focused. The audience certainly roared their approval in NYC. They were the only ones to be brought back a second time for their front curtain runs at one of their performances. I was actually heartily disappointed seeing them do the Tschai PDD at the ROH after having seen their stupendous effort in NYC. They were but a shadow. Sadly, it was only the latter that was filmed.

@bridiem I think you will (or perhaps won't) be surprised to know that London is frequently now thought internationally of as a 'contemporary dance' fulcrum rather than a balletic one. This is largely down to Mr. Spalding - who has been enormously successful in this lights - most certainly so - and the change with the Royal's focus leveraged by the last Director with the input of McGregor - in whose works the current Royal company looks SO comfortable and fine in - and that (i.e., focus) is fervently maintained by the new Director. I assume that is what he promised - much like Balanchine made Martins promise that he would maintain the 'balletic idiom' - so vividly carried on now by Johnathan and Wendy. The overall Royal definition has certainly and knowingly altered - and here I'm not referring to the war-horses and the core MacMillan rep - which, after all, many see as key to that transition. The problem with bringing NYCB to London is there REALLY there is no space appropriate to put their major work on. Rotunda was created for the SPACE OF THE WELLS -and I will say - hand on heart - well done, Justin - it looks MUCH better there than it does hanging in the air of State Theater. In the 70's when you probably saw NYCB in London, @bridiem,they (i.e., the Company) DID the City Center (i.e. original) versions of Balanchine's works THERE (I.E., IN THE UK) - because many of the company at that time had danced them in original productions at that venue. (Remember - although the Metropolitan Opera and the then Avery Fisher Hall in Lincoln Center opened in 1964 - State Theater did not in fact open until 1966.) WHY DID THEY DO THAT? Because it was space appropriate - and because they could. THAT IS NO LONGER THE CASE. THOSE DAYS @bridiem ARE NOW GONE FOREVER. I'm not certain, but I would not be surprised if the City Center stage is not smaller than Sadler's Wells. Not at all. The ROH stage is a fraction of that of State Theater. This is why they go to Paris - or did when Les Etes de la Danse existed - which thanks to the pandemic no longer does. Why? Because Paris has at least six stages of appropriate size - and that actually includes the Palais Garnier (though they don't play there for practical reasons) whose auditorium is actually smaller than the ROH even though its lobbies - as I'm sure you know - are VAST. That's why when you sit there in many instances the perspective is even more restricted than at Covent Garden. They were built for VERY DIFFERENT circumstances. There is no doubt WHY you feel to some degree left out or foreign, @bridiem. I hate to say this - and to some degree I can share in your feelings although I have forced myself to alter in the spirit of 'if you can't beat them, join them' - you are I believe MEANT TO feel that way. When Balanchine was FINALLY able to move to the theatre of his dreams - one which he in part designed - and, boy, does it stand up - even now - he - as he no doubt had wanted to for so long - increased the measure of ALL but a very few of his productions - to suit the size of his new stage - one - in terms of size - based on the measure of the stages he had known in his youth in what we currently call St. Petersburg. This is why ALL NYCB works (apart from a VERY few expressly made for other venues - and, myself, can only think of one and you've seen it) are just TOO LARGE AS NOW DANCED BY NYCB for, say, the ROH. It's why when they are in Copenhagen now they play on that platform in the Tivoli Gardens rather than that City's fine opera house. You really couldn't put any of the Ratmansky NYCB works on the ROH stage as they'd be entirely out of proportion. I don't blame Justin Peck for feeling as he does about his work when it was squished onto the ROH stage without his knowing. I would too I should think. It would be like a fashion designer putting a suit built for a 6'3" man on someone who is 5'8". It just wouldn't sit as it was intended. The latter part is what is key. Of course these things used to happen - but now people just feel that they shouldn't. I agree - having had the luxury of seeing the difference for myself. They need to breathe appropriately to be fair to their creators - to give them an equal chance - in terms of their original impact. Something like Ratmansy's glorious Solitude that just opened would entirely lose the sweep to its overall and substantive tremour. Moreover, it's why - as I've previously noted here - when the Royal Ballet (as then was) put on stunning shows of Ashton and early MacMillan at the Met in NYC - when they had regular seasons there - a false proscenium was constructed around that massive stage frame so that the NYC audiences could better see those stunningly intimate works within an appropriate perspective. They entirely benefited from this. How NYC audiences thrilled to the glories of Symphonic Variations. This too, from his letters, was just one of the reasons (I think the music and its playing/interpretation was one of the primary others) that Robbins was not happy with the presentation of his works by the Royal Ballet as was - and heaven knows he didn't mince works - and why he settled for his European base on Paris. Must go or I won't get any work done before I head back to Sadler's.

The one - the major principal in the work here - was Taylor Stanley (in the wonderful James Fahoury's original role) - the other (again not the original) - was a NYCB corps member named Jules Maibe. This has been a break-out season for the latter - as it certainly has for David Gabriel - (Mr. Placement Plus I call him) - who is not on this tour. Mr. Maibe (or 'Maybe Not' as some call him jokingly) seems to have really come into focus. His performance when he was 'thrown into' 4T's recently was entirely impressive - Balanchine's dramatic architecture was gloriously weighted there. Well done, Jules. Thought he did well here too ... in spite of the cloth trappings.

The piece (i.e., Rotunda) was conceived/set-up for a three-segment programme by/for performance at Sadler's Wells (which had actually already beenannounced by Spalding/the Wells in advance. I had been told that originally it was also later meant to be part of the International Festival in Birmingham). The second item on that explicit bill was to be actioned by the POB and I can't remember now what the third was or if it was in fact announced. Again, Rotunda (opening February 2020 in NYC) was the only part of it that actually came to fruition in the end - understandably because of intervention of the pandemic. I sincerely doubt you will see this kind of interaction again - or at least for the foreseeable future - because there have been so many changes in the interim. But one of these are the prohibitively increased costs BOTH in the UK and US for foreign 'work' and 'unit company' visas. On an corporate basis they rapidly can become overwhelming. You certainly see this in NYC where the number of large foreign ballet company visits has been drastically cut. I doubt that the Royal for example will play there any time in the near future. I note too that the Ballet of Japan's visit to the ROH is 'independently' funded. It's a different world ... at least for now. To respond about the cast change announcements - For NYCB at State Theatre there is one announcement by a man (not the one used at Sadler's Wells for the NYCB performances) that I have always assumed was recorded. It begins 'Welcome to New York City Ballet ....' When there is to be a cast change - which hasn't already been acknowledged by a slip in the programme - then a woman does the announcement. I had to laugh. In the past season in some performances where Tiler Peck was to be replaced they'd say 'So and So will dance in place of Tiler Peck in Such and such' .... Last weekend - IN HER INSTANCE - that was changed - I assume because of the almighty 'Awwww' you would hear after the announcement involving Tiler. Then they simply said: 'The roles of Liberty Bell and El Capitan in Stars and Stripes will be danced by Mira Nadon (and glorious she was too) and Roman Mejia. A mutt and jeff show if there ever was one - She towering over him by at least a head. It all contributed to the fun. This announcement received little in the away of the 'awwww' meter. Of course, at State Theatre everyone receives a free individual programme as part of their ticket price - and ALL contracted dancers MUST be listed in the programme - or suitable notification made. I have always found it most disrespectful when, say, corps members of a company - who work so hard and play such a vital part - are not in fact named against the performance by certain companies - even so-called major ones. There is in the vast State Theater lobby a board against the back vast lobby wall - just before the access lift - which has the current updated casting at all times. (In terms of space take Floral hall and multiply it one and a half times - and that's only on the ground floor. You go up either set of a vast marble staircases and you have the marbled first floor promenade with those huge art works on either end - indeed there is substantive art work throughout. Think almost three times Floral Hall and then some - and then look up and that is looked down upon by three more rounds of equal measure by the walkways on the levels between the Second and the Fourth Ring. The theatre is a thrilling dramatic experience in and of itself - and it all looks out to the glorious Lincoln Center plaza so it is always in rightfully proportional perspective. Thank you, yet again, Mr. Balanchine!) One great thing about NYCB is they date their principal/soloist cast changes - even electronically - so you can tell if it is the most recent one you are reading. Those casting boards are a long held NYCB tradition. In the old days (i.e., long before the internet) they were on either side of the main interior entrance in boxes on those hallowed marble walls and would be initially typed and then updated by hand) ... Those days (i.e., the hand written changes) are certainly now gone. I was really disappointed by the Sadler's staff in that (a) they were actually letting people in AFTER the performance had begun - (in my own instance a women usher using her phone tourch was standing there in the centre of an aisle having a conversation with a late patron and blocking a lot of people's views at the opening of the Rotunda matinee. I didn't - but felt I should have asked her name. Shocking behaviour in my book. During the pause between Duo and Gustave this staff member - nor any others - were to be seen helping to inform people. I played that part in my second circle area. One woman near me - who insisted on going down anyway (I assume because she saw so many others doing the same - said - on her return - 'It WAS a pause' .... Go figure! So unprofessional the Sadler's staff behavour was.

@Roberta Thank you. Never saw Villella dance Tarantella - but did - the very first time I saw the work - see the ever glorious Patty McBride and Jacques d'Amboise. Most memorable. Sadly only saw Villella once on stage and that was in Robbins' Watermill - which part of me struggles to call a ballet at all. I agreed with the NYT when they called it a curiosity. Still I would have LOVED to have seen him in Tarantella, in Rubies ESPECIALLY, as Oberon in Balanchine's dream and so many others. I had the great good fortune to sit and chat with the 86 year old Mr. Villella on a subway last year in NYC. Amongst other things he said he was happy to pass on now as he saw Roman Mejia as his definite successor. That I thought very touching. You can see Roman - albeit fleetingly on several occasions - in the current Spalding presentational run of 'Love Letter' at the Wells.

First - I want to add another piece of Danny Ulbricht to this board - but this time in a MUCH BETTER PECK ballet - this is Rodeo ... now the first movement in Copeland Episodes - albeit in different costumes and some adjustments. I had hoped that Rodeo might be seen at the ROH - as I thought - given the original costumes - that it might interest a lot of young lads much taken with British football. (That ballet is all men and one woman - while now the second movement of Copeland Episodes to Appalachian Spring is all women and one man - the stellar Chun Wei Chan in the original cast). (Sadly from what I understand Mr. Peck no longer wishes his work to be seen at that address because of the unfortunate - and seemingly unapproved - showing by the Australian Ballet of one moment from his thrilling work 'Everywhere We Go' being squished onto that stage - clearly inappropriate for that work. That said, it certainly would not stop some of his Broadway work being seen in the West End. In one recent interview Mr Peck said he would love to see one of his current projects - Illinoise - now opening at the Park Avenue Armory in NYC - [again in a space sufficient to honour spacial requirements in order for his audience to best appreciate the work's measure] - there.) Anyway here's Danny on Rodeo So pleased @bridiem that you were able to enjoy your evening - especially as it was a birthday treat - with NYCB dancers. I think however - as I've said elsewhere - that you should really direct your comments to Alistair Spalding - who literally put THIS programme together. Apart from the the fact that it is actioned by the NYCB Company in many other ways their creative input was not instrumental I hear. His WAS. This was built for Spalding's dedicated London audience. it is not a programme per se that ever has - or would be - certainly in this construct - presented in NYC at State Theater. Spalding's presentational dictates were very firm. This too is understandable. After all Spalding's Sadler's Wells (albeit with some certain governmental support - and, indeed, probably more than NYCB could ever dream of) were presentational partners of NYCB's 2008 Coliseum season in which major Balanchine and Robbins works were on the bill. This fared very badly in terms of its audience numbers and I assume Spalding/Sadler's will have lost their segment of that investment. Britain today is a very different country - certainly as it is internationally and economically positioned - SO very different - so Spalding may be rightly prudent in his current London construct. Clearly it has worked as it has sold. Well done him. Something tells me that it is highly unlikely NYCB will be following down this particular pathway again. This was set up pre-pandemic to be part of a three part evening - with Rotunda being commissioned from NYCB as the opener - another work from the POB - equally small in size- for the second act and something different for the third. Rotunda opened at NYCB in February 2020. The pandemic seemingly destroyed this active incentive for the others - but as Rotunda had already been physically actioned the commitment had to be honoured and it is Spalding's construct for THAT which we herein see. I certainly applaud - as sure do we all - NYCB for following through as they dutifully have done.

That's Danny Ulbricht. HE IS BRILLIANT - and he's in his 40's. I really don't think London will see him again. I remember my first sight of him - and that was when he was a teenager and pulled from SAB to be featured in Peter Martins' Sleeping Beauty as one of the Four Ivans (one of the original last act divertisements) in the original cast of that particular presentation alongside Darci Kistler and Damian Woetzel. Once seen never forgotten. Danny has been thrilling NYCB audiences EVER since. Here's Danny in something out of the centre of his dedicated comfort zone but which you may be more familiar with (I would put the link up but fear it may be removed - type Danny Ulbricht and Ashley Bouder - both then of NYCB - in Flames of Paris and you'll find it) and here back on home turf in the 2011 NYCB Balanchine Nutcracker in the Candy Cane section. Danny's placement - since his days as an SAB student - has always been precision personified. That's one thing that doesn't alter. He always delivers everything precisely without over-selling anything. The choreography always speaks for itself - and that profoundly - in Danny's hands - or is that feet - more like body. He also teaches at STEPS in NYC if you ever wanted to take a class - and if you ever get a chance to meet him he's a truly lovely man. Finally here is Danny talking about leading the Male Division in Balanchine's Stars and Stripes - which was the other thing he did last weekend. When you have a team of these glorious men at the end of that segment all doing four double tours in a row together at one and the same time and ALL landing silently it makes the music - ANY MUSIC QUITE FRANKLY - SIMPLY BLAST THROUGH YOUR HEART. Late addition - HERE'S DANNY ON TARANTELLA -

JNC if you'd been in NYC this past weekend you would have seen the glorious Danny Ulbrecht (who you saw featured in Rotunda) in Tarantella with the phenomenal NYCB soloist (and soon to be principal if casting is anything to go by) Emma Von Enck. They were electric and the audience responded rightfully. You would have seen just how that work is meant to be performed - much as Paris did with Tiler Peck and Joaquin De Luz. (He did appear ONCE in London - thanks to Ivan Putrox - but only after he had retired as a principal first from ABT and then a long career with NYCB) Danny and Emma this past weekend were oh, so memorable. Sadly that would not be on this bill as its orchestral requirements would be beyond the limits set by Alistair Spalding. This programme should I think now be listed not as NYCB per se but simply as Alistair Spalding presents .... Vis a vis the costumes - Gustave and Love Letter were both NYCB Fashion Gala events. This is where notable fashion designers go to down and often dirty with NYCB resources/staff. It leads to some very peculiar and unsuitable results as you have now yourselves witnessed - as requested by the presenter in this instnace. On those few occasions where it actually works out, NYCB often then engages that fashion artist to design a ballet for the regular rep for them. A case in point would be Tiler Peck's new ballet - Piano Concerto for Two Pianos - where the EXQUISITE AND ENTIRELY TASTEFUL COSTUMES were by a certain Zack Posen - much acclaimed in on the fashion runways. They were so beautifully constructed / cut. The costumes for the corps were all dyed different shades of darkening blue. The only difference was the female lead - the divine Ms. Nadon in the first cast and Miriam Miller (who you saw in Rotunda with Adrian Danchig-Waring - in one bit I do actually quite like) in the second. They were both entirely stunning - albeit VERY different - in vivid crimson. Proof that the Fashion adventure CAN work out - just sadly not all that often.

Agree Naromi Corti IS a LOVELY dancer. She is a valued member of NYCB's corps certainly and frequently stands out. As to being 'thrown in' - this is something that these dancers are trained to do and this has LONG been the case/tradition. There are some very funny stories. I remember a vivid one Heather Watts tells involving Balanchine - but that's not for these pages. Thought bringing the ecstatic Mira Nadon to the Wells to only appear (a) not on pointe and (b) in a red bag in Gustave was an act against balletic nature. She will be - clearly - to the 21st Century what a personage such as Suzanne Farrell was to the 20th. So cruel to London audiences who deserve to see her at her glorious best. Would that they could see her in Emeralds (it's a different ballet), in Rubies, in Libeslieder Waltzer - she is music personified there - as Choleric in 4T's, in the thrilling Concerto Borrocco - in so, SO much more. She is clearly Ratmansky's new muse - well chosen in my estimation. My fear is that this may be 'it' for London in her regard as it has been for other spectacular NYCB careers. I pray that it might not be - but I fear that it will. Thought Megan and Huxley admirable in Duo and the musicians absolutely exquisite. One thing Rotunda and Duo showed was the silent landings by the men (Love Letter had Blake blaring so would not really be apt). This is one thing that marks this company out and was mandated by Balanchine. If dancers overly sounded they were restricted from castings. Also the quiet landings by the women were notable. Love the use of demi-point for speed in Duo. Similarly, in Duo Megan literally strikes her pointe shoe against the stage floor three times to accent the music. This detail is part of the choreography. This was clear here. Elsewhere it is often muddied or left unnoticed in the sense that it doesn't stand out against the general soundscape otherwise. Looking forward to seeing the lovely Indiana Woodward and Taylor Stanley in Duo. It will be quite, quite different - but I know it will be happily so - as I saw them rehearse it through with Glenn Kennan. Very very impressed by both Quinn Starner and Alexa Maxwell (who split Tiler's role) in Love Letter. Thought too that the stunningly statuesque Emily Kikta and Peter Walker stood out in their adagio. Was refreshing to see the balletic idiom - such as NYCB enforces - (Gustave would be an exception on many counts) - maintained here. So different from the Abraham's works in other venues - but all the more to his credit that he has maintained such here. Surprised there was no announcement re: Sara being replaced by Megan in Rotunda. This would have been mandated by the unions in New York. That didn't seem to be the case here. Hope Megan gets the press credit. She more than held her own - and Gilbert Bolden partnered her exquisitely.

Sorry, of course, KJ.

Sorry, @Emeralds - answered this elsewhere. I think there are now three NYCB strands - just have to make sure you click on the right one - Here's my response to the above - Yes - thanks heavens Danny is NOW BACK ... and, in fact, so is Roman back to in Rotunda. Very strange that alternative cast list - not surprised it disappeared. So pleased - Rotunda is a different ballet with Danny - and I'm sure Roman too - although he didn't do his performances in NYC - nor not even the rehearsal - which Furlan DID dance. I guess that DJ is now replacing Davide Riccardo. Both are fine dancers (the first small; the other a tall Italian - His Phlegmatic in 4Ts was divine. Hope he is OK - Davide. He certainly danced last Sunday's final matinee and looked AOK then. Hope he's just taking a break. So pleased too that they are bringing Sara Adams - another good dancer. She's only doing Rotunda - but assume she is being brought to cover as well. Wise move - she's always looked good when she's covered in the past.

Yes - thanks heavens Danny is NOW BACK ... and, in fact, so is Roman back to in Rotunda. Very strange that alternative cast list - not surprised it disappeared. So pleased - Rotunda is a different ballet with Danny - and I'm sure Roman too - although he didn't do his performances in NYC - nor not even the rehearsal - which Furlan DID dance. I guess that DJ is now replacing Davide Riccardo. Both are fine dancers (the first small; the other a tall Italian - His Phlegmatic in 4Ts was divine. Hope he is OK - Davide. He certainly danced last Sunday's final matinee and looked AOK then. Hope he's just taking a break. So pleased too that they are bringing Sara Adams - another good dancer. She's only doing Rotunda - but assume she is being brought to cover as well. Wise move - she's always looked good when she's covered in the past.

Found today's Friends booking relatively straight forward and was delighted that I actually got everything that I set out to get. Two points to note - (i) Wonder if it might be possible to select as to how you want to select your seats (i.e., with or without the seating map) JUST ONCE rather than individually for EVERY different event booked. Might it make it easier both for the system as well as the patron? Just asking. (ii) For people booking the Sarasota Ballet performances - There are now relatively few spaces left available I see - and the ones I would have assumed would be held back for General Booking are it seems now open (understandably) to Friends. This, I assume, is due to a happy and certainly well deserved forward response. Just wanted to note this so as not to build increased disappointment on the General Booking period opening date itself. SUGGESTION: Might be a good time to ask friends who are ROH Friends if they might nab you a place if possible in advance - just out of friendliness of course.

That's entirely up to you, Peter S. ..... You'll be missing Balanchine's Duo and Love Letter which has a goodly amount to recommend it. it's a very different kettle of fish to the Royal. Your call. Moreover I never said 'the dregs' of NYCB. I wouldn't dare use that terminology. How could you with such brilliant artists as Sara Mearns, Roman Mejia, Taylor Stanley, Indiana Woodward, Alexa Maxwell, Mira Nadon (even if in a bag), Emily Kikta (also bagged), Gilbert Bolden, etc. ..... These are some of the finest dancers on earth. Far from the idea of ANYONE's dregs. Far, FAR be it from me, @PeterS.

If you liked KJ then ... You'll ADORE him now. Megan and Anthony are good in Duo .... They have done it many times. The special treat will be Indiana Woodward and Taylor Stanley ... They are making their debuts on Friday night ... and I know it will be magical. I was lucky enough to see them working through it all in rehearsal in NYC. Sadly I don't really think you'll be 'seeing the Company' .... You'll be seeing a sliver of it ... but that's better than none I guess ... and I know Alexa and Roman will be very good in Love Letter - and Taylor Stanley will be STUNNING AS ONLY THEY CAN BE IN THE ROLE THEY MESMERISED IN.

Exactly. I don't think I ever said it was downright 'bad' .... but the pieces just don't somehow seem to show together significantly - giving it a very stop and star kind of existence. I actually like the bit Miriam Miller and Adrian Danchig-Waring ... It's like they got a secret going ... It intrigues ... and how could one not admire Indiana Woodward in that PDT with Victor and Julie Maibe (filling in for Jovani Furlan who is injured). Danny did make a big difference - He somehow through his own willpower held it together. Sara Means (the originator) is telling when she's on - and Bolden's a good partner; Megan ALWAYS gives a performance in whatever the role and Peter Walker partners her well in this. They are both completely different in it. Just wish I liked the commissioned music more than I do. Sadly I don't. I've tried ... but I don't.

Which ones, Alison? .... DJ is DJ Takahashi .... You saw him with Tiler (that's Tiler Peck) last year this time ... Danny (who you won't see) is Danny Ulbrecht ... Roman is Roman Mejia ... (as in Tiler and Roman ... wouldn't be surprised if she was actually about) ... Victor is Victor Abreu - He of the ravishing port de bras ... but I said his full name earlier in the piece. Megan is Megan Fairchild - but if you went in 2008 you would have seen a lot of her. Huxley is Anthony Huxley. Really DJ and Danny I guess ... Who else were you questioning???? Oh, I see - You mean SVV ... I was being kind. I'm afraid he's far from my favourite dancer. It's not that he's bad, exactly ... It's just for me he doesn't bring enough to any conversation ... His name is Sebastian Villarini-Velez. There I've said it ------------------------ Oh, dear --- ERROR TIME ..... Just checked. THERE'S NO DAVID GABRIEL .... LONDON'S LOSS. MY BAD. Sorry.

What is shocking is THIS is the ONLY thing the divine MIRA NADON is dancing. How dare they put the Goddess in a boring bag. SO UNFAIR TO LONDON BALLET AUDIENCES. Flying back to London last night I watched NYCB in Madrid (the same week last year that they will be performing in Chicago this year.) .... They did Square Dance there as a middle piece. Come on, Alistair - You've got the dancers this time round - and its a SMALL number of musicians - ALL STRINGS - which you have already got for your commissioned ROTUNDA, do you not? You've got Megan - You've got Huxley - They've done it together often enough ... You've got the glorious future star that is David Gabriel and the future principal Alexa Maxwell - They would be stellar and their debuts would be in LONDON. That's two principal couples. What do you want??? ... Plus it has that stunning male variation that Balanchine added in 1976. A little bird tells me that following the Sadler's relay - i.e., meeting its original target - Rotunda will be retired by NYCB. Understandable as they have so much BETTER Peck. Just think you could have had INCREASES - a much better work - with LESS MUSICIANS, Alistair!!!! Have you seen the update on the NYCB casting???? NO TILER - AND EVEN WORSE - NO DANNY .... IT'S GOT SVV IN ROTUNDA TO OPEN IT .... NOT AT ALL THE SAME THING .... FAR FROM IT. Sorry but I found him downright boring in this. You have to remember that role was originally Gonzalo Garcia. What about Taylor Stanley? He's a long standing Peck muse. Why not give it to Gilbert Bolden ... Give it Victor Abreu - Much better dancers. That role opens and virtually closes it. ... Seems London won't see Danny AT ALL. THAT'S A CRIME AGAINST NATURE. .... HE WAS STUNNING AT THE SUNDAY MAT IN STARS AND ON SAT NIGHT IN TARANTELLA .... HE CAN'T BE INJURED!!! THINK i WILL SIT MOST OF THESE ONES OUT. I've seen those more than enough, thank you very much. NO ROMAN IN IT EITHER (HE DIDN'T DO IT IN NYC WHEN HE WAS CAST - Not surprised at this - especially with no Tiler coming.) They're putting DJ into it - and he wasn't meant to come. I really LIKE DJ - and he's come such a way - but this is a bit much .... He's barely 21. It really will be just tossed at him. At least the other guys mentioned would have a solid sense of it. Good luck DJ ... I'll go to those. As I suggested in another posting the lovely Alexa Maxell will do all of Tiler's shows in Love Letter plus her own. The Management is (rightfully in my estimation) pushing her. A side note: Amar Ramasar - her partner - sweetly shows up to attend almost ALL of her performances in Manhattan. I bet you anything he'll be in London to catch her. If you see him standing about don't hesitate to go up and say 'hi'. I know, I know - he was one of the nasty three - and that with reference to Alexa - but all seems made up now. It seemed just so immature at the time ... and Amar was certainly old enough to know better .... Sure he's has grown from it ... plus he was eventually let back ... some think on a technicality ... but, hey ... . Plus he's had his Broadway stints as Jigger in Carousel (the dancing was SPECTACULAR - AND THAT WAS PECK'S CHOREOGRAPHY FOR WHICH HE WON HIS FIRST TONY AWARD ... Plus Amar was in the last Broadway revival of West Side Story. He'll have lots to talk about if you engage him. I've seen him coaching dancers at NYCB in roles he originated - and heaven knows there are lots of them - and he's always been gracious and incredibly committed in wanting to see them do their very best. Underneath it all he seems just such a nice guy. I have always found him entirely charming and witty. The Paris audiences ADORED him. Plus he's a REAL NYC lad - like Villella - Like Victor. (And, hey, they all hail from 'da' Bronx.) They don't grow on trees. If you get the chance you won't be disappointed. Promise.