Bruce Wall

Buddy, I know you often went to and were very admiring of the various Russian White Nights festivals. Time methinks to come east in your own country and enjoy the real World-Class fare there on offer. Certainly you will - through Balanchine - find much of the best of the Russian constructs, delivered in the most uniquely visionary fashion for not just our own but decidedly ALL time. Enjoy, my friend. Be proud. ----------- Below is a posting I placed on a news strand item just a short while ago. I want to put it up here to end this strand - as I have determined this will be my farewell to reviewing NYCB from NYC for the BcoF board certainly - (certainly while that is the Company are not coming to London which will I know be most years). I have enjoyed this and hope it will have had some positive affect on your understanding of the Sadler's Wells outing - the one as explicitly seen through Alistair Spalding eyes. As has been said, that is NOT a programme that would EVER show up Stateside or certainly at the Theater formerly known as State. (Quite frankly I refuse to call it anything else. Have for YEARS. Just call me old fashioned.) ----- Want to finish this strand with something special - All season inside - indeed outside during the previous one - there has been an 'art exhibit' called 'Slow Dancing'. This was where an artist copiously filmed/photographed NYCB dancers doing a range of NYCB works (There is a picture of Cameron Grant in Love Letter - but I don't think he will be coming as he has been injured). These were with dancers who were available at the time. There were many debuts in this mix certainly. You see them in multiple roles and then the artists put huge screen segments up in slow motion - always in threes so you were always surrounded by enormous images - just so you could admire the artistry. It has proven highly successful with NYCB audiences. https://www.nycballet.com/discover/special-projects/slowdancing-nycb Today's final matinee ended on a high. The lovely Sara Adams (who IS coming to London) led the first campaign in Stars and Emily Kikta positively glowed leading the second. She was oh, so much more relaxed and assured than yesterday afternoon. Danny Ulbrecht again led the men spectacularly. How I wish you could see this. Danny's over 40 .. You have to wonder how he has the capacity to dance as much as he does. I remember the great joy when Muntagirov did eight sparkling double tours throughout a manege during his second La Bayadere variation. Wonderful it was too (and I sincerely hope we might get a chance to see him do it again in London before he retires.) Just imagine the thrill then of having an entire stage of men doing EXACTLY THAT very same combination in stunning unison. It literally takes your breath away. Danny is such a good sport - in Stars' final movement he literally has to partner both soloist women - sometimes simultaneously - and believe it or not he ONLY comes up to about Kikta's breast when she is on point. You could see they were having a wonderful time as were Roman and the dazzling Mira (sadly she'll be in a Gustave bag in London) as the Captain and his Liberty Bell. Balanchine's tongue was decidedly in his check on this one - but ALWAYS in fiercely classical mode. Talk about difficult!!! - This was decidedly built to test. The Tschai PDD was so glorious today too with the lovely Indiana Woodward (be prepared to be charmed ... She is just SOOOO French) and the fleet of foot Anthony Huxley. They relaxed into the whole and this PDD very much built with the music. (So often it can stray into being a specific sum of its defining parts - given the nature of the construct.) Today it had a defining build and was all the better for it. Even Wheldon's absurd Carnival of Animals was tolerable - with the truly spectacular Chun Wei Chan amazing all and sundry with his seemingly never ending rounds of perfect tours a la seconde (minus the Roman hops it must be said) in his lion outfit. The little lad near me in a full capacity State Theatre - the one dressed as a green dinosaur - was certainly having a whale of a time - as was I.

Want to finish this strand with something special - All season inside - indeed outside during the previous one - there has been an 'art exhibit' called 'Slow Dancing'. This was where an artist copiously filmed/photographed NYCB dancers doing a range of NYCB works (There is a picture of Cameron Grant in Love Letter - but I don't think he will be coming as he has been injured). These were with dancers who were available at the time. There were many debuts in this mix certainly. You see them in multiple roles and then the artists put huge screen segments up in slow motion - always in threes so you were always surrounded by enormous images - just so you could admire the artistry. It has proven highly successful with NYCB audiences. https://www.nycballet.com/discover/special-projects/slowdancing-nycb Today's final matinee ended on a high. The lovely Sara Adams (who IS coming to London) led the first campaign in Stars and Emily Kikta positively glowed leading the second. She was oh, so much more relaxed and assured than yesterday afternoon. Danny Ulbrecht again led the men spectacularly. How I wish you could see this. Danny's over 40 .. You have to wonder how he has the capacity to dance as much as he does. I remember the great joy when Muntagirov did eight sparkling double tours throughout a menage during his second La Bayadere variation. Wonderful it was too (and I sincerely hope we might get a chance to see him do it again in London before he retires.) Just imagine the thrill then of having an entire stage of men doing EXACTLY THAT very same combination in stunning unison. It literally takes your breath away. Danny is such a good sport - in Stars' final movement he literally has to partner both soloist women - sometimes simultaneously - and believe it or not he ONLY comes up to about Kikta's breast when she is on point. You could see they were having a wonderful time as were Roman and the dazzling Mira (sadly she'll be in a Gustave bag in London) as the Captain and his Liberty Bell. Balanchine's tongue was decidedly in his check on this one - but ALWAYS in fiercely classical mode. Talk about difficult!!! - This was decidedly built to test. The Tschai PDD was so glorious today too with the lovely Indiana Woodward (be prepared to be charmed ... She is just SOOOO French) and the fleet of foot Anthony Huxley. They relaxed into the whole and this PDD very much built with the music. (So often it can stray into being a specific sum of its defining parts - given the nature of the construct.) Today it had a defining build and was all the better for it. Even Wheldon's absurd Carnival of Animals was tolerable - with the truly spectacular Chun Wei Chan amazing all and sundry with his seemingly never ending rounds of perfect tours a la seconde (minus the Roman hops it must be said) in his lion outfit. The little lad near me in a full capacity State Theatre - the one dressed as a green dinosaur - was certainly having a whale of a time - as was I.

In haste, @Emeralds Gustave is an asexual exploration .... a literal movable feast. The performers are in literal bags - well, baggy fashion togs. There's a conversation it seems ... but its sadly disjointed. It's not - to my mind - a ballet per se. That the divine Mira Nadon should ONLY be in this makes me question why she's there in London in the first place. A waste in so many ways - given that she really wasn't seen to much advantage in Tiler's programme - being a late replacement for India Bradely - who was, of course, featured in Tiler's new NYCB ballet - as was Mira (both in the first cast). From today's Stars - Kikta led the Tall Girl campaign. It was clear that something was amiss. She looked strained and it was - as is certainly not her wont - effortful. She will have done so few performances this season (4) - I did enjoy her Choleric - much as I did Mira Nadon's in 4Ts. Seeing Kikta this afternoon, it wouldn't surprise me in the slightest if she doesn't dance the same role tomorrow afternoon and doesn't come to London. Something is just not right. Again, - as someone said to me recently - the Sadler's bill is one 'you would never see at State Theater'. I think you have to bear that in mind. Chun Wei Chan is a MAGNIFICENT DANCER. Sadly he was never scheduled to come on this little 'tour'. I'm sure he is appreciative of a small break - as will many others be. They SO deserve it. Chun is currently in Wheeldon's Carnival of Animals. I fear it doesn't bare repeat viewing/reviving - well, not by NYCB. This is twee to a point of ridiculousness ... almost at points of boredom. It doesn't have the elaborate costumes and scenery that the Royal would populate it with given the largess of governmental support. It is very much PRE-Alice. You can understand why it is revived so, SO very rarely. A good thing too. Even the star that is Sara Mearns manages to have the life sucked out of her. Chun is fine - as a professor who is - in a child's imagination locked in a Museum of National History - turned into a lion. There is never much meat for anyone to grab hold of. It is, in a sense, a sad way to end this season - or so I think. Also with Stars now opening the programme - there is an overindulgence of balletic sweeteners. An evening can simply too saccharine. Balanchine above all knew how to build 'his balletic meals'. Stars has never before 'come first'. Thank heavens then for Danny. He led the men's campaign in Stars this afternoon as he has so many times before - no small feat - and was TOTALLY STELLAR. As in last night's Tarantella with the ever winning Emma Von Enck (sadly not coming either) his placement was SUPREME. He makes things look just so damned easy and oh, so magical. Certainly more than Roman did last night or this afternoon - different roles of course. That said I love all Roman's little extras - the befores and afters from the main meal that is - the furtive winks (he reminds me at times of Ricky Riccardo) and extra salutes ... but they go for nothing if the main fixtures can at times appear wayward. 'Ooops', you almost seem to hear him say. Sorry, Roman, you make us notice based on your previous stellar promise. Where is the thrill you showed in Tiler's ballet??? I can only think he is, actually, not completely healed from whatever it was that ailed him. In many ways now, I think Tiler was wise to put out of this weekend. From the tenor of her notice, I really won't be surprised if she does the same for London. It sounded very much like she 'needed time'. She deserves it. When she HAS performed - and she has done a wide range of roles it has to be said - it has been amazing. Better for London to wait and see her - perhaps in a programme she agan curates at the Wells - but most certainly see her in full bloom. The lovely Alexa Maxwell will do just fine in Love Letter. Watching the first and second Campaigns of the last two nights I kept thinking of all the girls in the corps - so many - who I'd have preferred to see get these opportunities - the MT MacKinnons, certainly the Alston McGills of the pack. NYCB - like the Royal - are so rich with talent in their ranks; ones able to deliver - at their best - on the full promised of each of their respective Company's now established current idioms. That is NOT what you are going to see at the Wells. Not at all. We can't complain. Clearly that was NEVER Spalding's intent. Whatever he proposed has worked with the ticket sales ... and that in and of itself is never (especially now) an easy task/ask given the specific point in time we find ourselves in now.

I wholeheartedly agree. Moreover I should think it is far MORE than just those immediately hit in their pocket book like your good self, @OnePigeon. It is the principle of the matter and, as such, it will I fear populate a general disrepute on behalf of the ROH for arts lovers both in the UK and internationally. (Do they really think people don't speak to each other or communicate generally?) These matters have a tendency ultimately to speak for themselves. Sadly by that point much damage will have already been done and certainly ill will fostered. It will take even longer I'm know to build back trust - if they can - from these parties. It is a different world it seems.

As a side light for this strand - (due to one personage) - it is interesting to note that Tamara Rojo is bringing in guests to SFB (much as she so often and spectacularly did with ENB) Her taste in guests was always good in my experience. Those joining the fine SFB principals during the run of Swan Lake include - Natalia Osipova (Roya Ballet) - and thus the reason for this listing, Daniel Camargo (ABT), and Jacopo Tissi (Dutch National Ballet). Mr. Tissi will dance it is said with Ms. Smirnova at the Ballet Icons gala in London on 17th March.

Was hoping that there might be some footage of the Emma Von Enck / David Gilbert triumph last night in Ballo but I couldn't find any. If you would like to catch a glimpse of Emma here are a few tidbits - (i) A selection of VERY brief (roughly spliced) highlights from Robbins' Brandenburg Concerto (I think this is one of the many Robbins' works that is yet to be seen in the territorial UK) - Here Emma is dancing with Roman Mejia. They always look wonderful together - as certainly they did last Winter in the Bluebird PDD and in segments of Tiler's new ballet this season. Their heights are perfectly matched. https://www.instagram.com/p/CuNwgMlgsso/?hl=en (ii) Emma can be seen here in a segment of Balanchine's one act Swan Lake take. (NYCB also has a full length one now by Peter Martins and I know there are a goodly number of people who are hoping that Ratmansky might fashion one for NYCB based on that he originally did for Zurich Ballet.) https://www.instagram.com/p/CtJucL9L8Uk/?hl=en (iii) Here is something you will find familiar - even if the choreography is from Peter Martins' production of Sleeping Beauty. Here Emma is seen in a small segment as Puss to - and I can't quite tell under all that hair - but if I had to guess I think it might be Harrison Coll's Boots. How I vividly remember Albert Evans in the premiere of that same role on its opening night in the last Century. How he did make me laugh. No one rolled on the floor quite like Albert .... You could virtually hear his prominent purr. https://www.instagram.com/p/Co0ItJLA9_0/?hl=en Enjoy.

I have come to feel that NYCB - in Jonathan and Wendy's able hands - is capable of all kinds of magical possibilities. The future can look bright they - and certainly I - think. Assuredly they have seen that all the necessary parts are there. Time - AS EVER - will tell. It always does.

It is fascinating how this subject so varies from Company and Company and, yes, the traditions, but also the core focus with which the company holds. The Royal today luxuriates in just so many performances of a fewer number of works but with substantive shifts in the the core idiom which itself has shifted over time. I would assume this would lead to a fewer number of overall productions performed. At NYCB things are so very different. For example, last night a soloist (the dazzling Emma Von Enck) danced in her principal debut in Ballo della Regina (a work which happily the Royal has done once in a very brief run under a different Director) with a member of the corps (he of the stunning entrechats, David Gilbert) also making his debut in the principal (and only) male role in this ravishing work by Balanchine. They were both spectacular and the audience bellowed their delight. To put this in perspective, over the past six weeks of seven performances a week (Winter Season) Emma will have danced 29 times in 11 roles in different works of which five were debuts for her. David will have danced 18 times in seven different significant roles in different works ALL of which were debut performances for him and he has been with the company for a year and a half. (I just put this down for reference/example.) Neither of these artists are going to London for the five day season there but both will go to Chicago in the last week of the month for a larger three programme stint over a similar five days. The NYCB Spring Season begins full rehearsal on 12th March in NYC and opens for another six week season of seven performances a week on 23rd April which is followed by a traditional run at the Kennedy Center in Washington, DC and then their annual summer residence in Saratoga Springs in Upstate NY. Then the Company has a brief well deserved holiday returning in August to begin rehearsals for the month long Fall Season (again seven performances a week) followed by the Nutcracker (eight performances a week for six weeks) and then back to the Winter season just quoted. The hierarchical stratification at NYCB has always - out of need I have always assumed - been much more loose than at many other notable addresses. I have a feeling the NYCB factor that allows for such stealth is at least in part the fact that they have continued to hold to the balletic idiom so strongly such as was Balanchine's request and (while he was alive) demand. This makes the physical demands on the dancers I would assume much more focused.

Further to the above, here's Roman rehearsing Tschai PDD earlier in the week.

Sadly Tiler has announced that she will not do any of her performances this weekend. Unity Phelan will replace her in the Tschai PDD and, as mentioned, Mira Nadon in Stars & Stripes. If she does not come to London I would assume the second cast (in which she was not scheduled to appear) would go forward with the lovely Alexa Maxwell doing all Tiler's performances (in the role Tiler created in Love Letter) as well has her own. Roman I'm sure will be there. Here's Roman rehearsing Tschai PDD earlier in the week. Tonight was all about the future. Emma Von Enck and David Gabriel made their debuts in Ballo and they were entirely stellar. From the audience's response it was as if it was a coronation. Just SO much to look forward to from a balletic standpoint. This Company is so rich in its ranks. (Sadly neither of these dancers are coming to London but then there really wouldn't be anything that would suit their gifts in the rep being presented there - short, perhaps of Duo - and that will be taken by more senior dancers in London understandably). But a couple of hours earlier Emma again rehearsed Tarantella with Danny (who is thankfully coming and you won't have another chance to see him I'm sure). Again, they were both electric. In the Stars rehearsal we had Ashley Hod making her debut leading the Tall Girls' Division, KJ leading the men - spectacularly it must be said - and the brilliant Joe Gordon - in his debut also surprisingly - stunningly partnering the totally delightful Megan Fairchild in the last movement. Bring on the weekend. Talking all things 'Ballo' - here's a little film released by NYCB on its 75th Anniversary with Merrill Ashley - who Balanchine created Ballo for - and who danced with NYCB for 31 Years. Enjoy.

@DrewCo thanks for yours. Yes, certainly there have been some quibbles. I note on the American board today one suggesting that the ballet would be stronger 'without the child'. I SO disagree. It would rob much of the point - especially in the ballet which itself is dedicated to 'children of war. Also how wonderful to have two child performances so key one next to another - yet, oh, so different - with Solitude and Carnival of Animals. Such a rich tapestry. On the whole - as you suggest - Ratmansky's Soltude has been 'widely' praised in its initial run. Since you - as per this board at least - will be referencing specifically me for those items which here are currently forward facing I will respond simply by saying it was not the personal response that the correspondent generated to that work which I struggled with but the exact verbiage (i.e., its manner) that I literally found hard to stomach. I have shared this with others in New York - just to see if I was being unreasonable - and they have had the same response .... Just saying. I completely understand that you may feel differently and that is entirely your prerogative. It's what certainly has made the BcoF valuable for many.

The ballet last night as ever was enjoyable. I know a lot of people think Opus 19 is a weak Robbins' work - but I have seen such fascinating performances in it. I know the Royal did it once a goodly number of years ago and felt it didn't suit. (I heard that Robbins' himself felt that.) They've not repeated it since as with a goodly number of Balanchine works that they premiered and never repeated. Understandable I now think - especially with the current change of core focus which began with the last Director. Time may prove they were entirely right. I first saw it with Baryshnikov and McBride - the originals - but am haunted by the memory of Wendy and Peter Boal in it - and Robbie Fairchild and Sterling Hyltin. So electric they were. Watching it again last night - with Alexa Maxwell - (so pleased she is getting ALL of these breaks after so long in the corps) - and Huxley I felt the same - much as I did when she replaced Tiler the previous night with the stunning Joe Gordon - another dancer sadly not coming to London for this little run. Huxley really was ON tonight - and built out of the miniature focus that he can sometimes find himself buried in. The precision of his dancing is never in doubt. He was ravishing - literally eating space. I've now come to the conclusion the lead woman in this should have danced Robbins' 'The Cage'. Both Alexa and, of course, Wendy reveled in it. There are some similarities in this role's choreography and Alexa Maxwell stunningly brought them out tonight. No question. Solitude is SUCH A MOVING WORK. It was the last performance in this its original run tonight. I'm sure it will be back next season - I assume Spring or Fall. Don't think this war is going anywhere soon - but it is beyond that marker - it is, I know, - like MacMillan's Requiem - which I so genuinely admire - entirely universal. I sat next to three Japanese ladies tonight and they were in tears and on their feet. You can't buy the kind of responses it has had. That is true for ALL seven of the ballets Ratmansky has built for NYCB - He SO understands the NYCB ethic - I feel HE is BUILT FOR IT. Can't wait for the new NYCB works he will build for the Company over the next five years. Just look at each of the seven ballets he has made for the NYCB - masterworks all - beginning with Russian Seasons - then Concerto DSCH - (both the MacMillan and the Ratmansky to this music are so vivid and both will live in time) - Pictures at an Exhibition - so immediately vital, the thrilling Odesa, Voices - such a uniquely fascinating work - the thrill of Namouna - ONE OF MY ALL TIME FAVOURITES - and one I like more every time I see it - and now, of course, Solitude - which can AND WILL I know speak for itself to a world in search of and hungry for balletic significance. Symphony in Three Movements was as ever rapturous. You come out from these major Balanchine pieces entirely cleansed. He sprays you with waters of joy. I SO have come to love Emma Von Enck and - amazingly for me - KJ Takahasi. I never would have thought I'd have typed that if you asked me last year. You forget just how young he is (21). I was so pleased I ran into him on the street last week and was able to congratulate him on his stunning progress. He's quite a different dancer from the one that showed up at Sadler's last summer. That's for sure. A member on the American equivalent of BcoF has concocted a graph showing (i) the different number of times an individual NYCB dancer has danced in the last six weeks of seven performances per week; (ii) how many roles they danced in that time period and (iii) how many debuts each made over those same six weeks. I think it is instructive and speaks for itself when you think of it in comparison with other companies - Certainly this is very helpful when you are trying to balance perspective. https://drive.google.com/file/d/14ubs-DzggnKCrovbCDw3pqIChxma4Ql3/view It is sad that Kikta has danced so few performances. She is such a glorious soloist - That said she IS tall. Glad too she is coming to London. She seems to be dancing there almost as much as she has over the past six weeks. Tiler has been replaced by the ever mesmerising Mira Nadon at the Saturday mat in Stars and Stripes now. She is still down for Tschai PDD on Friday night and S&S on Sunday mat. Let's see if she does do them. If she doesn't there must be I think some question as to whether she will, in fact, do London and Chicago. Certainly it seems that Roman will - and on some performances be doing double duty in Rotunda and Love Letter.

Today's rehearsal was of Wheeldon's Carnival of Animals. Such a charming piece - with a lovely narrative written by John Lithgow. I was fortunate to see the piece originally with him in its premiere in 2003. Now the role of the Narrator - in this current short run - is taken by Terrance Mann who is much loved on Broadway for such original Broadway productions like Les Miserables and Beauty and the Beast, etc., and he is married to the notable Charlotte D'Amboise, a much admired Broadway artist herself and choreographer and, of course, daughter to the late Jacques D'Amboise. It is an absolute charming work - so fanciful - using in excess of 50 dancers. The delight is, at least here, that the oh, so varying colours of the whimsy come directly through the choreography - so much more, say, than in Alice - but, then, it doesn't have the large media settings and oh, so elaborate costumes that come with the extreme government support that companies such as the Royal and POB receive. They have never been part of NYCB's tradition. Here the ballet clearly had to pay its way. It is very much the same today at NYCB. I only note this as the rehearsal at at the tail end finished with an added run of the S&S PDD which was meant for Tiler and Roman. Roman did do it - but there was no one in Tiler's space. She did come out and speak with the ballet setter, Kathleen Tracy - (Some may remember her - and her sister, Margaret - as they were still dancing at the time of the festivities televised internationally in 1993, the 10th anniversary of Balanchine's death). Tiler has been nursing an injured foot. Fingers crossed she will be able to dance her performances this weekend and in London and Chicago following.

It is so nice to see that some balletic alternatives are being made available for ROH summer rentals post pandemic - and in the midst of savage wars - to educate, entertain, soothe and serve British balletomanes. Our concerted thanks to those at the Kinoshita Group and others who may follow in their courageous like.

I am pleased to report that Solitude was again tonight greeted by cheers from a very appreciative and supportive audience. It was a special treat today to see Ratmansky himself rehearse - and in some instances literally 'dance' with the second cast in this work which has been universally praised - apart it seems from the BcoF correspondent above. I join many others in my earshot and association in wanting to see its return to the NYCB rep as soon as possible. I'm sure that will happen in very close order. Also saw rehearsals for the London's Duo Concertant today - a segment with Megan and Huxley - they have, of course, danced it many times - and the choreography in full with Indiana Woodward and Taylor Stanley. They are so beautifully matched. Anyone seeing that cast will have something to treasure. In this evening's Symphony in Three Movements Emma Von Enck and KJ Takahashi leading that thrilling first movement literally brought - or is that pulled - down the house. An assertive 'WOW' in this instance would be fully deserved. Neither is sadly coming to London - but it was such an illuminating inspiration to know such artistry exists nonetheless. (They are both I see going to Chicago the week following. The casting for that came out today.) It is also wonderful to see the progress of both - but KJ perhaps most especially as he has added a theatrical weight to his stunning balletic lightness (as was seen in London in Tiler's programme at the Wells) which is so entirely fetching One thing in Solitude's second cast that I missed was his particular turn at that solo - brief but oh, so mesmerising. Can't wait to see Emma and the wondrous David Gabriel make their official debuts in Ballo on Friday*. That should be electric. Emma Von Enck in that second Solitude cast was strikingly evocative - taking the original Indiana Woodward role in what many have called another 'masterpiece' from Ratmansky. *Here you can see Emma Von Enck in the 2nd Soloist variation from Ballo which was taken from the one performance that Tiler Peck actually gave in this work - her debut amazingly - The first soloist variation that you see is the wonderful Alston Macgill. Sadly neither lady is coming to London on this brief NYCB trip. Emma also put a video up on just her opening day of the NYCB Winter Season '24 (in which she danced Winter in Robbins' Four Seasons). I thought it most amusing and informative. Here is also Emma's short film on the NYCB Fall '23 All Balanchine season you might enjoy. I love this as there is an overhead shot of State Theater which lets you get an idea just how big the actual stage is.

Here's Mira Nadon (as sadly you won't see her - well, her body - in London) in Tiler's new ballet with the wonderful Chun Wei Chan - https://www.instagram.com/p/C3dO3uurj9T/ He and Nadon are the first dancers to actually dance in Ratmansky's Solitude. It is so, so significantly telling. Here's Tiler Peck with Chun Wei Chan in the roles they created in a PDD in the second movement (to the Appalachian Spring Music) of Justin Peck's Copeland Episodes - https://www.instagram.com/p/C3S-vs4Ll8B/ Here's Chun with the lovely Unity Phelan in Wheeldon's Polyphonia - his first NYCB work - (which the Royal have also done under a different Director) - https://www.instagram.com/p/C2xs00XOOJj/ and what do NYCB principals do to prepare for 1st Movement, SiC - I think you'd be surprised - https://www.instagram.com/p/CzwMUa2rNSF/ Enjoy.

Looking at this again, the casting has obviously been very carefully handled. This is usually break time for many of the dancers. You have to remember they dance more rep than any other company on earth. I was thinking on Sunday just how exhausted they MUST be. Of the corps dancers set to appear in London (and there are no apprentices on this occasion) there is only one (Jules Mabie) who is in two ballets and that ONLY I assume because he is filling in for Furlan in his original role in Rotunda and Furlan would, of course, also have been doing the Duo Concertant with Woodward as he has in the past instead of Stanley - and also because Mabie did the role opposite Stanley in Love Letter at the time of both of their debuts) - and, indeed, many of the soloists (and a few principals) only have one commitment - most noticeably Nadon who is onstage at each performance for about a quarter of an hour only. This is clearly - in a way - giving them something of a break from their normal NYC schedules while in London. I'm sure they will be appreciative. THEY SO DESERVE IT - and deserve a chance to enjoy the British capital. They'll have a grand time I'm sure. I hope the weather is good for them.

Will be very interested to see this - as Ratmansky himself said - 'IF this happens'. He did, of course, stage and revise the work in Vienna in the interim.

Oh, I take it back ... MIRA NADON IS COMING .... BUT ONLY IN GUSTAVE ..... Talk about a hidden secret ....

Casting is now out for NYCB in London - https://sadlers-wells-assets.s3.amazonaws.com/uploads/2024/02/NYCB-Casting_Sadlers-Wells_March-7-10-2024.pdf Glad to see it's either Danny or Roman for the final solo/lunge in Rotunda ... and good casting for Duo. Tiler, Roman and Stanley are in for Love Letter - with Stanley doing double duty where he does Duo Concertant with Woodward. Rotunda - Sara Mearns is doing the role she originated with her original partner - the talented Gilbert Bolden III. Otherwise it is Megan Fairchild with lanky Peter Walker. You are spoiled for choice here in terms of the main male as it is either Danny Ublrecht (YEAH - London WILL get to see Danny - doubt you will see him again) or Roman Mejia. (That I'm surprised at as he didn't actually do any of his castings in this role in NYC.) Sadly - as reported previously - the thrilling Jovani Furlan is out of the the PDT he created (Jules Maibe - and how he has come forward this season - is in for him as he was - short of the initial rehearsals - in NYC) and I'm delighted that you'll get a chance to see Victor Abreu in this. For my money, he's special. (The lad's only in Rotunda so he'll have lots of time to sight see - plus he has worked SOOOOO hard in this NYC season ... Those performances in Odessa, in Hallelujah Junction, in Sin3M, in Solitude in so, SO much. He more than deserves a little break.) Duo Concertant - It's either Megan and Anthony Huxley (old hands at this turn) or the glorious combination of Indiana Woodward and Stanley Taylor. If you are lucky enough to have a ticket for the latter I think you will NOT be disappointed. Taylor's performances are always uniquely charged - as you will see in the role created for [them] in Love Letter. Gustave - Good casting - not that you are likely (short of Adrian Danchig-Wearing - but even then) to know who is who. So glad that Naomi Corti is getting a chance here. She is a lovely dancer. You'll know the electic Emily Kikta - She'll be the tallest. Love Letter - HERE YOU HAVE TAYLOR STANLEY - It would be a VERY DIFFERENT BALLET WITHOUT HIM - in the stunning role - [they] created and - Yes, London - the original combination of those fire-eating spirits (at least in this) Tiler Peck and Roman Mejia, again as originally designated. So pleased too in this that you'll get to see Alexa Maxwell (who if she isn't made a principal at the end of this year I will be surprised given the castings she has received. She is now a principal in all BUT the actual title); the formidable Emily Kikta - adore that woman and wish they would cast her more; Cameron Grant and young Quinn Starner (who some will remember from Tiler's earlier programme at the Wells); Canin Webber who is a FANTASTIC DANCER - his pseudo Puck in Robbins Four Seasons was a thrill and a half - and even McKenzie Beradino Soares - that young lad I wrote about speaking to on that stoop. MOST SADLY - NO MIRA NADON - (Somehow it's just not City Ballet nowadays without her radiance); NO EMMA VON ENCK and NO CHUN WEI CHAN but, hey, you can't have everything .... This is VERY positive I think as it is. (Wonder if they could convince Roman and Tiler to stick around for the Ballet Icons Gala. They could do Tschai PDD or the Central Stars and Stripes PDD (both of which they will be doing this week) - or they could do (as they might prefer) Le Corsaire or Don Q PDD (Don't know if Tiler's done the latter ... but Roman definitely has - certainly they have done the Corsaire together and the ENB Phil would be primed for that already.) Perhaps they could do the central PDD from Donezetti Variations - which they did do together for one performance in Washington.

See that ALL the NYCB performances (short of the Thursday matinee which has 'limited availability) are SOLD OUT. Spalding obvously clearly knew what he needed to do to appeal to his dedicated UK audience. Well done him. Credit where credit is due.

Ratmansky I think. Sure it will now get back on track ... and soon, no doubt, we will have a separate strand for the NYCB small-side outings in London. The Winter season here finishes with the Sunday mat. This stand's time is nigh. It was only in prep for that London outing that I started this one in the first place. Hope this has helped to introduce the Company in that specific regard - although only a VERY small portion - at best less than 1/6 of the Company - will appear at the Wells. Will post State side on NYCB where apt vis a vis the Spring and onwards as it will be most apt, especially as I don't usually comment on the UK fare there on those occasions when I do post. Have to confess I was really shocked/unsettled by the content - and most certainly the tenor - of the one comment on Solitude here and that really has settled things in my own mind.

Oh, I am disappointed @capybara. I was so looking forward to your documented evidence on this score. Still, understand that you are letting it pass.

Really, @capybara. Then you know much better than I. I ONLY saw the massive audiences (largely in the Amphi as I don't tend as a rule travel much below going as much as I do when I can) and I have attended many of those performances as the Royal do McGregor's work better than anyone else I can think of. (To put this in line with the actual subject area of this strand - I would - if I could - have a NYCB subscription - and I'm sure I'm one of their largest single ticket buyers - in the front row of the Fourth Ring if I could. They are brilliant seats. It's just when I buy my subscription - very early - the Company only sells up to the Second Ring - (for some performances they don't end up opening the Third let alone the Fourth Ring) - so that is where I sit. So different from the old days. That's for sure. Still understandable. No question.) Can I please now in turn ask for your 'evidence' @capybara in stating that the 'tickets were virually being given away for free'. Certainly the ticket fare that I paid for the last runs of Woolf Works and The Dante Project were higher than ones before. That I do know. I will so look forward to your documentation on this score. So helpful of you to follow up on these details. A true public service. Thanks so in advance.

I think there are very specific reasons why you haven't seen Ratmansky back at the ROH but they are not I think for these pages. Certainly they would not fit the particular focus of the current Royal Director. He has specifically stated at a BA meeting - and, indeed, hats off to him for being true to his word- (that is such an admirable quality) - that his main focus is to concentrate on works created by his core choreographic team. It has for the most part served him well. Just look at the success he has had in building a dedicated audience - and a younger one at that - for McGregor's full-lengths, i.e., Woolf Works and The Dante Project. I can well see - given the current tradition of this house - that if MADDADAM can be somehow fashioned into a like audience triumph that there may well not just be running a MacMillan three year rota (R&J, Manon and Mayerling) but a McGregor one too. That will help with the coffers and might mean they don't have to do endless Swan Lakes, etc. That, of course, could in time be built upon. It is for this reason too that under this Director's very successful leadership - which I'm assuming is supported and will continue for the foreseeable future in the spirit of 'if it ain't broke why fix it' - the Company and, therefore, the audience has not been given access to major balletic works of our time from other climbs that does not - in any way - fall within the strict limits of that remit. Understandable. This is, to large effect, the same at a Company such as NYCB. The ONLY difference is is the dedicated Company focus in terms of creation. The Royal is now of a dedicated contemporary slant whilst NYCB has - as per Balanchine's request - remained dedicated to the balletic idiom. Moreover for the Royal this makes dedicated fiscal sense. The Royal will receive income from their own share of of the rights to the works created in house and not have to worry about the expense of any others - short of historical acquisitions (like Oneign) which had already been negotiated/agreed. (This IS different from NYCB. There the rights - short of stage performances by the NYCB Company - remain ENTIRELY with the choreographer in question. Thus, if a Peck (either Justin or Tiler now) ballet were to be seen in a major balletic venue outside of NYCB, say, in Paris, the negotiations would be directly with the dedicated personage him/herself. That was always the case, say, with Robbins who was so much loved and indeed is still favoured in Paris. If that particular focus is your interest - (i.e., major balletic works outside of this remit) - as it is mine, time I think to get your travelling shoes on - just as a goodly many travel to London hungry to see new McGregor fare located there. (Of course, he does do work elsewhere. He is one of the world's major creators. No question of that. For that we should all be thankful/proud.) The Wheeldon fare - even that at the Royal - can usually be seen elsewhere in decent order and that is for good reason too.