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October 23, 2016

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It was such a relief for me to read your review, Haglund, and learn that you felt the same way as I did about Her Notes and Daphnis and Chloe. I like the distinction you make between abstract and narrative ballets, and the in-between sand trap that choreographers today often fall into. I would suggest a similar in-between sand trap in which pointe shoes are worn and legs are turned out so that the ballet appears classical on the surface, but the (non) steps are a series of repetitious lifts and yearning gestures that lean towards the contemporary but don't make a statement for either classical or contemporary style.
I will say, however, that I was greatly cheered by the level of dancing. These days the talent seems to run deeply through the ranks and it's a pleasure to see the next generation perform with such energy and precision, despite the material it has to work with. Dare I hope for debuts in the spring season?

I should add that I haven't seen Symphonic Variations yet, so perhaps I'll have a dimmer view of the company upon seeing that performed. Or maybe they'll get their act together.

ITA, Angelica, about the pointeless use of pointe shoes in much of today's choreography.

I think this season, it's going to be up to Veronika and Simkin to hit a home run with Prodigal Son.

I totally saw Henri Bendel as well in the Daphnis scrim. Others saw mattress ticking.

I saw Symphonic Variations 3 times last week. First two were at Wednesday's Dress Rehearsal and then Saturday evening. I was dreading seeing it again, but Saturday it was a much better cast and felt more comfortable than in the DR.

What about Plato? Besides the man in the peach, brown top with black bottom tripping both times on his costume, Marcelo Saturday evening, I really loved this ballet. It is in that no-man's land of abstraction and narrative, but it is the first piece of Ratmansky choreography that I'd search out repeatedly.

Oh and that Daphnis and Chloe thing. How much money did they spend on that? There isn't something better out there? People were leaving 30 minutes into it on Saturday night

Ikea furniture on an antique rug <-- perfect metaphor, Haglund.

Daphnis and Chloe lost my attention Saturday night as well. I didn't leave the theatre but I definitely felt restless in sections. Like Whitney, I liked Plato very much except for the awkward costumes. I saw two casts (Saturday night and Sunday matinee). I really liked the choreography and appreciated the opportunities it offered so many of the ABT men.

I have to agree with Haglund about Brahms/Haydn Variations. What a beautiful vehicle for the company. I was SO sorry when it was over. I could see this ballet repeatedly. What a crowd pleaser.

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