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January 28, 2019

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I wish Hyltin/Huxley got another Mozartiana. I wasn’t too keen on Mearns in that ballet last season. She can go a bit (a lot?) overboard in roles Suzanne Farrell created.

Lauren King has got to have the warmest and most genuine smile in the entire company.

I totally agree with all of your points, yukionna.

So glad to read your reviews, as always, Haglund. Unrelated, I have never seen eyes THAT green on a kitty, just gorgeous!

Thanks, Emily.

I saw this program last Friday night. The Mozartiana was over the top fabulous, as you noted. I have never seen Tyler Angle dance so well and I agree with your comments about the other principals. What a privilege to be in the audience for this program.

The Corp in Serenade was just as breathtaking as you mentioned, Haglund. I was lucky enough to sit in the center of the first ring and I was near tears with lovely a ballet it is. The shapes and the patterns! I’ve seen it many times but it really came alive last night seeing it at some distance. I still cannot get over the thick yellow panels in the women’s skirts. I’m sure they are peach or more Caucasian flesh colored but next to pink tights and toe shoes they look old and discolored.

I really enjoyed Lauren Lovette’s Russian girl. The elegy of this second cast was beautifully danced by all.

I agree with yukionna re Mearns in Mozartiana. I actually like her a great deal more than many Haglunders, but I do think she “plays” mozartiana as incredibly dramatic whereas I see it as formal, but with a lightness of being to it that Suzanne brought to this role. I couldn’t figure it out until I YouTube’d a clip of Suzanne this morning.

A wonderful season thus far, which is a credit to Stafford and the interim team. They’ve directed “their” company to some phenomenal dancing and a number of very promising debuts.

I agree about those yellow panels stuck in the front of the skirts of Serenade. Sometimes they look lemony; sometimes they look buttery; sometimes they look cream-colored. Whatever they are, they truly reduce the beauty of the ballet. This change was a huge misfire and let's hope that it gets corrected quickly. I hope we are not on a path where every time costumes need refurbishing, they succumb to re-design whims. The Serenade costumes are classic. NYCB needs to get back to them ASAP.

I don't buy this diagonal waist band business which was allegedly adopted so the waistband doesn't lay across the widest part of the hips. If that's "a problem" then use dancers whose hips won't be offended by Karinska's original design. I would hate to think that this Serenade costume alternation was dreamed up to make Mearns or any wider dancer appear more svelte. NYCB has plenty of beautiful dancers who look gorgeous in the original costumes. Use those dancers.

I didn’t appreciate that was the stated rationale for the design change. I assumed it was because they wanted the skirts to appear to have even more movement, which I found unnecessary, but I’m no costume designer. I don’t think the new design is any more flattening to the less svelte ballerinas. Meghan Dutton O’hara stood out in the Corp in serenade last night and she looked lovely. Not to mention all of the dancers at NYCB are thin, just not all relative to their colleagues!

Bouder is looking, shall we say, portly. It's not a pleasing look that's for sure.

She's rectangular as she always has been, but her arms look increasingly matronly. As I indicated, she is quite wonderful in the power-driven allegro roles. But elegance and adagio lyrical line have never been among her strengths, and it's a little late to try to acquire them. Nor do I think the audience should be expected to overlook what's lacking in this case just because she can beat out the steps and jump. There are other dancers in the company who possess everything needed to dance the entire role. It's time for a reality check.

I won't comment on the ballet... but what a beautiful friend you have, Haglund!!

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