
We had a complete changing of the guard this past year. Meet Finale a/k/a Gala Grand Finale Sugarplum Fairy. Five months old. Born in a junkyard at the side of a busy highway.
Changing of the guard is inevitable whether a cat, a ballerina, or a president. Cats sense when it’s their time to go, and they will let a listening caregiver know it. Presidents have a more difficult time recognizing when it’s time to step aside. But what is it about a ballerina who lived decades of privilege but now tunes out the music blaring that her time is up?
(Hold on, hold on. Since it’s Christmas, maybe old Hag should settle back into his ultra-courteous mode. Ah, that’s more like it. Feet up. Mug of warm something or other. Muffins in the oven. Tree lights twinkling.)
This year’s NYCB Nutcracker had a few prosaic principal performances and too few major debuts. The one debut that actually enhanced this already-stellar production with new brilliance was Taylor Stanley’s Drosselmeier. Eyes flashing, magic in every pocket, charmingly creepy — Stanley was a Brothers Grimm version born from his own imagination. Stand aside Marie, Fritz, Bunny, Soldier, and Rat King! Drosselmeier is the main story of Act I and worthy of a place in Act II — perhaps lurking under Mother Ginger's dress or shadowing Naomi Corti’s bold new Coffee.
We weren’t able to see all of the performances we wanted due to having to choose dates months in advance of casting, but we lucked out with a trio who easily scaled the cliffs and treacherous ice of Mt. Dewdrop, planted their flags, and quipped “Come on, is this really the top?” Tiler Peck, Mira Nadon, and Emma Von Enck gave three dazzling interpretations. Aurora’s, we mean, Emma’s was like none we’ve ever seen. She released energy like a cat with the zoomies.
The Sugarplum Fairies and their Cavaliers were all fine and serviceable. Joseph Gordon made the strongest impression with the greatest energy and use of space during his brief time on stage.
The “dancing” children in Act II were always well-rehearsed and seemed genuinely excited to be on stage. Of course, the little Angels were all the talk around town because one of them was the daughter of a star — wait for it — pitcher with the Yankees and most recently the Mets. (We hope the Mets re-sign free agent Ottavino. The bullpen needs him.) Little Angel Ottavino was as cute as could be. The one unsmiling Angel may have been carrying a lot of baggage for her Mommy Dearest who continues to use her as a prop to promote her own postmortem career.
As we mentioned but are mentioning again because it’s worth mentioning, there were too few principal debuts this Nutcracker season. All of the well-worn principals were out gallivanting around the world making thousands and thousands of dollars as guest artists in Nutcracker. They didn’t need to hog SPF and Cavalier roles at NYCB where the casting in those roles has no impact on ticket sales. We may as well mention that the regular season casting has shone itself to be unnecessarily repetitive, too. When the season consists of very few programs and the ballets in those programs are repeatedly cast with the same dancers, it kills audience enthusiasm. We’re tired of it. NYCB is rolling in money. ROLLING in money. It can afford to rehearse new dancers in principal roles.
Our final H.H. Pump Bump Award of 2024, a stylish witchy little stiletto with snake fangs, is bestowed upon Taylor Stanley for his revealing new Drosselmeier. It felt like we were seeing Act I for the first time.
Hey Haglund! Merry Christmas, your reviews are always a gift worth waiting for. Completely agree that there are far too few principal debuts. Dominika Afanasenkov and Christina Clark in particular would be lovely Sugarplums even if they got only a couple performances.
I will be watching Naomi Corti’s Dewdrop debut on Saturday and look forward to reporting back. Speaking of Saturday’s performance, I would’ve loved if Ashley Hod got more than two Sugarplums
All in all, I enjoyed Unity Phelan and Indiana Woodward’s Sugarpluns and I look forward to seeing some Swan Queen debuts this winter. Should be fun.
Posted by: Zachary | December 25, 2024 at 09:14 PM
Zachary,
I'm sorry I have to miss Naomi Corti's DD debut. It's just so difficult to manage ticket purchases for Nutcracker.
ITA with you on Hod, Clark and Afanasenkov. Would have loved to have seen Alston Magill debut as either SPF or DD. Completely mystified by Alexa Maxwell's continued absence in SPF and DD.
Posted by: Haglund | December 25, 2024 at 09:50 PM
Haglund, I too am mystified by Alexa Maxwell’s casting. She had quite a lot of debuts last season but I think she only does Coffee in Nutcracker? She was injured in the fall but is guesting as the sugar plum fairy elsewhere.
I’m also surprised by the lack of casting for Dominika Afanasenkov. It has been hinted on Instagram I believe that she is learning Swan Lake, so I would expect something at least for her.
Posted by: Lina | December 26, 2024 at 12:08 AM
Lina, I saw the same hints on Instagram. Hopefully, they will come to pass.
Many ballet dancers are obnoxiously vocal about how they are "athletes," as if being a ballet dancer is not enough. They fail to note, however, that the average retirement age of an NFL player is 27.6; the average retirement age of an NBA player is 28; the average retirement age of an MLB player is 29.5; the average retirement age of an NHL player is 28.2. In the cases of NFL and NBA players, those short careers often follow 4 years of collegiate competition during which they were not compensated except for scholarships. Those college years were preceded by many years of getting knocked around at the high school and lower levels.
These retirement ages are what they are because the athletes have hit their peaks and are starting to decline while fresher athletes are on the way up. Professional athletes are called "professional," in part, because the sport invests vast sums of money in expectation of seeing specific results from the players that translate into team income. When those expectations are not met, the player is out the door.
It is simply ridiculous how when a ballet dancer is promoted to principal, the audience is then sentenced to 10 to 20 years of that same artist in the same roles even as he/she declines after moving past the sweet spot of his/her career.
It used to be that major ballet companies depended on a handful of artists who could dance the choreography well. Those days are gone. Now there is a plethora of excellent ballet schools where students with exceptional instruments show up and hone their skills to a near-professional level. These schools are producing an abundance of gorgeous adolescent dancers and feeding them to SAB, ABT and other affiliated schools for finishing. When they are finally elevated into a professional company, they can do just about anything. There is no excuse for keeping them on the backburner of the stove so that some other dancer can hang on for 20 years.
As Zachary pointed out, the very tall Christina Clark would be a lovely SPF. Right now, there are some very tall men in the corps who are ready to have their partnering skills tested under the spotlight. Melnikov and the young Owen Flacke would be fabulous partners for Clark and Afanasenkov. Other corpsmen (Grant, Klesa, McAuslin, Soares, Henson, Estrep) need to move forward without further delay. Treat them like professional athletes, if they want, and hold them accountable to measurable outcomes. But get them going now!
Gosh, this was a whole H.H. post...
Posted by: Haglund | December 26, 2024 at 06:54 AM
Welcome, Finale! Adorable kitty who is probably showing early promise with grand allegro and perfect landings. Thanks, Hagland for gifting us with your ballet review and wonderful sense of humor. You are greatly appreciated!
Posted by: Georgiann | December 27, 2024 at 11:59 AM
Happy New Year, Georgiann!
Indeed, Finale's saut de chat just propelled her to the top of the refrigerator.
Thank you so much for reading and contributing to H.H. Hard to believe that we're into our 17th year!
Posted by: Haglund | December 27, 2024 at 03:54 PM
Been waiting for this all season! Thank you for the write-up, Haglund. I agree with all you have said. I am baffled as to why Alexa Maxwell is not doing either SPF or DD. I saw her at the Rose Building, and she said she was learning SPF, but it looks like she won't do it this year. I also think Dominika is learning it. At any rate. I lucked out and saw Emma Von Enck as both DD and SPF and just WOW! I just love watching her dance, and she's always been very friendly to me on social media as well. Can't wait for her Aurora, Swanilda, and O/O. To end on a less positive note, I have a ticket for January 4. Will report back.
Posted by: Cream Soda | December 28, 2024 at 01:38 AM
Happy New Year, Cream Soda. Looking forward to your comments regarding the Jan 4 performance.
Just want to add to my little essay above that if ballet dancers and their companies want to present themselves as the equivalent of professional athletes, then companies should start compiling the same sort of analytics on their dancers that professional teams do. Missed double tours, incomplete entrechat six, injuries, missed fifth positions, arabesques less than 90 degrees, failed hops on pointe, amount of physical therapy utilized, cost of refitting costumes, failures to follow directions, conduct -- all of these things and a slew of other important aspects of performing can be measurable outcomes and loaded into analytics. All should be used to help determine whether an artist's contract should be renewed.
And these oh so funny videos about how ballet dancers destroy their shoes and brag that they cost $100/per pair. .. If the women are cutting their shanks, why is NYCB paying Freeds for the full length of cardboard & leather? If the women are crushing their boxes, why is NYCB paying for the full dose of paste on each pair? While I sorely hate the look of Gaynor Mindens and some of the other brands, I find the celebrated destruction and disposal of Freed shoes to be unacceptable from a business standpoint and an obnoxious, adolescent flaunting of wealth. And when the artists are making gobs of money guesting in Nutcrackers or other productions, who is paying for their $100 shoes?
Posted by: Haglund | December 28, 2024 at 08:29 AM
Dear Haglund:
In light of the pending New Year, I wanted to check in. New Year = New Me/Us!
First, I want to apologize. I'm sorry that you had to watch me dance all those years. In hindsight, I can see that I wasn't great. I was ok. I certainly tried my hardest, but I was never quite where I needed to be. Many people let me know during my career. But I can see now that I wasn't where I was meant to be. I didn't fit in. I didn't belong. I should've quit at least 10 years sooner.
But I am SO proud of the following:
I did my career honestly.
I didn't use social media to promote myself and my mental health is/was better for it.
I didn't end up with a drug/alcohol/nicotine addiction.
I didn't end up with lasting body dysmorphia/disordered eating.
I didn't end up with lasting anxiety/depression.
I didn't end up with chronic physical pain.
I consider that to be a successful ballet career.
I am fortunate.
I have also figured out a way to describe my emotional state during my career. I was so ashamed. Constantly ashamed. Body shaming and other constant critiquing about how one looks, moves, dances....breathes...is relentless. The shame becomes a way to exist. (If you think bad things about yourself, it might hurt less when someone actually says it.) The shame made me want to be invisible. It did make me invisible. Feeling invisible is both a coping mechanism and a terrible place to be. I was nearly paralyzed with insecurity and shame.
That's why I was the way I was. I'm sorry that I wasn't able to give you a better versin of myself. But I did try. I tried so hard!
I'm happy to report that I am now where I am meant to be. I passed the 2022 Bar Exam on my first try while four months pregnant! I am practicing law out of Tarrytown and I am no longer invisible. The shame is lessening each day. Even my facial features have brightened. I feel appreciated for my work at my firm and I can appreciate feeling appreciated. I am so grateful for this future. If you ever need a lawyer, you know how to find me!
By the way, regarding Nutcracker gigs. Yes, many dancers go off and do gigs. And yes, we get paid per performance. However, keep in mind that NYCB/ABT are only employed approximately 38 weeks out of the year. The rest of the time is "layoff" or breaks. We don't get paid during layoffs, so the gig money is stashed away to pay for rent and food during multiple unpaid weeks. We also collect unemployment and teach to fill in the gaps.
Also, please note that pointe shoes are a great source of anxiety. We stress hard about having a "good" pair of shoes for each performance. The shoes need to have a flat box. Some boxes are uneven (they are handmade, after all) or you may end up with two "left" shoes. The right foot then favors the pinky toe which puts you at risk for a sprained ankle. Harder shoes are less pliable and slippery. But if you break in shoes too early, you risk having shoes that are too soft or "dead" by performance time. We also get in trouble for noisy shoes. I think that we cut shanks and break the boxes as a way to feel in control of the situation. We find tricks that yielded a good result once and then repeat them almost superstitiously. I hope that makes sense. I can go on and on about the complexities of dancer life!
I would love to meet up sometime and hear your story! Wishing you health and happiness in 2025.
Abi Stafford
aka Abi Lillo, Esq. (LOL)
Posted by: Abi Stafford | December 28, 2024 at 09:52 PM
Abi, congratulations on your extraordinary accomplishments since retiring from NYCB. It does seem that the over-achieving characteristic that is almost a requisite to succeed at the NYCB level continues to flourish even after that career has ended. It speaks volumes about the art form that so many of its retirees pursue legal, medical, investment banking, management, and other high-powered careers as second acts. It's always wonderful to hear about it.
Best wishes for a prosperous and fulfilling New Year.
Posted by: Haglund | December 28, 2024 at 10:33 PM
A message to Abi: Thank you for your post, and thank you to Haglund for publishing it! I wanted to let you know that I saw your Dew Drop circa 2000, right after I moved to NYC, and still remember to this day your beautiful technique and lines. I was blown away. You were a joy to watch and a beautiful ballet dancer. I am so glad you have found happiness! You deserve it. We all do.
Posted by: Cream Soda | December 29, 2024 at 06:11 PM
Well said, Cream Soda.
Posted by: Haglund | December 29, 2024 at 07:24 PM
Happy New Year, Haglund. Thank you for your great writing and original humor. I didn't get to NY for fall season or Nutcracker this year, so your reviews and those of others were so welcome. May your 2025 be happy and healthy!
Posted by: Marta | December 29, 2024 at 09:00 PM
Happy New Year, Marta. Thanks much for reading and contributing to H.H.
Try not to miss the upcoming Winter Season at NYCB. While the offerings are somewhat limited in scope, they do include several great, great ballets. Also Ratmansky is putting together a Paquita suite which will be on a program with Symphony in Three Movements and In the Night.
Here's hoping for a brilliant season.
Posted by: Haglund | December 30, 2024 at 07:02 AM
Zachary, I hope to hear from you about Naomi Corti's debut in Dewdrop! I adore her and was sorry to have to miss it. Hopefully I will be able to catch her Dew (or SPF!?) another year.
It's wonderful to hear Abi's positive and classy update. <3
Posted by: AMJ | December 30, 2024 at 06:13 PM
Yeah, Zachary. I'm waiting, too.
Naomi Corti is going to be another reason to buy tickets. Imagine a Concerto Barocco with Corti and Kikta... Or those two in Stravinsky Violin Concerto or leading Brahms-Schoenberg...
Posted by: Haglund | December 30, 2024 at 06:32 PM
Apologies for the delay, I thought Naomi Corti was fantastic on Saturday! I was seated Orchestra right and, as she pranced into the wings post-bow, I could see a triumphant look in her eyes and a big toothy grin. I assume there was a group of dancers in the wings waiting to congratulate her - and she deserved it. I don't have the requisite knowledge to comment academically on her performance but I found her interpretation beautiful and delicate (she pulled into a passe instead of a back attitude during her center turns).
Overall, I really enjoyed Saturday's show. Ashley Hod is an exceptional Sugarplum Fairy and presumably this was the last time she would dance the adagio with her husband at City Ballet. Christina Clark was also beautiful in Coffee.
Posted by: Zachary | December 30, 2024 at 06:54 PM
Thanks, Zachary, for the report. So happy to hear that the performance went well for Naomi, Ashley and Christina. That was one very leggy cast! I wonder what the reason was that Naomi opted out of the attitude turns...
Posted by: Haglund | December 30, 2024 at 09:34 PM