Jump to content
This Site Uses Cookies. If You Want to Disable Cookies, Please See Your Browser Documentation. ×

Midsized Companies Closing


Recommended Posts

Lewis Segal made a very good point, I thought, in a recent piece in the LA Times about the demise of Ballet Pacifica: do not try to start a company in Orange County again until there is a wide enough audience to support it.
How, then, do you cultivate an audience? It becomes a vicious cycle, doesn't it?
Link to comment

Well, I'll air my pet peeve that I schlep with me from sister site BT4D: For the sheer volume of little girls in tutus that we have in this country and the magnitude of dollars being spent on their training (and competing :helpsmilie: ), it galls me to know that very few of these families are also spending any money to attend professional dance performances (unless their child is playing the Third Village Urchin from the Left). THERE is the missing audience that could be keeping a lot more companies afloat. I wish more teachers would emphasize the importance of seeing professionals dance. I don't think it should be a requirement (given that not everyone does have the money it costs these days to go to the theater), but with most of these parents, you tell them that something could help their child succeed and they'll immediately fork over the bucks. And on the flip side, you get these kids attending the arts now, they might just want to keep attending the arts later.

Link to comment

Those "Third Village Urchin from the Left" equivalents in ballet are critical for filling the house for those performances. One thing I noticed that was brilliant when the Moscow Ballet toured, they sent a ballet master to local schools ahead of time to train local children for parts in Swan Lake. Those kids brought their families, relatives, and friends, and the house was packed. That is extending an audience to beyond the ballet child his/herself.

I know that if I had to support a child in ballet, and that toe shoes at $50-$80 a pop were not the greatest of my expenses, the only performances I'd be able to afford would be the $5 previews that Peter Boal initiated this year.

Link to comment

It's odd, isn't it, and dare I say it, all-American? People dream about becoming famous in an art without seeing much connection between that and participating in the art as a consumer.

If you want to write, you have to read great novels.

If you want to act, you need to see great plays.

If you want to dance, you need to watch great dance.

Link to comment

The Executive Director of the Augusta Ballet is a former dancer in the company. You'll read the quotes from her and the President of the Board (former dancer at the Company) saying things like, "the Ballet is not closing!". Or "I feel really bad (about the dancers)", or "Personally I am extremely dedicated and willing to make a lot of sacrifices in order to have a dance company in the community". Those sacrifices would be what exactly? She feels 'really bad' that she didn't let the dancer's in on the plan in order to give them a chance to audition around? If there are no dancers, no artistic directors, no shows; what is the definition of 'not closing'?! There is a word for the kind of tripe served up by these press releases; but it is unprintable here.

There's another article out there, and you don't have to register to read it:

http://www.metrospirit.com/pages/arts1.html

hermes

Edited by Helene
Link to comment
It's odd, isn't it, and dare I say it, all-American? People dream about becoming famous in an art without seeing much connection between that and participating in the art as a consumer.

If you want to write, you have to read great novels.

If you want to act, you need to see great plays.

If you want to dance, you need to watch great dance.

Isn't this the country where you can learn to draw from the cover of a matchbook?

</snark>

Link to comment
I think one of the things that distinguishes ballet from other dance forms, though, is that to dance professionally, a ballet dancer has to have a chance to be in class every day. The stability of mid-sized ballet companies gives dancers that option. Most modern dancers I've know in smaller companies have day jobs (often many strung together) and their training fits around their jobs. Unless a company is formed around a specific type of training, and that training is offered around the schedules of the people dancing, class can be hit or miss, and up to each dancer to arrange.

A good point, and thinking about it, I realize that, no matter the size, the standard with ballet companies is to hold a company class, while that is not always the case with modern dance ensembles (rather ironic, since "ballet," as a dance form, is much more uniform from school to school, ensemble to ensemble, than modern dance)

Both Ballet Arizona and Pacific Northwest Ballet could be considered midsized by looking at the number of dancers on the roster. PNB has a large staff, both administrative and artistic -- it's got its own costume shop, for example -- which would make me classify it as large. Both have schools whose dancers can augment the core company for story ballets. But I found comments by both companies' Artistic Directors in Q&A's interesting. Ib Andersen said that he wouldn't want more than 50 dancers: above that size, you just can't know everyone. Peter Boal said that his ideal company would be made entirely of principals and soloists, which creates its own natural limit.

"made entirely of principals and soloists"

I hadn't heard this, but I find it extremely interesting. It strikes me that a company of principals and soloists would not be able to do any of the 19th century classics.

Link to comment

Both Ballet Arizona and Pacific Northwest Ballet could be considered midsized by looking at the number of dancers on the roster. PNB has a large staff, both administrative and artistic -- it's got its own costume shop, for example -- which would make me classify it as large. Both have schools whose dancers can augment the core company for story ballets. But I found comments by both companies' Artistic Directors in Q&A's interesting. Ib Andersen said that he wouldn't want more than 50 dancers: above that size, you just can't know everyone. Peter Boal said that his ideal company would be made entirely of principals and soloists, which creates its own natural limit.

"made entirely of principals and soloists"

I hadn't heard this, but I find it extremely interesting. It strikes me that a company of principals and soloists would not be able to do any of the 19th century classics.

I was shocked at first when I heard him say it, but I interpreted to mean two things: that this supports the kind of triple bills he's programmed for this year and the next, but that the soloists would dance corps in the classics, supplemented by the Professional Division, like in the recent performances of Sleeping Beauty. I don't think he was suggesting having a smaller company.

Link to comment

I interpreted sandik's comment another way--that soloists would not like to do corps work, and might not be very good at it, considering that they aren't really used to having to stay in line or dance exactly the same way as 31 other people.

Link to comment

Being a good corps member is a very specific kind of skill, and although most soloist and principal dancers have put in at least a small amount of time at that level, they aren't necessarily that kind of dancer any more. Thinking about this in the reverse direction, when you see someone move from corps to soloist, you often see a process, where they become more assertive in their position on stage. It isn't "look at us" -- it's "look at me." That's a difficult pathway to reverse.

It isn't really a question of liking it, so much as being able to sublimate yourself in the group.

I don't really think I agree with this description of PNB's recent staging of Sleeping Beauty

but that the soloists would dance corps in the classics, supplemented by the Professional Division, like in the recent performances of Sleeping Beauty. I don't think he was suggesting having a smaller company.

(aside from the fact that they only have 5 official members of the corps!)

The actual corps sections (Aurora's friends, members of the court) were mostly actual corps members and pro division students -- a few of the dancers that get pulled out into soloist roles (Stacey Lowenberg, Rebecca Johnston, Maria Chapman, Lindsi Dec and I know I'm forgetting a few) were in those ensembles, but for the most part they were doing demi-soloist stuff (fairies, fairy tale characters, etc.)

But beyond that, I wonder how a company without a corps de ballet would acclimatize new dancers. Although PNB does hire from its school (and seems to have established a pattern of bringing someone in as an apprentice, and then "graduating" to the corps) it's the place that many people learn to be a part of the group. Where would a company of soloists and principals get its new soloists?

Link to comment

I was just trying to say that there will be less money available, because of corporate merging. I brought up the Met as an example, because the broadcasts were a "tradition", that would give a sponser alot of exposure. But even the Met is not immune either to the current cultural climate with a shrinking audience(40% subsription rate on many subscription nites, down from a high of the mid 80s in the 1990s.)

Link to comment

There was a time a few years ago when John Munger at Dance USA would publish a list of all the ballet companies in the country whos annual expenses were over $1 million. After 2003 there were about 75 companies on the list. I would be interested to see how it’s changed, if there are fewer on the list now, if the difference in spending between the top 10 and the rest has widened. Numbers aren't everything but oftentimes they provide a very clear picture. I've emailed John in the past to try to get the most current list. Perhaps someone with more clout could get a hold of it?

you can get the FY03 one here http://portfolio.iu.edu/emcphers/1MillionP...etCompanies.xls

John Munger, Research and Information

1451 Holton Street

St. Paul, MN 55108

Phone: (651)-646-8076

Fax: (651)646-7971

email: jrmdance@aol.com

Link to comment
I brought up the Met as an example, because the broadcasts were a "tradition", that would give a sponser alot of exposure. But even the Met is not immune either to the current cultural climate with a shrinking audience(40% subsription rate on many subscription nites, down from a high of the mid 80s in the 1990s.)

fandeballet,

Yes, I think your reference was a good one. The subsidy money pool is shrinking all the time and it takes more and more creativity to get a chunk.

And you're right about the Met's shrinking subscription and attendance rates. I've seen a couple of ideas the new GM has put out to try to reverse that, whether they are a success or not remains to be seen.

I'm a bit :off topic: here with the Met Opera, I know, but some of these problems carry in a generic form across other arts , including of course ballet and dance. primarily getting subsidy money and going after potential new audiences

Richard

Link to comment
Being a good corps member is a very specific kind of skill, and although most soloist and principal dancers have put in at least a small amount of time at that level, they aren't necessarily that kind of dancer any more. Thinking about this in the reverse direction, when you see someone move from corps to soloist, you often see a process, where they become more assertive in their position on stage. It isn't "look at us" -- it's "look at me." That's a difficult pathway to reverse.

The master at meeting this demand at PNB is Brittany Reid. She dances a wide range of roles, from corps to demi-corps to demi to soloist to principal. Her response to each role is based on its demands. For example, she performed in a movement in Kiyon Gaines' Schwa as part of a quintet of one man and four women. When they danced together, Reid danced as one of five. When they broke into a series of pas and solos, Reid seamlessly amplified her dancing, expanding in the empty stage. When the group reassembled, she was again in perfect proportion to the quintet, without missing a beat.

But beyond that, I wonder how a company without a corps de ballet would acclimatize new dancers. Although PNB does hire from its school (and seems to have established a pattern of bringing someone in as an apprentice, and then "graduating" to the corps) it's the place that many people learn to be a part of the group. Where would a company of soloists and principals get its new soloists?
Boal's answer was, if I remember correctly, in response to an question about promotions in general. In an earlier Q&A, Boal had said that when he heard the announcement after a Valentine program that he'd be joined in the Q&A by "Corps Member Jordan Pacitti" (who had just performed a principal role in Red Angels), he was a bit shocked, because he doesn't think of Pacitti as corps. Pacitti dances many corps roles in addition to leads. Boal hasn't cast based on caste.
Link to comment

Neither does Villella at MCB "cast on caste." Most corps members get do do serious solo work in one of the casts of at least one ballet each season. And most soloists do corps work when called upon.

My feeling is that ADs like Boal, Anderson, and Villella seek dancers who are capable of soloist work, or those capable of rising to soloist workfairly quickly with some nurturing. The "corps" designation may have more to do with personnel adminsitration and finance nowadays, and less with the style and potential of the individual dancers.

To return to Hermes' article on the Augusta Ballet, I was intrigued by the following statement made by the head of the Board of Directors:

QUOTE: “I do not see this as the end of the company,” Stracke said. “Personally I am extremely dedicated and willing to make a lot of sacrifices in order to have a dance company in the community”

QUOTE: "Stracke points to the Carolina Ballet in Raleigh, N.C., as an example of what can come out of such a restructuring. “They had a semi-pro company with an annual budget of $300,000,” she said. Then the company took a transition year, raised $1.5 million, and returned to the stage with a professional troupe. “Their operating budget now is $4.5 million."

The idea of dismantlling the existing company, then raising vastly more money than they ever have, and then creating a new company is rather daring. (I am not familiar with the experience of Carolina Ballet, which is said to have accomplished just that.) Even if one forgets the unkind apparently callous treatment of the existing dancers who have been let go, I wonder what the chances are for success. Do they own real estate and have a school to serve as a basis for a future company? Is there anyone either on the Board or in the wings with the experience and ability to achieve such a miracle?

Link to comment

It's been about 5 years since I danced with the Los Angeles Classical Ballet, and I dont know anything about thier affairs of late, but I remember that they were an inch from going under in the 3 years I danced there every year right before "Nutcracker season" started, and then they were able to stay afloat till the next "Nutcracker Season", just barely.

In the 3 years or so years I was associated with the company I danced at random, and I had to split my time dancing "freelance" in Arizona, Oklahoma, Oregan, and a small troupe that was once in Redding, CA. I even taught for about 1 week for Ballet magnificant in Oklahoma....but I left real quick as the place was little to much for my taste. As a pro-dancer I found that I was dong trippy stuff on stage in bare feet to strange music more than dancing this or that "classical" pas, and after that I stopped dancing professionaly more or less.....maybe I should have made my way to NY, but I never did.......of course my dissatisfaction with company life wasnt the only reason I stopped dancing, but it had a lot to do with it.

Had I been in Europe, where there are more solidly based dance companies than in the US I probably would have been able to nurture my talent, etc. and find a 'home' per se. But my own little story as a pro dancer, however small, I always felt was a by-product of the way that professional ballet is handled in the US.

Link to comment
Had I been in Europe, where there are more solidly based dance companies than in the US I probably would have been able to nurture my talent, etc. and find a 'home' per se. But my own little story as a pro dancer, however small, I always felt was a by-product of the way that professional ballet is handled in the US.

I think the situation is same in Europe too. Classical ballet companies are getting less and less worldwide. For example I have heard that in France nowadays It is really hard to find a classical company other than Paris opera. And even Paris Opera seems to be much more interested in modern dance recently.

Link to comment

Augusta Ballet does have a ballet school, maybe that will help get them out of debt.

I don't know much about the European ballet scene, but I did talk to someone who had danced in Europe for one year. The benefits alone, at least for her former company, sounded fabulous. She got a month paid vacation, and she had retirement savings from that year of dancing. Needless to say, she has no retirement from dancing for major ballet companies (in the top 10 by size) over here in the USA.

My grandmother, not a dance authority but still knowledgeable about a range of subjects, said once that in Europe, young children go to the ballet. Everyone goes. Tickets are cheap enough for people to afford. Ballet is subsidized by government. I'm sure that has many implications that I have no knowledge of. That is what she thought, anyway, I haven't researched it. But, education is probably a great weapon against ignorance and lack of appreciation of ballet.

Where I live, in the south, many people have never been to a ballet. Or they've only been to Nutcracker. There are a lot of great ballets more entertaining than Nutcracker. Friend of mine just saw Coppelia. He had formerly only seen Nut. He loved Coppelia and was so impressed. Of course, it has humor and a stronger story line than Nut., IMHO. But lets not debate which ballet is 'better'.

Of course in MS there is only one professional ballet company, Ballet Magnificat, who does not perform many (any?) traditional ballets. Ballet Mag. mainly appeals to those seeking a show with Christian content. They only cater to that type of audience. This is not great for raising awareness of ballet in general. That is not to say that they have poor technique or anything like that, they simply don't perform the 'normal' ballet rep. We used to have Ballet MS. Then they closed down in the '90's I think.

And then there's the unusual dispersion of ballet/modern companies...There's 1 ballet company in MS, 2 in AL, 3+ in GA, tons in SC & NC...Its not equal by state....One BT4D member commented that perhaps its related to population-more dance in GA because larger population = people more interested in the arts, more educated, etc.

How many states do not have a classical ballet company (as in performs the classics and/or contemporary works too)? I would qualify MS as one.

In regards to training, I've always hated that it cost so much more to learn ballet than a sport. People volunteer their time to coach community sports teams, but ballet really is a 'rich person's activity' unless you are lucky enough to live where the public school system has dance.

Sorry this rambles on and on. I feel very strongly, in a negative way, about the lack of support for ballet companies in the US. :)

Link to comment
I don't know much about the European ballet scene, but I did talk to someone who had danced in Europe for one year. The benefits alone, at least for her former company, sounded fabulous. She got a month paid vacation, and she had retirement savings from that year of dancing. Needless to say, she has no retirement from dancing for major ballet companies (in the top 10 by size) over here in the USA.

My grandmother, not a dance authority but still knowledgeable about a range of subjects, said once that in Europe, young children go to the ballet. Everyone goes. Tickets are cheap enough for people to afford. Ballet is subsidized by government. I'm sure that has many implications that I have no knowledge of. That is what she thought, anyway, I haven't researched it. But, education is probably a great weapon against ignorance and lack of appreciation of ballet.

In Europe Ballet scene only exists in big famous companies such as royal Danish, paris opera, except for Germany which has more midsized companies. I do not know about the benefits and payments of European companies. But it is doubtful that companies other than those very few big royal or national companies pay after retirement. I am not sure even if those companies do that anymore.

As to the children and every one going to the ballet in Europe ,price of the tickets being affordable, it might have been like that 50 years ago but not anymore. Europe has so many countries and the situation is different in each. There are so many towns, cities and countries that in which ballet is simply non-existant. Any way if ballet was doing so well in Europe ,there would not have been so many companies turning in to modern dance companies.So it appears that the situation in both Europe and America is bleak for classical ballet.

Link to comment
But beyond that, I wonder how a company without a corps de ballet would acclimatize new dancers. Although PNB does hire from its school (and seems to have established a pattern of bringing someone in as an apprentice, and then "graduating" to the corps) it's the place that many people learn to be a part of the group. Where would a company of soloists and principals get its new soloists?
Boal's answer was, if I remember correctly, in response to an question about promotions in general. In an earlier Q&A, Boal had said that when he heard the announcement after a Valentine program that he'd be joined in the Q&A by "Corps Member Jordan Pacitti" (who had just performed a principal role in Red Angels), he was a bit shocked, because he doesn't think of Pacitti as corps. Pacitti dances many corps roles in addition to leads. Boal hasn't cast based on caste.

He certainly hasn't cast strictly by category (neither did his predcessors, actually), but I still think it's an interesting distinction. Pacitti (and several of his corps de ballet colleagues) are soloists in all but name (and paycheck -- but that's a different discussion). I'm curious to know what kind of works Boal is considering that wouldn't really require a fully functioning corps de ballet.

Link to comment
I'm curious to know what kind of works Boal is considering that wouldn't really require a fully functioning corps de ballet.
I don't think he's planning entire seasons of programs that don't need corps. The closest this year was Valentine, where the only corps work came in Ancient Airs and Dances, and that was a small corps.

Looking at next year's season, there are large corps in "Director's Choice" (Theme and Variations), Nutcracker, Swan Lake, "Wheeldon, Duato, Balanchine" (La Sonnambula), "Celebrate Seattle" Weeks 1 & 2 (Carmina Burana), and "Stravinsky 125" (Symphony in Three Movements). I only know Valse Triste from "All Premiere"; Dancing on the Front Porch of Heaven-Dove, World Premiere-Quijada, and Waterbaby Bagatelles-Tharp are the others, and I don't know how big they'll be. In Week 3 of "Celebrate Seattle," Schwa (Program A) had 18-20 dancers in it. Given the number of works that the company will dance in all three programs, I would expect many of the rest to be small to medium in size, but there might be at least one other large-scale work, since many of the company members have done Carmina Burana at least once and wouldn't be learning it from scratch.

I don't think Boal meant by his comment that he is trying to change to corp-less programs; his first two seasons aren't by any means. I think he meant having the quality of dancers, all of whom could step into soloist and principal roles.

Link to comment
  • Recently Browsing   0 members

    • No registered users viewing this page.
×
×
  • Create New...