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Suzanne as solution


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First of all, I kind of doubt that any ONE person could be the fix-it for a company as large as the NYCB. Second of all, Suzanne's given no indication that she wants a job as large as AD. For one, she seems to enjoy focusing on smaller projects, and also free-lancing as a coach in Balanchine stagings in different companies around the world, as well as holding summer intensives. If she were to become an AD of the NYCB, the group of dancers who have been loyal to her -- what would happen to them? She seems to have moved on, and is very content in her current projects.

Peter Martins' underutilization of many of Balanchine's senior dancers, from Arthur Mitchell to Allegra Kent to Gelsey Kirkland, as well as his preference for choreographing his own, usually rather poorly received works is another issue entirely.

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I find this whole situation sad. Boiling it all down to a "he said, she said" argument makes me realize that Balanchine's ballets are divine but the people in charge of them are just human with all our human weaknesses. It would be nice to think that both parties could overcome their differences for the sake of preserving the legacy correctly but it seems as if that wound is still too fresh. I find it somewhat ironic that Farrell and Martins were so simpatico as partners on stage but so totally unsuitable off it.

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It would be nice to think that both parties could overcome their differences for the sake of preserving the legacy correctly but it seems as if that wound is still too fresh. I find it somewhat ironic that Farrell and Martins were so simpatico as partners on stage but so totally unsuitable off it.

Farrell did a series of public interviews with David Daniels at the Kennedy Center sometime after the New Yorker article but before her 1995 Kennedy Center season. During one Q & A she was asked about Martins and said something to the effect that their relationship was cordial. I think she used the word "fine." She didn't deny there had been a rift, but she expressed no bitterness.

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I forget when it was exactly, but there was a NYCB Guild event at which Farrell and Martins, after their dancing days were over, were interviewed jointly in the auditorium of the State Theater by Leslie Stahl, followed by a reception. I felt the interview was unsuccessful, largely because of Stahl's inept questions. Peter seemed to be good-naturedly prompting Suzanne in her answers, but she was having none of it. At the reception, as I remember, people congregated in three groups, one around Martins, another around Farrell, and a third around Stahl. I was in the middle group, where I discussed hearing aids with Suzanne's mom. As I've said in the past on Ballet Talk, Suzanne's firing was something I never got over, and I'm truly sorry that the subject has come up again so many years later. She has gone on to a whole new career, one which gives the lie to Martins's preposterous opinion that she couldn't teach.

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I find this whole situation sad. Boiling it all down to a "he said, she said" argument makes me realize that Balanchine's ballets are divine but the people in charge of them are just human with all our human weaknesses. It would be nice to think that both parties could overcome their differences for the sake of preserving the legacy correctly but it seems as if that wound is still too fresh. I find it somewhat ironic that Farrell and Martins were so simpatico as partners on stage but so totally unsuitable off it.

You think this is sad? Much sadder is the situation with the Martha Graham Company and the whole Ron Protas drama and its aftermath. There was another putsch of Christine Dakin and Terese Cappuccilli after the new regime came in. I am sure the drama is continuing. Various people (with various motives) were trying to wrest the company from Graham while she was alive (especially during the period of her drinking). It has only gotten worse after her death.

I often look at what a fine company San Francisco Ballet is under Helgi Tomasson and wonder "what if...?" Helgi's choreography is rather pleasant too. Perhaps Mr. B picked the wrong Scandinavian?

On the other hand, geniuses like Balanchine and Robbins come along once in a century. Anyone inheriting their company and expected to assume all their creative and administrative duties is set up for a fall.

In a way, Suzanne operating as a free agent puts her in her own spotlight and takes her out of the shadow of Balanchine and his company. She gets to shine on her own rather than as a keeper of the flame cloistered away in the temple of dance.

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True about the freedom of not having to be guardian of the temple. In watching SFB over a few years I feel I've seen them grow more interesting in various contemporary choreography and less interesting in Balanchine. There are always exceptions, but they're singular and dependent on casting - Gonzalo Garcia in Apollo, Sarah van Patten in Diamonds.

I've sadly never been impressed by Farrell's abilities as a company director (I don't think she's yet overcome her problems with casting and choosing repertory). I think it would be great for her to be coaching at NYCB, but I'd fight for Verdy to be there coaching first.

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On the other hand, geniuses like Balanchine and Robbins come along once in a century. Anyone inheriting their company and expected to assume all their creative and administrative duties is set up for a fall.

True, but it should be remembered that Martins had a lot of support at the outset. I can remember Croce gushing “The magic kingdom is in his keeping....A loyal prince, he has earned the prize,” or something to that effect. Or, as Robert Gottlieb put it some time later, everyone was rooting for him, not gunning for him.

I imagine if he had wanted to delegate some of those onerous duties, it could have been done.

In a way, Suzanne operating as a free agent puts her in her own spotlight and takes her out of the shadow of Balanchine and his company.

I don't think she ever wanted to be out of that 'shadow.'

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Y'know, pick a woman who's better at administration than Farrell and I'd take your point. But Hans wasn't talking about women, he was talking about Farrell.

I dunno, Monica Mason, Ninette di Valois, Maina Gielgud, Brigitte Lefevre (former ballerina?) and others have headed major companies.

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You left out Celia Franca and Karen Kain.

In order to pre-empt the thread turning into list-making, I didn’t say that no woman has ever run a major ballet company anywhere. It’s just that I note that whenever a new AD vacancy opens up, in most cases the dancer candidates for the job are current or former male principals. (And yes, you have wives running companies in harness with their husbands.)

But Hans wasn't talking about women, he was talking about Farrell.

My remark wasn’t aimed at Hans, which I ought to have said in the first place, Leigh. I just plucked his quote because it was handy and apt. Sorry, Hans. :clapping:

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