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ABT's Male Principal ProblemPoll


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Poll: Promote From Within or Go On a Spending Spree? (73 member(s) have cast votes)

To solve its looming shortage of male principals, should ABT:

  1. Promote from within to fill the ranks (45 votes [61.64%])

    Percentage of vote: 61.64%

  2. Go out into the free market and hire male principals from outside the company (28 votes [38.36%])

    Percentage of vote: 38.36%

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#286 California

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Posted 07 May 2014 - 09:20 AM

And now the other shoe drops.  With Matthews and Radetsky both leaving at the end of the Met season, ABT will be left with a decimated soloist contingent consisting of Craig Salstein and oft-injured Alexandre Hammoudi.

 

Perhaps some deserving corps members will finally get promotions! 



#287 bingham

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Posted 07 May 2014 - 09:24 AM

And now the other shoe drops.  With Matthews and Radetsky both leaving at the end of the Met season, ABT will be left with a decimated soloist contingent consisting of Craig Salstein and oft-injured Alexandre Hammoudi.

Now i dread any tweets from Pointe Magazine...speechless-smiley-003.gif



#288 Natalia

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Posted 07 May 2014 - 10:00 AM

Maybe Joseph Phillips can return from Vladivostok?



#289 Helene

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Posted 07 May 2014 - 10:00 AM

I can see why a move to another country might not appeal to a dancer with roots in his country, and/or why ABT might not be considered higher on the food chain than, for example, the Bolshoi or Mariinsky or NYCB, and/or why a dancer would be happier in a company where he would retire with a full pension, and/or why a dancer might want to live in Europe.  However, there are many, many beautiful male ballet dancers for whom living in NY and dancing for ABT would be a plus.  From what I've read here and seen sporadically over the last decade, some of them are even dancing with ABT now. 

 

From the outside looking in, the state, management, and development of dancers at ABT --  male and female -- is not making the ABT administration look competent or very bright.



#290 angelica

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Posted 07 May 2014 - 11:01 AM

From the outside looking in, the state, management, and development of dancers at ABT --  male and female -- is not making the ABT administration look competent or very bright.

 

I totally agree, Helene. The only thing I would add is that what you say is an understatement.



#291 bingham

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Posted 07 May 2014 - 11:05 AM

 

From the outside looking in, the state, management, and development of dancers at ABT --  male and female -- is not making the ABT administration look competent or very bright.

 

I totally agree, Helene. The only thing I would add is that what you say is an understatement.

 

How long has KM been the artistic director of ABT? Maybe, it's time for a change?



#292 ABT Fan

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Posted 07 May 2014 - 11:13 AM

 

 

From the outside looking in, the state, management, and development of dancers at ABT --  male and female -- is not making the ABT administration look competent or very bright.

 

I totally agree, Helene. The only thing I would add is that what you say is an understatement.

 

How long has KM been the artistic director of ABT? Maybe, it's time for a change?

 

 

Since 1992.  I think most people would agree it's time for a change.



#293 nanushka

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Posted 07 May 2014 - 11:18 AM

 

How long has KM been the artistic director of ABT? Maybe, it's time for a change?

 

 

 

Since 1992.  I think most people would agree it's time for a change.

 

 

Unfortunately, it's probably going to have to get even worse before it will get better.



#294 angelica

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Posted 07 May 2014 - 11:24 AM

 

 

From the outside looking in, the state, management, and development of dancers at ABT --  male and female -- is not making the ABT administration look competent or very bright.

 

I totally agree, Helene. The only thing I would add is that what you say is an understatement.

 

How long has KM been the artistic director of ABT? Maybe, it's time for a change?

 

 

 

KM has been the AD of ABT since 1992. His 20th anniversary was celebrated in--must have been 2012. For many years now people have been saying that it's time for a change, as more and more very fine dancers have become mired in the "soloist graveyard," and dancers with foreign names and credentials have been recruited as guest artists for roles in which the home team soloists (e.g., Stella Abrera, Sarah Lane, to name two) could have been given the opportunity to show what they can do in principal roles and hopefully rise in the ranks. That would have opened up soloist spots for promotions from the corps de ballet.

 

I'm not against inviting a guest artist or two, but ABT has been relying on guest artists for too many performances, while members of the audience such as myself have been hoping against hope for promotions from within of some of our most beloved dancers whose careers have been stalled. ABT has been digging its own grave for a long time. The departure of Kajiya and Matthews is a huge blot on the history of ABT's recent artistic direction.



#295 abatt

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Posted 07 May 2014 - 11:26 AM

Correct me if I'm wrong, but wasn't ABT significantly in the red when McKenzie took over in 1992 from Misha.  From the standpoint of moving the company from red ink into black ink, he has been successful.  The artistic side is another matter entirely.  Yes, I agree he has let a lot of talent waste away there.  However, I also note that one artisitic coup was hiring Ratmansky.



#296 Plisskin

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Posted 07 May 2014 - 11:30 AM

Not surprised. I'd be tired too of being in a company that constantly hires mediocre "Exchange" or "Guest Artists" dancing principal roles while I, a better dancer, am stuck doing a pas de trois or posing in the background. I've seen some of those Exchange and Guest Artists dancing and they aren't that great. Yet McKenzie will put them in a principal role before members of his own company. And half of them aren't box office draws like Tereshkina so I'm confused on why they are given chances above ABT own dancers.

 

Well, I live in Houston and Houstonians as well as Houston Ballet's AD will appreciate Jared and Yuriko. I think it says it all that they'd rather go to a different company with the same rank, than continue to stay at ABT.



#297 angelica

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Posted 07 May 2014 - 11:31 AM

Correct me if I'm wrong, but wasn't ABT significantly in the red when McKenzie took over in 1992 from Misha.  From the standpoint of moving the company from red ink into black ink, he has been successful.  The artistic side is another matter entirely.  Yes, I agree he has let a lot of talent waste away there.  However, I also note that one artisitic coup was hiring Ratmansky.

 

And I believe that Ratmansky has been very supportive of ABT's home-grown dancers, casting them in his ballets. I don't think that most of the guest artists have been brought in at his behest.



#298 California

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Posted 07 May 2014 - 11:39 AM

Well, I live in Houston and Houstonians as well as Houston Ballet's AD will appreciate Jared and Yuriko. I think it says it all that they'd rather go to a different company with the same rank, than continue to stay at ABT.

 

A few more details from Broadway World help explain the move. Matthews was born and raised in Houston. They have both worked with the current director, Stanton Welch, when he choreographed for them at ABT some years ago. So Houston makes sense for them, not just as a way to escape ABT.

 

http://www.broadwayw...07#.U2qLMfFOXIU



#299 abatt

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Posted 07 May 2014 - 11:45 AM

Responding to the comment above about Ratmansky using ABT's home grown artists:

Frankly, I think part of the reason Osipova and Vasliev decided to join ABT had  a lot to do with Ratmansky.  He was their champion when he was artistic director of the Bolshoi, and he promoted them to principal there.  Ratmansky gave the lead role in Firebird to Osipova (with Misty in second cast).  He also carved out leading roles for them in the Trilogy last season. Obviously, those ties ultimately were not strong enough to prevent Osipova from leaving ABT for the Royal.  We'll see what Vasiliev's future plans are. 

 

Also, the incredible period when Ferri, Ananiashvilli, Vishneva, Corella, Carreno, Bocca, Steifel and others appeared nightly on the Met stage was under McKenzie's leadership. None were "home grown" at ABT, but those were spectacular years when ABT was the envy of every ballet company.



#300 bingham

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Posted 07 May 2014 - 12:59 PM

Responding to the comment above about Ratmansky using ABT's home grown artists:

Frankly, I think part of the reason Osipova and Vasliev decided to join ABT had  a lot to do with Ratmansky.  He was their champion when he was artistic director of the Bolshoi, and he promoted them to principal there.  Ratmansky gave the lead role in Firebird to Osipova (with Misty in second cast).  He also carved out leading roles for them in the Trilogy last season. Obviously, those ties ultimately were not strong enough to prevent Osipova from leaving ABT for the Royal.  We'll see what Vasiliev's future plans are. 

 

Also, the incredible period when Ferri, Ananiashvilli, Vishneva, Corella, Carreno, Bocca, Steifel and others appeared nightly on the Met stage was under McKenzie's leadership. None were "home grown" at ABT, but those were spectacular years when ABT was the envy of every ballet company.

 I don't think that period will happen again as there are very few really great dancers anymore. Even the present rosters of the Kirov, Bolshoi,RB does not have many dancers that are "must be seen" IMHO. We were really spoiled by that period and the period in the 70's.




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