Villella To Step Down from MCB
Posted 13 February 2012 - 01:36 PM
Posted 13 February 2012 - 01:55 PM
One of the 990s mentioned that in addition to salary, Villella has a 'discretionary account' that he had to date never exhausted. It did not state what the amount of that account was. I'd hear rumors of other benefits, but nothing definite enough to post here.
That shouldn't be an issue if a successor is Balanchine-trained; further, ballet mistress Roma Sosenko is Balanchine trained. Villella's teaching style (I've seen him teach a number of classes) is best described as inscrutable. Though that can be said for many. I don't think technique is his strong suit.
My point was that the company needs to be looking to Florida and South America for support, to wean itself off of or at least substantially supplement the snowbirds/retirees. There is a tremendous energy in the community, and it's a business gateway to South America. To date, the MCB has not fully taken advantage of that, despite having that great roster of dancers with ties local and further south.
Posted 13 February 2012 - 02:58 PM
I know WA state has no state income tax -- nor does Texas -- and both states' residents are allowed a sales tax deduction against federal taxes as well, which is an advantage. However, we're not paying Peter Boal enough out here.
Posted 13 February 2012 - 06:54 PM
Only about 1/3 of MCB's regular season performances are in Miami itself. The other cities on its schedule -- Fort Lauderdale, West Palm Beach, and Naples -- have smaller Hispanic populations than Miami-Dade County. The Hispanic arts communities are also smaller than in Miami-Dade, as is the potential Hispanic donor base.
About Gamonet: when he left the company, his works were removed from the rep. I've been here for 10 seasons and never had the chance to see one, though Gamonet had his own small company in Miami for a few years.
Here's a thread on the folding of Gamonet's company in 2008. Lack of donors was a problem.
Villella started with Balanchine before Gamonet became a big part of the MCB rep. I know that there were those who missed Gamonet's work when it was withdrawn, but there were also those who felt that the time had come for MCB to move on to something else, especially to works that would enhance the company's reputation in the larger world. I suspect that it is easier to get audiences to attend -- and big-pocket donors to pay for -- a major Balanchine revival, a new work by Scarlett or Ratmansky, or an experiment with international names like Twyla Tharp (and Elvis Costello) than to for something more local.
An aside the importance of the Latin influence at MCB. At a studio performance in Miami Beach last month, the company performed a "concert version" of one section of Villella's own Neighborhood Ballroom. Called "Mambo," it was both a pure-dance piece and an exhilerating work to arrangements by Perez Prado, a Cuban. Why not more stuff like this? It would tour well, too. The 4-county audience down here, even those of us who are elderly former northeasterners, would love it.
P.S. Mambo shared the bill with Balanchine's Who Cares? It was great programming. Great juxtaposition of two areas of MCB's strength. (And you should have seen Jeanette Delgado and Renato burning up the floor. )
Posted 13 February 2012 - 07:04 PM
Posted 13 February 2012 - 07:19 PM
The weather is why we will always get more snowbirds as others die off. I do think it is a renewable resource as Helene called them.
Posted 13 February 2012 - 07:28 PM
That would, though, make Villella's, Boal's, and Welch's salaries in Florida, Seattle, and Houston directly comparable from an income tax viewpoint.
Posted 13 February 2012 - 08:25 PM
Villella... He is older now, and were he just starting out, would no longer command the same investment, but he as surely proved his skill and successful transition from valuable dancer ro valuable director. Admittedly he is very much in the NYC mold, and perhaps Miami, as Manhattan South has less issue with this than say SF or Chicago might, but still, we're talking Villella! I honestly wondered if they thought they were replacing him with Carlos Acosta.
Posted 14 February 2012 - 01:47 AM
Oh...Fille, Grand Pas de Quatre, Spartacus..!
Posted 14 February 2012 - 07:11 AM
Posted 14 February 2012 - 08:23 AM
In these economic times I think that a lot of arts institutions (like individuals) are having financial difficulties.
Yes it is an aging population but there are always new older people coming, it is Florida after all, and a lot of these people have disposable income. He isn't that old, and a succession plan was discussed.
I'd like evidence that before Villella there were no budget problems. I wouldn't know, because quite frankly before Villella was the company anything more than one of hundreds of regional companies? I don't think so. I certainly never heard about it.
Posted 14 February 2012 - 08:36 AM
Posted 14 February 2012 - 10:15 AM
Re: "limited management skills." There are a variety of management skills. Villella is brilliant at some, not so good at others. A key problem, I think, was a structure which had the Executive Director reporting directly to the Artistic Director. The same Executive Director has been in place in the 11 seasons I've been following the company. Such arrangements have a way of becoming inbred and problematic.
The recent decision to create an Executive Director from outside the Miami community and even from outside the ballet world seems a good one, no matter who is chosen to replace Villella. My assumption is that this position is something like a CEO, reporting to and responsible to the Board. (Please correct me if I am wrong, checkwriter or others.)
In an ideal world, place, and time, the new AD would be someone like George Balanchine, with someone like Lincoln Kirstein as facilitator and guardian angel. In the real world it's better to separate the two positions. I would, however, try hard to assure that the CEO is someone who sees his/her job as facilitating the AD's artistic vision, unless the logistics and costs make no sense at all.
RE: the "succession plan." My hope is that all the factions will come together on this. Without Villella's active participation (and connections) -- and some attempt to bridge the gap between the various factions on the Board and the big donor group -- so much can go wrong. Villella does have a clear artistic vision and has had long-range plans to carry that out. Peter Boal in Seattle seems similar to Villella in this. Not every ballet professional, no matter how talented a dancer or choreographer, is in this artistic league.
Posted 14 February 2012 - 11:49 AM
Villella laid off dancers as well, and I understand they got the news in the mail.....
I remember that, and I found it very distasteful. I recognize that at times, in any company, layoffs may have to happen, but the manner of those seemed especially cold.
I was just making a joking comment that if, in fact, the justification for Martins salary being approximately twice that of any other AD was him choreographing ballets that quite frankly nobody (almost nobody? I'm sure SOMEONE must like them) wants him to choreograph, maybe it would be nice for him to donate some of that back.
The emoticon was supposed to indicate the kidding/irreverent nature of the comment and I apologize if it didn't come across.
No need for apologies, aurora, unless from my side. It sometimes seems to me that Martins invariably gets clouted with having laid dancers off when Villella gets off with a tap, but it could be me.
Posted 14 February 2012 - 11:54 AM
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