If a company is showing a brand-new work over the course of, say, two months, in what part of the run do you like to get your tickets? At the very beginning, when there's a bit of buzz and excitement, in the middle, when the kinks have been worked out, or near the end, when it will be more polished, but maybe the top-tier cast has gone on to other projects? I am drawn toward the beginning-middle time frame, but I'm just wondering what others think, if you have a preference. Of course, I realize it might depend on the company and the work.
End of the run, beginning, or middle?What part of the calendar do you aim for when the work is brand new?
Posted 26 July 2014 - 04:17 PM
Time permitting I like all three times because you get to see the evolution of the performance that way (my experience is with NYCB).
If I had to pick one it would be middle or end because at NYCB the first performances of many works are a little ragged (including, and sometimes especially, the orchestra).
Posted 27 July 2014 - 02:08 AM
One concern I have about the end is that if a performance was canceled, you wouldn't necessarily have the option of choosing a later date. (Of course, if the entire run sells out, the same would be true if a performance in the middle was canceled.) I guess cancelation is less likely with a brand-new work that a company has spent a lot of time and money on. But sometimes I tend to be cautious and think of these things....
0 user(s) are reading this topic
0 members, 0 guests, 0 anonymous users
Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases (adblockers may block display):