29 replies to this topic

[Alexandra]

I'd like to add a general note of caution re this thread: I very much understand how dancers are reluctant to speak out about their bosses, or issues that affect their company -- this would be the case in any company (ballet or accounting); it's unwise.

Whenever we have a thread about a backstage problem, there are people who register under pseudonyms and post very strong opinions, sometimes adding "facts." If you are associated with the company in any way -- are the fired dancer, mother of the fired dancer, are a currently disgruntled dancer, or work for the company in any way, etc. etc. -- it really is unfair not to mention that in the post. I don't want this board to become a place where nameless people hurl charges at each other, and people with axes to grind grind them  

[Alexandra]

I'd like to add a general note of caution re this thread: I very much understand how dancers are reluctant to speak out about their bosses, or issues that affect their company -- this would be the case in any company (ballet or accounting); it's unwise.

Whenever we have a thread about a backstage problem, there are people who register under pseudonyms and post very strong opinions, sometimes adding "facts." If you are associated with the company in any way -- are the fired dancer, mother of the fired dancer, are a currently disgruntled dancer, or work for the company in any way, etc. etc. -- it really is unfair not to mention that in the post. I don't want this board to become a place where nameless people hurl charges at each other, and people with axes to grind grind them  

[Alexandra]

I'd like to add a general note of caution re this thread: I very much understand how dancers are reluctant to speak out about their bosses, or issues that affect their company -- this would be the case in any company (ballet or accounting); it's unwise.

Whenever we have a thread about a backstage problem, there are people who register under pseudonyms and post very strong opinions, sometimes adding "facts." If you are associated with the company in any way -- are the fired dancer, mother of the fired dancer, are a currently disgruntled dancer, or work for the company in any way, etc. etc. -- it really is unfair not to mention that in the post. I don't want this board to become a place where nameless people hurl charges at each other, and people with axes to grind grind them  

[Dale]

One dancer did go on the record with her displeasure with Kevin McKenzie -- Amanda McKerrow.  In an interview with Time Out New York she said she didn't agree with the direction McKenzie was taking the company, but added she didn't want to go into it in print.

On the ticket sales increase, I'm not sure whether people are counting the income made from the sales or the number of the tickets.  Because, at least for the Met season, the prices went up considerably.  So, they could conceivably make more money but sell less individual tickets.

I'd also like to add support for Alexandra for wanting to keep this topic safe from a flame war.  It's very easy to come on here, sign up under a tag or false name and hurl accusations, and then retreat into lurkdom.  But it would really say something to come on under a real name and stand by your words.

[ 08-17-2001: Message edited by: Dale ]

[Dale]

One dancer did go on the record with her displeasure with Kevin McKenzie -- Amanda McKerrow.  In an interview with Time Out New York she said she didn't agree with the direction McKenzie was taking the company, but added she didn't want to go into it in print.

On the ticket sales increase, I'm not sure whether people are counting the income made from the sales or the number of the tickets.  Because, at least for the Met season, the prices went up considerably.  So, they could conceivably make more money but sell less individual tickets.

I'd also like to add support for Alexandra for wanting to keep this topic safe from a flame war.  It's very easy to come on here, sign up under a tag or false name and hurl accusations, and then retreat into lurkdom.  But it would really say something to come on under a real name and stand by your words.

[ 08-17-2001: Message edited by: Dale ]

[Alexandra]

My comment is directed at all "insiders," including EdNY, Brett, Peggy and Dancer X, et al. Not a name, but "I work for the company," "I'm a dancer with the company," "I'm a friend of a dancer with the company," "I'm a close friend of Spisto" -- or whatever.

It's certainly possible that someone can have an opinion without being disgruntled -- and a fired dancer, or a successful dancer can certainly have opinions; I agree. I've seen too many topics like this one, however, turn sour and I'd like to avoid it. There's a danger in uninformed outsider speculation, too, of course.

I closed the thread, then came back in and opened it (in case anyone had seen the closure). I'd like to keep the discussion going, but it might be better if the temperature were lowered a bit -- no one is all good or all bad in this, or any instance. It's possible -- and probably helpful -- to question the way a company is managed. Perhaps we could try to stick to that.

[ 08-18-2001: Message edited by: alexandra ]

[Alexandra]

My comment is directed at all "insiders," including EdNY, Brett, Peggy and Dancer X, et al. Not a name, but "I work for the company," "I'm a dancer with the company," "I'm a friend of a dancer with the company," "I'm a close friend of Spisto" -- or whatever.

It's certainly possible that someone can have an opinion without being disgruntled -- and a fired dancer, or a successful dancer can certainly have opinions; I agree. I've seen too many topics like this one, however, turn sour and I'd like to avoid it. There's a danger in uninformed outsider speculation, too, of course.

I closed the thread, then came back in and opened it (in case anyone had seen the closure). I'd like to keep the discussion going, but it might be better if the temperature were lowered a bit -- no one is all good or all bad in this, or any instance. It's possible -- and probably helpful -- to question the way a company is managed. Perhaps we could try to stick to that.

[ 08-18-2001: Message edited by: alexandra ]

[felursus]

I think it would be nigh on impossible for anyone directly associated with ABT to reveal themselves, because unless they ARE Kevin McKenzie or Louis Spisto in mufti, they could be endangering their livelihood, as it is a fair bet that either Kevin and/or Louis or a personal friend of theirs may well be reading this board.

I have no personal axe to grind, but I would say, purely from my experience in the world of the arts and of the world of work in general, that if a large number of people who had been with an organization for a prolonged period of time are suddenly resigning, that is a clear indication of a problem.

With reference to McKenzie's leadership style, I will say that in a discussion I had with one of the men in the corps, he commented that he had been there several years, but that Kevin still didn't remember his name.  Now it's not as though Kevin were Cecil B. DeMille and was dealing with a cast of thousands.  And this was not the first time I had heard similar complaints.

As an audience member, I think the policy on ticket prices is foolhardy.  The young and students can't afford to pay $20 for a standing room ticket and go more than a couple of times.  When I was young the relative price for dance was MUCH lower (thank you, Sol Hurok)  If the younger generation doesn't get "hooked" on dance, ABT will have succeeded in killing off the audience of tomorrow.    :rolleyes:

[Leigh Witchel]

Quote

Originally posted by felursus:
As an audience member, I think the policy on ticket prices is foolhardy.  The young and students can't afford to pay $20 for a standing room ticket and go more than a couple of times.  When I was young the relative price for dance was MUCH lower (thank you, Sol Hurok)  If the younger generation doesn't get "hooked" on dance, ABT will have succeeded in killing off the audience of tomorrow.     :rolleyes:

If I had to name a reason why NYCB has such a diehard group of core followers, I think it would be that they kept ticket prices lower, and have always been more tolerant of the audience member who wanted to go a lot, but could only afford standing room.  Standing room at the Met has always been mroe costly than at the State Theater and is in the orchestra, where there's a good chance someone would be taken aback having paid close to $100 for a ticket and seeing someone sit at the last minute who paid $20.  At the smaller State Theater, it's in the fourth ring, where there is often extra room anyway.  So the ushers at the Met rope you off and treat you like steerage.  There may not be any immediate revenue out of cheap seats, but those standees become writers, choreographers, teachers, future patrons.  And when I was a student we went to NYCB many times for every time we went to ABT because we could afford it.

[Dale]

DancerX -- I think the difference between you and the other posters you mentioned is that they have not come on to make serious allegations against someone.  But if you know something that should come out, why not contact the New York Times arts section or Dance Magazine, Dance View/Ballet Alert, Ballet Review etc... ?  You might get more satisfaction than just coming on the board and complaining that things are being swept under the rug.  You needn't put your job in jeopardy if you make it clear to the writer that you want to be used as deep background -- off the record.

Peggy -- Thanks for clearing the attendance question for me.  I'm sure that includes the half-price tickets offered on the web site.  Perhaps, you can further clarify the reports that various productions were cancelled, such as the new Sleeping Beauty.  And wasn't ABT a partner in producing Kudelka's Firebird, along with Houston Ballet?

[ 08-20-2001: Message edited by: Dale ]

[Dale]

DancerX -- I think the difference between you and the other posters you mentioned is that they have not come on to make serious allegations against someone.  But if you know something that should come out, why not contact the New York Times arts section or Dance Magazine, Dance View/Ballet Alert, Ballet Review etc... ?  You might get more satisfaction than just coming on the board and complaining that things are being swept under the rug.  You needn't put your job in jeopardy if you make it clear to the writer that you want to be used as deep background -- off the record.

Peggy -- Thanks for clearing the attendance question for me.  I'm sure that includes the half-price tickets offered on the web site.  Perhaps, you can further clarify the reports that various productions were cancelled, such as the new Sleeping Beauty.  And wasn't ABT a partner in producing Kudelka's Firebird, along with Houston Ballet?

[ 08-20-2001: Message edited by: Dale ]

[Dale]

Well, that's understandable.  I wouldn't go with a story based solely on unnamed sources, but I would take in the information and try to get confirmations that would go on the record.  That could have been the case in the previous NY Times article -- the article appeared one-sided because the reporter could only get one side (the board members, who control the money) to go on record.

[Dale]

Well, that's understandable.  I wouldn't go with a story based solely on unnamed sources, but I would take in the information and try to get confirmations that would go on the record.  That could have been the case in the previous NY Times article -- the article appeared one-sided because the reporter could only get one side (the board members, who control the money) to go on record.

[LMCtech]

I am interested in the fact that so many admin people left. That is not so typical in the arts. When you get a good job with a major you company you usually hold on to it. There is always some attrition but over %50 in two years is not general attrition. Can that be blamed on Kevin MacKenzie? Probably not. Artistic directors don't seem to influence the atmosphere of the admin offices as musc as say the Executive dirctor does. It sounds to me talking to people who have worked there that the working environment was extremely hostile. I'm impressed they made all those gains in an atmosphere that was probably not very supportive.

Of course most of this is speculation based on personal accounts and my personal experience working for major performing arts organizations.

From afar, I feel for all those admin people, 'cause I'm one of them.