Jump to content

This site uses cookies. By using this site, you agree to accept cookies, unless you've opted out. (US government web page with instructions to opt out: http://www.usa.gov/optout-instructions.shtml)

SAB Workshop

  • This topic is locked This topic is locked
4 replies to this topic

#1 Morris Neighbor

Morris Neighbor

    Senior Member

  • Inactive Member
  • PipPipPip
  • 140 posts

Posted 07 May 2002 - 05:40 PM

The School of American Ballet has announced the program for its annual presentation of the future of American ballet.

For anyone not on the mailing list, here's the news of this year's workshop performances at the School of American Ballet:

The future of American classical dance will be on display on Saturday, June 1st at 2:00 and 8:00 PM (plus a benefit for the high rollers on Monday, June 3rd).

Program and commentary:

Ballo della Regina (Verdi/Balanchine). A technically demanding showpiece created for Merrill Ashley and Ricky Weiss. Its presence on the program seems to confirm reports that Ashley is playing a more active role in teaching students and coaching young dancers. Given her keen eye for details and analytic mind (displayed in her book, Dancing for Md. B.) this should be good news indeed. But it may be difficult for young dancers to master the complexities of the choreography.

New Woetzel Ballet (Copland/Woetzel). Continuing the so-far successful trend of letting fledgling choreographers work with fledgling dancers.

Les Gentilhommes (Handel/Martins). Martins created this elegant little all-male divertissement to show off an exceptionally strong male "recruiting class" at NYCB. Its presence here suggests that SAB has a bumper crop of what were once called ballerini.

Brahms-Schoenberg QuartetThird and Fourth Movements (Brahams/Balanchine) A large ensemble and a flashy finale make this a wonderful curtain piece, affording many dancers the chance to appear on stage and enjoy the tutelage of Suki Schorer. If I may pre-empt FF, it's a pity the original "gypsy" isn't available for coaching.

#2 Jack Reed

Jack Reed

    Platinum Circle

  • Senior Member
  • PipPipPipPipPipPipPip
  • 1,693 posts

Posted 10 May 2002 - 02:33 PM

Actually, there are some seats for Monday night at $60, merely twice the Saturday rate. See http://www.sab.org/workshop2.htm for details. Monday's cast is usually the pick of the others, when there are double casts. BTW, Monday's performance is at 7.

#3 Miss



  • Member
  • PipPip
  • 33 posts

Posted 11 May 2002 - 04:01 AM

I will be going to Monday's show and was wondering if anyone has an idea how long they usually run.

Could not spring for the tickets that included the reception, so I want an idea of when to make dinner reservations for afterward.


#4 Juliet


    Silver Circle

  • Senior Member
  • PipPipPipPipPip
  • 722 posts

Posted 11 May 2002 - 07:41 AM

When to make your dinner reservations depends on a couple of factors, not just the length of the performane....if you have a dancer with whom you are planning to dine and they are in B/S, they will need time to get out of costume, make contact with *all* their friends, meet their friends' friends and parents, and do the usual post-performance decompression. This takes time and should not be rushed as it is an important element of the evening for them.

I know that some families eat dinner beforehand, and then meet the dancer afterward for post-performance light fare (or dinner for the dancer) as this keeps some dispositions sunnier. I imagine that if you make your dinner reservations for 10 p.m. you should be fine---it is a Monday night, after all, and a relatively late hour for weeknight dining. You might not even need reservations, unless there is a large group involved, in which case it would be a courtesy to the kitchen staff to know this.

Some people simply go off to the restaurant and tell the performer where they will be and are met at the site, knowing that the dancer will not be there as early as you expect. This is a common scenario and one which seems to keep all parties happy.

Given the energy level both onstage and in the audience at Workshop, a post-performance gathering is a great idea.....:D

#5 Alexandra


    Board Founder

  • Administrators
  • PipPipPipPipPipPipPipPip
  • 9,301 posts

Posted 11 May 2002 - 08:17 PM

I'm going to close this thread. There's another one on the NYCB forum. For further preview discussion, questions, etc., please go to:


(When there are two threads on the same topic, it makes for confusion -- people are asking similar questions in both places.)

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. (If it doesn't appear below, your computer's or browser's adblockers may have blocked display):