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  1. More info at Music and Dance Theater Chicago, Inc. website G
  2. For those in the group not familiar with our new performing arts venue, the following link has some history. Joan W. and Irving B. Harris Theater for Music and Dance It's not mentioned in this article, but I though it was interesting...The city of Chicago donated (I think I remember reading it was a 99 year lease at $1.00 per year) the property that the new theater is "in" in return for exclusive use of the facility for 3 months every summer. The city says they want to plan more upscale events to coincide with summer outdoor festivals like Gospelfest, Jazzfest, Bluesfest, etc, but it is also speculated that it will be home to many blacktie political galas as well. G
  3. Just had the pleasure this weekend. Click for full review G
  4. It may not be relevant to the specifics of this topic, however I would like to point out that I do not think the above statement is accurate. Non-profit status (actually not-for-profit) is granted to organizations by state authority. Tax exempt status is granted on a national level by the IRS (501©(3) or 501©(4) for charitable trusts). Neither state nor federal regulations require that every dollar be "used". In fact, they encourage not-for-profit corporations to have a year end carry-over to cover fundraising shortfalls in subsequent years. What is NOT allowed is for any individual or group investing or contributing to the corporation to make a financial profit from their contribution. To quote from IRS literature:"To be tax-exempt as an organization described inIRC Section 501©(3) of the Code, an organization must be organized and operated exclusively for one or more of the purposes set forth inIRC Section501©(3) and none of the earnings of the organization may inure to any private shareholder or individual." Note the IRS use of the term earnings. 501©(3) organizations need to file form 990 or equivelant each year to show earnings, losses, expenses, etc. To Qoute from John Horne in Art As A Business: "In the United States there exists an Internal Revenue Service designation for service organizations and foundations, that has as many sub-classifications as you’d expect from a government agency, but all tend to be grouped together under a colloquial label simply referred to as not-for-profits, or non-profits. Now here’s the first challenge. The term non-profit does not mean that you have signed away any chance at making a living for yourself with your craft, nor that your company or school cannot be self-sufficient. In fact, the final awarding of one of the many different numerical designations is a multi-year process. The performance of your organization is evaluated against your initial projections over a 3 – 5 year period. Even the IRS understands an average citizen’s need to buy groceries! The much sought after 501 © (3) status that we will be discussing in this series of articles, can only be maintained if the organization is viable. The designation is meant to stipulate that those investing in your organization will not profit financially from the services the organization provides to and for the community. Therefore their support of your organization is tax deductible, an indicator highly regarded within the ever-decreasing pool of funders." G
  5. The Pas de Trois was included in the AB performance. Jennifer Lauren danced the role of Katrina, David Blumenfeld was Ichabod, and Eduard Smirnov was Brom. Alan Hineline went to Birmingham to stage this production for the Alabama Ballet. Aside from a few artistic changes, the choreography was identical to the CPYB production. G
  6. It is my understanding that - at least in smaller/regional companies - sponsorship can also come in the form of housing, travel, and expense subsidies. Isn't it also common practice for guest artists to be sponsored? If sponsorship is becoming more commonplace, does that open the door for wealthy families to subsidize the contracts of sons/daughters who might not otherwise be offered company positions? Or does that practice already exist in other forms? G
  7. Ballet picks artistic director with international credentials http://www.jsonline.com/onwisconsin/arts/s...sep02/82838.asp Old thread I know, but I just ran across this link recently. G
  8. According to the YAGP web site for 2003 (www.yagp.org), the senior Grand Prix Award at the NYC finals is a contract to the ABT Studio Company. G
  9. How would "musicality" differ from "personality" as in the technique or personality poll started by Leigh Witchel back in March. G
  10. G

    Joffrey dancers

    Treefrog - I agree that the Joffrey production is much better in both artistic and production values than the Ruth Page production. I didn't mean to imply that Joffrey moved to Chicago just because there was a Nutcracker opening in the Chicago dance scene. I think they moved to become the biggest fish in a smaller pond. But their timing was perfect. McCormick Place expansion had been approved, and Arie Crown Theater was scheduled for long term remodeling. Even if Ruth Page had continued their production, they would have had to change venues to a more expensive theater. And I had been told that one of the reasons they decided to halt the production was that Chicago Tribune Charities was going to discontinue their sponsorship. In my opinion, they would have not been able to afford to continue at another venue. I don't think any of this would have played into Joffrey's decision to move here, but I do think it has greatly helped with their financial stability. My recollection is that Joffrey's first season at the new Rosemont Theater had approximately 19 performances. It was a long enough run that they still had 2 seperate children's casts to alternate performances (my daughter was in it that year). G
  11. I think there is a lot of truth to this comment. But in-between Joffrey performances, there are other companies turing in Chicago. Bolshoi Ballet in November. Eifman Ballet in March. Alvin Ailey American Dance Theatre in April. Shanghai Ballet of China in October. Georgian State Dance Company in November. Dance Cuba in February. Peking Opera in April. Momix in November. Twyla Tharp Dance in January. And of course Hubbard Street Dance has their 25th anniversary celebration with 3 weeks of performances in March/April. There is also DanceAfrica Chicago featuring performances by local and international African Dance troupes. And Dance Chicago festival spans 4 weeks in November/December and features some of our best local/regional dance companies including Joffrey, Hubbard Street 2, River North Dance and many many more. G
  12. G

    Joffrey dancers

    A few comments on Joffrey from a Chicagoan: Joffrey's move to Chicago also coincided with the decision of the Ruth Page foundation to discontinue the RP Foundation/Tribune Charities production of the Nutcracker. For years, this production had a lock on Chicago audiences, performing at the Arie Crown Theater. Joffrey's first year here ('94 or '95 I think) they did 23 near sell-out performances of the Joffrey/Arpino choreographed Nutcracker over 2-1/2 weeks at the Rosemont Theater. They continue that schedule now at the Auditorium Theater. While it's not New York, Chicago does have a healthy appetite for the arts. (The Lyric Opera regularly sells 110% of it's capacity). The business community welcomed a nationally recognized ballet company. ComEd, Sara Lee Foundation, American Airlines, and Philip Morris are among major contributors. ComEd donated a downtown building to Joffrey which will consolidate their administrative offices, rehearsal space, outreach program, and costume shop into 1 facility. Joffrey has secured $20 million in donations to renovate the building once the lease is up on all the current tennants. Joffrey currently performs at the Auditorium Theater. In Chicago at least, the labor situation is dictated by the venue you are performing at. If it's a union house, you use union labor through the contract that was negotiated by that house. All major theatrical venues in downtown Chicago are union houses, as will be the new Music and Dance Theater currently under construction. Joffrey also had a "Summer Home" in Colorado - possibly Vail I think. They used to go there for several weeks to rehearse and do several performances. I haven't heard much about it lately - perhaps it was too expensive and they scrapped the program. Of the three dancers I have met with Joffrey, one went to a regularly scheduled Joffrey audition and was offered a company contract, one attended the Joffrey New School University BFA program, and one auditioned while at college. BW - just hope that they are not performing Billboards when they come to your area. G
  13. A couple (late) notes/opinions on YAGP: At the regional level, there are more than 6 "winners". YAGP accepts dancers in the classical division (1st, 2nd, and 3rd in junior, senior, and pre-competative); in the contemporary division (1st, 2nd, and 3rd in junior, senior, and pre-competative); and in the Grand Prix which is a combined score of the dancers' classical and contemporary performances (1st in junior and senior). There is also a 1st, 2nd, and 3rd for ensambles. Youngest age is the "pre-competative" division for 8 to 11 year olds. Juniors are 12 - 14 year olds. Seniors are 15 - 19 year olds. Concerning 11 and 12 year olds doing adult variations on pointe - that should not be blamed on YAGP or the organizers. Wouldn't that be the fault of the teachers/coaches who are training these dancers? A note on scholarships - an ABT contract is offered to the Senior Grand Prix winner. Other scholarships are not awarded by the judges, but by representatives of the donating organization, some of which may be judges and some just observers. 1st, 2nd, and 3rd place awards are scored on a point system by the judges. Junior and senior Grand Prix winners are determined by a consensus of judges opinions and not necessarily according to points. In some cases, no Grand Prix award is presented if the judges can't come to an agreement. G
  14. My wife saw Eifman's "TCHAIKOVSKY The Mystery of Life And Death" in Chicago and loved it. I didn't make this performance, and haven't had the opportunity to get many details from her yet, but she loved the choreography, music, dancers, scenery... Definately a thumbs up from her. I'll ask her for more details and try to post at a later date. This is the third year she's seen the Eifman Ballet (2000 in NY - Red Giselle I think and 2001 in Chicago - Russian Hamlet). She loves his choreography. They also performed Don Juan & Moliere in Chicago but neither of us saw that performance.
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