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miliosr

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About miliosr

  • Rank
    Sapphire Circle
  • Birthday 06/16/1967

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    fan/balletgoer
  • City**
    Madison
  • State (US only)**, Country (Outside US only)**
    Wisconsin
  1. Peter Martins Sexual Harassment Allegations

    In the interview Croce gave to Dance Ink after the publication of "Discussing the Undiscussable," Croce had the following to say about criticism and the dancer: SL: Do you think criticism should have a practical effect on the dance world? AC: No. Criticism is only for the audience's personal use. SL: Would you like to be more influential on dancers or companies? AC: No! Absolutely not. That's not ever the point. They [dancers] should do what they do: go to class, listen to the teacher, work hard, look in the mirror, get onstage, get it over with, come back, do it again. The critic doesn't exist to write for the dancer, but for the public. This is a point Edwin [Denby] made better than I can: "Criticism is a conversation that the audience has with itself, and if the performer wants to eavesdrop on the conversation, he does so at his own risk."
  2. 2017-18 Season

    Vincent Chaillet has announced on Instagram that he's leaving the company starting with the 2018-19 season. I'm not sure if it's a permanent departure or if he's just taking a leave.
  3. Peter Martins Sexual Harassment Allegations

    We'll just have to agree to disagree on this point. The point I was making in my original post was that Millepied frittered away energy on fights that he wasn't going to win. Control of the school and the competition were known quantities before he took the job. In the long New Yorker profile that followed Millepied's appointment, Peter Martins (!) even warned him about taking the job at the POB for precisely these kinds of reasons. He must have correctly perceived that Millepied's desire to have change and to achieve it right away would be problematic. All of which takes me back as to why Millepied was hired in the first place.
  4. Peter Martins Sexual Harassment Allegations

    Reset does give certain hints in the sense that you can see Millepied running a micro company within the much larger company, which caused a great deal of heartburn within the ranks. Meanwhile, his harried, Eve Arden-ish assistant is running around the Garnier trying to get him to focus on his administrative duties. (Joke: "Have you seen Benjamin?" "Have you tried Facebook?") Whether his vision for the Paris Opera Ballet was ever a realistic one or not is a debatable point. But to achieve that vision, he would have to have settled in for the long haul and achieved change incrementally. Instead, in a short time span, he imposed an alien repertory on the company, fought a pointless battle trying to get rid of the internal competition for promotion (which the dancers rejected), pointlessly carped and complained that the POB school wasn't under his control (when Elisabeth Platel was never going to cede control of it to him in any event) and made a number of tactless comments about the company's performing style, including the infamous line that watching the company was like watching wallpaper. All of which suggests that maybe Benjamin Millepied's virtues aren't meant for a large institution with entrenched ways of doing things.
  5. Peter Martins Sexual Harassment Allegations

    This could easily compete for the title of 'Greatest Comment Ever Made at Ballet Alert!' Farrell is 72 and closing down her namesake company. McBride is 75 and is transitioning out of her company in North Carolina. Pat Neary is going strong as a stager but she too is 75. Arthur Mitchell is 83. At this point, I have to think that this generation has had its moment in the sun and the board will go with someone from a younger generation.
  6. Peter Martins Sexual Harassment Allegations

    John Clifford certainly has an interesting comment on his Instagram feed this morning . . . Regarding the casting couch allegations themselves, I got to thinking about Benjamin Millepied's ill-fated tenure at the Paris Opera Ballet, and his expressed desire to get rid of the internal competition for promotion and to work around the strict hierarchy in the casting of roles. (He didn't get his wish in either case.) At the time, there was a lot of discussion about whether the promotional competition intruded on the artistic director's prerogatives, and whether the hierarchy led to a kind of sclerosis in casting parts. But the flip side is that the competition and the hierarchy act (however imperfectly) as a bulwark against artistic director abuse. As for Suzanne Farrell taking over the helm (if Martins doesn't manage to weather the storm), at 72, I don't know that she would want the hassle of managing a big institution like City Ballet when she didn't want to institutionalize her own company in DC as a rival "see" to City Ballet.
  7. 2017-2018 season

    I had the opposite thought regarding the continuing magnitude of Corella's stardom. Ever since he went off to found the Corella/Barcelona Ballet in Spain, I've felt there's been a cooling off to his fame. I really felt that way when he had his sendoff from ABT, which (in my opinion) had a perfunctory quality to it. Oh well, I guess these things are hard to quantify. I agree that McKenzie isn't going anywhere. He's only 63. And it's easy to underestimate how much good will he has with the ABT board given that he got the company through the near company collapse in the early-90s, the dot com collapse (and attendant funding collapse) in the early 00s, and the Great Recession (and attendant funding collapse) in 2008. Actually, the two plum positions to be had sooner rather than later are those of Helgi Tomasson (75) and Peter Martins (71) (although I think Peter Martins may go out feet first.) Yes, she deserves consideration as well. The field shouldn't be limited to these "primo ballerino assolutos".
  8. 2017-2018 season

    Is he a realistic contender to succeed McKenzie? I would think that Ethan Steifel or Marcelo Gomes would be the more likely candidates to succeed McKenzie. And, it sure would be messy to abandon Pennsylvania Ballet to its fate by taking some of his PB dancers with him to ABT and then purging the ranks at ABT to make room for them. Messy.
  9. 2017-2018 season

    Sorry if I was unclear. I wasn't saying that he was performing in an official capacity with ABT. Instead, I was suggesting that he's still maintaining his ties with the wider ABT family. Even as a last-minute replacement for Whiteside, Baca is smart to keep up relations with ABT.
  10. 2017-2018 season

    Per Sterling Baca's Instagram feed, he's guesting with Gillian Murphy in Nutcracker performances this weekend. So, at any rate, he's maintaining his ties with ABT.
  11. 2017-2018 season

    What I question is how deep that well may be. It's not like Pennsylvania Ballet is a new company. In addition, New York dancegoers can see ABT perform the multi-act story ballets every spring and summer and can see City Ballet perform the Balanchine repertory year round. Is Pennsylvania Ballet under Angel Corella distinctive enough in either area that it will produce a stampede from New York to Philadelphia? I don't know. Based on the 2016 Guidestar filing, it would appear that revenue vs. expenditures is a problem. And they definitely need to get a better press person in place.
  12. Uruguay Ballet Nacional del SODRE

    Igor Yebra, formerly of the Bordeaux company, is the new director: http://www.elmundo.es/cultura/teatro/2017/11/28/5a1da4a0468aeb933e8b45f9.html
  13. 2017-2018 season

    I took a look at Pennsylvania Ballet's 2015 and 2016 form 990 filings, which are publically available at Guidestar. For the 2015 filing, revenue exceeded expenditures by slightly more than $2 million. But for the 2016 filing, year-to-year revenue declined by close to $3 million while year-to-year expenditures increased by slightly over $1 million. (For the 2016 filing as a whole, the company ran a deficit of $2 million.)
  14. SFB 2017 Summer/Fall

    Yes, she's been doing double-duty as an etoile at the Paris Opera Ballet and director of the Rome Opera Ballet for two years.
  15. 2017-2018 season

    Another article in what seems like a concerted push to undo all the bad publicity of the past few years: http://www.phillymag.com/news/2017/10/14/pennsylvania-ballet-angel-corella-drama/ This caught my eye: "The board likes what it’s seeing so far. It has extended Corella’s contract into the 2021-’22 season. Ticket revenue for last season was up 15 percent over 2013-’14. There’s been a 33 percent increase in contributed revenue from the board since Corella arrived. Individual giving is up 42 percent, not including the board gifts. A New York Friends of Pennsylvania Ballet has formed, and the numbers are rising for the Ballet’s Young Friends contingent." Percentage increases don't necessarily give you the full picture. If ticket sales and individual/board giving had atrophied to low levels, then double digit percentage increases may look impressive but aren't indicative of the organization's financial health, especially if costs have also increased.
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