Jump to content
This Site Uses Cookies. If You Want to Disable Cookies, Please See Your Browser Documentation. ×

lmspear

Senior Member
  • Content Count

    453
  • Joined

  • Last visited

Posts posted by lmspear

  1. Hi Moderators,

    This seemed like the right forum for this post, because the offer is for a non dance event.  I don't know if there should be a separate sub forum for ticket offers for the other art forms.

    Please place this info where you think it would be most appropriate.

    Thanks, Lisa

    __________________________________


    The Kennedy Center is offering tickets at the special price of $29.00 for Tier 1 seating for the following performance of NEA Jazz Master Archie Shepp’s All-Star Tribute to John Coltrane featuring Jason Moran on Sunday, February 10, 2019 at 8pm in the Concert Hall Theater. Tickets are regularly has high has $35.00 in Tier 1.

    You can click the link below and your discount will appear automatically. If you call or stop by the Box Office for the discount, be sure to mention Offer Number "327679." See you at the Kennedy Center!

    Archie Shepp All Star Tribute Discount Offer

    NEA Jazz Master Archie Shepp’s All-Star Tribute to John Coltrane featuring Jason Moran

    In this momentous concert event, Shepp celebrates the boundless impact and talent of his good friend and mentor. He’s joined by pianist and Kennedy Center Artistic Director for Jazz Jason Moran and other contemporary greats, including Amir ElSaffar, Darryl Hall, Nasheet Waits, and Marion Rampal.

     

    Sunday, February 10, 2019 @8pm

     Concert Hall Theater

     

    About the Program

    “Music has always been a balm to my soul.”

    —NEA Jazz Master Archie Shepp

    More than 50 years after his death in 1967, John Coltrane remains a cultural and spiritual icon with an unrivaled influence over jazz. The legendary saxophonist and composer’s intensity, coolness, and dignified dedication taught thousands of future artists to believe in their craft. Committed to encouraging musical growth in the next generation, Coltrane used his star power to foster interest in young players of the emerging avant-garde scene—including saxophonist Archie Shepp, now an NEA Jazz Master.

    In this momentous concert event, Shepp celebrates the boundless impact and talent of his good friend and mentor. He’s joined by pianist and Kennedy Center Artistic Director for Jazz Jason Moran and other contemporary greats, including Amir ElSaffar, Darryl Hall, Nasheet Waits, and Marion Rampal.

     

    Running time: 2 hours

     

  2. $35.00 Discount ticket offer for tonight and tomorrow.  They want bodies in the seats.  Here are the details:

    The Kennedy Center is offering tickets at the special price of $35.00 for select orchestra seats for the performances of the American Ballet Theatre on Tuesday, January 29 and Wednesday, January 30 at 7:30 pm in the Opera House. Tickets are normally as high as $99.

    You can click the link below and your discount will appear automatically. If you call or stop by the Box Office for the discount, be sure to mention Offer Number "325692." See you at the Kennedy Center!

     American Ballet Theatre Discount Offer

     About

    American Ballet Theatre
    with the Kennedy Center Opera House Orchestra

    The D.C. premiere of Ratmansky’s retelling of Marius Petipa’s 19th-century comic ballet follows its New York world premiere in summer 2018. He brings the “lost” classic to life with a bold new staging co-produced with Australian Ballet, inspired by Petipa’s archival notes and set to original music by Riccardo Drigo. In this two-act ballet, Harlequin fights for his true love, Columbine. Playful costumes and vivid sets create a charming tribute to the Italian commedia dell’arte style, known for its slapstick humor and rollicking characters.

    Performance Timing: Act One - 40 min.; Intermission - 20 min.; Act Two - 40 min.

    ~~~~~~~~~~~~~~~~~~~~~~
    PRINCIPAL CASTING (subject to change)
    ~~~~~~~~~~~~~~~~~~~~~~
    Tue., Jan. 29 evening
    Columbine: Boylston; Harlequin: Whiteside; Pierrette: Abrera; Pierrot: Forster

    Wed., Jan. 30 evening
    Columbine: Brandt; Harlequin: Simkin; Pierrette: Seo; Pierrot: Hammoudi
     

    Conditions: Offer subject to availability.  Not valid in combination with any other offer.  Not valid on previously purchased tickets. Offer may be withdrawn at any time. Service fees may apply.

    (202) 467-4600 | Toll-free (800) 444-1324 TTY (202) 416-8524 |

  3. The Kennedy Center is offering tickets at the special price of $29.00 for Orchestra Price Zones C-E seating for the following performances of Matthew Bourne’s Cinderella on Tuesday, January 15, 2019 at 7:30pm, Wednesday, January 16, 2019 at 7:30pm and Friday, January 18, 2019 at 1:30pm in the Opera House Theater. Tickets are regularly has high has $79.00 in the Orchestra section.

    You can click the link below and your discount will appear automatically. If you call or stop by the Box Office for the discount, be sure to mention Offer Number "323589." See you at the Kennedy Center!

    Matthew Bourne's Cinderella Discount Offer

    Matthew Bourne’s New Adventures: Cinderella

    Following the dazzling adaptation of The Red Shoes in 2017, Matthew Bourne’s New Adventures returns with one of its most popular and beloved productions, Cinderella-a thrilling twist on the classic fairy tale.

    Tuesday, January 15, 2019 @7:30pm, Wednesday, January 16, 2019 @7:30pm & Friday, January 18, 2019 @1:30pm

    About the Program

    Set in London during World War II, a chance meeting results in a magical night for Cinderella and her dashing young RAF pilot, together just long enough to fall in love before being parted by the Blitz. Matthew Bourne’s vivid storytelling has never been more heart-stopping. With Lez Brotherston’s sumptuous Olivier Award-winning designs, lighting by Olivier Award-winning Neil Austin and video and projection designs by Duncan McLean, Cinderella will be performed in surround sound, designed by Paul Groothuis.

    Performance Timing: Act I - 40 min.; Intermission - 20 min.; Act II - 40 min.; Intermission - 20 min.; Act III - 40 min.

    TO RECEIVE YOUR DISCOUNT BY PHONE OR IN PERSON AT THE BOX OFFICE, MENTION OFFER NUMBER “323589”

    (202) 467-4600 | Toll-free (800) 444-1324 TTY (202) 416-8524 |

  4. 22 hours ago, fondoffouettes said:

    This is a slap in the face to male dancers at ABT who can dance these roles. To bring in a dancer who formerly danced with regional companies...

    Mack spent a year in the ABT Studio Company and I'd be willing to categorize his guest performances as a homecoming for a performer who got away.  In addition to the technical chops and charisma noted by BA'ers above, the man is an excellent partner.  I've enjoyed be every performance of his I've been lucky enough to see.  He is a star.

  5. They could bring back former "company flagship" soloists such  as Jared Matthews and Joseph Phillips for guest appearances so the NYC audience can catch up on their progress and get a demonstration of what might have been if ABT put more effort into developing and recognizing the home grown talent a few years ago.

  6. 5 hours ago, canbelto said:

    I dont think she can do Balanchine rep at the demanding pace that NYCB requires now. OTOH she might be a good fit for a smaller company that does Balanchine. 

    Pacific Northwest Ballet would probably be a good match.  

  7. Here's another disqualifying quote about Clifford from a 1987 LA Times interview with Johnna Kirkland:

    "The demise of the company, she says, can be blamed on 'John's egotism and the fact that he was easily threatened. The minute his administrators became effective, for instance, he would fire them. It was a case of the blind leading the blind.'"

    http://articles.latimes.com/1987-02-08/entertainment/ca-973_1_kirkland-ballet-gelsey

    It doesn't seem as though anything has changed since 1987.  Clifford has had success choreographer and répétiteur.  I would let him into the studio and lock him out of the office.

  8. 46 minutes ago, Drew said:

    But I’m imagining a company that does things like revive Undertow and Echoing of Trumpets and puts on all Tudor evenings, or that  with the right donor might even try reviving Tudor’s Romeo and Juliet —not just every occasionally put on one if his most frequently performed ballets. Make Tudor theirs in other words.

    A company that functions as Tudor haven might have been possible if they had considered Amanda McKerrow.  McKerrow, in addition to her esteemed career at ABT, was trained by Mary Day, danced with the Washington Ballet at the beginning of her career and is a repetiteur for the Antony Tudor Ballet Trust.

     

  9. I get the impression that the board of directors should have done a thorough study of the history of ballet in Washington.  Their goal seems to be to recreate the National Ballet of Washington, that was directed by Frederick Franklin and Ben Stevenson.  It lasted from 1963-1974 doing the classics and standard repetory.

    I'm only aware of this company because as a child I was taken to a performance of Cinderella with Margot Fonteyn when they performed at Brooklyn College.  I kept the souvenir book for years.  

    https://en.m.wikipedia.org/wiki/National_Ballet_of_Washington,_D.C.

    If the current version of the company rejects it's own heritage for the standard model they may end up succeeding into oblivion.

  10.  

    On 10/9/2018 at 10:41 AM, mille-feuille said:

    For me, a big reason would be that the company he founded and directed folded after only 11 years (according to Wikipedia, his LA Ballet existed from 1974-85). One of the requirements listed first in the job description was

    •  Demonstrated artistic leadership success as a programmer and/or company leader for an organization known for quality and excellence

    I don't think Clifford has demonstrated that.

    Here's some disqualifying info. from the time one of his own companies folded.

    http://articles.latimes.com/1996-06-29/entertainment/ca-19543_1_los-angeles-ballet

    I think the phrase "a legend in his own mind" applies to Clifford.

  11. 4 hours ago, TripleAxel61 said:

    That wasn't said: "In her head, regardless what her attorny’s motives might be, perhaps she is naming both the school and company in the complaint to force a change in the status quo. To finally call out the atmosphere of demoralizing women in order to force NYCB’s hand to make real change and not just do lip service."

    If Waterbury can inspire that kind of change, we might be seeing the balletic equivalent, in terms of impact, of the Libby Zion case.  That case changed the rules about how many consecutive hours medical residents are allowed to be on call.  The New York State medical establishment reevaluated and restructured their training programs.  Her father Sidney Zion was the force leading to the systemic reforms. His NY Times obituary provides a brief summary of the events leading too and resulting from his daughter's death.

    https://www.nytimes.com/2009/08/03/nyregion/03zion.html

     

  12. There is one issue that has not been addressed which could leave potentially vulnerable in the case or at the very least open up an IT headache that they probably never thought the need to deal with.

    Even if personal devices were used by the men in Waterbury's case, there is the possibility that company email addresses, WI-FI, and servers were used.  The company then becomes, probably unknowingly, the provider of the distribution method of harmful messages and photos.  I believe it has been established in cases involving businesses and government that there is no expectation of privacy if your material is routed through your employer's computer servers.  The company code of conduct should contain a section on cyber-behavior (but even if the document is up to date, who reads the fine print?).  I think we can agree that sending naked pictures of your girlfriend through the company internet servers is worse behavior than taking home a pad of little yellow sticky notes. The company resources have been misused in a way that harms employees and their personal associates and damages the company image as a desirable place to work for future employees, or an institution worthy of financial support from ticket sales and donations.

    The men named in the case have harmed both the company and the women in a manner that deserves more than a slap on the wrist.  Whether the situation is resolved through civil and/or criminal litigation is up to the lawyers and the district attorney's office.

  13. 29 minutes ago, KayDenmark said:

    In addition, there is a long tradition within the NYCB for romantic partnerships between dancers, gay and straight.

    There's  also the tradition of having an extremely limited dating pool when dancers enter the feeder school at fourteen or fifteen and then continue into the company which is composed of people from the same source.

  14. I just came across this article from about a year ago, 

     https://variety.com/2017/film/news/felicity-jones-swan-lake-luca-guadagnino-1202489132/amp/

    I don't recall there being any discussion here, so I'm throwing it up on the board.  I was reading an interview with Felicity Jones about playing Ruth Bader Ginsburg and the Swan Lake movie was mentioned as her next project.  

    It looks like all of the pieces needed for production haven't fallen into place yet.  A director and scriptwriter are attached, but I saw no description of the plot, other than "she gets turned into a swan by a sorcerer." 

    Does anybody know anything more or have any thoughts about it?

  15. Woetzel is the fist name that pops into my head as an ideal candidtate for both the NYCB and Julliard positions.  I have no idea who else was being considered for the Julliard Presidency, but I think he will have more visibility at Julliard than at NYCB, plus given the chaos of Lincoln Center leadership over the last couple of years, positioning him at Julliard would hopefully give NYCB a second supportive voice in Center-wide negotiations and gives him a wider pool of potential contacts, inluding donors,  to use if he successfully completes a respectable length of service at Julliard.

×
×
  • Create New...