Jump to content


Senior Member
  • Content count

  • Joined

  • Last visited

About Olga

  • Rank
    Senior Member

Registration Profile Information

  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
  • City**
    New York
  • State (US only)**, Country (Outside US only)**
    New York

Recent Profile Visitors

822 profile views
  1. I would like to be corrected if I am wrong, but I do not recall the box office of any other major dance venue in NYC (Koch, BAM, Joyce) closing like this.
  2. Thank you for this info Kathleen. Very interesting. I knew ticket service charges were a substantial revenue item. But I didn’t realize how much so. Obviously I agree about the regressive nature of the fees and the unfairness. There are many more things I could say about the way City Center has handled this but I am “biting my tongue.”
  3. I agree - service fees should be waived or reduced. And get this: the members’ exclusive pre sale period for many of he upcoming dance events (Osipova, NDT) falls ENTIRELY within the period in which the box office is closed. So, in order to avail oneself of the pre sale membership benefit one has to pay the service (handling) fee!!! Astounding.
  4. Olga

    NYCB 2018 Summer Season

    There is a range of ballets on a cost continuum between a ballet like Duo Concertant and one like Romeo, and many of them are not chamber ballets. In fact, two, probably three, of the four ballets mentioned by Kathleen fall into that range. Romeo struck me as a particularly costly ballet to bring there, and since I don’t care for the ballet, I find the cost to far outweigh the benefit. But as Kathleen says, we don’t know — how the programs are set or how the fees are structured. I was struck by a photo I saw of the sets being unpacked in Saratoga, and that is probably the genesis of my comment.
  5. Olga

    NYCB 2018 Summer Season

    I would think NYCB could reduce its costs, and therefor possibly what SPAC has to pay them, by running ballets that don’t require a lot scenery. Or even, for some evenings at beginning or end of run, that don’t require full orchestras. There are plenty of these in its repertory. Romeo and Juliet is not one of them.
  6. Olga

    Ballet Now

    I had the same thought. Dancing less and having others dance more is akin to learning to delegate, and the mark of an executive rather than a worker. It was definitely a mistake, and amateurish. A mistake i confess I made in my own prodessional life, which may be why i found it so glaring. Personally, I think it’s a mistake more common to women than men. But it’s possible there were other reasons at play, such as availability or illness of other dancers. She did mention that in the planning stages she had to drop some ballets because dancers weren’t available. I thought the director was myopic in his focus. Even if the Trusts wouldn’t give them rights to film the actual ballets, there should have been more of a sense of the larger picture. The film is called Ballet Now, not Tiler Peck’s First Director Gig. Maybe it needed a different title.
  7. Olga

    2018 Spring Season

    Dances at a Gathering was magnificent, marred only by Finlay’s partnering deficiencies, particularly in lifts. He is an accident waiting to happen.
  8. Olga

    ABT 2018 Giselle

    ABT one of the top 5 world class ballet companies? No way.
  9. A week or two ago I read in a newspaper report, but don’t remember which one, that the Palace courtiers had advised her to invite her whole family but she refused. It said she only wanted the people she wad “close to” at her wedding.
  10. Olga

    Royal Ballet Autumn 2018 Casting

    Thank you, Mnacenani.
  11. Olga

    2018 Spring Season

    Yes. I believe it was during the most recent run of Harlequinade.
  12. Olga

    2018 Spring Season

    This is a link to a comprehensive article about the play as well as background info about Dybbuks. http://www.yivoencyclopedia.org/article.aspx/Dybbuk_The
  13. Olga

    2018 Met Season

    I don’t disagree but wonder to what extent this policy is dictated by the Met or by ABT. I am not that familiar with the Met Opera policy but suspect that exchanges by non-subscription holders may not be permitted at all. The forced contribution is particularly cheesy and very annoying. To some extent ABT is hostage to the Met. I was surprised how sparse the ABT promotional material was over there in comparison to the opera. But again, ABT seems to have serious in house problems also when it comes to promotional or even descriptive material.