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Kathleen O'Connell

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About Kathleen O'Connell

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  1. This just hit my inbox from the NYPL: Dear Friends of the Jerome Robbins Dance Division, To help researchers and the dance community during this trying time, we have developed and are sharing with you a guide for electronic resources available to all. This guide brings together items available through NYPL such as our collection of e-books, databases, and Digital Collections Portal. It also includes free and open databases from the internet, streaming services to find recordings of performances or documentaries, as well as guides on how to face this pandemic and what resources are available to help. Just follow the link below to discover a great book, or find an inspiring performance to watch! https://libguides.nypl.org/dance-division/remote-access Please be safe and well. Jerome Robbins Dance Division The New York Public Library for the Performing Arts Dorothy and Lewis B. Cullman Center 40 Lincoln Center Plaza, New York, NY 10023 212.870.1657 | x21657 Some of the resources listed on the webpage are only available to NYPL library card holders (e.g., some of the journal databases, the circulating ebook collection, etc.), but others are available to anyone with an internet connection. The page is actually pretty nicely organized. There is a row of tabs at the top to click on to access different categories of resources: Databases Through NYPL Open Resources E-Books Digital Collections and Permissions Streaming Dance Self-Care "Self-Care" includes online dance and yoga classes, so get those socially-distanced bodies moving, folks!
  2. The Metropolitan Opera has announced that it will stream operas for free on its website: From the linked Gothamist article: All “Nightly Met Opera Streams” will begin at 7:30 p.m. and will remain available via the homepage of metopera.org for 20 hours.Gothamis Here's the schedule: Monday, March 16 – Bizet’s Carmen (Conducted by Yannick Nézet-Séguin, starring Elīna Garanča and Roberto Alagna. Transmitted live on January 16, 2010.) Tuesday, March 17 – Puccini’s La Bohème (Conducted by Nicola Luisotti, starring Angela Gheorghiu and Ramón Vargas. Transmitted live on April 5, 2008.) Wednesday, March 18 – Verdi’s Il Trovatore (Conducted by Marco Armiliato, starring Anna Netrebko, Dolora Zajick, Yonghoon Lee, and Dmitri Hvorostovsky. Transmitted live on October 3, 2015.) Thursday, March 19 – Verdi’s La Traviata (Conducted by Yannick Nézet-Séguin, starring Diana Damrau, Juan Diego Flórez, and Quinn Kelsey. Transmitted live on December 15, 2018.) Friday, March 20 – Donizetti’s La Fille du Régiment (Conducted by Marco Armiliato, starring Natalie Dessay and Juan Diego Flórez. Transmitted live on April 26, 2008.) Saturday, March 21 – Donizetti’s Lucia di Lammermoor (Conducted by Marco Armiliato, starring Anna Netrebko, Piotr Beczała, and Mariusz Kwiecien. Transmitted live on February 7, 2009.) Sunday, March 22 – Tchaikovsky’s Eugene Onegin (Conducted by Valery Gergiev, starring Renée Fleming, Ramón Vargas, and Dmitri Hvorostovsky. Transmitted live on February 24, 2007.) PS: I'm not sure there's enough worldwide bandwidth to accommodate everything that's going to have to happen on line! Lots of schools plan to use online distance learning; there's going to be an uptick in telemedicine; more people will be streaming entertainment in general, be it movies, TV, or online video games, etc etc etc!
  3. I may be in a minority of one, but I don't find Ratmansky to be a particularly good storyteller, nor particularly adept at dramatic pacing, and this includes some of his reconstructed heritage works as well as his own narrative ballets. Namouna, for all its glorious nuttiness feels more like a coherent story to me than, say, The Tempest, perhaps because it riffs on so many of the tropes that characterize classic story ballets.
  4. This is the thing I like the best about this version! My DVD has a little extra wherein the mime is explained to a group of school children who then go on to do it themselves. It's charming, but it also really helped me grok the Lilac Fairy as a mimed role rather than a danced one. There are aspects of the production—e.g., the women dancers' headdresses—that are evocative of the Javanese court. I'm a little uneasy about that given the history of Dutch colonial rule in Indonesia. That being said, it's a gorgeous production. Here's a look:
  5. I honestly don't know. It could be because they are only contracted for a stipulated number of weeks during any given calendar year rather than being employed for an entire year for a fixed salary. It could be that although NYCB might not be required to pay them overtime per the terms of the Fair Labor Standards Act, their union has negotiated that pay structure for them. I don't believe the FLSA forbids paying employees overtime who might otherwise be deemed exempt under the terms of the law.
  6. Yes. AGMA contracts generally contain very detailed provisions governing overtime pay.
  7. For the same reason other employers might pay overtime rather than hire additional staff or opt for bonuses rather than pay raises: a promotion is permanent and the cost would thus be locked in. That being said, I have no idea if there's any provision in the current AGMA agreement allowing and / or mandating additional pay in the event a member of the corps performs a soloist or principal role.
  8. The salary ranges for principals, soloists, and corps members are laid out in the company's agreement with the union (AGMA) and isn't something one could pull from its IRS 990s or its audited financial statements. As regards the 990, the company is only required to show compensation individually for Officers, Directors, Trustees, Key Employees, and Highest Compensated Employees. For the year ending 6/30/2018, only one dancer appeared on that list: Justin Peck, who is of course was not just a dancer, but also the company's resident choreographer. That same year, the total number of individuals who received more than $100,000 in reportable compensation was 161, but that includes everyone, not just dancers. Peter Martins used to be the highest compensated employee; at the end of his tenure he earned over $1million in total for all of his various roles. He's not listed as an employee on the 990 for the year ending 6/30/2018, but an independent contractor called Peter Martins Production Inc did earn $986,000.
  9. The proceeds from NYCB's galas and other fundraising events are a small fraction of its budget. For the fiscal year ending 6/30/2018, NYCB's total revenues were $99.8 million, of which $33.9 million were contributions and grants. Of that amount, $5.6 million came from fundraising events. That's about 5% of NYCB's total revenue—i.e., hardly a determinant of who gets promoted, or what repertory gets selected, etc. (Each gala nets about $2.3 million. The other events, e.g., the annual luncheon, net about $900k.) I'd be stunned if they were waiting to see how much they netted from the Spring gala in order to determine whether or not they could promote anyone over the coming months. A performing arts organization of NYCB's size and scale should already have the budget for its next fiscal year (i.e., the year beginning 7/1/2020) all but nailed down, and that would include what they anticipate paying their dancers, which of course depends on what they expect the roster to look like. They probably also have a pretty decent idea of what they are going to net from the Spring Gala as well: they would have included an estimate for that in the budget for the current fiscal year, and if they don't have at least a preliminary list of how many tables their board members and major donors will commit to fill, they need a new development director and Board Chair. PS - here's a link to the IRS 990 for the year ending 6/30/18.
  10. Roxane Gay makes a similar observation in an article entitled "White Fever Dreams: The distortions of black and brown lives in the white imagination." "The new staging seems quite forward-looking and inclusive but most of the creative and production team is comprised of white people. Ivo van Hove, Belgian, directs and Anne Teresa DeKeersmaeker, Dutch, choreographs this new staging. They are accomplished and talented, certainly, and they do bring a sharp and interesting energy to this revival. But how committed can a show be to genuine inclusion when people of color have little or no hand in the show’s artistic voice and direction? How authentic can the portrayals of people of color be when it is predominantly white people shaping those portrayals? The show’s attempts at inclusion are, at times, clumsily executed. The black Jets would have more solidarity with the Puerto Rican Sharks than the white Jets. That they don’t in this show is the misstep of people who did not bother to learn much about the cultures they tried to represent. During “Gee Officer Krupke,” there are, among others, images of the border wall between the United States and Mexico. It’s clear what they are trying to say but it is also cognitively dissonant because Puerto Rico is part of the United States, and it is an island and the show is set in present day. To flatten the experience immigration without nuance makes it seem like the show’s architects think all brown people and their experiences are interchangeable."
  11. They are marble recreations of smaller figures by the early 20th century Polish-American sculptor Elie Nadelman. This is their backstory: The gigantic Elie Nadelman sculptures, Circus Women and Two Nudes, that dominate the Promenade were carved in Italy from a virgin vein of Carrara marble. They recreate smaller, 4-foot versions made of plaster and paper that were made by Nadelman decades before. The name of the actual Italian sculptor is lost to history. Overhearing construction workmen remarking on the naked "goils," Kirstein arranged to have the immense artworks brought into the Theater just before the fourth and final wall was closed up and before the Lincoln Center leadership could order their removal, which, in fact they did; but the statues could no longer be removed. They were here to stay. I happen to love them—especially "Circus Women" on the west end of the Promenade—but I gather they're not to everyone's taste. Meeting by the "East Fat Ladies" or the "West Fat Ladies" has been a thing ever since I can remember.
  12. Google is your friend. It takes a minute or two to cut and paste a name into the search bar to make sure you're not posting a quote by someone odious, or who might at the very least be a lightning rod in your community. I learned this the hard way.
  13. Given your knowledge of both Swan Lake and NYCB's dancers, I'm going to trust you on this! Presumably the company has enough of a connection to Ratmansky to give replacing Martins' version with his legitimacy.
  14. Really? I guess I'm a sucker Carabosse and the Lilac Fairy.
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