Vs1

On May 10, 2018 at 1:01 PM, Helene said:

I read these posts with a certain glee: Ballet Alert! was named for an Arlene Croce parody, in which she invented a fictitious phone alert system -- like the phone tree from back in the day when parents called each other to announce snow days -- to disseminate casting info. (She discusses the piece here: https://archive.nytimes.com/www.nytimes.com/books/first/c/croce-writing.html) Thanks to social media, we don't have to be home waiting for the phone or ABT to update the changes on its website. I wonder what Croce thinks of these changes.

Is there a place to find taken down new Yorker vulture videos like Ferri bolle Romeo interview 7/21/07? Not at vulture Internet anymore or mag archives or nypl(even Robbins) or internet archive or supposedly the dance universities ( Indiana..) I would think Ferri retirement is important .  

Croce's plan worked during the Balanchine birthday cancellation a few years ago , didn't it?

you would think calling abt would work, or asking the dancers, but I guess not. Wouldn't abt or dancers  want fans to come to a half empty show?

I guess parents might give misinfo too (even on the phone tree). 

2 minutes ago, Vs1 said:

 

 

He was on abt dancer ig today at abt

I've already read the tea leaves . Just don't know what to replace with in dismal season

Sorry didn't see earlier post feel free to delete

1 hour ago, Peg said:

Salstein in was in the corps of Carousel Wednesday night. 

He was on abt dancer ig today at abt

24 minutes ago, abatt said:

I really wish they would just announce who her replacement is.  It seems 100 percent clear that she will not dance her Giselle, so why play games with us and keep her name up there on the casting calendar.

I've already read the tea leaves . Just don't know what to replace with in dismal season

Of course on all points 

5 minutes ago, nanushka said:

I think the purpose of using the tag @nytimes was quite likely to link his criticism directly to the paper. At least, that's the message that comes across pretty clearly to me.

your comment appeared before my edit.

i thought it maybe broke the camel's back.  I have no way of knowing. He could hate the times or someone there. Or you could be 100percent correct.  

Is she often or usually the only one identified or credited ,  particularly in media that does not specialize in dance?

2 hours ago, nanushka said:

Whiteside's comment, you mean? It definitely doesn't seem critical of Misty. I'm not sure how "unimpressed with this @nytimes caption" could be read as not critical of the paper (given that someone at the paper presumably wrote the caption and the paper itself published it). I don't know what you mean by "or just the slight."

The slight meant that I guess someone who seeks recognition would find offense at the omission or characterization.

The paper meant that, while  we are not allowed to speculate ,this board generally recognizes pr firms and other factors regarding misty's position, so I thought maybe he was referring to that generally and not the specific author ,photographer ,copywriter, or publisher. She's the famous one and it is easy to just mention her in any press and have others basically copy or rewrite the essence of any story as fact in other media.

Seems like a lot of movement in Boston too

does that really seem unusual

Is the comment necessarily critical of misty or the paper, or just the slight?  No comment on the dance.

2 hours ago, vipa said:

This is true for many young people. I know many college educated young people with full time jobs who can't afford an apt. in NYC without house mates. If you don't enter a field in which there is a lot of money to be made, like finance or corporate law, it's tough to find afford housing in an expensive city.

Don't they have housing for big companies

23 hours ago, abatt said:

Uh oh.  This is  a bad development.  If Abrera is out, I have a lot of exchanges to make.  Is this going to be a situation where they announce Abrera's absence from the lead role  the day before the show, or the day of the show? Gulp.

Waski and Abrera? So a new g and m? 

Well the commenter above seem to suggest conflating all behaviors and practically equating them. ("Everything in between")

Not being paid equally is not rape.

i don't think slapping a ball player on the bottom is part of the game (which structure you responded  to ) but I don't think most would be offended.

but I wonder what the ballet performer feels esp when young 

Curious how you view sports games over the last fifty years such as coaches when a runner reaches the base, huddles, or music videos.

or all the explicit (forced or consensual) scenes in ballet, like Carmen, Romeo and manon prostitutes and manon's jailer , lady of camellias etc 

Is it not more common not to have one and isn't it prohibited in certain religions 

13 minutes ago, fondoffouettes said:

I highly doubt it, but you could always trying calling the box office or using the chat function on the Met's website to find out.

Not that you want to spend more money, but you could trade any of your Giselle tix for $20, if there are other shows you want to see. (I hadn't realized this was an option till yesterday's conversation about it on here.) 

I don't understand. I have 6 $150 tix 4 of which I want. I could exchange for 150 x2, or combo of 300, but nothing to see, since I have tix to shows I want.  

What is the $20 ref? I should have no fee, if that's what you mean.  

Is there a retroactive application of the discount ?  Like the predicted casting fiasco, I have a predicted bunch of overpriced nondiscounted Giselle tickets  some of which I can't use at all (coupon problem happens as soon as  I buy anything at nycb or any drugstore as well)

Just now, abatt said:

Yes, but for a ticketmaster event, most people attend one show.  Ballet seasons run for many weeks, and depend on repeat customers all season for their business. Thus, the facility fees start to really add up if you attend numerous ballets/numerous casts of a single ballet. 

I know people who follow bands to every show

Try ticket master live nation concerts brokers  etc

11 hours ago, Fraildove said:

As far as freelancing, fees paid to artists performing in galas can range. I’ve never performed in a gala for less than $1500, plus travel and per dium, and I’ve ‘no name’ on a who’s who scale so to speak. And that is on the low end. And that was usually for two pas de deuxs. When you have a name established on an international scale like Masha does, the fees she commands can be quite a lot. And it is not the performing that keeps a dancer in top condition. It is class. And again, when you have a big name, finding a company or master to take class with daily is not difficult and is usually free. Not so for most free-lance dancers. When dancers tour with large full-length ballets is when most dancers get out of shape. They cannot train consistently, they loose rest time, they don’t have the conveniences of cooking and being at home etc. Also, it can be very hard to stay relevant as a freelance dancer if you have not already engrained yourself on an international scale. Males that are good partners can usually get freelance jobs by partnering students in school productions of Nutcracker and the like. But again, without being an actual ‘star’ paying for classes to keep yourself in peak condition can often times eat any earnings you make which will necessitate the need for a second job. 

That is more money than I expected on the pro side and the con side is as bad as I expected. You don't mention how many Galas annually  you did either ,affecting income.  It sounds very hard.  I can't imagine how you endure it.

given attendance and ticket sales can't pay fees are they mostly sponsored?

4 minutes ago, ABT Fan said:

 

I don't think we've seen such a young dancer be cast like this at ABT in a generation, since the likes of Paloma Herrera and Angel Correra. Julie Kent did her first O/O I think around 22, but she was already a soloist. Similar situation with Gillian Murphy, and she's the only current principal who was given leading roles and a promotion to principal in her early 20's.

Corps dancers get lead roles all the time at NYCB, though their repertoire is vastly different . Not the same w/ ABT. So, that's why this is a big deal.

I remember Paloma making waves when she was 16. I can't imagine she didn't get a kitri very young, no?

27 minutes ago, canbelto said:

Random thought bubble: Bolle is in such incredible shape because he's so choosy about which assignments to undertake. His body has very little sign of wear and tear. I feel David Hallberg over-danced himself into a ruinous injury. Bolle is like the opposite.

Don't see how you can say that. Bolle's schedule is very full

10 minutes ago, nanushka said:

I highly doubt Bolle will dance more this season than currently scheduled (which is basically the same amount he's danced annually for quite awhile). I think if he were at all willing to solve ABT's male casting headaches by filling in more frequently he'd have done so numerous times before now.

The images shown on ABT's promotional materials are not infrequently unreflective of who actually appears onstage. Bolle's is a good face to put forward if one wants to draw attention and doesn't have scruples about strict truth in advertising.

A. Well that is why i was always confused why they didn't use it before esp since misty has proven they have pr capabilities and even put part and polina on tv

b. he only did one or two this and last year . Before that , four or five plus gala , and one year something like ten.

c. True, lately he has focused on guesting , Scala, and his own tour more and more lately 

d .  but if London Paris Los Angeles Switzerland Spain Germany Russia turkey etc could entice him, there must be a reason Mckenzie can't or won't 

1 minute ago, nanushka said:

None of those is at ABT, where dancers do not typically get full-length title roles on the Met stage just over a year after moving from apprentice to corps.

Not to say it's never happened (I don't know either way), but in the context of this particular company it's certainly quite unusual.

Well maybe they felt it was a good pr move and learned from it?

lady bubbles ( I paraphrase) said Aran is like bolle in having a more subtle acting style vs large broad emotive acting like angel or Marcelo or showy like Ivan  so maybe they are testing that or moving toward that?

  I was shocked to see bolle on the main picture on the calendar since he is rarely featured but then again with Marcelo gone and David iffy maybe that's why 

would that mean bolle would dance more? Doubtful but who is left with all those injuries and departures and questionables

(Sorry keyboard problems)

Didn't the same kind of casting occur  with tiler peck  at 19

and didn't bolle get principal at such a young age with Romeo

and Miriam Miller with midsummer 

so the age is not really a shock

but it does get some people to talk about it

Too bad. I almost only ever go for the cheapies at nycb.   Even half price expensive tickets are too exp

Just now, fondoffouettes said:

Was there something that led you to believe this would happen? Has she often been injured?

I've seen people selling their tickets outside of the house, which I realize is a bit of a hassle. There's also this forum:

http://balletalert.invisionzone.com/forum/262-tickets-and-ticket-offers/

No, it is just what often happens to me.  

I have never ever been able to sell outside, at ballet or concerts, even when I have front row seats or general admission tickets.