Calliope

90k is a pretty high end salary, in my humble opinion! Plus we have companies that have to get the sponsors to pay above and beyond the top mark. That's more than some median households, with combined salaries. Especially if you look at what a recent college grad faces coming out of school. I think that's why dancers have a bit of a shock when they leave a company, the salary difference is quite vast. But should the companies that have the resources (costumes, sets) should they lend them out to companies that can't afford to spend as much. Should they loan them dancers, rep, choreographers, for the sake of the art form? Or is it truly a bureaucracy?

"pop art stars" like Britney Spears? She generates money though, big money. And even she is victim to Napsterization. You could argue, that she puts out a product (CD) then goes on promotion tours, then goes and does concerts. All of which generate hype and $$ and she's has stalkers, bad restaurant deals and her heart broken and then reported on front covers of magazines. Dealing with her public and having no privacy.All the while trying to maintain she's a virgin. I think she earned the big bucks! While I think it's ludicrous that people make $20 million to make a movie, I sympathize that I know more about Julia Roberts than some of my relatives. I don't think it's fair to compare athletes/"pop culture" to ballet. Not when ballet goes to such extremes to separate itself. Sorry for the soapbox, especially if I misunderstood "pop art stars" :)

Someone made a comment on another thread (sorry, senior moment, I can't remember who) that ballet makes no money. But does it really not make money or is it just that there's 2 different levels to companies? The "conglomerates" like NYCB/ABT who can put up the $$ for productions that flop both critically and financially (Diamond Project/Pied Piper) And the smaller "mom and pop" type companies Is the disparity between the two warping our perspective as to whether or not ballet makes money. I look at dancers who make upwards of $90,000, granted, they're principals with conglomerate companies and their careers are short, but on the administrative side, you have high salaries too. Do the bigger companies have a responsibility to the smaller companies? This is all steaming from my still not being able to get over how much NYCB spent on costumes recently.

I agree with you cargill, but if none of the other writers are writing ... I think most lay people read the "daily" reviews and that's where the "education" comes from. That's why I think Tobias' release was such a blow, she at least provided a more consistent basis to get criticism. Which makes Homans all the more dangerous. In some ways it will be interesting to see what Homans has to write about in a few years, or will she have tackled all the controversy by then. It's easier to knock an artform in this time period. It seems ballet is more business and competitive (between companies) than an artform.

This reminds me of a class I took on American history and the professor made us write a paper on the Civil War and what caused it. You could part the papers along the Mason Dixon line. But, back to the historical commentary. Wasn't at some point, that essentially someone's review (or a few people's) And to answer your question Leigh, I don't know which voice is most convincing for me. I think I like all of them, it helps me figure out my own opinion

I'm going Thursday, I can't wait!

I think Nutcracker for many people, especially families, has become a tradition. I think most companies leave it off of subscriptions. For the very reason that it's a "first time" ballet for many, there's lots of kids in the audience and many subscribers would rather pay to see a program. I only go once now, between hearing the music in Macy's and everything else going on in the holidays (and the ticket price) I live vicariously through the reviews here! While there are many commercial tie ins, for most companies, it provides a hefty boost to their bottom line. Now, if NYCB's giant tree starts rolling out and has logos on it, I might protest, but so far, it hasn't happened, yet.

Or perhaps they don't think there is a problem (as with Clive Barnes response to the NYCB article)

For those in Boston, how is the attendance?

I like Homans, I haven't read the book, so I can't really comment on her review in that respect, but as Dale pointed out, Homans starts conversations. She seems to spark the fire and let everyone else fan it. She also seems to tackle topics that, given the guesstimate of her age, are almost beyond her "experience" at a time when many of her peers have lived through it. I don't mean that in a negative context, but she seems to be forming very "young" opinions, and like many other people, just speaking out on what she sees, from her limited experience.

I'd like "The March of the Wooden Soldiers" complete with a Laurel and a Hardy I like the Wizard of Oz idea, just to see flying monkeys ;)

I'm having a senior moment, but Wheeldon's backstage farce, Variations.... I suppose Nutcracker would fall under comic, at least Balanchine's, with Fritz and Mother Ginger hamming it up. Union Jack also has some light comedy to it. As does Balanchine's Midsummer's

I don't know that the article was directed at dance fans though. If anything it was a snub to the dancers who despite technology, still choose the old fashioned way (painful and clumsy) and the whole "pain for the art" I think Croce and Acocella (sp?)have brought an audience over though the reviews seem to be more season ending.

He's in a Fatboy Slim video (techno-ish) "Weapon of Choice" It's great, he's a bit campy and literally dances off the walls and ceiling. He's no Fred Astaire, but he turns nicely. He had a dance sequence in "Pennies from Heaven" (I believe that was Herbert Ross?) Doesn't seem like much of a jumper though So if the Godfather ever becomes a ballet, he'd be perfect!

I'm partial to the Sleeping Beauty fairies Carabosse, is she a fairy gone bad?! Cinderalla has a Fairy Godmother

No matter how times I've seen it, the curtain coming up for "Serenade" never fails to take my breath away (and most of the audience) That moment where your brain just tries to figure out what's going to happen and your heart is just arguing with your brain to shut up. I think everyone goes in with a pre-conceived notion or a prejudice towards a certain style. I think those moments of "beauty" are definitely what you take to the table and what you expect to be served, and when you can't argue it, that to me is true beauty. So I guess to answer your question, Treefrog, for me, it's all of the reasons you listed and everyone sees it their way and when people agree it makes you want to go back and see it again.

I think they were playing too slow

My favorite part, and I'm sure it was a slip after Hayden responds to Suki's comments, they give a phonetic of how to say Suki's name "Sucky" I laughed so hard, I fell out of my Nike's! I thought the article was... good for conversation, the kind that makes people wonder why anyone would want to be a ballet dancer and have to wear pointe shoes. And Jennifer Tinsley tearing her tendon, but being thrilled she danced while it's being torn, but she got promoted! "This one time, it was absolutely worth it to me to dance through injury until my tendon actually tore...I knew it was tearing but I didn't want to stop, because one of the soloists was out-I was in the corps then.... I was in horrible pain, it hurt to walk" "Two weeks later my tendon tore-onstage. And I was out for nine months. But I got promoted" That anyone would be proud of that is beyond me, she's lucky she didn't end her career. The cover "EZ R Pass" is classic

Don't worry about it Amanda, I'm the same way, it took me a long time to stop checking the NYCB posts first. That's why this board is great, it affords us the opportunity to read about everyone! I'm hoping to catch PAB's Nutcracker, hopefully I get to see Lorenzo, but alas, no casting (now I'm NYCB/ABT spoiled in that department!)

There was a brief mention along with a review a month (Apollo) or so ago, but thanks for the reminder Amanda! I hope the people in Philly do post their reviews! http://www.balletalert.com/forum/showthrea...=&threadid=7648

I have to admit, I went in with the jaded, they spent $80k on costumes for one piece, attitude. The Wheeldon piece was harmless, nothing really to write home about though. Aptly cast, and I was reminded that yes, this was Rodgers tribute. The LaFosse piece, Fairchild was the best thing about it, but I'm not a LaFosse fan, so I felt as though I was watching a bad Union Jack intermission. And the Martins... I can't believe they spent any money on those costumes. I am all for fashion and ballet going hand in hand, but when the costumes play a more significant role than the choreography, well, maybe that wasn't so bad. I can't even add to the perfect color commentary from cargill. I had more fun watching the audience sashay than the dancers. I'm starting to wonder why I go to these gala performances.

I know he was a guest, but with minimal stage time. I hope the rumor is true!

There was a discussion over on the links forum, I figured I'd try and transfer it over. http://www.nypost.com/entertainment/62887.htm The article on the "genderless, unsexy tutu's" that led NYCB to give an $80,000 budget to make capes and dresses. And though the 4 inch Manolos were donated to the company.... and they only have to wear them for a 5 minute waltz. Is this excess?

The music from the old DeBeers Diamond commercials by Karl Jenkins.

somehow I don't think "Rodeo" would keep President Bush awake. A pity Time felt the need to report this, I'll just chalk it up as another reason not to like him and another reason I don't read Time.