Alexandra

Thank you for that, Jorgen. Please calm my pounding heart -- when you say it's like the dream scene from "Onegin," do you mean that they have Edouard running around throwing the Pink Dream Girls into the air? Thanks, too, for mentioning Aschengreen's review. If you have the time, could you give us a brief summary of what the Danish critics wrote of this one? (Or Effy, or anyone.)

MacMillan did two ballets named "Requiem" The one to Andrew Lloyd Webber was for American Ballet Theatre. It didn't last long!

Volkmar, I'm not sure I completely understand your question. Are you interested in ballets that have used Biblical texts? Or of ways to use Biblical texts to create your own choreography? If it's the former, two famous ones are George Balanchine's "The Prodigal Son" (still performed by many companies) and Ninette de Valois's "Job," which was made for the Sadler's Wells Ballet (the old name for Britain's Royal Ballet) and is not in current repertory anywhere, as far as I know.

Thank you for posting that, Sandik, even if it is dispiriting news! Arts coverage at the Washington Post has decreased significantly since I began writing for them, even though we currently have an editor who cares very much about the arts (even dance!) The first blow was back in the early 1970s (before I was writing for them ) when "The Women's Pages" became Style -- something for everyone. Whch meant men. The paper switched from covering arts, fashion and parties to covering politics and entertainment. (My argument: you guys already have sports and business; can't we just have one section?) The second was during the recession in the late 1980s when the Style section lost 4 pages because of decreased advertising revenues. This is when the paper stopped reviewing cast changes of major companies. Ironically, they had just hired an arts editor -- then they had two high-ranking Style editors who really really really wanted to have more arts coverage. She spent her first month cancelling already commissioned pieces. The third has been during the past 5-6 years or so, and I think it's because they have more sophisticated measuring systems. To be fair to the papers, very few people read arts coverage. It's a chicken and egg situation. Newspapers used to provide what would now be called "elitist" coverage: We know what's what, and this is someone you should read about. Now that this is out of fashion and we only cover what people already know and care about, this means that "the arts" are defined as movies and rock music. Opening nights are covered. There are occasions when the paper sees the importance of covering second casts. But it's not of general interest. Another problem in Washingon is that the Post sees itself as a national paper, and therefore doesn't provide the "boosterism" type of coverage that a smaller ciity might give its arts organizations. It takes a lot to get a story about local artists placed in the paper -- again, the "who will care about this?" question arises. Those are some reasons for the decline in arts coverage in one newspaper in one city. I'll be interested to read posts from readers in other cities about what's happening there. What is your arts coverage, and dance coverage, now? How has it changed in the time you've been interested in dance?

It is good news!!! Thanks, Jeanne. We just got the press release: The John F. Kennedy Center for the Performing Arts announces Kirov Ballet in Le Corsaire, July 5-10, 2005 ENGAGEMENT REPLACES DANCE THEATRE OF HARLEM IN THE 2004-2005 BALLET SERIES The Kennedy Center Ballet Series is sponsored by Altria Group WASHINGTON, D.C.— Michael M. Kaiser, President of the John F. Kennedy Center for the Performing Arts, announced today that the Kirov Ballet, the famed company from St. Petersburg, Russia, will perform their staging of the evening-length ballet Le Corsaire, July 5-10, 2005 in the Opera House. The engagement, the second for the company in the 2004-2005 Kennedy Center Ballet Season, is a replacement for the now-cancelled January 2005 appearance of Dance Theatre of Harlem. Le Corsaire is part of the Center’s ten-year collaboration with the Kirov Ballet. The ballet in three acts with prologue and epilogue is the 1987 Pytor Gusev choreographed version (after Marius Petipa) with music by Adolphe Adam, Cesare Pugni, Leo Delibes, Riccardo Drigo, and Pavel Oldenburgsky. As previously announced, the company will also present their glorious new production of Cinderella, choreographed by Alexey Ratmansky with music by Sergei Prokofiev, December 8-12, 2004, in the Opera House. Subscriptions for the Ballet Series are now available. Individual tickets for the July engagement of the Kirov Ballet go on sale April 11, 2005. The Kennedy Center Ballet Series is sponsored by Altria Group, the parent company of Kraft Foods, Philip Morris International, and Philip Morris USA. Altria Group has been a major funder of the Kennedy Center since 1977. For more than 45 years Altria Group has been actively engaged in improving, vitalizing and strengthening communities across the globe. For more information about the Altria family of companies’ programs and partnerships visit www.altria.com/media_programs. International programming at the Kennedy Center is supported by the Kennedy Center International Committee on the Arts. This presentation of the Kirov Ballet is made possible by Alberto Vilar. The Kirov Ballet is sponsored by Movado and Classic Hospitality.

Thanks for posting that! It's an interesting article -- and it sounds like an interesting program. It IS a big deal for Kansas City Ballet to be doing a Robbins' ballet -- I hope you'll tell us how it went!

I think you could put on a program of "bad girls" (as Brioche suggests). The problem there is the marketeers. Where do they get them? The whole notion that if you had a "Good Girls" night no one would come, but a "Bad Girls" night would pack the house is .... what's a nice, moderate, intellectual way to put this?...... just sick. I agree with the junk food analogy, perky. I think it's very apt. One of the problems with smaller companies is that it's hard to take a piece like "Jewels," because most people won't want to see it year after year, when there are only three shows and a Nutcracker in a season. And if the dancers don't get a chance to dance a difficult work often over a long period of time, they get cheated too, I think, because they're exposed to it, but they never get to master it. Same with "Giselle" or "Swan Lake." When there are three shows and three casts, then bye-bye for five years, when there will be a new and improved production.

Chauffeur wrote: Yup! If you lure people in with repertory that isn't ballet, what you'll have is an audience of people who don't like ballet. Mission accomplished? It's a problem all over.

Andrew Bowman is from Australia, I believe. He's not Danish.

Flipsy has reviewed two of the programs for us (thank you!) Did others go to this one? It was a great chance to see a lot of different kinds of dance. There are three reviews (two by Nancy Dalva and one by Susan Reiter) on DanceView Times this week: Falling in Love - Nancy Dalva The Old and the New - Susan Reiter Connections - Nancy Dalva

Thanks very much for that review, flipsy. This was arguably one of the most exciting dance events in New York in the past several seasons. The mix of companies, the enthusiastic crowds -- AND THE $10 TICKET PRICE. I hope some of the bean counters are watching. (No, even a sell out at $10 a head won't pay the bills, but every performance has to be subsidized -- $60 a ticket doesn't break even either. And perhaps they could do an experiment -- where is the break point? Will people take a chance for $15, or $20, or $25? But full houses for dance that was both unfamiliar and familiar....that's a story.)

Yes, where are our San Franciscans? Did you go? While waiting, here are some reviews. Paul Parish in DanceView Times: Canadian Ballet And Rachel Howard, in her blog: http://www.rachelhoward.com/ Editing to add: This is really a quote from and link to her review in the Chronicle, and she hints at further posts, so keep watching.

Just to clarify, what I posted is, as stated in the post, the company's press release. Seattle dance writers would have gotten the same press release, of course. It is an unusual procedure -- it will be interesting to see if other companies follow suit. It would leave everyone in an awkward situation if the Board makes another decision.

Casting, with correct times. FIRST WEEK Wed. Eve., Oct. 20, 7 P.M. GALA LES SYLPHIDES (Nocturne) – Kent, Beloserkovsky, E. Cornejo, Riccetto LE SPECTRE DE LA ROSE (Revival Premiere) – H. Cornejo, Reyes THE DYING SWAN – Dvorovenko SWAN LAKE, Act III Pas de Deux (pas and coda only) – Herrera, Gomes LE CORSAIRE Pas de Deux (pas and coda only) – Murphy, Carreño OTHER DANCES - Ferri, Corella SINFONIETTA - Company Thurs. Eve., Oct. 21, 7:30 P.M. LES SYLPHIDES (Revival Premiere) – Murphy, Gomes, E. Cornejo, Riccetto PILLAR OF FIRE – Kent, Saveliev, Corella SINFONIETTA - Company Fri. Eve., Oct. 22, 8 P.M. NEW McINTYRE BALLET (World Premiere) – Company VIII (United States Premiere) – Corella, Ferri, Kent PETITE MORT – Company SECH TÄNZE - Company Sat. Mat., Oct. 23, 2 P.M. LES SYLPHIDES - Murphy, Gomes, E. Cornejo, Riccetto PILLAR OF FIRE – Wiles, Hallberg, Gomes THEME AND VARIATIONS – Herrera, Corella Sat. Eve., Oct. 23, 8 P.M. NEW McINTYRE BALLET – Company PILLAR OF FIRE – Murphy, Hallberg, Gomes PETITE MORT – Company SECHS TÄNZE – Company Sun. Mat., Oct. 24, 2 P.M. NEW McINTYRE BALLET – Company PILLAR OF FIRE – Kent, Saveliev, Corella PETITE MORT – Company SECHS TÄNZE – Company Sun. Eve., Oct. 24, 7:30 P.M. THEME AND VARIATIONS - Wiles, Hallberg LE CORSAIRE Pas de Deux – Herrera, Carreño VIII – Corella, Ferri, Kent SINFONIETTA – Company SECOND WEEK Tues. Eve., Oct. 26, 7:30 P.M. NEW McINTYRE BALLET – Company LE SPECTRE DE LA ROSE – H. Cornejo, Reyes SWAN LAKE, Act II Pas de Deux – Dvorovenko, Beloserkovsky LE CORSAIRE Pas de Deux – Herrera, Corella AMAZED IN BURNING DREAMS – Tidwell*, Boone, Gomes Wed. Eve., Oct. 27, 7:30 P.M. NEW McINTYRE BALLET – Company LE SPECTRE DE LA ROSE – Stiefel*, Riccetto* GRAND PAS CLASSIQUE – Wiles, Hallberg LE CORSAIRE Pas de Deux – Herrera, Corella THEME AND VARIATIONS - Murphy, Gomes Thurs. Eve., Oct. 28, 7:30 P.M. PETITE MORT – Company SECHS TÄNZE – Company VIII – Gomes*, C. Corella*, Reyes* THEME AND VARIATIONS – Herrera, Corella Fri. Eve., Oct. 29, 8 P.M. PETITE MORT – Company SECHS TÄNZE – Company workwithinwork – Company AMAZED IN BURNING DREAMS – H. Cornejo, Copeland, DeLong* Sat. Mat., Oct. 30, 2 P.M. THEME AND VARIATIONS – Wiles, Hallberg LE SPECTRE DE LA ROSE – H. Cornejo, Reyes SWAN LAKE, Act III Pas de Deux – Herrera. Gomes LE CORSAIRE Pas de Deux – Murphy, Corella SINFONIETTA - Company Sat. Eve., Oct. 30, 8 P.M. NEW McINTYRE BALLET – Company VIII – Gomes, C. Corella, Reyes SINFONIETTA – Company Sun. Mat., Oct. 31, 2 P.M. THEME AND VARIATIONS – Murphy, Gomes LE SPECTRE DE LA ROSE – Stiefel, Riccetto GRAND PAS CLASSIQUE – Wiles, Hallberg ANGELINA BALLERINA Pièce d’Occasion – Part, Beloserkovsky SINFONIETTA – Company Sun. Eve., Oct. 31, 7:30 P.M. PETITE MORT – Company SECHS TÄNZE – Company VIII – Corella, Herrera*, Kent AMAZED IN BURNING DREAMS - H. Cornejo, Boone, Gomes -30- *Editors please note: first time in a role: Tues. Eve., 10/26 – Tidwell in Amazed in Burning Dreams Wed. Eve., 10/27 - Stiefel, Riccetto in Le Spectre de la Rose Thurs. Eve., 10/28 – Gomes, C. Corella, Reyes in VIII Fri. Eve., 10/29 – DeLong in Amazed in Burning Dreams Sun. Eve., 10/31 – Herrera in VIII

Thanks for that, Effy. The '92 production did need some livening up, but not, IMO, by adding anything to it, but just by bringing out what was already there.

The company press release: PACIFIC NORTHWEST BALLET CONFIRMS LEAD CANDIDATE IN SEARCH FOR NEW ARTISTIC DIRECTOR SEATTLE, WA —Pacific Northwest Ballet trustee and Chair of the Search Committee, Carl Behnke, confirmed today that Peter Boal has been selected as the lead candidate in the search for PNB’s new Artistic Director. Kent Stowell and Francia Russell, artistic directors of PNB and the PNB School since 1977, will retire at the end of the 2004-2005 season. Their replacement is expected to be announced by January 1, 2005. Selected from a group of nearly 50 initial applicants which was subsequently narrowed down to five semi-finalists, Mr. Boal, age 39, was selected as the lead candidate for this final phase of the selection process after extensive interviews and a two-day visit to PNB which included work in the studio with PNB’s Company. Mr. Boal received high marks during this process, which was established by PNB’s Artistic Director Search Committee. The Search Committee is comprised of PNB leadership Trustees, and is assisted by two advisory panels. Members of the panels include dancers, musicians, administrative staff, trustees and community leaders. After nearly two years of planning and meetings, the search committee identified several hallmark attributes that define PNB and which would, ideally, be reflected in and compatible with the skills and experience of its new artistic leader. These attributes include a creative and imaginative individual able to challenge and inspire PNB artistically, a deep commitment to dance education and ensuring the strong positive symbiotic relationship between the company and its school, and an individual who has varied experience in performance and choreography as well as demonstrated ability to direct a ballet company. “Peter’s connection with the Balanchine tradition, his noted career as a principal dancer with New York City Ballet, and his strong commitment to dance education made it possible for all participants in this broadly inclusive search process to arrive at the consensus of Peter as our lead candidate,” said Behnke. “We were also impressed with his quiet confidence, his obvious integrity and his ability to articulate a clear artistic vision. We’re looking forward to talking with him further about joining us in Seattle.” Mr. Boal is highly respected in the dance world. Tobi Tobias of The Village Voice describes Mr. Boal as “a paragon of classicism. Both his stellar dancing and his teaching of the School of American Ballet’s rising generation are lessons in purity, exactitude, and refinement.” Mr. Boal will return to Seattle during the third week of October to engage in further discussions with PNB’s Artistic Director Search Committee, meet with PNB’s Board of Trustees, and have another opportunity to meet again with PNB’s Company of dancers. The Search Committee has not yet made a recommendation to PNB’s governing Board but expects to finalize its work by its original target date of January 1, 2005. Stated Boal: “I have great respect for Kent and Francia and their many accomplishments as well as PNB’s long tradition of presenting the works of George Balanchine. PNB’s talented Company of dancers, its internationally respected ballet school and its unique community support reinforce the many attractive attributes of this opportunity.” About Peter Boal: Currently a Principal with the New York City Ballet, Peter Boal became a member of New York City Ballet’s corps de ballet in 1983 and became a Soloist four years later. In 1989 he was promoted to the rank of Principal. Mr. Boal has been featured in numerous ballets including many of the works of George Balanchine, Jerome Robbins, and Peter Martins, as well as numerous others. Mr. Boal’s television appearances include Dance in America’s “Balanchine in America” performing WESTERN SYMPHONY and “The Balanchine Celebration” performing AGON, the Live From Lincoln Center broadcast of “New York City Ballet’s Diamond Project: Ten Years of New Choreography,” dancing in RED ANGELS; and the May, 2004 Live From Lincoln Center broadcast of “Lincoln Center Celebrates Balanchine 100,” dancing in DUO CONCERTANT. In addition to touring with New York City Ballet, Mr. Boal has performed as a Principal Dancer with a number of National and International companies. In 1996, Mr. Boal was a recipient of the Dance Magazine Award, and in 2000, he received a New York Dance and Performance Award (Bessie) for his solo performance in Molissa Fenley’s STATE OF DARKNESS. Mr. Boal, while also maintaining full-time faculty member responsibilities at the School of American Ballet, recently founded and directs "Peter Boal and Company", a group of four NYCB dancers that commission new choreography and revivals. Having premiered this past March, the group has since performed at the Joyce Theater in Manhattan, Jacob's Pillow in Becket, Massachusetts and the Biennale in Venice, Italy. Mr. Boal is married to dancer Kelly Cass and the couple has two sons, Sebastian and Oliver, and one daughter, Sarah. ABOUT PACIFIC NORTHWEST BALLET Founded in 1972 and under the artistic guidance of Kent Stowell and Francia Russell since 1977, Pacific Northwest Ballet is one the largest and most highly regarded ballet companies in the United States. The Company of forty-six dancers presents over ninety performances each year of full-length and mixed repertory ballets at Marion Oliver McCaw Hall and on tour. The Company has toured to Europe, Australia, Taiwan, Hong Kong, Canada, and throughout the United States with celebrated appearances in Washington D.C. and New York City. Pacific Northwest Ballet School, under the direction of Ms. Russell, is nationally recognized as setting the standard for ballet training offering a complete professional curriculum to over 850 students. The School also provides comprehensive dance education to the greater Seattle area reaching over 10,000 adults and children each year through DanceChance, Discover Dance, Bravo!Ballet and other outreach programs and activities.

There's no corporate plot, no government censorship, no boycott Although we have two loyal, dedicated, hardworking volunteers who take on the task of combing through reams of articles to try to find news and reviews to post, sometimes they miss something. But anyone is welcome to post a link on that forum, and people often do. If you'd like to post a link, FF, please feel free!

Good questions -- the union contract should be available on line, but I don't know the URL. I hope someone else will, and if so, please post it.

It will also be ... interesting to see where he lands next.

From today's Links: Paul Post in The Saratogian on the resignation of Herb Chesbrough: http://www.saratogian.com/site/news.cfm?ne..._id=17708&rfi=6

I always post press releases as they come in; I don't retype them, so nothing has been changed. I hope ABT is sure of its curtain times! Editing to add: They've corrected the times. See the post below.

As far as I know, there have been no official announcements about anything after the "Don Q" run. (Apologies to Bostonians for the diversion!)

Editor's note: Our many Veronika Part fans will be delighted to learn that she is cast (with Beloserkosvsky) in the Angelina Ballerina piece d'occasion. And now, here's the press release from the company: CASTING ANNOUNCED FOR FIRST TWO WEEKS OF AMERICAN BALLET THEATRE’S 2004 FALL SEASON AT CITY CENTER Casting for the first two weeks of American Ballet Theatre’s 2004 season at City Center, October 20 through November 7, was announced today by Artistic Director Kevin McKenzie. American Ballet Theatre’s Fall 2004 season will kick off with an opening night gala performance highlighted by the works of Michel Fokine, including the Nocturne from Les Sylphides performed by Julie Kent and Maxim Beloserkovsky, the Revival Premiere of Le Spectre de la Rose with Herman Cornejo and Xiomara Reyes and The Dying Swan performed by Irina Dvorovenko. The program will also include pas de deux from Swan Lake and Le Corsaire and a complete performance of Jirí Kylián’s Sinfonietta. In addition, Alessandra Ferri and Angel Corella will perform Jerome Robbins’ Other Dances in a special celebration to kick off Miss Ferri’s 20th Anniversary season with the Company. Highlights of the first week of ABT’s Fall season at City Center include the Revival Premiere of Les Sylphides on Thursday, October 21, danced by Gillian Murphy, Marcelo Gomes, Erica Cornejo and Maria Riccetto, the World Premiere of a new work from choreographer Trey McIntyre and the United States Premiere of Christopher Wheeldon’s VIII, led by Angel Corella, Alessandra Ferri and Julie Kent, on Friday, October 22. The season’s second week will be highlighted by the debuts of Ethan Stiefel and Maria Riccetto in Le Spectre de la Rose on Wednesday, October 27 and the debuts of Marcelo Gomes, Carmen Corella and Xiomara Reyes in VIII on Thursday, October 28 and of Paloma Herrera in VIII on Sunday evening, October 31. Other debuts for the week include Danny Tidwell in Amazed in Burning Dreams on Tuesday, October 26 and Grant DeLong in the same work on Friday, October 29. In addition, the matinee on Sunday, October 31 will include a special Pièce d’Occasion for Angelina Ballerina featuring Veronika Part and Maxim Beloserkovsky. Countrywide Financial is the National Sponsor of American Ballet Theatre and Cole Haan is a Leading Benefactor. Graff Jewelers is the 2004 season sponsor of ABT at City Center. ABT’s 2004 Fall season at City Center is made possible with public funds from the New York State Council on the Arts, a state agency, and the National Endowment for the Arts. Tickets for American Ballet Theatre’s 2004 Fall season at City Center are priced from $35 to $80 and are on sale now by mail or by calling CityTix at 212-581-1212. City Center is located at West 55th Street between 6th and 7th Avenues in New York City. For more information, please visit ABT’s website at www.abt.org <http://www.abt.org/> . Complete casting follows: FIRST WEEK Wed. Eve., Oct. 20, 7 P.M. GALA LES SYLPHIDES (Nocturne) – Kent, Beloserkovsky, E. Cornejo, Riccetto LE SPECTRE DE LA ROSE (Revival Premiere) – H. Cornejo, Reyes THE DYING SWAN – Dvorovenko SWAN LAKE, Act III Pas de Deux (pas and coda only) – Herrera, Gomes LE CORSAIRE Pas de Deux (pas and coda only) – Murphy, Carreño OTHER DANCES - Ferri, Corella SINFONIETTA - Company Thurs. Eve., Oct. 21, 8 P.M. LES SYLPHIDES (Revival Premiere) – Murphy, Gomes, E. Cornejo, Riccetto PILLAR OF FIRE – Kent, Saveliev, Corella SINFONIETTA - Company Fri. Eve., Oct. 22, 8 P.M. NEW McINTYRE BALLET (World Premiere) – Company VIII (Company Premiere) – Corella, Ferri, Kent PETITE MORT – Company SECH TÄNZE - Company Sat. Mat., Oct. 23, 2 P.M. LES SYLPHIDES - Murphy, Gomes, E. Cornejo, Riccetto PILLAR OF FIRE – Wiles, Hallberg, Gomes THEME AND VARIATIONS – Herrera, Corella Sat. Eve., Oct. 23, 8 P.M. NEW McINTYRE BALLET – Company PILLAR OF FIRE – Murphy, Hallberg, Gomes PETITE MORT – Company SECHS TÄNZE – Company Sun. Mat., Oct. 24, 2 P.M. NEW McINTYRE BALLET – Company PILLAR OF FIRE – Kent, Saveliev, Corella PETITE MORT – Company SECHS TÄNZE – Company Sun. Eve., Oct. 24, 7:30 P.M. THEME AND VARIATIONS - Wiles, Hallberg LE CORSAIRE Pas de Deux – Herrera, Carreño VIII – Corella, Ferri, Kent SINFONIETTA – Company SECOND WEEK Tues. Eve., Oct. 26, 8 P.M. NEW McINTYRE BALLET – Company LE SPECTRE DE LA ROSE – H. Cornejo, Reyes SWAN LAKE, Act II Pas de Deux – Dvorovenko, Beloserkovsky LE CORSAIRE Pas de Deux – Herrera, Corella AMAZED IN BURNING DREAMS – Tidwell*, Boone, Gomes Wed. Eve., Oct. 27, 8 P.M. NEW McINTYRE BALLET – Company LE SPECTRE DE LA ROSE – Stiefel*, Riccetto* GRAND PAS CLASSIQUE – Wiles, Hallberg LE CORSAIRE Pas de Deux – Herrera, Corella THEME AND VARIATIONS - Murphy, Gomes Thurs. Eve., Oct. 28, 8 P.M. PETITE MORT – Company SECHS TÄNZE – Company VIII – Gomes*, C. Corella*, Reyes* THEME AND VARIATIONS – Herrera, Corella Fri. Eve., Oct. 29, 8 P.M. PETITE MORT – Company SECHS TÄNZE – Company workwithinwork – Company AMAZED IN BURNING DREAMS – H. Cornejo, Copeland, DeLong* Sat. Mat., Oct. 30, 2 P.M. THEME AND VARIATIONS – Wiles, Hallberg LE SPECTRE DE LA ROSE – H. Cornejo, Reyes SWAN LAKE, Act III Pas de Deux – Herrera. Gomes LE CORSAIRE Pas de Deux – Murphy, Corella SINFONIETTA - Company Sat. Eve., Oct. 30, 8 P.M. NEW McINTYRE BALLET – Company VIII – Gomes, C. Corella, Reyes SINFONIETTA – Company Sun. Mat., Oct. 31, 2 P.M. THEME AND VARIATIONS – Murphy, Gomes LE SPECTRE DE LA ROSE – Stiefel, Riccetto GRAND PAS CLASSIQUE – Wiles, Hallberg ANGELINA BALLERINA Pièce d’Occasion – Part, Beloserkovsky SINFONIETTA – Company Sun. Eve., Oct. 31, 7:30 P.M. PETITE MORT – Company SECHS TÄNZE – Company VIII – Corella, Herrera*, Kent AMAZED IN BURNING DREAMS - H. Cornejo, Boone, Gomes

Re the Farrell Ballet, I think the only thing that's certain is that they'll be working on the revival of Balanchine's "Don Quixote," which will be danced this spring (June?) at the Kennedy Center.

Showdown at the Hoedown sounds really special! Perky, great post -- it's becoming a real problem. Instead of the time-tested model of programming -- something for everyone -- companies in general have bifurcated the audience: the pop ballet vs. the classical ballet audience. And I don't think you can please both audiences, when they're defined in that way. (This is the Marketeers' doing. It works with widgets, but it doesn't work in art.) I think what carbro suggested would be worthwhile doing -- especially if you have like-minded friends. One intelligent letter will help; ten or twenty will help even more. Sometimes an artistic director programs pop ballet because that's all s/he knows, and sometimes because that's what he reads, or is told, that that's what audiences want to see. Are there others who are in a similar situation?