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LMCtech

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About LMCtech

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    Bronze Circle
  1. Interesting article. This particular AD change over is being watched very closely by all the other major companies in America. And some of the minor ones too, who might be losing their ADs to a bigger company.
  2. I think I would disagree with that statement. That might be your experience but I don't think it is a typical one. I think it is also not realistic to expect the Artistic Director of every company to be a good businessman as well, which is why it is important to have someone who can reigh in unrealistic spending. If the higher ranked AD is willing to listen to a lower ranked business manager than that situation works well. But there have been too many examples of over-zealous AD's bankrupting a company beyond repair. DTH is just the latest victim of this highly avoidable and devastating managerial error. On the other hand, the business manager, whatever his/her official title, does need to be absolutely committed to the artistic health and vision of a company, and that person needs to understand that as priority one. An over-zealous corporate gladiator can be just as damaging to a company as an over-spending AD, with the damage being just as irreparable.
  3. As I understand it the difference between a company manager and a CEO/ Executive Director is this: the company manager oversees the day-to-day needs of the dancers themselves including but not limited to payroll, accomodations, rehearsals, performance venues, travel, etc. The CEO handles the business end of running of the company helping to oversee all the other departments including but not limited to development (they're the people who ask for money), marketing, operations, facilities, etc. Seems like the best run companies are the ones who have an artistic director and then something like an executive director who is of "equal rank". They serve to check and balance one another. Both should be answerable to the board and hired by them. The board should not be involved in the day to day running of company which usually includes mundane decisions like "What kind of toilet paper should we buy?" and "The computers are down again." They should be involved in big decisions like approving budgets and building remodels.
  4. Yes, that is my question as well. What is ABT going to do?
  5. I'm reading "Kitchen Confidential" right now. Frightening and funny at the same time. It may have cured me of ever wanting to open a restaurant.
  6. Interesting. A lot of asian dancers.
  7. It probably had a very small first publication. this often happens with "specialty" books.
  8. The Joffrey's return to the Bay Area with the Ballet Russe program was a highlight for me. Also the Kirov's performances in Berkeley were also a highlight. I thought the SFB new works program was particularly strong. Muriel Maffree's send-up of the Dying Swan was definitely noteworthy.
  9. I haven't been yet. I've asked for a membership for Xmas so maybe I'll be going a lot. I work near there so I could go on my lunch hour.
  10. I agree with stacy. Completely. I had very strict theater etiquette training that started very young (first play at three). If we misbehaved in public we heard about it when we got home. My mother was (and is) a firm beliver in the correct time and place for things and she never reprimanded us in public. We were taken to the car or a bathroom or somewhere else and then severely lectured. As infants we were never taken to concerts or shows. It was a privelege we had to earn by displaying good behavior at extended family dinners or sports events or school shows. It is maybe unrealistic of me to expect all parents to act as mine did, but I do wish they would at least try to control their little monsters. The mother who yells at me because I asked her daughter to stop kicking my chair is particularly offensive. I have been known to say to mothers like this (and there are many in San Francisco), '"If you won't control your child I guess I do."
  11. I'm curious about the alienation of the broader dance community by the previous administration. I'm not sure I understand exactly. Were there actual acts of alienation? Please elaborate, I'm intrigued.
  12. I agree that they made poor programming choices for London, though I have to say that I would never expect the Kirov to look better in a ballet created by the Nijinksys or Balanchine or Ashton or MacMillan. They have had a very different history in the 20th century than "Western" companies and I would not expect that to make their performances less than the best ever seen. Their hearts are different than those of western dancers and that nuances thier performances of "western" ballets in a negative (my opinion only) way. Not that they aren't beautiful, but they are somehow not as "creative".
  13. I don't mind whispering. Talking over the orchestra is not acceptable. Jumping up and down and running up and down the aisles is also not acceptable. I don't mind babies who cry either, as long as Mom takes them out. I have a colleague who took her son to many ballets when he was young, but they always left at intermission. This kid reached the age of 10 and suddenly realized that the death of Giselle was not the end of the ballet, and Clara actually went somewhere in that darn sled. I know people who do the same thing at operas, i.e. they leave after the first act. There are a group of young, poor opera lovers who are known to ask people for their ticket stubs so they can see the rest of the opera. I have an acquaintance who has seen most of the SF Opera repertory, except for the first acts.
  14. I have found the Symphony particularly notorious for snoring. My latest pet-peeve is audience members who are too young to be there. Take note parents: the theater is NOT the place for your infant or toddler under 3. Hire a sitter for goodness sakes.
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