Bill

More from Sarah Kaufman at the Washington Post on the labor troubles: http://www.washingtonpost.com/wp-dyn/conte...5122102275.html

FYI NYCB is not a non-profit company. It is for profit. dewdrop <{POST_SNAPBACK}> From the NYCB 2004 Annual Report (not that it matters for purposes of this thread): "The New York City Ballet, Inc. (City Ballet) is a not-for-profit organization and a constituent of City Center of Music and Drama, Inc. (CCMD). City Ballet operates as an entity independent of CCMD that provides certain services as described further below. CCMD is the sole member of City Ballet." "City Ballet is a tax-exempt organization and, accordingly, is not subject to income tax in accordance with §501©(3) of the Internal Revenue Code and has been classified as a publicly supported organization as defined in §509(a)(2) of the Code. Contributions to City Ballet are tax deductible to contributors as provided by law."

The situation described in the article sounds so much like infighting at other non-profit/volunteer boards, not limited at all to the dance world. It seems to me that the author included much extraneous/dated detail about NYCB to pad the story.

He conceivably could make a real difference in public funding for dance and the other arts if he pursues a public policy career.

This was the subject of a front page (A1) story in the Washington Post by Sarah Kaufman, to which I can't link for some reason. Crushing news.

Today's Post story says: "'We want them to stop striking,' [WB board president] Kendall said. 'And we want them to give us a proposal that we can accept. . . . They put a gun to our heads. . . . We want everything to be there for the dancers, but we have to protect our artistic director also.'" "The issues are not primarily about money, but about how much control Artistic Director Septime Webre should have over matters ranging from hiring and firing to how rehearsals are conducted to the size of the company and how students from the Washington School of Ballet can be used in productions." Perhaps management and the dancers should move beyond the "protect" and "control" rhetoric. Right now everyone, including Nutcracker-goers, seems to be losing.

Here is the link: http://www.eif.co.uk/E119_Festival_2006_News.php (Hope this is the best place to post this - I'm a newbie. My apologies if it's not.)

According to today's Washington Times: "Miss Farrell's company, the Suzanne Farrell Ballet, wrapped her portion of the gala with a stunning performance of Divertimento No. 15 in B-Flat Major."

I went on Tuesday November 22 and sat in the boxes. Contrary to every review that I've read, I really liked La Source. So many times the Suzanne Farrell Ballet programming is serious-tragic -- it was nice just to have fun with La Source. I felt that Clarinade was a mixed bag. Ms. Mahoney-Du did a great job with an underwhelming score -- I wonder if it swung a bit more when Benny Goodman played. Duo Concertant was the evening's highlight for me. Well-matched partners and an amazing Stravinsky piece. I must confess that I got tired during La Valse (long day at work) and mostly appreciated the costumes and the mass movement rather than the principals. I'm so glad to have this Balanchine-based company in DC, although I wouldn't mind seeing what Ms. Farrell could do with Bejart.