Amour

Thanks for sharing your experience, Abatt, wish I were able to attend.

Were there other NYCB dancers who weren't performing, but were seated at the gala tables to cheer their colleagues on?

Trying to find online pictures from the gala also....

Try looking for Getty images tomorrow. I don't know about seating but there should be lots of red carpet photos tomorrow.

La Scala sent out a tweet a few hours ago that Osipova has cancelled her Don Q tonight.

For a sudden Indisposition #NataliaOsipova won't dance tonight. She will dance on 25 & 27. @NicolettaManni will be Kitri with @lsarafanov

Fingers crossed for the NYC engagement in November!

Goodness! Zakharova also pulled out and Vasiliev is in the hospital, supposedly due to illness.

NB: Osipova has changed her dates for her November MONTH IN THE COUNTRY performances with the Royal Ballet and will be performing on 5th November rather than 12th November (when that role will be danced by Yanowsky). Consequently, she will, I assume, be entirely free to dance the Giselles with that dancer's dancer Leonid Sarafanov in New York.

Thank you for posting. I would be a hypocrite not to feel for Royal Ballet goers who bought tickets planning to see her in A Month in the Country, but I, too, am just delighted by this news...(No guarantees of course for any performance, but at least now I'm not only scheduled to see her with Sarafanov in Giselle, but I don't feel like a chump.)

Luckily for RB goers, ROH allows ticket holders to return tickets and the ROH will try to resell them. When I was in London this August, I returned a pair of Swan a Lake tickets when Stepanova was replaced by Skorik. The ROH was very pleasant about it, my tickets were resold and I got my money back.

It seems to me that the discussion boils down to Misty's race, and did being black provide greater or fewer opportunities. IMO race ultimately worked in her favor. So be it.

I think that's far too simplistic a characterization. Race ought to work in her favor; as I said again just this evening, we can all agree that when talent allows (and hers does), diversity is good for ballet (and for the country). The questions are about whether or not she's used race ethically or as a blunt instrument, making questionable accusations the accused have no good options for rebutting, simplistically and uncharitably conflating racism and tradition, by implication belittling the talents of dancers above her in rank, and playing to the crowd for sympathy.

Personally, I think she's used race as a blunt instrument and this 16 page discussion shows just how polarizing a figure she is.. However, if ABT is looking to diversify I hope this trickles down to Calvin Royale and Gabe Shayer, both of whom are IMO much better and more refined dancers than Misty.

BTW, sidwich who do you "they" referred to in Misty's comment, unless it's Kevin? Ballet masters don't decide who gets to join the company, so it's not them.

Thanks for posting the link. As you can see Sarah said, "I think whether you're in the corps de ballet, a soloist or a principal, we're all dancers, and we really enjoy the opportunity. Unless you're really new to the company, I don't think it's something you freak out about. It's something you're happy about because then you get a chance to work on something and think about it about grow and develop."

Quite a contrast in tone to Misty, don't you think?

No, I think both of them sound pretty bitter. That's just how it sounded to me. Basically, (if I remember correctly) everybody complained except Sarah. Gia did her job getting people riled up and talking (journalists!).

Misty has been trying to back Kevin and the board into a corner which is I think iwhat people are responding to, not the topic of race per se.

To which I would reply: Kevin McKenzie and the board always have the power of 'NO'. There's nothing to prevent them from ignoring pressure from any dancer seeking favored treatment. If they're too weak to say no in the face of sustained pressure -- of any kind -- from a dancer, then they should all resign because they're obviously not up to the task of being stewards of a major arts organization.

I actually think that ultimately they will say NO to principal for Misty. But this drama occurs in EVERY ballet company. I think , for example, the Maryinsky has the most perplexing of all company policies. Only 1 Vaganova graduate (Batoeva) has been promoted above coryphee in Fayeyev's 6 years as acting AD? To think money, sponsorship, sexual harassment (alleged in case of Batalov) don't come into play is either naive or to not have personally known any professional dancers.

FauxPas wrote:

Misty was articulate and not bitter and mentioned that everything that she is, opportunities that came to her and successes she has achieved have all come through ballet. Racism was not stressed but overcoming racial stereotypes and promoting diversity were the main theme.

About 2 years ago Gia Kourlas wrote an article for the NYT where she interviewed several ABT dancers about how they felt about Kevin bringing in foreign big name guests or hiring them as principals. Misty sounded very bitter saying something like ABT forgets everything it's own dancers have done when it brings in these "outsiders". She very specifically criticized Kevin. Sarah Lane, who that winter had gone through the whole Black Swan/Natalie Portman ordeal, basically held her tongue and said nothing.

I think Misty is just out for herself and seems to have no qualms about openly challenging ABT to explain her circumstances. Whatever arguments are convenient and possible to make, she'll make them. She is the one who has brought race into this equation, which is why the topic is fair game for anyone to bring up. I somehow doubt Calvin Royale would want to make the same arguments (he is a wonderful dancer so why wasn't he promoted to soloist and Gorak was). If Stella or Sarah were so openly challenging, perhaps they'd get more roles, too. I do feel Misty has been trying to back Kevin and the board into a corner which is I think iwhat people are responding to, not the topic of race per se.

IMO, if Misty were white , did not have wealthy sponsors, and was not a relentless self promoter, she'd still be in the corps.

I don't think that someone can simply market their way to the top - McKenzie obviously saw something in her dancing that earned her the promotion. Also, the media attention surrounding Misty is fairly recent (in the last 2-3 years). If I'm not mistaken, she was promoted to soloist back in 2007. The media attention followed her promotion, not the other way around.

Misty has always been sponsored by the wealthy Manhattan socialite, Susan Fales Hill. In order to cultivate these sponsors, Kevin always promotes and features the sponsored dancer. I believe that it why Misty was promoted, IMO.

IMO, if Misty were white , did not have wealthy sponsors, and was not a relentless self promoter, she'd still be in the corps.

Neither is late seating NBOC strategy; it depends on the theatre.

We asked the ushers about the seating of latecomers (and they are Koch ushers, we recognize from NYCB) and they said the seating decisions were made by NBoC.

Interesting -- do you know if it's regular Koch people in the box office, or did the Joyce have to find their own? Between the NBoC, the Joyce (the presenter), and the theater it's a combo plate.

A question for anyone who saw the RB broadcast of the ballet last year, and saw these performances -- would you please talk about any differences you perceive in the special effects between the film and live experience?

I suspect it's Koch people staffing the box office but either NBoC or the Joyce probably decided how many to use. For example, during NYCB, I believe there are 2 tickets takers at each of the 4 entrance ways to get into the theatre. Last night for NBoC only 1. Also no security screening of bags/purses, routinely done when NYCB is in season. So the employees may be Koch employees, but who, how many, what they should be doing was clearly left in either NBoC or the Joyce's hands.

A fun article, but I disagree with one statement:

It is particularly bad form to sit through a performance and then dash for the exits before the applause and the curtain calls begin.

I can think of all sorts of legitimate reasons for making a mad dash for the exits as soon as the performance ends -- the last bus/train home, a baby-sitter who has school the next day, a long drive ahead on a work night. That doesn't seem as egregious as leaving during the performance and having to climb over other audience members who might be enjoying the program.

I have to say I agree with California. Rushing towards the exit is a phenomena I mainly see on weekdays when many audience members have work or other obligations early the next day. Moving curtain times to 7:30 (NYCB and ABT) at least Monday through Thursday has been a step in the right direction. For myself, I have, in the past mainly only gone to see shows Friday or Saturday. However, recently, this has been too limiting so my husband and I will see weekday performances but have to leave shortly after applause begins due to his work the next day. I'm sure the performers recognize this and it is only a problem with full length ballets ((an ABT spring season problem).

As for walking out early, it is rare that I do but I have on occasion left at intermission when a performance seems hopeless beyond repair. Two examples that spring to mind are both Wheeldon full length ballets (Cinderella and Alice) which are very "Disney" ,rely heavily on sets and costumes and not very interesting (IMO) choreographically. I also left at the second intermission of the Osipova/Vasiliev Solo for Two in London last month. The first two pieces were awful and though I'd heard the third was the best, by that time I was in no mood to see if that was true. I think it is perfectly acceptable to leave at an intermission. You've paid your money (the performer has it) but to feel like you are paying to be punished, no thank you! Leaving during the performance is more tricky; if you are in an aisle seat and won't disrupt others,fine, but otherwise sit it out til the intermission is my philosophy.

Just as an aside, it was interesting at the ROH to see Fateyev make a mad dash for the exits (before the lights even came up) during the nights with more than one ballet. I've seen Peter Martins do the same at NYCB. But ADs usually have either aisle seats or 1or2 seats in from the aisle, so they don't disrupt anyone.

We've got a running discussion on the subject of abandoning shows. Please chime in.

http://balletalert.invisionzone.com/index.php?/topic/39222-spectators-walk-out-of-a-show-for-many-reasons/

Saw the thread and just want to say we left at first intermission not immediately. Had the dancing been more engaging (what I had hoped Cote would bring to enliven Alice) we might have stayed. However, a ballet we found very "Disney" and not interesting choreographically plus meh dancing = I can spend my time more enjoyably elsewhere.

I find it "curious" that anyone who considers themselves cultured, as defined by appreciation of ballet and its supporting arts (set designers, craftsmen, musicians, etc), would buy a ticket for a company's tour, and despite being disappointed in a casting change, not sit through to a performance's end. If not to see the outcome of the unpredictable live event, at least to respect the efforts of the artists who put it together? I am so glad that the audience representing the USA and New Yorkers, from what I witnessed, offered a warm welcome to our guests, complete with many audible cheers. Having travelled in Canada frequently, I am so often observing how tolerant and considerate the Canadian culture seems to be.

Having left after two intermissions, deciding that we had better dinner options at 10pm rather than 11pm, I can apreciate people can have various reasons for leaving early, and if the earlier poster left early because of a casting decision in a ballet he/she already considered dreadful, so be it. NBoC is a major north american company,whom I've enjoyed in the past (and will enjoy in the future) and I don't think they expect some sort of patronizing "warm" reception. Rather, being a major company from an intertnational city, they probably expect to be appreciated on the merits of what they do. I think the majority enjoyed what they saw during this Koch season, but that doesn't make those who left any less "cultured".

If shedances has read some of the very early comments on this thread, many NYers do not like Alice and were very disappointed this ballet was what NBoC chose to bring to NY. Many chose not to see the production at all. I was not going to go (because I don't like Alice) but seeing either Evan or Guillaume is a rare treat that I didn't want to pass up. We see many, many ballet performances and it is rare that we leave early. Generally, we just select programs we like. But, NBoC is not the Bolshoi, where, for example, seeing the wonderful corps and leads, makes seeing the Grigorovich Swan Lake tolerable. Far from thinking we aren't "cultured" I think we are discriminating and know what world class ballet looks like. For heavens sake, we just went to London to see the Maryinsky (6 performances in 8 days). If you like Alice, fine, but take a deep breath before being judgemental and insulting a poster shedances.

I still fail to see why, since neither Jillian nor Guillaume were injured, this necessitated a major casting change up. From tweets, I gather Sat. Matinee, Sat. evening and Sunday matinee all had the leads change because someone down the food chain was injured. I understand a change in lead when he/her is injured (like Evan McKie), but this is IMO is incomprehensible. And I went to Sat. evening just to see Cote so, since he's not injured but didn't dance, I'm pretty mad. I think this company (and maybe the Joyce) made a lot of rookie mistakes (also not staffing the box office for will call properly). I'm pretty soured on them and would not see them again if they come back here.

Neither is late seating NBOC strategy; it depends on the theatre.

We asked the ushers about the seating of latecomers (and they are Koch ushers, we recognize from NYCB) and they said the seating decisions were made by NBoC.

I came back from Sat.evening's performance having left at first intermission. Not only did they pull Cote, (no notice) but also the other 2 leads, no explanation & replaced by people who looked to be from the corps. Then during the middle of Act 1, during the dancing, they began seating latecomers, I would guess about 50 people. I couldn't believe it! Even Friday night at Fall for Dance, latecomers were made to wait until a pause or intermission to be seated. Then of course the ballet is dreadful (but I have the Blu-Ray so I have only myself to blame for that one). I think NBoC needs to rethink their strategy before coming to NYC again.

However, I purchased a 3-ticket create-your-own series and was disappointed to learn that I would be charged full box office price when I added 2 tickets for friends to join me at one of the performances. I suppose if I had purchased a larger subscription this wouldn't be the case. Oh, and I also have not received my tickets.

I think to get the full benefits of a subscription you have to order at least 6 performances.

Just wanted to add I just received tickets for 3 performances I added on to my subscription but have still not received my subscription tickets!

However, I purchased a 3-ticket create-your-own series and was disappointed to learn that I would be charged full box office price when I added 2 tickets for friends to join me at one of the performances. I suppose if I had purchased a larger subscription this wouldn't be the case. Oh, and I also have not received my tickets.

I think to get the full benefits of a subscription you have to order at least 6 performances.

NYCB is the only organization I'm aware of that: (1) sends subscription tickets out well after the box office has opened up for public sales and (2) does not give subscribers a priority exchange/purchase week ahead of ticket sales to the general public. The fact that subscription tixs are discounted is nice but not a strong argument to cut NYCB some slack, since Carnegie and the Met both discount subscription tixs and also manage to give their subscribers benefits of sending out sub. tixs well before the box office opens and giving priority purchase/exchange week to subscribers..

I do have to give props to NYCB box office for a few things, despite some clear drawbacks. One is that not only do they NOT have dynamic pricing (unlike ABT) but if you decide on extra performances in addition to your subscription you get 15% off the seat's full price. The other is that you can call the box office to request an extra performance and you are not charged the typical $10 service charge per ticket, only the $3 facility fee. That makes it incredibly easy for tose of us who do not enjoying schlepping to the box office to avoid service charges (like I have to do with ABT). In fact, the other day I ordered 6 extra tickets over the phone and, because I'm a subscriber, not only saved on the cost of the seat but avoided $60 in service charge fees. I assume subscribers can avoid the fees and get the discount if they order over the internet as well just by putting in your subscription ID.

Do they offer subscribers the option of having their tickets held at the box office to be picked up at the window before each performance. This method makes exchanges incredibly easy since you don't have to physically return your tickets. It also simplifies giving your tickets to someone else, since you can instruct the box office that they will be picked up by the recipient at will call and you don't have to arrange a physical meeting to hand off the tickets or worry about the mail service failing

I don't know but if they're so disorganized they can't send out the tickets, I wouldn't trust them to hold your season tickets.

The Whelan seating was a fiasco. My order form had three price choices, with the highest being $134 (plus handling fee and facility fee). What I ended up with was tickets that cost $167 per ticket. I was never contacted by anyone to ask if I was willing to go into the higher price category. Nor was there anon the order form which asked if you would be willing to go into a higher price level if your price point is sold out. My tickets are in the last row of the first ring, in the center. This better be a damn good program considering the price. Too bad they had to turn Wendy's retirement into a little money making profit scheme, thereby diminishing the event.

That's really not too bad,abatt. I often sit in the first ring and without the discount, the tickets cost $150, so $167 doesn't seem so off the mark. But $100 for the 4th ring is definitely exploiting the viewer and turning this evening into a money profit scheme. We've never sat that far up (we're usually in orchestra or 1st ring). My husband is dreading it since our experience at the Royal Opera House Amphitheatre was miserable. But I want to be a part of this night si I'll settle for the seats I can.

Just want to clarify that I have a "create your own" subscription.

BTW, it's Aug.25 and my subscriber tickets have still not come, despite being paid for. If they don't come by next week it's another call to the supervisor.

The Whelan seating was a fiasco. My order form had three price choices, with the highest being $134 (plus handling fee and facility fee). What I ended up with was tickets that cost $167 per ticket. I was never contacted by anyone to ask if I was willing to go into the higher price category. Nor was there anon the order form which asked if you would be willing to go into a higher price level if your price point is sold out. My tickets are in the last row of the first ring, in the center. This better be a damn good program considering the price. Too bad they had to turn Wendy's retirement into a little money making profit scheme, thereby diminishing the event.

That's really not too bad,abatt. I often sit in the first ring and without the discount, the tickets cost $150, so $167 doesn't seem so off the mark. But $100 for the 4th ring is definitely exploiting the viewer and turning this evening into a money profit scheme. We've never sat that far up (we're usually in orchestra or 1st ring). My husband is dreading it since our experience at the Royal Opera House Amphitheatre was miserable. But I want to be a part of this night si I'll settle for the seats I can.

I've left London and didn't get to see Cinderella. Would love to hear about it as well as the last 2 Swan Lakes.