rkoretzky

Agreed. All the more reason that the delay in searching for a new artistic director is inexplicable. I’m not suggesting that this particular scenario was anticipated. Of course it wasn’t. I am suggesting that the process should have gotten underway months ago and should have been completed by now.

Who should be the official spokesperson for the company? Scharf? Jon Stafford? I suggest that is the responsibility of the executive director. My career has been in the education world—public schools and libraries. I have no experience working in an organization of this size or scope. So I really don’t know. Re Bella’s comment: yes, I agree that the interim team deserves our full support. They have done a remarkable job under circumstances they couldn’t possibly have anticipated. But I’m one who wishes the search process had gotten underway much more quickly. And frankly I don’t understand why it didn’t.

Although I won’t speak for her, I don’t think that is what she’s saying. Again it’s a word choice. “Fester” says to me that it’s inculcated within the organization and has exploded under current conditions. Again, why isn’t the executive director stepping up?

Ashley states “I do not condone this behavior”. To me this is her personal statement and she is saying this as a member of NYCB, but not speaking for the organization. There is a world of difference between “condone” and “encourage”. I don’t believe there has been any mention of this reprehensible behavior being encouraged. Please point out if I’ve missed that. NYCB is not, in fact, leaderless. There is an executive director. Other than her signature on the recent email, along with Jon Stafford, where is Kathy brown? As I reread what I’ve written, I want to state in the clearest possible way my unwavering support and admiration to Ashley in making this statement. If she so chooses she will run a company some day, or should.

I was at the Saturday matinee at SPAC when Chase made his debut performance in Apollo. He was promoted on the spot. It was a stunner. He captured the arc with great clarity. I will never forget it. Unfortunately injuries intervened and I never saw him rise to that level again.

I’m rubbernecking. Can’t bear to read this, can’t turn away from it. This won’t be a long post. I just want to write in support of Sappho and the others who are calling some of these posts out as victim shaming. Whatever else is in play here: no means no. She said no.

Baily Jones also debuted in Saratoga in 3rd Mvt, also with Sebastian. I was absolutely enchanted by all three of them. Precise clean technique, nailed all the tricky footwork, sparkling smiles from the ladies, and Sebastian NAILED the tours en l’air. I I think you’ll be very happy with his performance.

She did it in saratoga with Sebastian VV. Spectacular. Go!

Yes hopefully. I’m not feeling too trusting. There are allegations against a donor, a board member and a principal dancer who allegedly committed rape. These need to be addressed as well, at least for me to regain my confidence in NYCB.

Yes well said. But here’s my conundrum: there are others who were implicated but not named in the complaint. We have no idea who they are and we will likely be watching them onstage. Over decades of watching this company especially in the relaxed informal summer atmosphere in Saratoga, I’ve been so lucky to get to know many dancers. It pains me to even think about insulting them by my absence and denying myself the pleasure of watching them. And yet, I believe much more lurks underneath here.

The statement from New York City Ballet doesn’t go NEARLY far enough. No mention that a donor or a board member have been implicated. (Are these the same person?) Count me among the loyal fans who’ve posted here and who are conflicted about the coming season. Yesterday when casting for week one was announced I was prepared to make my choices. As I always do I checked this board to see what comments might have been made re casting and encountered this. At the very least, not a penny of donation money from me until I see movement towards full disclosure. Is it appropriate for a statement to be issued to ticket purchasers, fans, donors and subscribers (most of us here fall into at least one if not all those categories) expressing regret and hope that we will continue to support with our attendance? Or is that an admission of something?

Mark Morris?

The great Paul Taylor has passed away at age 88. I’m sorry, I can’t figure out how to link to the NYT article or the press release from the company.

I’m only surmising this: he just started a very high profile position at Juilliard. Awkward at the least?

I would hope he could be. But his wife was (one of?) the first person to speak out against Martins. Regardless of anyone’s personal feelings, it could be very divisive at a time when unity is desperately needed, don’t you think? I’m a fan. I grieved when Peter Boal retired. There was a lot more dancing he could do. But he seized a tremendous opportunity. Daniel Ulbricht put together a phenomenal program this week at the Pillow. It was the best possible Robbins tribute. (Far better than the paltry lip service from spac ). I believe he could do this job. But he seems to have much more dancing left. This opportunity is too early.

Much unfortunate timing here. Tomasson, Villela, Farrell, McBride—too late. Woetzel—too late for a different reason. Ulbricht—too early. Boal—I wish it were possible. Lopez—practically perfect in every way.

Peter Boal would be a dream candidate. But it was his wife who was one of the early voices that toppled Martins. Lourdes Lopez is the one imo.

Wish I had known this and I would have asked my daughter to get to BO sooner. Notice on the website maybe? Prominently? I was checking often.

And as an example of an excellent policy that rewards frequent ticket purchasers: I’m an original member of NYCB Fourth Ring Society, now know as Society NYCB. This goes back decades. My tickets can be purchased by phone or at the box office, with no service fees ever. There is a $3 facility fee for every ticket purchased, box office, online, phone. In my memory that’s relatively new, maybe 5 years?, but I just add it to the price if the ticket and it’s fair, across the board. I pay $25 annually to keep my my membership. It started at $20 all those years ago. I consider it a supplemental donation to NYCB and pay it gladly. It’s like season tickets at Yankee Stadium or my very inexpensive glimmerglass subscription. I won’t give it up. Ticket prices have risen a lot over the years. $12,$15,$17, $23, $28, $31. Maybe an increase this season, I still think it’s a marvelous deal. Quite a few years ago, the PTB tried to eliminate our society. What a hue and cry! Our dear Carley Broder, R.I.P., published a letter in the New York Times! It was restored, but only to current members. It us capacity controlled. I had a problem once, trying to see a Mearns Swan Lake. And you sit where they put you. No other down side.

So this is interesting. I finally had a few minutes to call city center when our schedules lined up. They don’t open the offices until 10am. I left a VM for the Vice President of marketing and certainly hope she’ll return my call. However the person I talked with (didn’t get her name) told me she’s worked there for eight years and the box office closes every August. (This is July 29-September 4, but I guess close enough). I’ve been buying tickets at CC for decades and have never heard about or experienced this. Anyone?

Service fee $3 per ticket. Convenience charge $10 per order.

I’d love to meet you. I’ve lived in Saratoga for 40 years and worked at SPAC as an usher and usher captain for 30 of them. Now I just buy tickets and enjoy. And we do all those things you mentioned (glimmerglass, WTF, Pillow). In fact we’re heading out now for a concert of chamber music society of Lincoln center. We have that too. if we could only be assured of the future for NYCB.

Did anyone else get the email that city center will reduce service fees if you subscribe to Encores? And this doesn’t even go on sale until mid September, when the box office is reopened.

We all make our choices depending on what works best for us, what’s practical or manageable. My problem with the current city center situation is that there’s no choice to make short of deciding not to go or taking a chance that you won’t get tickets at all by waiting until September 4 for box office sales. For you the service fees are a happy trade off for convenience. For me, they are a necessary evil that I will pay if I can’t get to a box office or have someone else go to the box office for me. I maintain that service fees (or at least some percentage thereof) should be waived in this situation since the box office option isn’t there. I live about an hour and a half from Jacobs Pillow. I just bought a ticket online for Limon on Saturday. The service fee was a very reasonable $3. I live about a mile and a half from Saratoga Performing Arts Center. Two tickets for an event on Thursday night cost $40.The service fees would add $16. You can bet I’m going to the box office tomorrow.

Points taken Birdsall, but isn’t the best way to get the exact seating you want by buying directly at the box office window?the seat map is right in front of you and you’re interacting with a live person. I am averse to paying service fees and will always buy at the box office, at least in New York, whenever possible. As an example, the Public Theater is often out of my way but their fees are very low, for broadway and Lincoln Center, box office always. I don’t live in the city but my daughter does, and a group of my theater, ballet, opera pals often pick up tickets for each other. Someone is always going in for something so we help each other out. I didn’t find purchasing these tickets on the city center website easy, convenient or pleasant. There is no option for seat view by the way. And yes, the fee charge is exhorbitant.