rkoretzky

When there are no service fees at the box office, but it’s impossible to purchase at the box office......not customer friendly. When are you seeing this, Karen?

Thank you Drew. 😉 After a few more attempts, I was able to log in successfully and get two sets of tickets. The service fees alone total another ticket. I will make a call to the administrative office next week just to express my displeasure. It won’t change anything but at least I’ll make a point.

Apologies in advance for the rant, this is also an FYI. If you haven’t yet purchased your tickets, you have two options: citytix by phone or online. The box office is closed until September 3. You will be paying $9.75 per ticket for service fees. I take responsibility for the fact that I didn’t jump on tickets as soon as they became available on July 9. My daughter was going to pick them up for us at the box office and she delayed—she’s in the process of moving, busy time at work.... The box office closed on July 29 and will remain so until September 4. No other way to purchase tickets in person. I tried last night to purchase tickets on line, couldn’t navigate the website, called citytix at 8:02 pm to find they closed at 8. Today I called citytix and had a conversation with the agent, confirmed they are not waiving service fees in lieu of a closed box office, couldn’t get across to her what dates I wanted, she kept telling me availability on dates when I cannot go, wouldn’t give specific seat information, finally I just gave up and just spent a frustrating hour trying again to navigate the website, chose three tickets on October 31 and November 1 (the only dates when I can go), tried to log in, forgot my password, had to reset it, my cart of carefully chosen tickets (the best available at a reasonable, at least for my budget, price) disappeared and has not reappeared on the seating map. This is infuriating. I have been checking the website regularly. Nowhere did I see a notice that the box office was closing. It is certainly not this weekend ticket agent’s fault that she now has to take phone calls from irritated customers over policies that are not her doing, but she wasn’t very courteous or forthcoming with information. I tried to convey to her that I wasn’t holding her personally responsible. I finally gave up because we just weren’t communicating. i think it’s poor customer service to charge service fees when there is no other way to purchase tickets. However, even at inflated prices, tickets are scarce and I’m going to have to suck it up and get these tickets by phone or online, or take the chance on waiting until September, running the risk of a sell out. The balcony hasn’t been opened yet, but even if they do sell tickets there It’s not a good place to sit for ballet. like other posters who attend NYCB regularly, I’d prefer to see all the guest companies. However, these are the dates I can attend, and so I will. I’m not throwing away my shot. Just aggravated and annoyed with myself.

I’m glad to have anything but greatly disappointed with the SPAC administration who seem to have it in for NYCB no matter who is sitting in the offices. The Philadelphia Orchestra also loses money every year but their season remains at 3 weeks. Not that I want to see either of our resident companies slashed, but why has NYCB been cut to 3 weeks in 1979, eliminated and then restored in 2005, cut to two weeks in 2009, cut further in 2013, restored to 2 weeks in 2015, and now this for the second consecutive year . Now let’s hope that someone at SPAC has the knowledge to negotiate for better programming: more Balanchine, more Robbins and different rep for each matinee.

It’s mobbed here tonight. Lots of little girls with their dolls (a longstanding SPAC promotion), a noisy packed lawn and for my last minute (my bad, I forgot to come earlier today) ticket purchase a seat 3rows from the back of the balcony. Most of us diehard every nighters purchase the season lawn pass which allows us 5 upgrades to inside seating day of performance. Tonight is the tightest night for tickets I’ve noticed in many years. The week has been phenomenal, in spite of the dearth of Balanchine (one program repeated on the first two nights) and especially almost entire lack of Robbins (only on the gala tomorrow night, other dances and four seasons). We are bereft here. Rumors and predictions going forward are flying every day, but no speak from SPAC or NYCB. I can hardly stand that this glory ends tomorrow. Please, anyone who cares about preservation of the arts in these dark times, please call, email, write to SPAC in support of the continuation of this unique relationship. PM me if you’d like. I’ll explain further.

while it is disappointing to not see Maria once, Tess was ravishing. I especially love the way she takes her time, luxuriating in every movement and showing every position with clarity. Just beautiful. You’re all correct! Tuesday Indiana. Wednesday Baily. Both with Sebastian and all brilliantly done. Debuts!

I’m old too, but this program makes everyone feel young and in love with NYCB!

No it was Erica in square Dance and Megan L in 4Ts choleric. Just got home from round 2. Tonight Baily Jones led 3rd mvt Bizet and also rocked it. I agree. The depth of talent in this company is breathtaking. BTW the tempi in 3rd and 4th movements bordered on ridiculous but our amazing dancers handled it beautifully, Unfortunately we have now seen all the Balanchine we’re going to see. We now go to three Romeo’s, a night of new choreography (Peck, Lovette and riesen) and a mostly unimpressive gala program on Saturday night.

It was a full out bravura performance from both of them. Indiana Woodward kicked the third movement to the curb. It was heaven.

I saw opening night and thought the children were well rehearsed and did an excellent job. But I agree that the childrens' dances were too long and I wonder if the purpose was to stretch the ballet into an evening's worth. As presented it's too long to pair with another piece, yet I found it too short to be a full length ballet. NYCB offers Harlequinade with another short ballet ion the program. Maybe shorten the kids part and follow suit?

You're correct, Sandik. I'm actually referring to social media coverage--Facebook and email blasts, which is in the presenter's control. I wish Ballet Naccional a successful three performance run of Giselle and will certainly attend. But NYCB is the cornerstone of our SPAC season, and everytime it is diminished this way, it hurts more and becomes protested less.

I've heard it will be recorded music. A shame. SPAC is begging people to buy tickets. "Limited time only" discounts keep reappearing. Meanwhile NYCB is cut to one week. And no press whatsoever.

Re Warren Carlyle. This is more about him than NYCB spring season, so mods move if appropriate. I saw the program with the Robbins mashup yesterday afternoon. Today I saw City Center Encores superb "Me and My Girl". Wow. You would have no idea this is the same choreographer. I admit that seeing a larger than life photo of Jerome Robbins broadly grinning while 50 dancers, who never worked with him but clearly recognize genius when they dance it, stood in tribute to him brought tears to my eyes. But even as I was brushing the tears away I was aware that my emotions had been manipulated. "Something Wonderful" is my absolute favorite R and H song and I get the subtext, it's a description of Robbins' well known difficult personality, but without presuming to speak for Robbins I don't think he would have liked this at all. IMO the piece is a mess. Choreographically you can see the Robbins style and influence, but since Robbins did it all about a million times better why would you want to watch this? Why would it even have been commissioned? Theatrically it makes no sense. The vignettes are out of context and unless you are familiar with the shows it doesn't hold together. Doesn't the three glorious weeks of programming including seldom performed gems provide the appropriate tribute? I think so. Maybe a revival of Jerome Robbins' Broadway could have been mounted in a Broadway theater? So with pre purchased ticket in hand, I approached City Center this afternoon with a little trepidation. Wow. I laughed through the entire show and left humming The Lambeth Walk. The choreography is smashing. The note perfect Christian Borle and Laura Michelle Kelly led a gifted cast of musical theater veterans and it was a rip roaring old fashioned real good time. It helps that Stephen Fry revised the book and it is hilarious. It also helps that these are musical theater dancers who can tap, kick and shuffle. Having also seen recently the splendid "My Fair Lady" I loved the sly (and not so sly) references. This production deserves more than a five day run.

I agree with Helene. Damian has given colleagues from across the dance world the opportunity to stretch in ways they might never have attempted. True crossover programming. I think he would kick a** as AD at nycb. Everything could have lined up perfectly: administrative experience, artistic experience, age, temperament, keen intelligence, insututional knowledge. But what about this commitment to lead another major arts organization across the plaza? i would also be thrilled with Lourdes Lopez as a choice because she also seems to have that combination of qualities in spades, with the additional benefit that women are sorely needed in the top positions. My third choice will unfortunately not be in contention. My gut feeling is that there's a dark horse somewhere. Whoever is chosen, I hope it happens very soon.

We're currently on a Royal Caribbean cruise and have just come from the evening production show. Shout out to the singers and dancers who were all wearing orange ribbons.

Well thank you! Between this and Olympic figure skating I'm a happy camper.

It's possible (even likely) that I'm not remembering correctly, but I was at a lecture/dem in Lake Placid quite a few years ago where Megan LeCrone danced the Agon PDD beautifully. I don't remember who her partner was, but I was struck by how well suited she is to Balanchine leotard roles. At the same program, a young Kathryn Morgan danced the La Sylphide PDDwith Joaquin DeLuz. Quite a while ago.

Patricia McBride asked to coach one of her signature roles! What a positive change. This bodes well for the future of our beloved NYCB.

Agreed and I'd be the last person to apply additional pressure to the four interim administrators who are, from all appearances, doing yeoman's work to keep things together under these most trying circumstances. All the more reason that it's essential to get someone in place to right the ship and move the company forward. Hopefully that will happen quickly. I made an assumption that the SPAC leadership could and should have initiated a change.

And Bernstein.

Possibly so, but the season was just made public on February 4. There was plenty of time to make a change after the shit hit the fan. Programming changes happen often, for all sorts of reasons. I maintain that if the powers that be wanted a story ballet West Side Story ticks the boxes: Its Robbins/Bernstein. Its good. It brings in crowds. And it opens two slots in the program for additional quality Robbins (that would be a tribute!) or more Balanchine (heaven). SPAC should be back pedaling from Martins as quickly as they can.

More of a stinker than you know. We get one wonderful Balanchine program. 4Ts, Square Dance and Bizet on two consecutive nights, Tuesday and Wednesday. That is IT. By Thursday we're done with Balanchine. We have the three Romeos and one night of new ballets. Our Saturday night gala features Robbins, sort of. It's the only Robbins we get in this extraordinary year. We have Four Seasons and Other Dances. We also have the new Peck and Carlyle tributes. That's it, done, game over. Nothing of the Bernstein/Robbins collaboration. The Philadelphia Orchestra is doing West Side Story later in the season. None of the Robbins ballets that look perfect on our outdoor stage and that haven't been here for years, but are in spring season: G Major, Interplay, DAAG, In the Night, Opus 19. Not even Circus Polka to bring in local ballet kids, who bring in scads of paying family members. I don't care much for Circus, but I was looking forward to seeing JR spelled out on the stage. None of the beautiful Balanchine masterpieces that I've seen in the last week, works that feed and soothe our souls in these trying and troubled times. No Apollo, Mozartiana, Chaconne, Divert. We "need" a story ballet. Midsummer opened SPAC in 1966, Coppelia premiered here in 1974, WSS honors Jerry and Lenny in such a perfect way. Any would be so appropriate now. But we have Romeo, three times, at this time and under this cloud.

Marta, Juliet and I are talking about SPAC, the summer home of NYCB since 1966. From four weeks, to three, to two and now to one week. 7 performances. Three are Romeo + Juliet, including both matinees. Coppelia had its premiere (Mr. B's version of course) at SPAC in 1974, so naturally we feel a bond.

I hope it's archived and can be accessed.