rkoretzky

I really have to jump in here in defense of Megan Fairchild, a lovely young woman with outstanding technique and a huge heart--I see her dancing straight from that heart every time she steps on the stage. In Saratoga in summer 2003 Megan did five Swanhildas in three days, including two mat/eve combinations. At the time she was a corps member and it was her Coppelia debut. The entire town was talking about her grit and determination, not to mention that she was utterly adorable in the role. That feat, in and of itself would have made me a Megan fan. But I must say that I have enjoyed everything that I have seen her do: even the Robert LaFosse mess of Opening Night 2002 was salvaged by her. I am one of the few balletomanes to admit that I thoroughly enjoyed "Double Feature" and look forward to seeing it again. My enjoyment was enhanced by Megan, playing the "bad girl" and I hope she does it again. This past summer she was given a opportunity to perform Calliope in Saratoga. I admit to a bit of doubt as to whether she was ready for this challenge, and am happy to say that she held her own. She has a way to go with that role and with others, but she showed me a side of herself that I had not seen, and I look forward to more opportunities to see this brand-new principal dancer as she reveals more facets of her personality. I am utterly charmed by her, having had the chance to chat with her briefly in Saratoga and having been awed by her lovely clean technique and radiant smile. Congratulations Megan.

This thread very likely belongs in the "Arts Administration" section, but I am posting it here because I expect it will receive a wider audience here. If one of the moderators feels it should be moved, so be it...but could it be in several places? There is much rhetoric and emotion here in Saratoga over the appointment of Marcia White, currently a top aide to the most powerful Republican member of the state senate,(Joe Bruno, who also happens to represent the city of Saratoga Springs, and who found the $300,000 grant that was most helpful to the cause) as the new director of the Saratoga Performing Arts Center. Some of the articles, editorials and letters have made their way into our Links forum (thank you Ari and Mme. Hermine!), but there is more that cannot be linked here. However it is "more of the same"--every local newspaper has denounced this choice, not as a personal comment on Ms. White, but as a comment on her lack of experience in the arts, and as yet another example of the SPAC Board's utter disregard for the wishes of the community, and for input into these critical decisions. There was no national search, indeed there was no formal advertising of the position. I have my own opinion on this question, but am very interested in knowing what all of you think of this latest development: What are the necessary qualifications for such a position? What is the role of politics with regard to the business of the arts? What is the responsibility of a not-for-profit regarding employment? What is the responsibility of a board to the members of an organization, and to the community at large? And any other side issues raised by this news.....

NYCB at SPAC would have died silently without the efforts of an incredible Saratoga community and the assistance of Assemblymember Tedisco and Senator Bruno. Please don't forget them in your congratulations.

Good morning and Happy Thanksgiving. Perhaps all who love NYCB and SPAC have something to be thankful for today. My husband and a good friend of mine were both at the Press Conference announcing the audit results. I have a copy of the audit, which I have read in its entirety. We also made sure that copies were given to representatives of the dancers and musicians, who were so supportive and concerned for the last nine months. The news is getting out. I am leaving for Europe tomorrow and will be away for two weeks but will remain in email contact and I will try to answer any questions about the audit report that are posted here. To begin with sandik's question: CCE is mentioned frequently in the report, but mainly to Herb's detriment, not theirs. The implication is that SPAC didn't make good use of CCE's participation--in fact CCE is referred to as a SPAC partner in much the same way as NYCB and PO. "SPAC's successful partnership with CCE Inc....must be more fully leveraged to better support its principal mission and focus. WITHOUT THE PRESENCE OF THE NYCB, THE FOUNDATION OF THE STATE'S 100 YEAR RENT FREE LEASE WOULD BE CALLED INTO QUESTION, STILL FURTHER JEOPARDIZING THE FUTURE OF SPAC." Herb is slammed for salary increases after the CCE contract reduced his duties by 70%: "Shortly after the current compensation contract was in place, CCE contracted with SPAC to book and stage all touring (rock and pop concerts) at their sole risk, thereby..reducing the level of responsibilities for the president. Nothwithstanding this substantial reduction...the president's compensation package was not adjusted accordingly. SPAC's long range plans were never adjusted to reflect the CCE deal. Herb was asked to draw up a 5 yr business plan (his specialty as an accountant, one would think)--he never did so. There is much in this report that is very damning. Sometimes there is justice in the world.

More bad news on the touring front. ABT has cancelled a one-night stand at Proctor's Theatre in Schenectady, a performance that was highly anticipated since ABT has not performed in NY's Capital District in recent memory. The news about Suzanne Farrell being forced to cancel the entire tour is devastating indeed. Other arts aren't in much better shape. The Philadelphia Orchestra opens tonight at SPAC with the spectre of a labor dispute facing them as soon as they return to Philly. Something has to change in the way that arts are funded in this country or we're going to be left with a gaping hole. The classical performing arts are going to disappear. Our SPAC troubles are only indicative of what the entire country is facing.

Yes of course Mashinka! Thanks for reminding me.

I'd love to see them in NY next summer, but let's hope they don't bring R&J!

I wanted to add a few impressions from Saratoga 2004, but didn't want to muddy them up with the political stuff, so here goes: MVP (male): Steven Hanna proved himself over and over again as a shortened roster of male principals gave him opportunities to shine, notably for me in Suite 3 and Hongrois. MVP (female): Alexandra Ansanelli puts her own stamp on every role she takes. Rubies, Stars, and Strav Violin Cnto look magnificent on her. All of the pleasure of watching Patty and Kay in the original roles is returned to me when Alexandra is cast. As an aside, as much as I enjoy Wendy Whelan in VC, watching Sofiane Sylve in that role was also a revelation. Sometimes you just want to see a new person take a role when someone has been doing it for such a long time. ON THE FAST TRACK: It almost seems redundant so say so, as so much has been written already about her, but Ashley Bouder has ***STAR!!***written all over her. She's the one you watch--whenever she is on the stage. What a joy to have this young woman back--healthy and stronger than ever. I'll buy a ticket to see her anytime, in anything. RUNNER-UP: Tess Reichlen in Rubies and 4Ts, queenly in bearing....dwarfing the principals in Rubies and devouring the stage in Choleric. FAV BALANCHINE: My favorites weren't programmed this summer, but the ballet that I wanted to see over and over was Divert. With all the turmoil of this season and my personal issues with SPAC, Mozart was what I wanted to hear and the ordered symmetry and crystalline perfection of Balanchine's choreography was what I wanted to see. REVELATORY PEFORMANCE: Believe it or not, the trifle called Zakouski became thrilling to watch with Megan Fairchild and Ben Millepied. Programming for week 3 was lightweight, but audience favorites. I could have done with different Robbins (how many times can you see OldFashioned?), but opening night (with 1000 flashlights shining) and closing night (with me sobbing and FF and my husband both trying to comfort me) were memorable and thrilling. Who's coming to State Theater for opening night? I am!!!

Exactly right, FarrellFan. Everything that Herb Chesbough does and says points to the fact that he doesn't want NYCB here. If SPAC isn't big enough for both of them, there is no one with whom I have spoken who would like Chesbrough to be the one who wins out. He does have a contract which doesn't expire until 2006 (at which time he says he will retire). No one that I know has seen the terms of the contract, so no one seems to know if he can be fired before 2006 and on what grounds. We are in for some interesting times here. The attendance question is interesting. Of course SPAC didn't reach the unattainable 75,000 tickets goal (a whopping 30% increase over last year, which was already an increase from the previous year) that was dictated by Herb at the beginning of the season. The question that now needs to be asked is: what next? We have NYCB for 2005, but is 2006 already eliminated as far as the SPAC board is concerned? I can tell you right now that it is NOT eliminated as far as Saratogians are concerned, and once again I'll say that things here will be interesting. I'll post updates if BA readers would like me to do so.

Oberon, it's a valid question....I just don't know if I can do it. The choreography is so unsuited to the music and so poorly done that I don't know that any dancers on the planet would look good in it. Wendy of course is a phenomenal dancer but it was heartwrenching to watch her pawing and scratching. As for Robert Tewsley I didn't see that he was given much to do other than roll around in the chair and mime "I have a great idea!!!", of all things to insult the approach that Mr B took. As were many others, I was most offended by the Tanaquil character--in her interview in today's Saratogian Alexandra tried to convey that she wanted to be respectful...and she was, to whatever extent she could be in that circumstance. I feel for her. I have never seen Maria Kowroski look less Suzanne-like. So I guess the answer is that it was danced as well as it could be considering that it is a worthless piece of trash. As my friend Farrell Fan would say now: "So...tell me...how did you really feel about it?"

Yes, Janie danced in "Eros Piano". It was our first look at her this season. I didn't dislike the ballet, but I didn't love it either--I just put it into the category of "more of the same" Martins ballets. I will say that I received more enjoyment from the score than I had expected. For Adams music it was almost melodic. Janie--and the others too--did a creditable job with what they were given. As for "Shambards"--it was done twice here, but with a totally different look, because the second time was a matinee. It was totally washed out in the daylight. I LOVED the evening performance. Because I was prepared for the violence it didn't upset me terribly, and I found the ending emotionally satisfying to tell the truth--I saw more tenderness than violence in Jock as he dragged (can't think of a less extreme verb) Miranda upstage. I didn't enjoy the matinee as much and found it to be much more violent the second time around. In polling friends in the audience, most people enjoyed having another look at Chris Wheeldon's work, but were disturbed by the violence. "Musagete" is another story entirely. After reading posts and reviews here, I thought I was prepared, but nothing can adequately prepare one for the horror of that piece. I can't even think of enough adjectives, so will only say that it is an affront to Mr B's memory and to everything that he valued in ballet. I cannot believe that it is in the rep for winter season 05. I'll be picking my performances carefully, and even though I am going to Friday night's performance I'll be going for a glass of wine during "Musagete". Since "Musagete" goes at the end, it's hard to gauge audience reaction. Every night the performance has ended with standing ovations, bravos and cheering...but that is for the company and the Saratoga residency. Last night was the same deal, but I cannot believe that it was for the trash that had just been performed. A few people actually admitted to enjoying it, many were lukewarm, and most were horrified.

Friday night at SPAC carried a special treat: a partially new casting of Stravinsky Violin Concerto that was electrifying. Alexandra Ansanelli is the one to see in the Kay Mazzo role, no doubt about it. It's not even fair to Yvonne Borree to cast the two women in the same roles, just days apart. Alexandra has so far surpassed Yvonne in every area--technically and stylistically--that seeing Yvonne is inevitably going to be a let-down. In VC, as well as in Rubies on Saturday afternoon, the differences are glaring. It's like watching two different ballets. Yvonne does the steps (for the most part).....with Alexandra it is more, More, MORE, always more. Every performance that she does gives more to the audience. It's hard to believe that she has only been a principal for just over a year. As much as I enjoy Wendy Whelan in VC, it was a pleasure to see someone different in Karin's role--Sofiane Sylve, who was fantastic. The flexibility and depth that I didn't see on Thursday's "emeralds" was there in spades. It was my last Saratoga look at Jock Soto (in for Sebastien) since I skipped last night's gala. Plenty of time to see Eifman this week. My only regret was the missed opportunity to see and hear SPAC's only performance of Barber, which my daughter tells me was the highlight of the evening. Friday night also brought Wendy Whelan's Mozartiana--an interpretation that I like. And an audience-pleasing performance of "Zakouski" from Millepied and Fairchild. The music is overly familiar, the choreography is not especially inventive, and yet the performance was so enjoyable to watch. Not everything has to be a ground-breaking masterpiece. Saturday afternoon's Emeralds was my preferred cast, but Rubies lacked oomph and Diamonds doesn't look impressive in the sunlight.

Jock Soto has announced his retirement from NYCB at the end of spring season 2005. So we will not be seeing him here in Saratoga again, but he'll be dancing throughout next year in NYC.

I don't mean to say that Sofiane was bad--not at all! More that I had very high expectations for her, because I agree that it is a perfect role for her. I've also liked her--a lot--in almost everything that I have seen her do. I think it was her first time in the role, and that there is opportunity for growth. She will be stunning, and I am positive that she will be cast again.

Sylve did "Emeralds" last night (Thursday). The review that Ari linked was from Wednesday night. And the last "Jewels" will be tomorrow afternoon with first cast again--a pity really since the setting sun--not that we've had lots of sun lately --is perfect for "Emeralds" and Rubies and Diamonds look gorgeous against the black night. The afternoon light just washes it out...but we're just glad to have it here at all. I suppose we should also be grateful that the Saratogian is running Mae Banner's reviews at all, but the timing is terrible. No reviews for several days at a clip, and then they run two on the same day--and neither one is up-to-date to the last performance. Grrrr..... So, about the performance. I missed the Ringer/Fayette/Weese et al cast on Wednesday (was in NYC trying to catch a bit of Ashton), will see it tomorrow. I was a bit disappointed in Sylve's first go at "Emeralds"...in fact found the whole performance (with the exception of Rachel Rutherford) to be rather flat and devoid of feeling. Jonathan Stafford is not ready for the male principal role and seemed to be nervous (not without good reason, it is daunting!). "Emeralds" is often my favorite section of "Jewels" but not last night. Sofiane seemed ponderous, and the lush backbends just didn't happen. Is she not especially flexible? I thought she was-she certainly has a huge extension. Ashley Bouder, as she has in everything she has done since her return (lucky lucky us) just devoured the stage in the pas de trois. This girl has the complete package. It's a thrill to watch her grow, seemingly by the day. And how wonderful to see Ansanelli put so many of the little Patty McBride touches back into "Rubies". She was simply astounding, and Ben Millepied is looking wonderful here as well. Savannah Lowery has quite a way to go in developing the second ballerina role, and she will do so. The style is there, she just needs to grow. I look forward to seeing Tess Reichlen tomorrow. With so many male principals out (Damian, Phillip, Charles, Sebastien, who else?), Steven Hanna has been thrust into the limelight and is rising to the occasion with great aplomb. He was truly regal in "Diamonds". Yesterday afternoon Sean Suozzi made a surprise debut as Melancholic. Again lots of room to grow, but every reason to be very proud. When Peter Boal is the role model those shoes are daunting to fill. Shambards is a waste as an outdoor matinee piece, as the lighting is critical. 4Ts however, works quite nicely in the afternoon.

True indeed. The fact that Herb is leaving is happy news, but it isn't soon enough. As things stand now, we'll have NYCB for summer 2005. Herb will leave in 2006 but any contract with NYCB for summer 2006 and beyond will have already been negotiated--or not. Additionally, Herb stated in one recent interview that he thinks he might like to stay on and assist with programming and fund-raising, even after he has formally retired...as those are his strengths and the parts of the job that he enjoys. Saints preserve us!!!! Folks, I couldn't possibly make this stuff up.

Good morning. Yes, its 3:20 AM, EST, and yes I'm sleepless. Two points, one personal and one global: To justafan: Thank you so much. I don't even think you realize how much your words mean to me. But I do want to reassure everyone: I may not be an employee, but I will still be at every performance (with one or two possible exceptions). I'll try to post my impressions. I can afford to buy tickets and there is nowhere else I would rather be. FYI, I was a SPAC volunteer for twenty years and became a part-time seasonal paid employee five years ago. The majority of people who keep the theater running are volunteers and they aren't treated very nicely. I'm cheered by the support that I have received in person and from this board, but I'm heartsick over the way that my service to SPAC ended....I really am. And the global issue: We're going to lose the fight. I'm convinced. We won't have the numbers and Herb won't see the issue any other way. Britomart--you have allowed me to see another side of this--and that is what is best for NYCB. I've been so focused on what is best for us that I haven't seen it, but you are right.

Just a brief word from me: I am embarrassed that I let my emotions run away from me, and freely admit that I have lost every shred of objectivity on this issue. Please understand and forgive me...one and all. Regards from Saratoga.

Ari is a far better reviewer than I...but I'll do my best, starting with our second week of performances tomorrow. And I'll say a few words now about Saturday evening and Sunday afternoon. The two Apollos that we saw earlier in the week were a fine prelude to the quintessential Apollo experience--Saturday night's Peter Boal, possibly the most fully realized Boal performance that I have ever see--and I've seen him lots! It is a rare Apollo who can enable me to turn my eyes away from the muses in their variations, but watching him watch them....and thank goodness for Alexandra Ansanelli who is growing into the role of Terspichore so beautifully. The first week ended with another performance of the ravishing Tchaik Suite 3. How I love that ballet, and how I have missed it! My fondest memory of Kip Houston--the end of the elegy. Steven Hanna developed miles in the role over the three performances, and I eagerly await his Diamonds later this week. The first three movements were exquisite, unfortunately an under-the-weather Andrea Quinn took a racing tempo in the T and V, and even Wendy Whelan couldn't keep up. Still a satisfying conclusion to the first week. Yesterday was a most special event: a pops concert, with an opportunity for NYCB's orchestra to sit on the stage and be visible. Andrea Quinn conducted with elegance--a varied program ranging from "Overture to Marriage of Figaro", to Anderson's "Bugler's Holiday" (featuring three excellent trumpeters from the orchestra), solo movements from each of the fabulous concertmasters and "Rhapsody in Blue" featuring the amazing pianist Susan Walters, and "The Man I Love", danced by Ringer/Fayette, as well as an arrangment of Scott Joplin pieces, choreographed with a horse-racing theme (this is SARATOGA) by Tom Gold, for 6 company members and 12 local children. And then a rousing encore of "Stars and Stripes Forever". All performers and stage crew donated their time--the dancers and musicians giving up an entire Sunday off--to thank Saratoga for supporting NYCB. All proceeds (and there was a nice large crowd there) from ticket sales go to the matching state grant. Ron Wasserman, principal bass, worked tirelessly to make this event happen and SPAC was gracious enough to host the concert. I can't thank everyone involved enough, and for a very personal reason as well: our college music major daughter was given a very special opportunity to play with the orchestra due to a last minute shortage in the viola section. It was a thrill for us to see her on the stage with that orchestra. Oh....and the orchestra sounded just wonderful too.

Ari was here for just four days, and she was able to grasp the entire situation. Of course the fact that she was staying with us, therefore subjected to my rantings many times a day, and that she met many of my ballet friends who also subjected her to their rantings, didn't hurt. Michael--believe me, I have questioned NYCB's degree of commitment in my own mind. But for me the bottom line is my gut feeling about who I can trust. Both parties claim to want the relationship to continue indefinitely, and yet each is talking a very different language. I resigned from my SPAC job, with a heavy heart, because I was being harassed by my SPAC bosses due to my "conflict of interest" because I am a member of the Save the Ballet committee. Long before the season began, I approached my direct supervisor, advising her of my position with STB and offering to resign if there was any perception of inappropiateness. I did so to cover myself, and I am very glad that I did. She welcomed me back to the SPAC staff and so I felt fine about being there. And yet I have been so harassed that I resigned on the evening of my very first assignment. Now my ushers are being told that I have left because of this "conflict of interest". Excuse me? In my naivete, I truly believed that the interests of SPAC and STB were the same--that is, the maintenance of the SPAC/NYCB relationship--ad infinitum. Clearly not. That phrase "conflict of interest" speaks volumes to me. Wouldn't the interests be the same? Conversely, every person connected to NYCB with whom I have spoken has talked the same talk: we want to be here forever. Peter Martins, ordinarily not so, has been extremely warm and friendly to any of us who have spoken with him (I have). I am choosing to trust him and the NYCB organization. The trust with SPAC is shattered. The reason that STB is incorporated with 501C3 status is so that we can collect donations, because most people don't want to give their money to SPAC. The money isn't really the issue anyway. I have total confidence that the $600,000 that is needed to obtain the $300,000 in state funding will be raised by the deadline of July 2005. It won't matter. Herb has now changed the rules again, and announced that the only deciding factor will be the ticket numbers. 3500 to 4000 tickets sold per performance is the benchmark that he has set, and it is just not possible. We don't have the population here to support a better-than-sellout at State Theater, every night for three weeks. So if Herb is to be believed, it is over. Do I think City Ballet could do more? Sure I do. And I think they will, if they see any hope. They have already made financial concessions. I hope to meet with some members of their marketing staff while they are here in Saratoga. Everyone conncected with NYCB has said that he/she is willing to do anything. So help me, I believe them. Drew, Andrea Quinn said it best yesterday, during the special concert that NYCB orchestra gave as a thank-you to the people of Saratoga: "Mr Balanchine built this theater and stood on this stage. The thought that NYCB would not be here is too awful to contemplate." So for all of us the idea that another festival would welcome NYCB with open arms is no comfort at all.

Oh but Oberon....it's Chesbrough who is trying to have it both ways. From one side of his mouth he claims to be doing everything in his power to save NYCB at SPAC; from the other he trashes the company to the very people who have come forward to help. I've known the man for over 25 years, I thought nothing more that he could do would ever surprise me--and yet I am shocked by this action. As balletomanes, we can see value in a review, and still see value in the organization that is being reviewed. This isn't the first negative article that Ms. Acocella has written about NYCB, and it surely won't be the last. That doesn't mean that even those of us who see some truth in the article don't ever want to see NYCB again. The contrary: I want to see more--I want to see the young kids develop--I have hope. On a personal note, I have resigned from my summer job at SPAC. I thought I could work with Save the Ballet and work at SPAC too--because I thought the goals of both organizations were the same. Sadly, they aren't. This is 25 years of my life--end of an era for me.

Oh Alexandra--to answer another of your questions, and to lend support to one of your comments: In the good old days, SPAC would sell out. Not every performance, but Thursday matinees, which were dirt cheap, would be crammed to the rafters. Many evenings as well, especially if a Saratoga favorite was appearing--Patty McBride was one, or if a favorite ballet was programmed. We just didn't worry about numbers in those days. I saw a definite decline in the late 80s, and by the mid 90s we were talking about, and forming a support group, which was never able to fully get off the ground, and never grabbed the attention of anyone with influence. But your other point is the one with real meat: the arts in this country is a money loser--the arts just don't turn a profit. That isn't the reason for the existance of ballet companies, symphony orchestras, opera companies. We all know why those entities exist--to add beauty and meaning to our lives.

OK...time for me to calm down, back up a step or two and do a better job of explaining. By the way, Ari is here, and she will be embellishing shortly. Acocella didn't distribute the article, Chesbrough did, through his lobbyist. No blame for Ms. Acocella! In fact, I thought her article was well-reasoned, and there were parts that I agreed with. My point is that it is disingenuous on SPAC's part to claim that every effort is being made to save the residency of NYCB, when the president and executive director is actively working to undermine the support lent by our politicians in Albany. Remember that many of these political types are not ballet regulars. So what is the impression that they are getting of NYCB, based on the only article that they have been sent? The company is terrible--why would we want them here? Once Ari has sat down here at my computer and quoted from the article which was published in today's Schenectady Daily Gazette, I think you will understand further. No positive articles were sent in support of NYCB. This was the message from the president of SPAC to the guys in Albany who found money to help us.

Herb Chesbrough, grand pooh-bah of SPAC, instructed his lobbyist (what? SPAC has a lobbyist? why?) to distribute copies of the Joan Acocella article, discussed here at great length, to all the politicians who have expressed support for preserving the NYCB residency at SPAC. The message of course: "See I told you they're lousy, now do you see why I don't want them here any more?" I've come to the conclusion that the only people who don't want SPAC and NYCB to continue their 39 year old relationship are Herb and his gang (oh excuse me--board). This is what we are up against here.

Hi FF. Good question, and thanks for the attention to our precarious situation here. This is disastrous programming for the SPAC gala, imo. The SPAC gala is completely different from galas at State Theater--the only commonality is the name of the event. Our gala begins with dinner and lots of alcohol, so that the gussied-up attendees are several sheets to the wind before they even take their seats--that is if they even sit down. Many prefer to continue the party up on the lawn, where it is noisy, smoky (lots of cigars--lovely), and raucous. Most of the diehard fans stay away in droves. The saving grace is that if the weather cooperates, a fair amount of cash is raised. Every year at least one ballet is performed only once in the season, at the gala. This year we will have our only chance to see and hear the glorious Barber Violin Concerto--one of the few Martins works that I really love, and the music is my favorite among the contemporary violin concerti. The majority of the audience will not watch, listen or care about this piece--a true waste of the efforts of the concertmaster, orchestra and dancers. Even worse was the decision to open a program with 4Ts. If I ruled the world, or the NYCB, I would never choose Ts as a curtain raiser. I love it, but it requires so much concentration that I wouldn't expect a knowledgable audience, much less the gala crowd, to fully grasp it at the beginning of the program. I find that I need to sink into it--if that expression makes any sense here. It isn't easy music for an unfamiliar ear to hear. I wouldn't put it on the gala at all. That's why Balanchine made Vienna Waltzes, Stars, Union Jack, and the like--and I do expect to get an argument over that, but it's my opinion. So by the time we get to the Eifman, the vast majority of the audience will be inebriated, many of the husbands who were dragged will be snoring, the staff will be out of patience, and hopefully SPAC will have raised some money. FF, I'm more concerned about the Eifman on the other performances, when the audience that cares will be there. It will be interesting, to say the least.