Dancerboy90210

Wish they would've used Stella! Guess Kevin is still having Seo be the go to replacement....

I would love to see Ethan hired as a coach. Then maybe the company could do a better job of grooming its men for Principal status.

I think that Clinton Luckett is a "safe" pick for Mckenzie. Recently, there seems to be a little chatter about it being time for Mckenzie to give up the directorship and that the company might need some type of change/shake up. I think the partnership with Ratmansky is Kevin's attempt at doing this or appeasing this argument. Appointing Stiefel or Jose Carreno, etc., would be a threat to Kevin. It might make the board think of their potential to take over or even begin the conversation. I highly highly doubt that Luckett will ever even be considered for the AD position. I think many directors hire like this... they don't want anyone that might threaten their "hold" on the company. This only ultimately does a disservice to the company and its audience. Its so clear that ABT needs qualified and effective coaches, so its heart-breaking to see so many missed opportunities and potential coaches not being able to pass on their knowledge.

Disappointing in my opinion. This could've been an opportunity to groom a successor to Mckenzie. Perhaps, Kevin wants to stay in his role for some time.

I think with the appointment of Rachel Moore as the new director the Music Center, we will see a lot more high quality dance happening there

I think the only thing that could make up for a slightly lackluster 2016 Met Season would be casting Stella as Juliet and Odette/Odile. I'd def get my tickets right away! I don't understand Kevin's casting at all. Of course, I'll go see Stella in pretty much anything she dances. But, after her Giselle, its hard to imagine anyone not thinking that Juliet is the next logical step. He was clearly wrong to keep her sidelined for so many years, he could at least make up for it by casting her in appropriate works for her, before its too late. Instead, we just get more Hee Seo....

On Kent’s dream list of ballets to add to the repertoire are works by English, Russian and American masters, such as Frederick Ashton, Alexei Ratmansky and Martha Graham. She aims to group them into programs by their nationality, to explore “the similarities, and what makes an English or a Russian masterpiece, and the chronologies.”

On Kent’s dream list of ballets to add to the repertoire are works by English, Russian and American masters, such as Frederick Ashton, Alexei Ratmansky and Martha Graham. She aims to group them into programs by their nationality, to explore “the similarities, and what makes an English or a Russian masterpiece, and the chronologies.”

Kent, who grew up in Potomac, Md., envisions collaborations with other Washington arts institutions, such as “a program in conjunction with an exhibit at the National Gallery of Art, or one of the smaller galleries.” Kent also has in mind historical retrospectives that would link ballet to wider cultural developments: “Programs focusing on art in the 1920s, or pre-war or post-war, that would add relevance to a conversation that’s happening now.”

Sounds like she has big plans for the company. See more here : https://www.washingtonpost.com/news/arts-and-entertainment/wp/2016/03/08/ballet-star-julie-kent-has-big-plans-for-washington-ballet/

"With a new artistic director, the board wants to increase the company’s size and make the public more aware of the school and community involvement. According to its 2013-23 strategic plan, the organization aims to employ 40 dancers by 2023, adding at least two a year."

​I think the board has goals outside of a chamber ballet company. Lets hope that the ballet regularly returns to the Opera House at the Kennedy Center.

https://www.washingtonpost.com/entertainment/theater_dance/abt-star-julie-kent-is-washington-ballets-new-director/2016/03/07/e1f469ba-e49d-11e5-a6f3-21ccdbc5f74e_story.html?utm_campaign=Contact+SNS+For+More+Referrer&utm_medium=twitter&utm_source=snsanalytics

This must've been in the works for quite some time. Pretty predictable

Julie Kent and Victor Barbee as co-ADs?

Could be. I'm not sure that Kent has the temperament to be an AD, but I could be wrong. However, she is from the DC area and everyone knows her. Would bring a lot of publicity. Barbee could help her build the company. If there were two ADs, I would hope that both contribute. Not one as director and the other as a ballet master. I would also hope that it doesn't become the same company as ABT. Needs to have a unique voice.

Sterling was a good partner but one wonders how she would looked with David or Marcelo or Roberto...

One can dream! The arms in the beginning were so spot on! I don't understand why they didn't give her an Odette/Odile this season. Also can't understand why she didn't get a Juliet. She would be the perfect Juliet. Mckenzie's casting is often hard to understand...

I don't think any major choreographer comes to mind. Justin Peck? Not sure he would accept and there is no track record on running a company. Edward Liang? Don't see him as on the "international" level. I think the strategic plan for the company aims to aggressively break into international status. I think a big name appointment could help that cause. I think the next 5 years might be transformative. Wayne McGregor would be a fun appointment... but I think they will go the more "ABT" route. Kevin Mckenzie had a long relationship with Mary Day. Julie Kent is from the DC area. Hallberg was trained by Kee Juan Han, the current director of the school.

I think it'll be between Julie Kent and David Hallberg. Outside of the fame, does Hallberg have the chops to grow its budget and bring the company to the international stage? I think he will need guidance for some time. His appointment would certainly get the company a lot of of publicity.

I found a video of Stella doing the White Swan Pas de Deux... lets cross our fingers for an Odette/Odile for her in 2017!

I wish they'd give Stella an Aurora. Would be nice to give her a test run before the Met! All that work and she only gets one performance at the Met. All the other Auroras have had so much stage time.

I think this is a positive development for ballet in DC. It sounds like the board has plans to get much bigger. I think Septime did a lot of positive things for dance in Washington, but he has reached his ceiling. If I were a gambler, I'd put my money on Julie Kent or Susan Jaffee. Both have DC roots. I think the board wants the company to move out of regional status. It has a great school, but needs a new facility, programing, etc. I think they'd like to create better relations with the Kennedy Center. Would be nice to have them performing in the opera house. Other possible contenders might be Suzanne Farrell, if they wanted to move in a Balanchine direction, or David Hallberg. He just joined their board, along with City Center's, and seems to be crafting his post-dance career. He hasn't performed in nearly 2 years and I'm sure the board might allow him to perform for a few more years, if needed to seal the deal. Similar to Tamara Rojo at English National. The problem with Hallberg is that I doubt his appointment would be long term. He might jump ship for other directorships (ABT, etc.). I think the Washington Ballet has great potential. The audience is there and it has an incredible performing arts facility (Kennedy Center). It just needs a leader to take it to that level. I think a company with the repertory similar to San Francisco Ballet would do really well.

I believe that the company should prioritize casting its own dancers, but I must say that some of newer crop of principals aren't anywhere near the level of some of those of the previous generations. IMO, its shameful to have Gillian Murphy dance Swan Lake with Corey Sterns, but I guess that they don't have many other options. Need two for a good partnership, so its such a let down when they aren't near the same level.

I agree that many of those TBA's are probably being held for Hallberg, but it wouldn't surprise me at all if he doesn't return to ABT. He is (very unfortunately) injured more frequently and seems to be for longer periods, and to me it looks like he favors dancing with the Bolshoi (his prerogative, and many of us have discussed his comments on getting better coaching there, so who could blame him). I haven't been able to see him dance in years. I hope I'm wrong, but even if his name does show up in some of those TBA slots, I won't be holding my breath that he'll actually dance.

Hallberg has been joining a few ballet/arts organizations' boards lately. I think he joined City Center and recently the Washington Ballet. I wonder if he is plotting his next moves. His future at Bolshoi might be unclear, with the new directorship. I wonder whats going on. ABT is in need of a few strong principal males. Gomes cannot carry the entire Met season.

I'm surprised that they didn't give Stella an Aurora in DC. I hope she gets a chance to try it out on tour, before her Met debut. She has Gomes at the Met, so I'm looking forward to being blown away.

The $64,000 Question appears to be: What is the Primary Mission of a ballet academy - To train future professional dancers or to be a Cash Cow? It's a real balancing act. I may add a 3rd spoke in the wheel: to produce competition winners, although that may be the same as

training eventual professional dancers. But not always! Some kids - and parents - seem to care more about medals than careers.

Correct! Don't even get me started on competitions. Wish more modeled themselves after the Prix de Lausanne and resisted the YAGP model. This new "YAGP" generation is slowly turning ballet training into circus training!

Having studied methodology at the Vaganova Academy as an international teacher for 2 years, I was very fortunate to watch this particular process develop. Of course, there is a difference between what happens at POB ballet school, Vaganova Academy and the Bolshoi Ballet Academy. I wish I could say there were not a difference, but there is.

Our country does not have a system in place for the teaching of anything. Each State has its own educational system. For that matter, there may be differences from school system to school system within one State. We educate our students from a very young age that the grass may be greener elsewhere.

It is very rare to have a student from the age of 8 or 10 until they obtain a professional career. These dancers are not the norm. I cannot name very many at all who have traveled this path.

The reality is that students will seek different schools and different teachers. Often, it has more to do with how to land the first job versus where the best training may be, as there is no school in the US offering the complete package. Most company schools are "cash cows". They help to pay the rent and the salaries of the worker bees. Smaller conservatory high school programs are often challenged as to how to get their students seen by company directors since most company directors realize they must promote their schools by insisting that the students are hired directly from their schools. Seniors in high school find themselves auditioning for school directors, not company directors these days, unless an open cattle call audition is posted. In the case of ABT or NYCB, this does not happen anymore. The smaller Conservatory programs are finding that students who audition in Europe are being offered jobs in European companies as European directors are more receptive to dancers from other schools, not just their own.

To get into a company like NYCB and ABT right out of high school is a thing of the past. We have had quite a few who were offered places in Studio or 2nd companies prior to graduation from high school. Many would rather take the job than risk not taking the job. Luckily finishing high school online is now much easier and more acceptable by colleges.

I am hoping that you will understand there is more to this than meets the eye. As audience members, you know what you read. As a ballet teacher who is a long standing faculty member at a Conservatory with a track record of producing high level dancers, our viewpoint is from a different perspective.

I'm not suggesting that every student will or is expected to complete their training at one particular school.Both professional dancers and students seem to jump around a lot more than in years past. We live in a globalized world and its easier than ever. I don't think it is always "the grass is greener" on the other side. I think dancers/students have more control over their destiny and take more liberty in crafting their own paths. With so much information available online, etc, its easier to do research to find out what might be best for them. I'm also not downplaying the significance of a school that might have trained a student for 4 or less years. I just think a strong schooling system should have some percentage of dancers that have truly risen from the ranks, starting at the lowest level of the school. I think many schools are still able to keep some of their dancers interested in their programs from start to finish. I think schools without an affiliation with professional company, might be at a disadvantage, as their dancers aren't seen as much. This might motivate a dancer to leave prior to their final year. Some schools, to some degree, force students to make the jump. For example, entry into NYCB requires studying at SAB. Any knowledgeable student would likely understand that they need to make the jump to SAB at some point in their training, if they were interested in NYCB. Schools with professional companies have an advantage, as their students usually gain quickest entry into the corresponding company. We live in an age of instant gratification, so students will likely pursue the fastest route. However, if a student were to train at CPYB for 10 years and then do a year or two at SAB, I'd still consider them a product of CPYB.

I also don't think that directors only take from their schools, because they're simply only looking to advertise their schools. Ballet companies in America do not have the financial luxury of taking risks. They need dancers who have passed a vetting process. An audition class or video, doesn't usually give directors enough information about a dancer's ability to fit into the company/rep, their work ethic, how injury prone they might be, etc.. I think putting them through the school, a traineeship, or second company, helps ensure they will be a quality hire. Ballet companies give out season long contracts, so offering a contract to a dancer right out of school is a director taking a risk on that dancer. Giving a contract to a dancer with professional experience isn't as risky. Also, many of these second companies and post graduation programs help dancers make the transition to professional life. Going from hours of technique classes to one morning technique class, with often limited personal guidance, and hours of rehearsal, living without supervision, etc, likes time to transition. A structured program seems to ease dancers into their new lives.

I think that JKO has attempted to solve the absence of an "American training program", however I would question their motives. I feel its largely motivated by increasing revenue and building a brand, over producing the next crop of ballet dancers. Regardless of the quality of their school, JKO will always attract students because it gives them consideration for company positions at ABT and they get to take part in the ABT brand. To me, JKO has yet to prove that they are operating a system that produces excellent dancers. It is still primarily relying on its name/brand. Also, it hasn't been around long enough to really put itself in a position to be dictating a training system for other teachers follow.

I think its fair to say that almost every school in America is forced to structure their school as a cash cow, to some degree. Finding the balance between a revenue source and creating a viable training ground for dancers is the challenge. I don't expect every schools' alumni to be students that trained from the lowest level to the highest, because obviously that ignores reality. Students bodies change, their interests might change, etc.. I do think a quality school, especially of the caliber that JKO claims to be, should have a select group of students they've trained from the ground up. Having this, helps establish the school as a legitimate and quality training center. SAB has produced dancers from the ground up. This is especially true within their male graduates, likely because of their commitment to male enrollment through scholarships, etc.. The North Carolina School of the Arts also has a preparatory dance program (4th to 7th grade) that feeds dancers into the high school program, which has graduates in ABT, SFB, and NYCB. Ashley Bouder started her training at CPYB, and she is not alone. Some schools aren't set up for this, like Harid, because they only take students that are high school aged. I think Rachel Moore pushed for JKO to be a revenue generator. It is no secret that schools generate a lot of money. To her credit, she did also oversee programs to increase quality, such as ABT's National Training Scholarships to cultivate young talent.

In regards to ABT's National Training Curriculum. I think ABT has slightly over-stepped their boundaries. What gives a relatively new school the authority to produce a major training curriculum? Obviously, they are building on the ABT brand and legacy, but their methods haven't really been tired and tested. I think Moore pushed for its establishment for a variety of reasons. A curriculum helps increase their brand awareness, increase their "reach", furthers the idea of ABT as "America's Ballet Company", and being certified in their curriculum comes at a cost (it generates revenue). Personally, I think that "American Ballet" is diversity. I think its beauty is its versatility. I think this is well represented in the diverse training options available within America. If anything, I'd say that Balanchine's ascetic is the most American. While not a set training curriculum and more a variation on the Russian style, its history is rooted in America (at NYCB). Balanchine's legacy also helped establish ballet as a viable art-form in America and his influence helped create many ballet companies across the country (Boston Ballet, PA Ballet, Miami City Ballet, PNB, SFB). The old Ford Foundation scholarships, helped funnel talented dancers into SAB. I believe that Suzanne Farrell came to SAB on such a scholarship. This helped develop American dancers.

I also feel that JKO's National Training Curriculum is at odds with the evident style within ABT. ABT seems to have taken a major pivot "East", turning towards a much stronger Russian style. This seems evident in most of their new crop of principal dancers and their repertory (Ratmansky, etc.) and focus on full-length classics. I think ABT is at its best when their dancers represent numerous styles and backgrounds. To me, this provides the most interesting experience as a viewer. This might complicate uniformity within the corp de ballet, but years ago they seemed to make it work. Perhaps Cynthia Harvey can refocus the curriculum to something more in line with ABT. Devito has helped create a uniform corp de ballet, but to me hasn't produced many exciting dancers. The JKO dancers seem very dry to me. They have excellent facilities, but don't strike me as potential principal dancers. The exception might be Cassandra Trenary. I think its important for a school, such as JKO, to cultivate artistic intelligence, self-sufficiency (so their dancers have the ability to rise to the top in a company of ABT's size and sustain themselves with limited coaching), and create strong technicians. I know its still early to judge JKO's legacy, but it seems that it hasn't quite arrived as a major dance training institution.

While I think JKO has produced some talented dancers, I feel that it has lacked artistically. I think Harvey's appointment might correct that. IMO, a lot of the current JKO alumni in the company seem to be more technically interesting than artistically. I'm sure this is also worsened by the lack of rehearsal time and limited coaching in the company. To me, I think of JKO as more of a finishing school than a complete "school". They seem to take talented students in their last few years of training, as opposed to producing dancers from the ground up. I hope Harvey also balances the more revenue driving aspects of the school (summer programs, national training curriculum, etc.) with actually training employable dancers. All American schools seem to face this problem. I think Rachel Moore might have helped contribute to the constant use of the school to bring in money. It will be interesting to see if Harvey makes any changes within the National Training Curriculum. I find her appointment very promising. It seems that McKenize is taking back control of the company, with this appointment, this past summer's promotions and the lack of guest artists in the Met season. Amen for that! Not to say that De Vito was a creature of Moore, but more so in McKenize's pick of his replacement.

Cynthia Harvey, the ballerina and teacher, has a busy year ahead. In addition to consulting work, she is to serve as a coach at the Prix de Lausanne, the global competition for young dancers, and continues to run her ballet nonprofit group, En Avant Foundation. But in the spring she will take on one of her biggest projects yet: She has been named the next artistic director of American Ballet Theater’sJacqueline Kennedy Onassis School, effective in May.

Her appointment comes with the retirement in April of the current artistic director, Franco De Vita, who became the school’s principal in 2005 before taking on the directorship in 2013.

Ballet Theater’s artistic director, Kevin McKenzie, first asked Ms. Harvey to accept the job in July. She said she was taken aback; she and her foundation are based in London, where she also teaches and has “a great deal of freedom.” But eventually, she added, she said yes because “I’m like a bull to a red cloth when there’s a challenge in front of me.”

The appointment is a homecoming of sorts for Ms. Harvey. She joined Ballet Theater in 1974, becoming a soloist in 1978 and a principal dancer in 1982. There, she danced lead roles in classics of the repertory, such as “Swan Lake,” “Giselle” and “Romeo and Juliet.” In 1986, she was the first American to be invited to join the Royal Ballet as a principal dancer. Ms. Harvey rejoined Ballet Theater in 1988, and stayed there until her retirement from performance in 1996.

Among Ms. Harvey’s goals for her directorship is to emphasize what she called the “nurturing aspect” of the school, among the faculty and possibly with Ballet Theater company members who could provide support for young dancers. Her top priority, though, is to ensure the students have an ever-important classical base, with room for the versatility new choreography demands.

As for Mr. De Vita, he said he would very likely stay on at the school as a guest teacher. After all, he added, he is at his happiest when teaching, which he has done for more than 30 years. In retiring, he said, he is mostly pulling away from the administrative aspects of his work. “I’m 65,” he said. “It’s time for me to slow down.”

In his time as principal and artistic director, Mr. De Vita has created Ballet Theater’s National Training Curriculum, and has brought numerous honors to the school, including its status as a partner with the Prix de Lausanne. He said the school is in good hands with Ms. Harvey. “She knows a lot of people in the world of dancing,” he said, adding that her personal network will be essential in helping graduating dancers find jobs. “She will be excellent for the school.”

http://artsbeat.blogs.nytimes.com/2016/01/07/cynthia-harvey-named-artistic-director-of-american-ballet-theater-school/?ref=dance&_r=0

The Gerald Arpino and Robert Joffrey Foundation

Marcelo's instagram shows that he danced the White Swan Pas with Stella in San Francisco this past week. How one can wish to have been there! Hoping for a repeat performance in NYC soon!