abatt

Casting is the third item under "Season and Tickets".

Interesting that Georgina Paz. is returning to do the girl with the red purse role in Fancy Free. Is she on vacation from Cats, or is she returning to NYCB on a full time basis? I'm also glad to see that Reichlin is doing Choleric again.

https://www.bloomberg.com/news/articles/2017-04-05/former-visa-ceo-scharf-named-chairman-of-new-york-city-ballet Charles Scharf succeeds Jay Fishman, who died in August.

Casting is up for week one. Maria K. to lead the second movement of Symphony in C. https://www.nycballet.com/NYCB/media/NYCBMediaLibrary/PDFs/Press/Casting/NYCB_Casting_April-18-23-2017_lobby.pdf

At the time Polounin walked out on RB, was Monica Mason still in charge? The change in leadership may be an essential part of the equation here. Also, the current management seems to think very highly of Osipova, and she may have some influence on laying some groundwork for Polounin to have a relationship w. RB again.

This is the first year in which dynamic pricing went into effect on the day public sales started. Previously, the dynamic pricing went into effect a week after the box office opened for sale. Doing a completely unscientific perusal of the site, it seems like they have jacked up the prices regardless of how the tickets are selling. For example, the Boylston and Hee Seo Giselles are selling poorly at the balcony level, but they still raised the price to $50 (on subscription those same balcony tickets were $45). So is this just a uniform price increase? It doesn't seem to be based on the briskness of ticket sales.

Great comment, Jayne. LOL. I kept my Misty Don Q ticket because I'm interested in seeing J. Cirio. Also, Calvin Royal may be the TBA Espada, since he is apparently learning the role. The Oxford comma has been in the news lately. https://www.nytimes.com/2017/03/16/us/oxford-comma-lawsuit.html

Glad you had a good box office experience, but it seems clear that the box office policy changes daily, and your experiences are based on the mood of the box office person you happen to get. I also think people write and or call ABT to complain about stupid restrictions, and by later in the week the box office allows more flexibility. For example, on Sunday I was told I could not exchange into the gala, and that I could not buy gala tickets until the public on sale date of March 26. I returned a few days later when I was at Lincoln Center for a performance, and had a completely different experience. The box office allowed me to exchange into the gala without any difficulty. New day, new box office rep, completely different result. Based on my experience, I'm starting to believe that interacting with the Sunday box office crew is not a great idea. By later in the week, things are more relaxed.

There is a viewpoint that a ballet company should not be a museum for the same old works, and that a thriving ballet company should explore new choreography and unfamiliar territory. Not everyone agrees with that view, and a lot of audience members will only go to the old war horse ballets. Although it's absurd to think of the Cage as a new work, given how old it is, it is certainly different in style from what the Bolshoi is used to. Since Vishneva is the doyenne of trashy modern non-classical choreography in her solo shows, it seems a little hypocritical of her to complain that there isn't enough Giselle and Swan Lake being performed.

Casting is now up on the ABT calendar for the roles of Olga and Lensky in Onegin.

New York City Ballet also has some oddities in the way they deal with subscribers. In fact, NYCB is the only company I know of that does not have a subscriber priority ticket purchase/exchange period. Additionally, each and every year NYCB sends out the subscriber tickets about a month or six weeks AFTER the box office has opened to the general public. Subscribers should at least have their subscription tickets by the time the box office opens.

They still had the Trios this year. Maybe they got cheap and didn't mail out the Trios booklet, but they definitely offered trios. In fact I'm looking at the Trios booklet as I write this, because that is the only printed material that has the season in calendar format. The Trio booklets have been in the Met lobby for weeks or maybe months. Best of luck with your exchanges, Barbara.

https://www.nytimes.com/section/arts?WT.nav=page&action=click&contentCollection=Arts&module=HPMiniNav&pgtype=Homepage&region=TopBar

Here's my story. I wanted to exchange into the gala, and was told that your cannot exchange into the gala. Moreover, subscribers are not allowed to purchase gala tickets until the box office opens to the general public. NYSusan mentioned to me that the new restriction about exchanging into the gala was in the cover letter that came with the subscription tickets. I admit I never read that letter, but I have been exchanging into the gala during subscriber priority week for 20 years. If they were going to change the policy, the time to mention it was in the subscription brochure. I would have ordered fewer subscriptions if I had known. Also, it's ABSURD that they are not willing to take my money now to buy the gala tickets. Instead, they think I'm going to make a second trip to the box office line to do this next week. Not happening.

Thanks for your reviews, Natalia, and safe travels back home.

So the total running time is less than 2 hours, based on what Josette said. Does that include an intermission? PS- Thanks for posting your thoughts on the ballet, ksk04 and Josette

I'm happy that she and Justin will be able to spend more time together, but why would she give up her career in Miami to move to New York. To me this seems like the classic scenario where a successful woman makes all of the sacrifices in a relationship. I would be thrilled to see her join NYCB (or, less likely, ABT), but I doubt it will happen. NYCB has an abundance of talent right now.

Interesting that at ABT's 8 week season this spring Bolle is only scheduled to do 2 Onegins and nothing else. Yet he can dance 3 Giselles in 4 days?

https://www.nytimes.com/2017/03/10/arts/dance/alexei-ratmansky-whipped-cream-american-ballet-theater.html?rref=collection%2Fsectioncollection%2Farts&action=click&contentCollection=arts&region=stream&module=stream_unit&version=latest&contentPlacement=4&pgtype=sectionfront NY Times article re Whipped Cream

When you think about what Broadway shows are charging these days, the LCF ticket prices are not necessarily so overpriced by comparison. Yes, when measured against ballet tickets for ABT and NYCB, the Jewels ticket prices are absurd. However, those companies perform 7 shows a week for numerous weeks every year. They could never get away with charging those prices for that many performances. In contrast, there are only 5 Jewels performances, and it is a unique multi company event. However, at these prices they should definitely be publishing casting info now.

Yes, awaiting reports of the press and of ballet alert posters on Whipped Cream before I decide whether to dump my Whipped Cream subscription tickets during subscriber exchange week. Have a fun trip, Natalia.

I wonder if this is the same injury that caused Copeland to cancel her performance in January in Washington DC, or is this a different injury. Just looked at Copeland's website and twitter page, and there is no info from her on this development. Her "schedule" link on her website continues to list her as appearing in Whipped Cream next week at Sergerstrom.

Also of interest is Bourne's The Red Shoes, which will come to the KC in October 2017 (and probably also make a stop in NYC at City Center). Did anyone see this in London?

http://www.kennedy-center.org/calendar/event/BSBSJ Bringing Don Q and Giselle.

Looks like Lincoln Center needs a competent proofreader. March 29 is a Wednesday, so did they mean Monday Mar 27 or Wed Mar 29.