abatt

I've seen the Winter's Tale, and I agree with you, Meunier Fan. The choreography of that ballet is absolutely wonderful and far superior to either of the two full length ballets of Wheeldon's I've seen (Cinderella and Alice). I hope it travels to NYC at some point in the future.

They have been doing this for a few years. This is Kathy Brown's genius solution to NYCB's money problems. Initially they will only sell orchestra, first and second rings. If those sell well, then tney eventually open up the 3rd and fourth rings. It's a way of trying to manipulate people into buying tickets at higher prices in the lower rings because the upper rings are not available for purchase. This is old news. The cheaper tickets in the lower rings sell out quickly, so a purchaser is asked if they want to buy tickets at the next higher price level. This happened to me this season, when I went to the box office during the first week of sales and the lower priced tickets were already sold out for some shows. I just waited a few weeks until they opened up the third ring, but I'm guessing a lot of people agreed to buy tickets in the next higher price point. For the Fall Season they recently began selling third ring seats for most shows. Not sure if they opened up the fourth ring for any shows. FYI, I never got any confirmation of my purchase or my seat location when I subscribed in June. It's one more symptom of the administrative laxness there. Every other organization I've ever subscribed to has sent a confirmation.

They have been saying there are delays in ticket printing every single year. It's laughable. It's code for we are understaffed and/or imporoperly managed and/or we screwed up. Maybe Kathy Brown should spend less energy on trying to artificially control the supply of tickets by disallowing sales of the 3rd and 4th rings and more time shaping up the adminstrative staffing at NYCB. If I were you, I would ask for my subscription handling fee back. They have not earned it, as a matter of principle.

I was at last night's performance. The design elements were terrific. However, the choreography generally dull, and the production just seemed too long. I thought the best choreography was for the corps. None of the choreography for the solo dances really stood out. I thought it was worth seeing just for the costumes and scenic designs.

Yes. I finally received them in early September.

Week one casting is up. Many exciting debuts. Robbie Fairchild and Tiler Peck are cast! I guess they are not expected at their new gigs yet. Tiler Peck and Lauren Lovette debuting in Apollo. Best of all, one last chance to see Whelan in Sonnambula. Counting down the days till the season begins.

Peter Martins does not take chances on hiring new dancers who have a history of illness or injury. (He already has enough problems with long term injury and illness of dancers who have been long term member of the company, ie, Jennie Somogyi). As an example, there was recently an interview with Kathryn Morgan in the NY Times in which she states that she asked Martins if he would hire her back and he asserted that there was no money in the budget to offer her a contract. (For those who are not familiar, Morgan was a soloist at NYCB and has been battling problems relating to a chronic illness, underactive thyroid, for the past few years.) I would agree with the post above that Graf's history of illness made it very unlikely that Martins would make her an offer.

Misty insinuates that she has been discriminated against, but never gives specifics regarding time, place, person, role, and so on. Insinuation without factual detail is debilitating to the reputation of a major organization. Of course she hasn't brought suit. She gets a lot further with mere insinuation. Maybe the specifics will be revealed in some future book. ABT is now embracing Misty because it will put an end to critics who allege that she is denied roles based on race. They are also embracing her in the hope of attracting "new audiences." Most of the soloists at ABT are overlooked for principal roles, except those who prove to be extraordinarily talented and skilled. ABT is, and always has been, a place where guest artists occupy a significant portion of the roster for the plum roles and performances. Like it or not, that's how it is at ABT. So is it racism at ABT that is the factor that has held Misty back, or is it just the way things are at ABT for almost all soloists. Does anyone who attends ABT performances regularly think that Misty is more talented, has better technique and stronger abilities than the other female soloists?

Webster's dictionary defines "race card" as follows: : the issue of a person's race as it relates to a particular contest (such as a political campaign or a court trial) —often used in the phrase play the race card It is well documented in her book and her interviews that Misty has raised the issue of her race as it relates to her employment as a ballerina. Based on the definition of the term, I don't see how stating that she has played the race card is inaccurate.

Copeland isn't so young anymore (30, I believe). She and her PR team knew exactly what they were doing in playing the race card, and it appears to have worked. Alicia Graf always let her dancing do the talking, and she was always rewarded with ecstatic press reviews. Misty should give her PR folks a big bonus for all they have accomplished on her behalf.

Here is an interview with director and choreographer Josh Bergasse regarding On the Town. http://broadwaydirect.com/feature/making-broadway-dance-from-screen-to-stage?utm_source=newsletter&utm_medium=email&utm_campaign=issue%20105

This is an official press release of today re the Mik's visit to the Koch. The mixed bill is changed (Class Concert is gone, replaced by LE HALTE DE CAVALERIE). Looks like the same casting as was published earlier. THE FIRST TIME IN THE UNITED STATES THE MIKHAILOVSKY BALLET David H. Koch Theater (Lincoln Center) November 11–23, 2014 Live Orchestra Ardani Artist proudly presents for the first time in the United States The Mikhailovsky Ballet of St. Petersburg, Russia for a special two week engagement November 11 – 23, 2014 at the David H. Koch Theatre (Lincoln Center) NYC. There will be four programs for this premiere engagement performed with a live orchestra. The Mikhailovsky Ballet USA engagement is supported by the Russian Miistry of Culture. Three Centuries Of Russian Ballet is the 3rd program of the engagement, on Tuesday, November 19 & Wednesday, November 20 at 7:30 pm. NOTE Update of this program for the first ballet LE HALTE DE CAVALERIE (Ballet in one act): Music Ivan Armsheimer; Libretto and Choreography: Marius Petipa, revived by Pyotr Gusev; General Partner of the production: LenSpecStroy Limited Company THE LADY AND THE HOOLIGAN (Ballet in one act): Music: Dmitry Shostakovich; Choreography: Konstantin Boyarsky revised by Mikhail Messerer; General Partner of the production: LenSpecStroy Limited Company. PRELUDE (Ballet in one act): Music: George Handel, Ludwig van Beethoven, Benjamin Britten; Choreographer, Stage Designer, Costume Designer: Nacho Duato; Lighting Designer: Brad Fields. The Box Office is open and tickets are on sale for this historic event. Tickets are: Orchestra & 1st Ring $29, $55, $89, $129 & $149; 2nd & 3rd Ring $29, $55, $89 &$129; 4th Ring $55, $89, & $129. There also will be only 25 Premium ticket packages for each performance (best in the Orchestra, souvenir program, a glass of champagne, meet company members). Buy 2 programs get a 10% discount; 3 programs with a 20% discount. Tickets can be purchased at the box office and at (212) 496-0600; or by Fax at (212) 580-2545 and on the web. http://davidhkochtheater.com/ CASTING* GISELLE, OU LES WILIS Nov. 11, 7:30 pm Natalia Osipova, Leonid Sarafanov Nov. 12, 2:00 pm Kristina Shapran, Victor Lebedev Nov. 12, 7:30 pm Angelina Vorontsova, Ivan Vasiliev Nov. 13, 7:30 pm Natalia Osipova, Leonid Sarafanov THE FLAMES OF PARIS Nov. 14, 7:30 pm Oksana Bondareva, Ivan Vasiliev Nov. 15, 2:00 pm Angelina Vorontsova, Ivan Zaytsev Nov. 15, 7:30 pm Oksana Bondareva, Ivan Vasiliev Nov. 16, 2:00 pm Angelina Vorontsova, Ivan Vasiliev Three Centuries of Russian Ballet: LE HALTE DE CAVALERIE THE LADY AND THE HOOLIGAN PRELUDE November 18 and 19, 7:30 pm Natalia Osipova, Ivan Vasiliev DON QUIXOTE Nov. 20, 7:30 pm Natalia Osipova, Ivan Vasiliev Nov. 21, 7:30 pm Angelina Vorontsova, Victor Lebedev Nov. 22, 2:00 pm Oksana Bondareva, Leonid Sarafanov Nov. 22, 8:00 pm Angelina Vorontsova, Ivan Vasiliev Nov. 23, 2:00 pm Natalia Osipova, Ivan Vasiliev *subject to change The Mikhailovsky Theatre in 2013, celebrated the 180th anniversary of its founding and the 80th anniversary of its Ballet Company. The Ballet Company did not become a permanent fixture at the theater overnight, however: it was a gradual process that began in 1918, when the Mikhailovsky Theatre shifted its focus from drama to musical theater. Even before the Ballet Company was officially founded by Fyodor Lopukhov in 1933, the theater played host to some significant events that are now considered an important part of world ballet history. In 1923, the young Giorgi Balanchivadze, who later changed his name to George Balanchine, staged dances in Rimsky-Korsakov’s opera The Golden Cockerel at the theater. It was there that the renowned ballet The Bright Stream to Dmitry Shostakovich’s score was first staged in 1935 by Lopukhov. At various times in its history the following outstanding Russian ballet masters have taken the helm of the Mikhailovsky Ballet Company: Leonid Lavrovsky, Pyotr Gusev, Igor Belsky, Konstantin Boyarsky, Oleg Vinogradov, Nikolai Boyarchikov, Farukh Ruzimatov, and Nacho Duato. At present, the Company’s Ballet Master in Chief is Mikhail Messerer. Mikhailovsky Ballet is a young, thriving company that effortlessly combines classical traditions with a modern look, and does not shy away from creative experiments. The Company’s Principal Dancers include world-class stars, as well as recent graduates from Russia’s top ballet schools and academies.

This Sunday's edition of the NY Times is the annual Fall Preview issue for cultural events. Attached is the link for the events relating to dance. http://www.nytimes.com/interactive/2014/09/04/arts/fall-arts-preview-times-100-calendar-dance-events.html# No hints about ABT's Spring Season, so we must rely on mussel's crystal ball until the formal ABT announcement in Oct or Nov 2014. New info regarding the Paul Taylor dance company, which is changing its name and inviting guest companies to appear. The link says that the Limon Company (performing D. Humphrey work) and Shen Wei Dance Arts will perform alongside the Taylor troupe at the Koch in 2015. Martha Graham returns to the Joyce Theater in 2015. Bring on the new season!

Don't see how any organization could legally deny a refund for an event when the date of the event is changed. The date is a fundamental term of the contract between the vendor and the purchaser, and once that is changed the contract is voidable.

No reason for me to watch Fashion Police anymore following the big red carpet events. Rivers was the only reason to watch. The rest of that panel on that show is a snooze. As an aside, the clinic where she underwent the procedure on her vocal cords is now under investigation. Ironic that a person who had undergone so much plastic surgery during her life was done in by a botched minor procedure on her vocal cord.

Good eyes, susanger. Hanna is listed as part of the ensemble. http://www.broadwayworld.com/shows/cast.php?showid=330869&cast_type=current

Here is a rehearsal clip from On The Town, which includes a section featuring Megan Fairchild http://playbill.com/multimedia/video/high-energy-musical-preview-proves-on-the-town-is-ready-to-take-on-broadway

Maybe Under Armour has decided that their main customer base for women are women who are interested in and participate in sports, not ballet. Bundchen's hiring is a little odd in this regard, but her husband Tom Brady has been a spokesman since 2010, so maybe they are going to do some ads as a couple. The couple that works out together can stay together and look like Tom and Gisele?

Getting back to the topic of this thread, here is an article on the forthcoming production of On The Town, including a rehearsal photo. Megan is third person from the left. http://www.nytimes.com/2014/09/07/theater/fall-arts-preview-when-on-the-town-hit-the-town.html?action=click&contentCollection=Theater&module=RelatedCoverage&region=Marginalia&pgtype=article#

I'm an avid US Open watcher on ESPN, and I've seen Misty's Under Armour ad numerous times during the commercial breaks. Looks like Misty is going to have some major competition. Under Armour has signed supermodel Giselle Bundchen as a spokesperson. The link mentions that Bundchen, Lindsay Vonn, Kelley O'Hara and Sloane Stevens will be part of a new ad campaign. http://www.foxsports.com/buzzer/story/2014/09/02/under-armour-now-boasts-tom-brady-and-gisele-b-ndchen-as-bigtime-endorsers.html

Was watching the ESPN intro to tonight's US Open match. As part of the intro, they focused on and filmed the arriving celebs - Chris Biotti, Josh Groban, Taye Diggs and Sara Mearns of the New York City Ballet. They didn't mention that Mearns was arriving with boyfriend Josh Bergasse. I would guess that 98 percent of the ESPN audience had never heard of Mearns.

Did any of these people that were fired have contracts. If they were employees at will then they could be fired at any time. However, I would have assumed that people in higher positions in the administration had written contracts for specified terms, and terminating them before the expiration of the contract would enttile them to recovery of damages. By the way, this story has now made the NY Times, in the Arts Beat section. Angel always seems so lovable and sweet as a performer, but now I think the public is seeing a different side of him in this new context of being a manager.

He refers to creating new "energy" which in my book is usually meaningless double talk. Is he implying that the people who were already there lacked energy.

Thanks for posting that. He mentions that the ushers at NYCB are more sensitive to timing than at ABT. Maybe where he sits that's true, but not where I've sat. In the rings at the Koch it's a free for all. People wander into the auditorium any old time in the rings and stand near the entracne door talking, looking through their noisy plastic bags, and being completely disruptive to anyone seated in the vicinity of the door. It happens at virtually every performance. Nobody should be admitted into the auditorium once the curtain is up. Period. There are now TV screens everywhere in the hallways that show the performance. Latecomers should be forced to sit outside and watch the TV screen until the intermission.

My subscription tickets have not arrived yet either, and it's a regular subscription (not create your own) that was fully paid for back in June. They field these angry calls from subscribers every week and they have a scripted answer as to why the tickets have not been sent out. (How many of you have heard the malfunctioned printer script?) I believe the real answer is that they are simply understaffed and/or not operated efficiently. NYCB is the only organization I'm aware of that: (1) sends subscription tickets out well after the box office has opened up for public sales and (2) does not give subscribers a priority exchange/purchase week ahead of ticket sales to the general public. The fact that subscription tixs are discounted is nice but not a strong argument to cut NYCB some slack, since Carnegie and the Met both discount subscription tixs and also manage to give their subscribers benefits of sending out sub. tixs well before the box office opens and giving priority purchase/exchange week to subscribers.. Now that they have moved to this new system of opening up sales for the entire season in August with a Sept start date for the fall season, they need to adjust their business model. They need to announce their new season earlier, and they need to sell and FILL the subcription orders earlier. No stats available, but I wonder if they have lost subscribers in the higher priced areas.