Who will be AD in 5 or 10 years?

[perky]

Reading the posts on the PNB AD positions got me wondering, How many think Peter Martins will still be running NYCB in 5 or 10 years? And if not, who do you think will replace him? Who do you think SHOULD replace him in the future?

I think he'll be there at least 10 more years. If he is still there at that time Sean Lavery seems to be his most likely successor. As to who should be in charge, Suzanne Farrell's name comes up alot, but I think she would be more effective as Ballet Mistress in charge of the Balanchine rep. Balanchine's ballets need someone there fulltime to keep them alive for the next generation. Keep Sally Leland in charge of the Robbins rep. Make Sean Lavery or Peter Boal as overall Artistic Director. I almost think it's to much to expect just one person to fill all the roles that Balanchine did so wonderfully.

[Leigh Witchel]

I think you're forgetting Christopher Wheeldon in this equation. NYCB sees itself as a choreographer's company. He's the choreographer. He's also younger - I don't think Martins will leave for a while. Unless he isn't interested, I will bet he'll be groomed to succeed Martins.

[perky]

Actually Leigh I didn't forget him, I just wasn't sure where he fit into the equation. I'm not sure if he would want to wait that long to helm a company. But you're right, it is a choreographer driven company.

[Ari]

I don't think Wheeldon is interested in running NYCB. He likes his international career, and has been saying in interviews that he doesn't like working with NYCB dancers as much as those in other companies.

Besides, I do think the Board will look for someone who is a product of the Balanchine tradition. If Boal does a good job running another company, my money would be on him as the number one choice.

[Farrell Fan]

Well, if Peter Boal is the successor, then there's a chance that Farrell would be put in charge of the Balanchine repertory, as Perky suggests. It's nice to think about. But I agree with Carbro who said on the PNB thread that Martins regards his as a lifetime job. If the slings and arrows of his critics haven't gotten to him and his board yet, they never will.

[MakarovaFan]

Well, if Peter Boal is the successor, then there's a chance that Farrell would be put in charge of the Balanchine repertory, as Perky suggests. It's nice to think about. But I agree with Carbro who said on the PNB thread that Martins regards his as a lifetime job. If the slings and arrows of his critics haven't gotten to him and his board yet, they never will.

Sadly, Farrell Fan, I think you're right about Martins. :angry:

[oberon]

Damian Woetzel. But it won't happen anytime soon.

Peter Boal's dancing career seems to be winding down somewhat...he has his own little company and I think that he may continue to pursue that area, giving new, small-scale works at places like the Joyce & Jacob's Pillow. I believe Boal has often talked about wanting to devote more time to his kids...taking on the NYCB AD post would be quite time-consuming for him.

[GeorgeB fan]

The only way Peter Martins will leave NYCB is feet first. As for Peter Boal, for selfish reasons I hope he doesn't leave NYCB anytime soon! In my opinion the company it this point can't afford to lose him.

[Leigh Witchel]

Boal had said and wanted it known (at least in 2001 he said this) that he would not retire from NYCB before he was 40 and even then he would not retire from dance. A lot can happen in three years, and I don't know what his body is telling him, but the reason he did not retire earlier when he was contemplating it was he loved being onstage so. I agree with GeorgeB - I don't see his replacement in the company yet, and yes, he will be painfully missed, so I hope it's a while.

[dancelyssa]

I think Boal would be the one to succeed Martins, but Martins may be like Balanchine in which the only thing to make him give up the job is death. I think it should be someone who worked closely with Balanchine, ie Suzanne Farrell or Peter Martins, but they aren't really choices considering one already runs the company and one has their own company.

[Mel Johnson]

I don't understand the prevailing Conventional Wisdom of positing male classical principals as the most likely successors to artistic directors. Experience has shown that they generally make lousy ADs for large companies. Over the history of ballet, directors and principal choreographers seem to have come from the soloist ranks and show a distinct slant toward character dancers.

[Alexandra]

In the 19th century, most of the great choreographers were also great dancers -- Perrot, Bournonville, St. Leon. And into this century, Fokine was a fine classical dancer; Massine and Petit mesmerizing dancers, but, as Mel noted, character dancers. There have been male stars who have made good directors -- Sergeyev in St. Petersburg, Kronstam in Copenhagen and Nureyev in Paris. Currently, I can think of at least three star men -- Helgi Tomasson and Edward Villella and (although his company is less known) Ib Andersen -- who are excellent diectors.

That said, the current practice, especially in America, of looking to any male who's reached the rank of principal dancer at any mid- to large-sized company to fill vacancies is beyond troubling. Nureyev starting staging works at a very early age and expressed an interest in staging them from his student days; he also coached dancers throughout his career. Kronstam was trained by Volkova to be a director (through conversations, no specific training program). I don't know Sergeyev's history, but I would bet he also had some sort of training. Today, some guy gets a bunch of dancers together, takes them on the road, and within months is announced as a director somewhere. His first act is to throw out half the dancers because "they're not good enough," clear out the repertory and bring in the dances he knows how to stage, and then clear out the artistic staff when they complain.

[tantris]

Suzzie is the word on the streets. Righlty so.

[Jane Simpson]

What are the rules in US? Is there an enforced retirement age, and must they advertise the job or can they (they = the board, presumably) just appoint whomever they like?

[Alexandra]

Good question. Since the companies are technically "private" and not state supported, I don't think there's as general rule. There have been some companies where the board establishes a search committee (composition to be determined by the board; it could be the general director, current artistic director and some board members, perhaps even a few dancers) and they adverrtise the position. Some hire search firms -- not necessarily artistic search firms. The same firm you'd go to if you needed a chief financial officer. Depending on the current AD's relationship witih the board, he or she may have some input or may even say, "I'm retiring. I strongly recommend Joe to take over."

As you can imagine, the rumor mill for these jobs is quite active, and people apply before a position is announced, upon hearing that the current AD is retiring.

What the specific procedure will be for NYCB I think is not known. There are still conflicting reports on what happened the last time!

Anyone have other insights?

[dewdrop]

eom

Edited March 6, 2006 by dewdrop

[Alexandra]

Dewdrop, this topic has been discussed many times here in various threads, including some quite recent ones, in the NYCB forum. Generally, and very briefly, there are several accounts of what Balanchine's intentions were, what he said, who said what to whom and when, etc. about who would succeed Balanchine.

[dewdrop]

eom

Edited March 6, 2006 by dewdrop

[tantris]

I don't think Peter is going anywhere anytime soon. God knows he couldn't afford to support his family (assuming Darci retires in a few years?) by choreographing.

As for his Son... Has anyone read of what his interests are? I get the impression he's not interested - otherwise he'd be at SAB teaching a bit at least, no? any thoughts?

[oberon]

A couple of years ago when Judith Fugate's Dance Galaxy appeared at the Joyce, one of the pieces was REFLECTIONS with music by Nilas Martins, choreographed by his father. It was pretty good, actually. At the time there was an article about Nilas in the Times (I think it was the Times...maybe the Voice) saying he loved writing music and wanted to do more of it.

[Mel Johnson]

Nilas seems to be making quiet but real progress with his music, which is a very fine thing to do.

As to a successor to the present AD, I find myself believing more and more in Mr. B.'s prophecy, "Apres moi, le board!"

[dirac]

Nilas has also been active in the world of opera. There was an item in Opera News from a year ago that said he would be acting as dancer, choreographer and 'visual consultant' as I recall the phrase, for a production of Aida, and that he had other such commitments in the future.

[Alexandra]

I'd forgotten about that. He did work on a production of Aida in Washington about two years ago -- I would imagine with the Washington Opera. I didn't see it, and don't remember details.

[Michael]

I'm glad to hear he's active at something. "Activity" is not a word which comes to mind when one thinks of Nilas Martins' dancing.

[dewdrop]

eom

Edited March 6, 2006 by dewdrop