What artistic directors do

[Alexandra]

There's an article in the Seattle Weekly by Sandi Kurtz that I thought raised some very interesting and important points about artistic direction. It's specifically about Pacific Northwest Ballet, but it speaks to what artistic directors do generally, and about the direction ballet companies take. Since we've had so many discussions about that here, I thought this was worth posting for discussion.

Changing Partners

[LMCtech]

Interesting article. This particular AD change over is being watched very closely by all the other major companies in America. And some of the minor ones too, who might be losing their ADs to a bigger company.

[Alexandra]

Yes, I think a lot of people are watching this one. It's the first generational change at a major company here in a long time.

editing to correct -- I forgot Houston Ballet. THAT was a generational change.

Edited September 11, 2004 by Alexandra

[Amy Reusch]

Is it typical of artistic directors 'descended from Balanchine' not to have Giselle in their company's repetoires, or is this peculiar to PNB?

[And is there a better phrase than 'descended from Balanchine' I might use?]

[Alexandra]

Interesting question. Miami City Ballet, Edward Villella's company, has "Giselle" in repertory.

I do think it's natural for a director to bring to his/her company the repertory, mores, and all the other trappings of the company he -- and it is nearly always a he, so I'm dropping the PC his/her -- grew up in. The current generation of directors seem to fall into the after-ABT or after-NYCB mold. An exception is Helgi Tomasson, whose company, and some directorial practices, seem more like the Royal Danish Ballet of old than NYCB.

[carbro]

Is it typical of artistic directors 'descended from Balanchine' not to have Giselle in their company's repetoires . . . ? 

Arthur Mitchell's Dance Theater of Harlem has a Creole Giselle that I quite like. Don't know if they've done it lately.