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Dale

Casting for January 23-28

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From the company (reconfigured by me):

NEW YORK CITY BALLET

PRINCIPAL CASTING JAN. 23 - 28, 2007 10th Week

TUES., JAN. 23, 2007 at 7:30 pm [bRISKIN]

Mozartiana: NICHOLS, NEAL, GOLD

In Vento: MILLEPIED, KOWROSKI, LIANG

Tschaikovsky Piano Concerto No. 2: WHELAN, ASKEGARD, REICHLEN, SUOZZI, ORZA, LARACEY, ARTHURS

WED., JAN. 24, 2007 at 7:30 pm [KAPLOW]

2 and 3 Part Inventions: KROHN, HYLTIN, PECK, SCHELLER

T. ANGLE, J. STAFFORD, ORZA, RAMASAR

A Suite Of Dances: WOETZEL

In Memory Of...: WHELAN, ORZA, ASKEGARD Nikkanen

I'm Old Fashioned: *BAR, RINGER, *MEARNS, T. ANGLE, J. ANGLE, HANNA

THUR., JAN. 25, 2007 at 8 pm [KAROUI]

Agon: KOWROSKI, *MARCOVICI, *VEYETTE, *LARACEY, *LOWERY,

*BAR, RAMASAR, *ORZA

Monumentum Pro

Gesualdo: KROHN, ASKEGARD

Movements For Piano

and Orchestra: KROHN, ASKEGARD

Duo Concertant: BORREE, HÜBBE

Symphony In Three Movements: SOMOGYI, *RAMASAR, *HYLTIN, HENDRICKSON, A. STAFFORD, DANCHIG-WARING

FRI., JAN. 26, 2007 at 8 pm [bRISKIN]

Mozartiana: NICHOLS, NEAL, GOLD

In Vento: MILLEPIED, KOWROSKI, LIANG

Tschaikovsky Piano Concerto No. 2: WHELAN, ASKEGARD, REICHLEN, SUOZZI, ORZA, LARACEY, ARTHURS

SAT., JAN. 27, 2007 at 2 pm

Carousel (A Dance): *PECK, WOETZEL, *HANKES, *HALL, KROHN, J. STAFFORD

Tarantella: FAIRCHILD, DE LUZ

Symphony in Three Movements: SOMOGYI, RAMASAR, HYLTIN, HENDRICKSON,

A. STAFFORD, DANCHIG-WARING

I'm Old Fashioned: BAR, RINGER, MEARNS, T. ANGLE, J. ANGLE, HANNA

SAT., JAN. 27, 2007 at 8 pm [KAROUI]

Episodes:

Symphony: A. STAFFORD, LIANG

5 Pieces: REICHLEN, *la COUR

Concerto: WHELAN, EVANS

Back: KOWROSKI, ASKEGARD

*Tribute: *PECK, *BOUDER, *SMITH, *GILLILAND

*ALBERDA, *T. ANGLE, *R. FAIRCHILD, *DANCHIG-WARING

Vienna Waltzes: RUTHERFORD, HÜBBE, WEESE, MILLEPIED, RIGGINS, GOLD, RINGER, MARTINS, NICHOLS, NEAL

SUN., JAN. 28, 2007 at 3 pm [KAROUI]

Agon: KOWROSKI, MARCOVICI, VEYETTE, LARACEY, LOWERY,

BAR, RAMASAR, ORZA

Monumentum Pro

Gesualdo: KROHN, ASKEGARD

Movements For Piano

and Orchestra: KROHN, ASKEGARD

Duo Concertant: BORREE, HÜBBE

Symphony In Three Movements: SOMOGYI, RAMASAR, HYLTIN, HENDRICKSON, A. STAFFORD, DANCHIG-WARING

+Guest, *Debut

Get updates on casting at www.nycballet.com/casting

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This might be a feature of the new scheduling system. If a dancer is not in a certain program, that dancer doesn't get seen in a week or so.

I also thought I noticed some additions to the schedule - like Symphony in Three Movements is off its Stravinsky program and in the Robbins program one night. And Carousel (A Dance) was added to the same program, in place of 2&3 Parts. And Tarantella was added. It's not part of the original schedule.

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We just got Bouder back from a season of injury, and we're barely getting her! I'm not liking this!

-amanda

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On the other hand, for the previous week Krohn fans are in clover. It looks like a season's worth of dancing compressed into one week, and I'm not sure it's a good thing.

Looks like the block program isn't panning out as smoothly as they probably expected.

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Looks like the block program isn't panning out as smoothly as they probably expected.

Of course this was just something I assummed :blink: but I thought that while the programming was in fixed

blocks of individual pieces, that the casting would continue to be flexible (dancer A in Agon on Tuesday, dancer B on Thursday, all while staying within the programmed block)

I'm wondering if this is incorrect??

It would seem a little crazy to have the casting tied to the blocks. If nothing else, if two or three dancers have been doing a particular piece, it would be easier for one to replace another in case of illness or injury.

Of course an understudy could be ready but if they haven't danced the piece that season it's just that much harder to jump in.

Oh well, I'm sure the logic will become clearer as we see more weeks of casting.

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This might be a feature of the new scheduling system. If a dancer is not in a certain program, that dancer doesn't get seen in a week or so.

I also thought I noticed some additions to the schedule - like Symphony in Three Movements is off its Stravinsky program and in the Robbins program one night. And Carousel (A Dance) was added to the same program, in place of 2&3 Parts. And Tarantella was added. It's not part of the original schedule.

Dale, on the schedule that I have, that date -- Jan 27 -- is billed as a "one time only" program.

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I just looked at the schedule on my fridge. You're right. But that sort of defeats the purpose of the fixed programs.

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Is anybody else surpised to see that Peck seems to have replaced Kathryn Morgan in Carousel after her debut at the gala? And it certainely seems like an odd fit for Peck who is so clearly a perky allegro dancer....Morgan seems so much more suited to the part. Easy come, easy go....?

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On Opening Night, Tiler danced Friandises. She was still a corps member then. It would have been strange to have her dance in two major roles on the same Opening Night bill.

I don't know if all Tiler is is a "perky allegro dancer." Her range has hardly been tested.

If, by the end of the Carousels, Kathryn still doesn't get a second shot at it, then I'll be surprised.

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On Opening Night, Tiler danced Friandises. She was still a corps member then. It would have been strange to have her dance in two major roles on the same Opening Night bill.

I don't know if all Tiler is is a "perky allegro dancer." Her range has hardly been tested.

If, by the end of the Carousels, Kathryn still doesn't get a second shot at it, then I'll be surprised.

I definitely think Kathryn will get another chance. I believe that Carousel goes quite a few times in the winter season. I can't wait to see Kathryn do it again. I saw her gala performance. What an absolute beauty! She is definitely one to watch! But I am sure Tiler will be wonderful, too!

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As an apprentice, NYCB's AGMA contract (2005-2009) restricts the number of ballets in which Katie may appear in a given season. I would assume, however, that her Gala success would lead to a further appearance in this role, so I will also hope. Still, by the letter of the contract if Katie does not dance a regular season performance of Carousel, the company can use her for one more ballet (see b below).

It should, however, be a wonderful learning experience for Tiler to dance a role that requires some inhabitation ("acting") of the character.

19. ENGAGEMENT OF APPRENTICE DANCERS

AGMA agrees that the EMPLOYER may engage no more than ten (10) Apprentice Dancers to

appear in its Company under the following terms and conditions:

(a) Apprentices may perform for the EMPLOYER for a period not to exceed one (1) year.

(b) The Apprentices may appear in not more than eight (8) ballets during the winter season, not

more than eight (8) ballets during the spring season, and not more than eight (8) ballets during the combined

time of Saratoga and any domestic and international touring during the apprentice year. However,

participation by Apprentices in special single events such as gala, memorial performances or single

performances for the Guild luncheon or the education department shall not count towards their maximums.

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It's not unheard of for NYCB to elevate its apprentices to the corps before the contract reaches its term.

It's very surprising, though, that limitations are placed on ballets and not roles. For example, it's conceivable that a new apprentice, by this time, may have danced a guest and a maid and a doll and a snowflake and a flower and Spanish and Marzipan. And that's just for Nut! In Beauty, she might been a courtier and and Lilac Fairy attendant and a Garland Dancer and a bridesmaid and a nymph and in the hunt, and (again) a courtier.

Two ballets. I can't even count how many roles -- I ran out of fingers! :clapping:

And we haven't even gotten into rep yet.

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carbro, it is likely that the AGMA agreement did not anticipate the number of full-evening multi-role ballets that NYCB would perform during the term of the agreement. The AGMA is the party to the agreement that would be protective of the apprentice and would want to limit her number of appearances before promoting her to corps. As AGMA has had a lengthy relationship with NYCB, AGMA probably realized that limiting the number of roles in The Nutcracker wouldn't be a doable scenario for NYCB - but on the other hand its representatives probably didn't know quite how many full-length ballets Peter Martins was planning.

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... The AGMA is the party to the agreement that would be protective of the apprentice and would want to limit her[him] number of appearances before promoting her[him] to corps. As AGMA has had a lengthy relationship with NYCB, AGMA probably realized that limiting the number of roles in The Nutcracker wouldn't be a doable scenario for NYCB - but on the other hand its representatives probably didn't know quite how many full-length ballets Peter Martins was planning.

Actally the other full-length, long-run ballets were already on the books at the time of the contract. But of course not Romeo and Juliet. Ms. Morgan danced in all the performances I saw of Sleeping Beauty: Garland Dance and Vision Scene. Now if that were true for most of the rest of the 13 performances, section (e) below would protect her.

The contract is protective of the apprentice but also of the Corps, so that apprentices can not make more than a controlled dent into jobs the Corps might usually have.

Here is a summary of the rest of the apprentice section of the contract:

© covers rehearsal compensation.

(d) protects Corps by assuring appearance of apprentices will not deminish the strength of the Corps and that Corps members must be available as stand-bys for apprentices.

(e) protects salaries of apprentices so, for example, they will receive Corps level pay if they work for at least 5 performances per week.

(f) Restricts age to 16 - 22.

(g) "AGMA reserves the right to prohibit the use of Apprentices at any time that it has at its sole

discretion considered that there have been abuses of this provision."

(h) Permits remedies including extending length of apprenticeships for ill or injured dancers.

(i) Rules for apprentice appearances outside the City.

(j) "Apprentices will meet with members of the EMPLOYER’s artistic management staff at the

end of each season in order to receive an evaluation."

(k) Apprentice Housing: assures dormitory or other suitable housing, and offers loan help for those wishing to leave SAB or other provided housing to rent their own apartments.

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I have trouble believing that AGMA would be unaware of the number of roles available to apprentices in Nutcracker. A quick perusal of the companies covered suggest that after the Metropolitan Opera, NYCB is probably its largest contingent, and the shop steward certainly knows the specific personnel requirements of each season's rep. The casting of Nut, repertory staple that it is, must be very well known. The current contract was negotiated in 2005 and runs through August, 2009. While it was impossible to foresee, at the contract's outset exactly the requirements of yet-to-be choreographed new works, Sleeping Beauty and Swan Lake runs were easily foreseeable, especially since the company has taken to scheduling the Beauties and Swans in two-week blocks.

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drb, thanks for the additional info. You are right, of course, that AGMA is protective not only of employees in general but also has to balance the rights of various classes (apprentices/corps, etc.).

carbro, I agree that AGMA would be aware of the roles available in Nutcracker. I think that the realities of Nutcracker season are such that it would be impossible to limit the number of roles an apprentice dances in Nutcracker. I didn't realise that it was established policy to schedule Swan Lake and Sleeping Beauty in two-week blocks.

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Lest we forget Mr. B.'s Coppelia, Midsummer and especially Jewels.

Especially Jewels, since Ms. Morgan will almost surely still be an apprentice in the Spring and could be appropriate for all three gems, Emeralds and Diamonds for sure. That could make an interesting contract issue: Would dancing in both count as two ballets or one? After all, some people would consider these as separates (although it is Rubies that generally gets the solo treatment).

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Also, when the curtain falls on the last performance of the winter season, the count goes back to zero. Spring should be an easier season, as most of the apprentices will be returning to some roles they danced during the winter. If anyone gets the ninth role, it will be followed or preceded by a press release announcing their promotion to corps de ballet.

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Cast change:

In Tribute (1/27 E, as well as next week's performances), Megan LeCrone is listed in place of Kaitlyn Gilliland.

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