NYC Ballet Cuts Corps as Deficit Widens

[Hans]

Hm, perhaps they weren't shared, but the genre became cliché so fast (not that it wasn't to begin with) that it seemed that way.

I haven't read the 'Twilight' books, either, but what I've heard about them doesn't make me eager to.

[Petra]

(and maybe a mod should open a new thread for this topic)

I haven't read the 'Twilight' books, either, but what I've heard about them doesn't make me eager to.

I totally agree, however from what I have heard, ballet could conceivably be a great medium for the story: a fantasy world peopled by supernatural beings who look human (if incredibly good-looking is a given among all humans) works very well in a ballet. A love story that cannot be consummated and is full of yearning and meaningful looks sounds like many a ballet plot. I'm thinking 'tis a pity that Kenneth McMillan is not here to do 'Twilight' justice. Oh well, if the books are a hit in Russia, maybe Boris Eifman will take it up.

[carbro]

I'd love to see some trading and borrowing among ballet companies whose directors choreograph for their companies. Works don't have to be masterpieces, structurally or any other way, to be challenging to dancers and/or be great vehicles for them, and several I've seen over the past few years have been excellent on their own.

ABT does this. Its Corsaire was a joint undertaking with Boston Ballet, Othello with San Francisco, and plans were to share the Makarova Sleeping Beauty with the Royal, but when that production met chilly reception in London, ABT decided to go in another direction for SB, for better or worse.

[Dale]

There's an interesting interview with Sophie Flack, one of the dancers cut, in Time Out NY:

http://newyork.timeout.com/articles/dance/...flack-interview

[balletgirl22sk]

I knew Sophie- she was from my daughters' school. She was a lovely dancer and I applaud her for speaking out.

[liebs]

If you read "Dance is a Contact sport' about NYCB in the 70s, they refer to the corps as kids ever then in Balanchine's time. I agree that it is disrespectful but Martins did not invent that phrase.

I think that Flack will come to learn that every work place is a disfunctional family.

[aurora]

If you read "Dance is a Contact sport' about NYCB in the 70s, they refer to the corps as kids ever then in Balanchine's time. I agree that it is disrespectful but Martins did not invent that phrase.

That may be so, but they also used to refer to women who worked in offices as "girls" and that is no longer considered ok.

Just because it was done in the 70s doesn't mean it is acceptable today. I realize she was wondering who came up with it, so your point is legitimate, but Martins could still take the initiative to stop the practice. I think her complaint about it is a valid one.

I think that Flack will come to learn that every work place is a disfunctional family.

That is a depressing thought.

You may be right, but I do think that dance companies are among the most so, in the fact that they infantilize their employees, and that one's life is much more tied up with one's job than it is in a "normal" work environment given the extremely long hours and intimate quarters...

At the risk of commenting on the discussion, I'd also suggest you are being rather condescending towards her...which given her topic of discussion, borders on the ironic, but hey, you might be right.

In any case I applaud her guts, honesty, and wish her good luck.

[Simon G]

Wow. Brave brave woman and good on her. That took guts to graciously yet unequivocally state in no uncertain terms an atrocious situation. Especially as this interview will no doubt burn many bridges, and piss off royally a great deal of people who might have been willing to help her transition into another aspect of ballet administration.

I applaud her; she has major cujones.

[printscess]

Thank you for posting the interview. She is well spoken and insightful and very brave and forthcoming. I applaud her.

[Dale]

This interview puts a face on a financial decision. Sophie said:

I think it’s part of my cathartic process of grieving. But I also really feel like the public needs to know what’s going on; the way they spun it didn’t feel accurate. Why is that important? Maybe it’s selfish. I don’t know. Like I said in my e-mail, I’ve really never been the center of attention as a member of the corps, and I’m about to leave and no one knows I’m leaving. I want people to know I’m leaving even though nobody might notice. They’re just going to remove my name from the roster, and somehow I don’t feel right about that. It’s very hush-hush. And I’m not sure I agree with that.

We notice! I always looked for Sophie Flack. I remember when she just go into the company, my eye was drawn to her, I think it was Midsummer. Knowing how the ballet world holds grudges, her asking and doing this interview was pretty brave. Her comments about taking classes with other teachers reminded me of when I was at music school. We all studied on the side with this other teacher. He taught the same things as our regular teachers but was better at verbalizing it and getting us to take it in better. A smart director would think to himself/herself, "Maybe this person has something. Let me bring him in."

I wish her and the other dancers the best in their new endeavors.

[SingerWhoMoves]

Good for Sophie. I hope she does know how much we love and appreciate the corps dancers as individuals. I applaud her guts for doing this interview.

Has there been a formal list of the laid off dancers? I will have to grieve each and every one. I already miss Rachel Piskin, though I don't know if she was among the group or just decided to leave.

Such a sad situation for the girls- I know how intimate a dressing room situation is and it's hard to lose any of that in your life.

[miliosr]

Wow is right -- the smoke from those burnt bridges will be seen for miles!

Good for her, though. I especially like how she called out Martins about the apprentice situation. Gee, they're so broke they have to fire close to a dozen dancers but, magically, they have money to take on apprentices. Please . . .

To me, this was the money quote:

"I don't think he [balanchine] chose him [Martins] for his artistic vision or creative abilities as a choreographer."

Truer words were never spoken.

[Hans]

I think she is also absolutely right about NYCB isolating itself from the rest of the ballet & dance world.

[bart]

I was most moved by Ms. Flack's feeling that she has not been noticed, and I'm glad that Dale posted that she HAS been noticed and appreciated. Thanks, Dale. Your post, coming from a serious NYCB watcher, means a lot.

Flack also says:

I want people to know I’m leaving even though nobody might notice. They’re just going to remove my name from the roster, and somehow I don’t feel right about that. It’s very hush-hush. And I’m not sure I agree with that.

This is heartbreaking. It's a version of the experience of myriad workers who've been told to "clear your desk" and then been escorted outside the building. This "pretend it never happened" policy, it is alleged, avoids law suits and also somehow keeps up the morale of those who still have jobs. The hope is that the former worker will accept his/her unperson status qietly and simply disappear.

The way ballet companies treat redundancies is also discourteous to the fans. Dancers simply disappear from the company listing on the website and program, without acknowledgment, let along explanation.

[Krystin]

After reading Sophie Flack's interview, I have to say that I have an incredible amount of respect for her. I know what it's like to play the "ballet" game (politics, unrealistic expectations, false hope, etc), and simply put, it's incredibly difficult.

I almost envy people who admire ballet without ever having danced. They can appreciate the art form for only what they see presented before them, which while beautiful, is only half of the story. However, without ballet, I would not be who I am today, which I get the feeling is also true for Sophie Flack.

I admire Sophie for speaking from her heart and not sugar coating her situation. The ballet world can be cruel, but in the end ballet is still a beautiful art form that I would be lost without.

[kfw]

I especially like how she called out Martins about the apprentice situation. Gee, they're so broke they have to fire close to a dozen dancers but, magically, they have money to take on apprentices. Please . . .

The interview is moving, and Flack clearly deserved straight talk about her chances of dancing soloist roles, not to mention a respectful, appreciative sendoff. But apprentices are presumably paid less than corps members, and the company needs to bring in new dancers in order to find future soloists and principals. I think it could be argued as well that the SAB students, after all their dedication, deserve a shot at entering the company, even in a lousy economy.

[carbro]

[T]he company needs to bring in new dancers in order to find future soloists and principals. I think it could be argued as well that the SAB students, after all their dedication, deserve a shot at entering the company, even in a lousy economy.

No doubt about that, but perhaps a different balance could have been struck -- cut two or three appentice spots and save two or three corps dancers.

Every year there is a small handful of voluntary departures. I wonder if between those positions opening up and a smaller class of apprentices coming in, the loyalty of some corps dancers could have been repaid.

Then again, one could look at the other tack taken by ABT, in which the entire company -- administration and dancers -- has taken a salary cut in support of each other and the company as a whole. A much more humane approach.

[Sonora]

As has been noted, the interview is full of perceptive insights. She is honest and courageous! I agree that New York City Ballet under its present direction has isolated itself from the rest of the ballet/dance world, to its detriment, and to the detriment of its artists. It's a shame that this important company with its rich legacy of timeliness, innovation, and creativity does not seem to be setting an example in terms of respectful treatment of its dancers, and, by extension, its public.

[miliosr]

I especially like how she called out Martins about the apprentice situation. Gee, they're so broke they have to fire close to a dozen dancers but, magically, they have money to take on apprentices. Please . . .

The interview is moving, and Flack clearly deserved straight talk about her chances of dancing soloist roles, not to mention a respectful, appreciative sendoff. But apprentices are presumably paid less than corps members, and the company needs to bring in new dancers in order to find future soloists and principals. I think it could be argued as well that the SAB students, after all their dedication, deserve a shot at entering the company, even in a lousy economy.

I understand what you're saying, kfw, and I would agree with you -- if the City Ballet administration had handled the situation in the manner which you described. The administration could have gone to the affected dancers and said, "I'm sorry. You've gone as far as you're going to go in the company and we have to balance your needs against the needs of the company and its future. We can't go a season without any new apprentices and, as a result, I'm afraid we won't be renewing your contract." That would have been tough for the dancers to hear and for Peter Martins to say (unless he's a complete sadist) but it would have been honest.

The way it went down, however, suggests something other than that. City Ballet made a big show (in the New York Times, for one) of citing purely economic reasons for getting rid of those dozen or so dancers. But now, lo and beholden, it appears that there were other factors at work. If you're Miss Flack or one of the others, you would have to think that you got insulted not once but twice -- the termination meeting, in retrospect, appears less that truthful and then, with the hiring of the apprentices, you find out that the artistic staff didn't think much of you but didn't have the guts to tell you that.

[Note: The collective bargaining agreement with the union may prevent what I described in the first paragraph. But, if that's the case, then the union rep should ask himself or herself what good the agreement is if it can be so easily evaded.]

As for whether or not apprentices are cheaper than corps members, I'm sure they are -- but significantly so? Furthermore, you can turn that argument around and direct it at a half dozen or more principals (and you all know who they are) who are clogging up the arteries at the top. If the goal is saving money to hire apprentices, why not ask Mrs. Martins to forego her Cher-like farewell tour in the interests of the company's future???

[printscess]

I especially like how she called out Martins about the apprentice situation. Gee, they're so broke they have to fire close to a dozen dancers but, magically, they have money to take on apprentices. Please . . .

The interview is moving, and Flack clearly deserved straight talk about her chances of dancing soloist roles, not to mention a respectful, appreciative sendoff. But apprentices are presumably paid less than corps members, and the company needs to bring in new dancers in order to find future soloists and principals. I think it could be argued as well that the SAB students, after all their dedication, deserve a shot at entering the company, even in a lousy economy.

I don't know the exact details but apprentices get paid according to the corps contract when they perform and rehearse and overtime.

[Simon G]

As for whether or not apprentices are cheaper than corps members, I'm sure they are -- but significantly so?

Hey Miliosr,

I did a bit of nimble fingered detective work. The NYCB 2009 AGMA contracts are online and here are the figures.

A Level A Corps member (entry) gets $1015 per calendar month.

A Level D Corps member (8-9 yrs) gets $1895 per calendar month.

But it doesn't quite work out like that. An apprentice gets the same as a level A corps member only on a pro rata basis per performance not per month. Furthermore the rate for a graded corps member which is the same for rehearsal or peroformance week regardless does NOT apply. An apprentice is only paid a salaried wage for performance weeks in rehearsal they get an "allowance".

Here are the paragraphs for your delectation regarding the pay scale.

During performance weeks Apprentices will receive rehearsal compensation for all

rehearsal hours as provided in Paragraph 13. of this BASIC AGREEMENT. During rehearsal weeks,

Apprentices will receive the A1 Rate for each rehearsal hour.

(d) The EMPLOYER agrees that the appearance of the Apprentice will not reduce the normal

strength of the Corps de Ballet. The EMPLOYER further agrees that members of the regular Corps de

Ballet will be available as stand-bys to cover the duties performed by Apprentices.

(e) During performance weeks, Apprentices will receive a pro rata of Level A Corps Dancer's

weekly salary per performance for each of the first four (4) performances in a week. If an Apprentice is

engaged for five (5) or more performances a week, the full Level A Corps Dancer’s weekly salary shall be

PERFORMANCE WEEK HOURS AND OVERTIME COMPENSATION

(a) All rehearsal hours during performance weeks shall be compensated as follows in addition

to the ARTIST's individual weekly performance compensation:

8/29/05-8/27/06 8/28/06-8/26/07 8/27/07-8/24/08 8/25/08-8/30/09

A1 Rate 20.50 20.50 21.00 22.00

1st, 2nd and 3rd hours

A2 Rate 30.75 30.75 31.50 33.00

4th and 5th non consecutive hours

A3 Rate 41.00 41.00 42.00 44.00

4th consecutive hours

A3 Rate 41.00 41.00 42.00 44.00

6th or more non consecutive hours

A4 Rate 61.50 61.50 63.00 66.00

5th and 6th consecutive hours

If anyone feels like ploughing through the full contract here it is:

http://www.musicalartists.org/agreements/N...t.2005-2009.pdf

[miliosr]

I did a bit of nimble fingered detective work. The NYCB 2009 AGMA contracts are online and here are the figures.

Why thank you, Simon G. You are handier than Thing on The Addam's Family! (A compliment coming from me, I assure you.)

Here's a hypothetical regarding the salaries. Let's say we have corps member D (who has 8-9 years of tenure w/ the company) and we have apprentice A (who will be new to the company next season). Let's also say that apprentice A will only make half of what an entry level corps member makes in base salary per calendar month. Finally, let's say that the season is 9 calendar months long:

Corps member D = $1,895 x 9 = $17,055

Apprentice A = $508 x 9 = $4,572

Difference = $12,483

Obviously, we can't know what the rehearsal wage differential would be. But at least in terms of the base salary, $12,483 isn't a lot savings between corps member D and apprentice A. This is especially true when you consider that the original reported deficit was $5.5 million.

Feel free to correct me if my numbers are faulty!

[printscess]

Let's not forget ALL the overtime, which is galore at NYCB.

[miliosr]

Let's not forget ALL the overtime, which is galore at NYCB.

Agreed. All I tried to show is that they won't save a lot in base salary by hiring apprentice A and firing corps member D.

[duffster]

I agree it took alot of courage for Sophie Flack to speak about her situation. In a ballet company you are totally at the mercy of the director's opinion about you. It is a shame she was not shown more respect - 9 years in a company is a long time. How painful to finish the season alongside your colleagues that have a job and you have lost yours. I wish her all the best in the future.