Helene Posted April 19, 2015 Share Posted April 19, 2015 Thank you, Kaysta. I'm sorry about the ads. Link to comment
angelica Posted April 19, 2015 Share Posted April 19, 2015 My computer connected to the live stream via UStream, and whenever an ad popped up a notice appeared that I could skip the ads by subscribing to UStream for $3.99 per month, which I wasn't about to do. But I imagine others had the opportunity to opt out of the ads (for a price). The only dancing that was interrupted for me was the middle of Rodeo. Thankfully, the other interruptions were during the conversations. Link to comment
Helene Posted April 19, 2015 Share Posted April 19, 2015 I didn't get ads from a Canadian IP, at least in the afternoon session. Link to comment
Dancerboy90210 Posted April 19, 2015 Share Posted April 19, 2015 I came across this interview with ABT CFO William Taylor. He talks about their "star strategy" and dynamic pricing. I don't think the "star strategy" is exclusively Kevin's idea. Taylor talks about the difference in ticket sales for a "star" vs. a regular principal from the company. I think this might better explain ABT's reliance on stars, as a financial necessity. The idea of bringing in guests might be coming more from the executive side than the artistic side. Taylor talks specifically about Osipova and how ticket sales suffered when she did not perform in 2014. However, it is impossible to ignore how it affects morale and upward mobility within the company. Perhaps they should focus on creating more homegrown stars. David Hallberg, Julie Kent, Marcelo Gomes and Gillian Murphy show that it is possible. I think the company might want to try to start a fund for talented company members to receive coaching outside of the normal artistic staff. Maybe this would help develop "stars" within their existing roster. Just an idea.... Also, Taylor talks about how difficult it is to fill the Met vs. the Koch Theatre. Prestige aside, why can't ABT just relocate from the Met to the Koch theater? Its a better theater for dance anyways. Koch is a major ABT supporter. I understand they'd have to push their season back to accommodate NYCB, but I can't imagine starting later and finishing in late July having a drastic effect on ticket sales. Maybe I am wrong. Also they could add extra performances to off set the loss in total seats. I imagine it would be more cost effective as well. Maybe they could invest some of the savings into new ballets... maybe slightly more risky ballets. https://www.youtube.com/watch?v=CWd-4HuDvDg Link to comment
sandik Posted April 19, 2015 Share Posted April 19, 2015 Thanks for the link to the interview -- it sounds like they're bringing up some really interesting questions. Just off the top of my head, I think ABT would be loathe to leave the Met -- it's a major aspect of their public image, and I imagine they would think it would look like a step down. I don't agree that it would be, but image is a big aspect of marketing. Link to comment
Dancerboy90210 Posted April 19, 2015 Share Posted April 19, 2015 Thanks for the link to the interview -- it sounds like they're bringing up some really interesting questions. Just off the top of my head, I think ABT would be loathe to leave the Met -- it's a major aspect of their public image, and I imagine they would think it would look like a step down. I don't agree that it would be, but image is a big aspect of marketing. I agree that they like the prestige of being at the Met. However, the Koch theater is no small regional theater. NYCB performs there, it also welcomes some incredible ballet companies, Paris Opera, SFB, Bolshoi, etc. I think ABT could easily perform there, especially if they added a few more shows. Seems like it would be better for the long term success of the company. By lowing the supply of available seats to each show, they could also probably get away with increasing ticket prices. (Not that I support pricing people out) They could also focus less on "mega stars" and develop their dancers... maybe even use their productions to draw audience members and not always stars. But I know they don't want to let go of the Met.... Link to comment
miliosr Posted April 19, 2015 Share Posted April 19, 2015 I have to imagine that ABT management thinks abandoning the Met would be a body blow to the company's self-image. ABT has been associated with the Met for decades and moving across the plaza to the State Theater would look like a come down for them. Also, having to work around the New York City Ballet 's schedule would put ABT in the position of being the junior company in the arrangement. They would be completely dependent on City Ballet's schedule and would no longer be masters of their own fate. Finally, ABT might find that they would have to scale down productions so that they fit on the stage of the State. When the Paris Opera Ballet played the State in 2012, there were many comments made that the POB's production of Giselle looked very cramped on the State Theater stage. ABT's lavish, multi-act productions are their bread-and-butter and having to reduce them for size reasons might not be so good for box office (In regard to bringing in "risky ballets," Baryshnikov tried that in the 80s and the ABT audience rended in two. Rightly or wrongly, ABT is a company that lives or dies by its stars -- not the excellence of its productions. Which is why I think something like the Shostakovich Trilogy was an experiment in a void.) Link to comment
volcanohunter Posted April 19, 2015 Share Posted April 19, 2015 Also, having to work around the New York City Ballet 's schedule would put ABT in the position of being the junior company in the arrangement. They would be completely dependent on City Ballet's schedule and would no longer be masters of their own fate. Waiting for an eight-month Metropolitan Opera season to end could hardly be described as being master of one's own fate. The current arrangement forces ABT to compete head-to-head against New York City Ballet for half of its Met season, and in the end neither company can fill its theater. Simultaneous performances are great for ballet tourists, but it's also madness. ABT and NYCB have shared a single theater before. I'm sure they could do it again, and it would put an end to audience-splitting. Link to comment
miliosr Posted April 19, 2015 Share Posted April 19, 2015 ABT and NYCB have shared a single theater before. I'm sure they could do it again, and it would put an end to audience-splitting. We'll have to agree to disagree regarding audience-splitting. I'm not convinced that getting out of each other's way would benefit either company in terms of audience growth. Link to comment
California Posted April 19, 2015 Share Posted April 19, 2015 I was struck by Taylor's off-hand remark that "Los Angeles doesn't have its own company" (something I've heard before from ABT). I'm sure Colleen Neary, Co-director of the LA Ballet, loved hearing that. Certainly they are not in the same league, by a long shot, but she's entering their tenth year and has an unusually rich rep of Balanchine ballets. They also depend (as does everyone) on their Nutcracker. Still, given the massive drive times for so many people in that metropolitan area, LA Ballet will probably hold its own audience, so long as they don't venture into Orange County. http://losangelesballet.org/ Link to comment
vipa Posted April 19, 2015 Share Posted April 19, 2015 If I'm not mistaken, the only home team player who knows the role of Nikiya already but isn't dancing it is Murphy. (Kent is too old and gave up that role years ago, and dear Paloma will already be retired by that point.) Having seen Murphy's Nikiya already in the past, I feel it is not a good fit for her and I would not return to see her in that role. It is probably now too late to start training a new Nikiya from scratch.There could be someone under studying who has not done it. Lots of dancers learn roles and then for one reason or another don't get to do them. I don't know about his role specifically but it would surprise me if no one in the company knew it. Link to comment
Kaysta Posted April 19, 2015 Share Posted April 19, 2015 Re: the Taylor interview: I know they need money to keep the company afloat, but it really makes me sad that it seems to be more about the money than the art. The ballet world should not revolve around Osipova. Link to comment
vipa Posted April 19, 2015 Share Posted April 19, 2015 I didn't get stuck with the ads, but the stream wouldn't start moIving for me until T&V. Does anyone know who danced it? I wish they would tell us who was dancing. Link to comment
Kaysta Posted April 19, 2015 Share Posted April 19, 2015 Time for round 2. Hope there isn't the technical issues this time. Link to comment
ABT Fan Posted April 19, 2015 Share Posted April 19, 2015 There could be someone under studying who has not done it. Lots of dancers learn roles and then for one reason or another don't get to do them. I don't know about his role specifically but it would surprise me if no one in the company knew it. That's exactly what I've been thinking. How could no one else (meaning a "regular") been taught the role if only to sub in at a moments notice in case of injury. We saw last year how Seo had to jump in mid-performance for Murphy in SL when she got injured (but Seo performs this role regularly). I highly doubt ABT has a "star" sit in the theatre while another one performs as a back-up so why not further develop the regular who learned it and let them do it? Link to comment
California Posted April 19, 2015 Share Posted April 19, 2015 I understand that the ads are needed to cover costs for the live stream for the Guggenheim programs, but the interruptions are bizarre. They should do what they do at the "live" award shows, like the Oscars and Emmys -- ads during the applause, perhaps some lengthy bows. Instead they cut literally into the middle of dances, like Rodeo this afternoon! I can't believe that our tiny glimpse of Stella in Giselle was interrupted with two ads! Are those ad placements being dictated by the commercial service that wants us to buy ad-free viewing?? Link to comment
Kaysta Posted April 20, 2015 Share Posted April 20, 2015 Stella as Giselle. I'm literally crying, so beautiful. Lucky Aussies got to see the whole thing. Link to comment
abatt Posted April 20, 2015 Share Posted April 20, 2015 The substitutes for lead roles at ABT are always people who are scheduled to perform the role already during the ABT season. The leads are assigned the dates they must be on standby in the theater. Hee Seo didn't just happen to be hanging around the MEt the night Gillian got injured, and agree to go on out of the goodness of her heart. It was her assigned duty. It's not like understudies used in the theater or "covers" for the opera, who never appear in a role unless someone gets sick or injured. Link to comment
Tapfan Posted April 20, 2015 Share Posted April 20, 2015 Re: the Taylor interview: I know they need money to keep the company afloat, but it really makes me sad that it seems to be more about the money than the art. The ballet world should not revolve around Osipova. I believe that ABT may finally have some potential superstars in the pipeline who will make them less dependent on imported talent. Aran Bell that engaging little towhead from the First Position documentary is in the ABT studio company along with Prix de Laussanne runner up Garegan Pogossian. Both these two have star quality written all over them. Link to comment
Dale Posted April 20, 2015 Author Share Posted April 20, 2015 Did the Giselle excerpt start the 8pm show? Or was it from the earlier one? I'm trying again. We'll see how long it takes for me to get frustrated. Yes, the ads must be programmed to go off at timed intervals regardless of what's going on. I much prefer the ads that pop on the corner or bottom of the screen. Link to comment
California Posted April 20, 2015 Share Posted April 20, 2015 Dale - the evening show started at 7:30 EDT. First came three Shades from La Bayadere, then the PdTrois from Swan, then Giselle. If you follow Works and Process on Facebook, they posted the entire show with casting. Link to comment
Kaysta Posted April 20, 2015 Share Posted April 20, 2015 Bayadere was first (a Shades excerpt, I think it was Mai Ahara, Nicole Graniero and Cassie Trenary). The the SL PDT with Blaine Hoven, Christine Shevchenko and Devon Teuscher. Then Giselle with James Whiteside and Stella Abrera. Just now Roman Zhurbin did a mix of all of his character parts, which was pretty cool (he did Hilarion, Gamache, Rothbart, Evil stepsister, High Brahmin) Link to comment
abatt Posted April 20, 2015 Share Posted April 20, 2015 Wow. McKenzie let Stella do a Giselle excerpt at the Gugg. Maybe there is hope that one day she might actually get to perform it at ABT. I'll hang on to that dream. Link to comment
ABT Fan Posted April 20, 2015 Share Posted April 20, 2015 The substitutes for lead roles at ABT are always people who are scheduled to perform the role already during the ABT season. The leads are assigned the dates they must be on standby in the theater. Hee Seo didn't just happen to be hanging around the MEt the night Gillian got injured, and agree to go on out of the goodness of her heart. It was her assigned duty. It's not like understudies used in the theater or "covers" for the opera, who never appear in a role unless someone gets sick or injured. Abatt, regarding Seo, I didn't say she was just hanging around the theatre and went on out of the goodness of her heart. Of course she was an understudy. That was my point. It was also my point that she had to jump in for Gillian at a moments notice and that's precisely why an understudy is needed. I strongly doubt that a star dancer scheduled for Bayadere will be on call in the theatre as an understudy. That's what I was trying to say. So since it seems like only stars ( with maybe one exception, I can't access the schedule right now) are doing Nikiya, a regular dancer would have to know the part as well and be on call. Link to comment
Dale Posted April 20, 2015 Author Share Posted April 20, 2015 Thanks all for the program. Since the Burns doc, I've been stuck in ad hell. But I can finally see a Romeo and Juliet bit. Link to comment
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