ABT 2015 Met season

[California]

Taylor pretty much stated that in his interview. He said that Osipova brings in the money and fills the seats and that one of ABT's lesser known principles brought in 40% of the ticket sales that Osipova brought in (he didn't state which principal).

He said that Vishneva on a Monday night did well on sales and an in-house principal the next night only brought in 40% of those sales. Out of curiosity, I looked back at schedules for recent years to see when Vishneva had performed on a Monday. I found two! Taylor is quite the diplomat - there's no way of knowing which in-house principal he was referring to.

Here's what I found (I might have overlooked other Mondays, if others here find anything.)

Monday, June 4, 2011: Vishneva/Gomes in Onegin

Tuesday, June 5, 2011: Seo/Hallberg in Onegin

Monday, June 16, 2014: Vishneva/Gomes in Giselle

Tuesday, June 17, 2014: Semionova/Hallberg in Giselle

I'm not sure Semionova is considered "in-house," and it's puzzling that Hallberg wouldn't help with sales. Has anybody found other Mondays I overlooked?

[Helene]

Millions of dollars in bonus money? For what? What is the source for this claim? According to the 2012 990 filed by ABT, McKenzie's compensation at ABT was less than $310K.

[Kaysta]

He said that Vishneva on a Monday night did well on sales and an in-house principal the next night only brought in 40% of those sales. Out of curiosity, I looked back at schedules for recent years to see when Vishneva had performed on a Monday. I found two! Taylor is quite the diplomat - there's no way of knowing which in-house principal he was referring to.

Here's what I found (I might have overlooked other Mondays, if others here find anything.)

Monday, June 4, 2011: Vishneva/Gomes in Onegin

Tuesday, June 5, 2011: Seo/Hallberg in Onegin

Monday, June 16, 2014: Vishneva/Gomes in Giselle

Tuesday, June 17, 2014: Semionova/Hallberg in Giselle

I'm not sure Semionova is considered "in-house," and it's puzzling that Hallberg wouldn't help with sales. Has anybody found other Mondays I overlooked?

I think it has to be the Seo cast if it's one of those two. I feel like a lot of people really like Semionova (maybe not on this board) and that she does relatively well with ticket sales. Last year her Swan Lake was standing room only and it was a matinee (I know this because I was in the back of the auditorium and had an extra seat next to me and the standing room only folks were scrambling to get into it).

[abatt]

Interesting how all the blame or glory is placed on the ballerina in the interview. Does Taylor assume that the danseur has no impact on ticket sales?

The Gomes - Vishneva partnership has become legendary.

Also, I'm not saying you're wrong Krysta. Maybe the Semionova SL was a sell out. However, there are folks who always buy the standing room tickets becasue they are the cheapest price point, and then go hunting for any empty seat as soon as the usher turns his or her head. The presence of standees does not necessarily mean it's a sold out show.

[Kathleen O'Connell]

I highly doubt that, seeing as how McKenzie regularly gets million of dollars in bonus money. Plus shelling out thousands of dollars for all of these guest artists isn't cheap either.

For the record, unless it's been buried on some inappropriate line item on ABT's most recent IRS 990, Kevin McKenzie hasn't gotten any bonus money, much less millions of dollars. Per Schedule J (Officers, Directors, Trustees, Key Employees and Highest Compensated Employees) of ABT's 2013 990, which includes a column for bonus and incentive compensation, McKenzie's total 2013 compensation was $307,691. Here's the bottom line from Sched J:

Kevin McKenzie - Artistic Director - $307,691

Rachel Moore - CEO - $300,654

Alexei Ratmanksly - Artist in Residence - $247,283

James Timm - Director of Marketing - $179,117

Julie Kent Barbee - Principal Dancer - $185,466

Paloma Herrera - Principal Dancer - $185,197

Kyle Ridaught - Director of Development - $175,275

ABT's total wages and compensation -- including benefits and payroll taxes -- were $22.9 million, which is slightly more than half of its total functional expenses of $42.3 million.

I don't believe wages and compensation includes guest artist fees -- but dancers we might think of as "guest artists" might be characterized as "employees" depending on the nature of their contracts.

[Dreamer]

It is. Taylor pretty much stated that in his interview. He said that Osipova brings in the money and fills the seats and that one of ABT's lesser known principles brought in 40% of the ticket sales that Osipova brought in (he didn't state which principal).

I personally find Taylor's statement of 40% more in ticket sales for guest artists exaggerated. If we assume that those performances were sold-out (highly doubtful), then the "in-house" principals would only fill the theater to 60%. Since complete sold-outs rarely happen it means the ticket sale for lesser known principals is hovering at around 50%. Such low number just doesn't look right me. I don't buy it.

[Drew]

I personally find Taylor's statement of 40% more in ticket sales for guest artists exaggerated. If we assume that those performances were sold-out (highly doubtful), then the "in-house" principals would only fill the theater to 60%. Since complete sold-outs rarely happen it means the ticket sale for lesser known principals is hovering at around 50%. Such low number just doesn't look right me. I don't buy it.

Hard to know--he was quoted as talking about one particular case, not "in house principals" or even "guest artists" in general--which makes the claim seem somewhat more plausible. Perhaps "dynamic pricing" was also playing a role? (Once something starts selling well, prices go up generating still more revenue.)

[ABT Fan]

I also think that along with Brandt, Cassandra Trenary will be on the fast track to soloist. Both, if time were to be invested in them, could dance with Simkin and Cornejo.

Definitely. And, Copeland can certainly dance w/ Cornejo, but not Simkin, even though height-wise it would work. She's way too strong for him.

I also hope Forster and Royal will be made soloists soon.

I agree Copeland will be made a principal, most likely either during or right after the Met season. And, probably Hammoudi at the same time. Gorak is absolutely principal material and is on the fast track. But, I'd be surprised if they promoted him this year since it was only last year that he was promoted to soloist.

[California]

Perhaps "dynamic pricing" was also playing a role? (Once something starts selling well, prices go up generating still more revenue.)

We have no way of knowing from the public reports how much revenue has been generated from each performance. But we do know that there's no correlation between bodies-in-seats and dollars-received. We know that ABT is selling tickets for the mixed bill next month on the TDF site. I've seen NYCB tickets at half-price down at the TKTS booth on Times Square in the past. Reports on this site suggest that when sales are really awful, the house is "papered" with free tickets to local schools. Taylor gave away more information than most of us knew before, about the differences in sales between at least one guest artist and "in-house" principals.

[sandik]

Jumping back to the "wishful thinking about ABT moving to the Koch/State Theater" thread: I know that both Sleeping Beauty and Le Corsaire were grandiose...but did anyone notice if they were noticeably flatter or less deep? (i.e., are there any signs that ABT has begun slowly reworking its productions so that they don't require a stage of the Met's depth?)

They certainly may have been keeping touring in mind -- there's a surprising variety of dimensions in large theaters. I've sometimes wondered if the older vaudeville houses were built with standard dimensions, to accommodate touring.

[ABT Fan]

Casting for their gala on May 18 has now been posted online. Maybe because this is for their 75th anniversary, but they've listed far more dancers than usual for a gala. All of the soloists (except Hammoudi, but maybe that's an oversight) and even a handful of corps dancers.

[Dreamer]

By looking at the MET website I can't say that Osipova's performances are selling much better than any other performance of the same ballet. And individual tickets have been on sale for almost a month now. You would think that anyone who's eager to see Osipova would have already secured his/her ticket. There is definitely no frenzy in buying tickets to see her or any other guest artists. Unless there will be some crazy last minute rush I don't see much proof to the claim of guest artists being a better box office draw. I have no plans of seeing anything at ABT this season as I rather spend my budget on attending my hometown ballet company (SFB). With no guest artists and a population smaller than that of NYC, the SFB can fill the house to its 80% capacity. And our War Memorial Opera House has only 500 seats less than the MET. Last year run of Cinderella was completely sold-out. No guest artists required.

[Drew]

With no guest artists and a population smaller than that of NYC, the SFB can fill the house to its 80% capacity. And our War Memorial Opera House has only 500 seats less than the MET. Last year run of Cinderella was completely sold-out. No guest artists required.

That's fantastic, but although San Francisco has a lot of outstanding performing arts, I don't think SFB's situation offers an exact comparison to ABT in New York City where it competes with...well, you name it in terms of theatrical and musical entertainment--but also tons of major and less major ballet and dance companies coming in and out of the city. As noted repeatedly in this conversation, it regularly has to compete head-to-head with NYCB in spring and even sometimes finds itself competing head to head with a major, high prestige touring company that has the marketing (and not just marketing) advantage of novelty/glamor--this year it will be the Royal Ballet performing the same week as ABT's Swan Lake. SFB has some of that kind of competition, but I am hard put to imagine it's the same.

None of which is meant to belittle the company's extraordinary artistic leadership and popular success. I just would be wary of using it as a stick with which to beat ABT. (For myself, I would be ecstatic to have SFB as my home company.)

Regarding current ticket sales and the suggestion that guest artists make no difference: I would have thought that final figures on who "sells" have to be determined much later in the game than practically a month before the season opens. Hardcore ballet fans often get their tickets way ahead of time...others, in my experience, not so much. In fact, when I lived in NY my own preference was to buy tickets the day before or day of performance. But if the company's policy is not paying off financially...then, at any rate, it will likely be modified.

[Kaysta]

Great that they got rid of the annoying ads for the live stream tonight.

The live stream has made me even more excited to see Sleeping Beauty.

[abatt]

Good news California. For the Gala they have Herman doing an excerpt from Push Comes to Shove. This suggests that perhaps they might be reviving for next season's Koch engagement. Also, they have Murphy doing an excerpt from Fall River Legend, which has also not been revived in some time. Quite a gala lineup. Should be a terrific evening.

[Amour]

Good news California. For the Gala they have Herman doing an excerpt from Push Comes to Shove. This suggests that perhaps they might be reviving for next season's Koch engagement. Also, they have Murphy doing an excerpt from Fall River Legend, which has also not been revived in some time. Quite a gala lineup. Should be a terrific evening.

Where did you get the info on the gala, abatt? On the calendar, I see a whole lot of names but no pieces mentioned.

ETA: OK, found the info. This is the link:

http://www.abt.org/performances/performance_display.asp?Event_ID=892&Date_ID=1772

[cobweb]

Stella Abrera looks lovely in the clips I've been able to see from the Guggenheim Giselle. Maybe it's wishful thinking... But could they be planning to throw her in for a performance?! I would definitely be there!

[Amour]

The live stream has made me even more excited to see Sleeping Beauty.

You know, I felt just the opposite. I thought the costumes, especially for the men (in the divertissements) looked heavy and clunky. I didn't find the performance of the jewel fairies to be very exciting. I also wasn't thrilled with what Ratmansky did with the upper bodies (for example, in Puss n Boots the cat no longer wipes her whiskers).

I have to say that with the exception of Calvin Royale, Cory Stearns and Stella, I found all the performances lacking. Perhaps this is because some roles usually performed by soloists (the fairies) were done by the corps. Maybe they're just not in performing shape yet. But I'm feeling as though I've time travelled back to the early '80's when (as Julie Kent alluded to) NYCB was the "hot" company with the great choreography and exciting dancers. ABT looks stale and its dancers not in good shape. I felt this way last Spring season and am finding myself feeling the same way now.

[Dreamer]

That's fantastic, but although San Francisco has a lot of outstanding performing arts, I don't think SFB's situation offers an exact comparison to ABT in New York City where it competes with...well, you name it in terms of theatrical and musical entertainment--but also tons of major and less major ballet and dance companies coming in and out of the city. As noted repeatedly in this conversation, it regularly has to compete head-to-head with NYCB in spring and even sometimes finds itself competing head to head with a major, high prestige touring company that has the marketing (and not just marketing) advantage of novelty/glamor--this year it will be the Royal Ballet performing the same week as ABT's Swan Lake. SFB has some of that kind of competition, but I am hard put to imagine it's the same.

None of which is meant to belittle the company's extraordinary artistic leadership and popular success. I just would be wary of using it as a stick with which to beat ABT. (For myself, I would be ecstatic to have SFB as my home company.)

I see your point, Drew, and agree with it to some extent. Of course, what San Francisco has to offer in terms of live performances doesn't come anywhere close to NYC. If I lived in New York I probably wouldn't be going to ballet as often as I do it in San Francisco. Having so many choices would likely drive me insane. But because San Francisco doesn't offer as much as NYC it also doesn't get the same amount of tourists, both national and international, who come for its art scene. SFB has to rely strictly on the local audience. And with locals overall preferring outdoor activities, dining or sporting events, filling up 3,300 seats is not an easy task. That's why I see the attendance number at SFB as quite an achievement of its artistic management. I didn't intend to give ABT a slap in the face by bringing SFB as an example; I simply refuse to believe that ABT can't survive without guest artists.

And thank you for your kind words about SFB I wish I could reciprocate and say the same about ABT.

[California]

Good news California. For the Gala they have Herman doing an excerpt from Push Comes to Shove. This suggests that perhaps they might be reviving for next season's Koch engagement.

Great news! And they're doing the final movement, which has the entire cast on stage (normally). If they were only going to do a one-time snippet for the gala, the opening to Scott Joplin with just Cornejo and two women would have been easier (and would have stood on its own -- that was the opener in 1976 at Wolf Trap, although it didn't make it onto the DVD).

Have dates for the fall Koch been announced? If they work with my schedule, Push will be enough to get me there.

[California]

But because San Francisco doesn't offer as much as NYC it also doesn't get the same amount of tourists, both national and international, who come for its art scene. SFB has to rely strictly on the local audience.

I've never lived in San Francisco, but have visited several times to see SFB. It's much harder to get decent single seats for their performances than I ever encounter for ABT or NYCB in New York - which suggests there is a very strong subscriber base. One nice thing SFB does that encourages visitors: they overlap two different programs throughout the season, so in a typical three-day weekend visit, you can see several performances of two different programs.

[rkoretzky]

Just yesterday I received a brochure from San Francisco opera clearly directed toward out of towners with programming that allows one to see several operas in just a few days. I also received an email invitation to join the Philadelphia museum of art. I'm surmising that these offers came to me as a result of membership in the met museum and frequent ticket purchases at the met opera.

This is brilliant marketing. I'm not planning a trip to SF soon, but when/if I go there, you can bet I'll keep the opera schedule in mind. And while I'm not likely to join the Philadelphia museum, I'm certainly going to go there when I'm in philly, as I have many times. I appreciate the reminder.

I'm fine with arts organizations sharing their lists and sending me stuff. I'd prefer email rather than throwing colored glossy paper into recycling. And I detest phone calls and refuse to respond to them.

[kfw]

I'm fine with arts organizations sharing their lists and sending me stuff.

I am too, but I'm turned off when the writing's bad. Ellen Bar at NYCB is a lot better than Kristin Sloan used to be, and I admire her for other things, but she could really use a professional copywriter (I know, she probably isn't given the money for one). I've received mailers for Kennedy Center modern dance programs with prose so unbelievably awful I actually wrote a line by line critique of the stuff and almost sent it. Not only was it sometimes ungrammatical, in that you knew what the writer meant but he or she had actually said something else, but it was completely purple. I did wonder though, if it was purple on purpose - if the writer felt he needed to be that gaudy to compete with all the loud, gaudy ad copy we see. Or had his own standards been lowered by reading that stuff?

[CTballetfan]

You know, I felt just the opposite. I thought the costumes, especially for the men (in the divertissements) looked heavy and clunky. I didn't find the performance of the jewel fairies to be very exciting. I also wasn't thrilled with what Ratmansky did with the upper bodies (for example, in Puss n Boots the cat no longer wipes her whiskers).

I have to say that with the exception of Calvin Royale, Cory Stearns and Stella, I found all the performances lacking. Perhaps this is because some roles usually performed by soloists (the fairies) were done by the corps. Maybe they're just not in performing shape yet. But I'm feeling as though I've time travelled back to the early '80's when (as Julie Kent alluded to) NYCB was the "hot" company with the great choreography and exciting dancers. ABT looks stale and its dancers not in good shape. I felt this way last Spring season and am finding myself feeling the same way now.

I agree about the costumes for SB. The white foppish man's costume in particular--the dancer was just overwhelmed by his headgear and ruffles. It's the costumes that put me off the ballet. I think they will be distracting. I also want to note that it was such a treat to see Ethan Steifel on the Guggenheim program. I hope he is able to make a new career at ABT--or somewhere else where his talents will be appreciated. I liked what David Hallberg said, that he joined ABT because of Steifel. All in all, this was a wonderful program--and all for free!

[rkoretzky]

Re poor writing, yes yes I agree! I score the national teacher exams for prison time teachers......and I'm shocked at what I see!

Not only poor writing, but errors. A letter supposedly from Andrews Sill (conductor at nycb) asking me to respond to: "Dear Andrew". That's inexcusable!