observations 5/12

From the New York Post:

"You can’t make this ship up.

The American Ballet Theatre has thoughtfully planned an auction to help with COVID-19 relief. Less thoughtful: Some available lots include bookings for a cruise.

Of course, cruise ships were reported as an early spreader of the virus, and at one point in March the largest outbreak of the coronavirus outside of China was aboard the Diamond Princess, a British ship with more than 700 cases and 13 dead. Many ships were stranded at sea because nations refused to let them dock, fearing that their passengers would infect residents."

Honest to god, does this company's management have even one single nano-strand of common sense? They are basically auctioning off clusters of COVID to their patrons. And we'll bet that they'll find a way to coerce dancers -- that is, select dancers who they wish would retire or leave -- into climbing back on a cruise ship to perform. McMoron: "So you want to begin preparing Swan Lake? Here's your opportunity to show me how badly you want it and how much you will sacrifice to get it. Go dance on a filthy, pathogen-infested cruise ship."  This is the type of stuff that the dancers' union should spend its time on – rather than blocking video-streaming revenues.

☠️

 

Comments

[Diana]

"Some available lots include bookings for a cruise."

I thought that bore repeating. Need I point out that this would be a Voyage of the Damned? At this point? May 12, 2020?

Pardon me for the following, but I've had enough of politeness.

The virus genome was published on January 10, 2020. I am not a virologist but I know one, and in late January he told me that when he read the virus genome he immediately knew we were faced by an unpredictable and lethal foe.

He warned me that there would be a global pandemic because no one is immune to a novel virus, and that although most people would be able to shake it off, he couldn't say what percentage of people would not, and letting it rip through the population would "destroy our healthcare system."

http://virological.org/t/novel-2019-coronavirus-genome/319

Our great New York City healthcare system survived because (a) it's great (b) we have a lot of billionaires who are probably helping behind the scenes and (c) we shut the damned city down!

The rest of the world doesn't have NYC's resources. What will Russia do? The virus is ripping through Russia. Do they have philanthropic billionaires and a world-class healthcare system? They do not.

And we can't survive another bout of this, Haglund. Once is enough.

Think of what a 2nd wave, along with flu season, would look like.

Obviously, ABT is desperate. Until now I would have been sad about that - I still have warm feelings towards it because of my treasured memories of the past. But this crossed a red line.

Good riddance to ABT if they do this! If they force dancers to go on a cruise ship they are worse than the Russian Communists who enslaved and exploited Russian dancers. They would be murderers.

[Haglund Fan]

I concur with the sentiments here, this is very callous IMHO. Actually, with your mention here I just went on the website to see what other things are up for auction, and noticed the Paris hotel stay?! And when would someone get to do that when this is a global pandemic? Top it off certain dancers (names we need not mention) seem to have kitchens, tennis courts and swimming pools larger than my apt. Don't get me wrong and I am all for helping dancers in "need", but it really doesn't help when we see quite a few who really are not in "need" from our hard earned pennies.
So, my question is why are they not supporting their own members during these difficult times for so many of us.
Also, we all know some of their dancers' sponsors are from the banking industry - where are they with their deep pockets? Are they maybe filling the $17M you mentioned Haglund? So what is another $1M? This is just all too disturbing to read. I wonder if their YouTube event will help with ticket sales as well, and I think you have to pay to signup for their channel? Or is this open to all?

[Haglund]

I would be shocked into a fit of near-fatal laughter if they tried to force people to pay in order to sign up for their YouTube channel.

[Haglund Fan]

Now that you got my curiosity started to explore the various auction offerings, I see "Items with no bids" for two sports team items in basketball and football still without any bids, as well as a conversation with the great AD! Surprise?!

[TGL]

On the NYCB side, looks like at least a couple of dancers managed to flee to a lovely place in the Out Islands of the Bahamas just in time before the Bahamas closed their borders to tourists. Nice for them! :P How does the NYCB Relief Fund fit in here exactly? https://www.nytimes.com/2020/05/11/style/they-fled-the-coronavirus-now-theyre-in-scenic-limbo.html#commentsContainer

[Eulalia Johnson]

At least, ABT isn't auctioning two weeks with three squares a day on Plum Island, cremation and urn compris!

[Jeannette]

I saw the cruise as one of the auction offerings and was wondering when you’d point it out Haglund. Have you placed your bid yet for “Cooking with Coker”? Or “Cocktails with Cassie”? Who dreamt up some these auction prizes?! In the meantime, has even ONE webstream of a complete ABT ballet been announced? Sorry, it baffles the mind.

[Haglund]

Eulalia, there you go again... 🤣😆😈😀

[Annisette]

That auction list made me cringe....but I was not the least bit surprised. ABT lacks creativity. Why hasn't management done more to encourage younger audience members (see NYCB.) If they're going to rely on Misty Copeland selling tickets, why not cast her in pieces that highlight her strengths? Her fans would love her in In the Middle...or Petite Mort. Leave some classical and romantic slots open for other dancers, and those dancers' fans (like moi, who used to save up for a subscription) wouldn't get resentful and stingy with ticket purchases!
More ensemble pieces-throw more dancers in soloist roles; see who rises to the occasion! I understand that not everyone loves Drink to Me Only...but it allows many non-soloists to shine. I found the James Kudelka piece from a million years ago (or nine years ago?) exciting because I experienced some corps dancers really moving. **And that is the beauty of NYCB. Many more young dancers getting a chance to shine.
One more observation: NYCB has been very wise to digitally stream a range of choreography. It has changed how I will choose programs. I typically jump at the all-Balanchine or a Balanchine-Robbins, but Concerto DSCH was a thrill. I vow to be more experimental in my post-pandemic ballet life. I wish everyone health and comfort food!

[Jeannette]

Just saw the ABT virtual gala. Sigh. ABT has brought me so much happiness since the ‘70s, that I’ll bite my tongue. Suffice to say that I was quite touched by the “collage” of the Met season’s orchestra members in the finale of Brahms-Haydn, each playing his/her instrument from home, with Ormsby Wilkins conducting virtually.

[Haglund]

I'm afraid I was thinking the same thing, Jeannette. The Brahms-Haydn music was the best part of the program which, unless I missed it, made no mention of Twyla Tharp.

[Haglund Fan]

A dud is about all I can say and luckily I didn’t have to pay to watch it! Hope they didn’t spend a lot to put this together cause I don’t think it was worth whatever was spent IMO.

[Marta]

I thought the gala was mostly a stinker. There was hardly any dancing. No mention of Tharp indeed. The speeded up "glimpse at future stars" was inane. I would have been interested in a look at the new Ratmansky except I hated watching the fast forward parts. Was it telling who was NOT saying "cheers to ABT"?

[Haglund]

Definitely, Marta. The absentees spoke more clearly and loudly than the celebrities trying to put on good faces. No Tharp, no Baryshnikov, no Cynthia Gregory. No Corella. No Max & Irina. No Carreno. ABT should have shown clips of Cynthia Gregory's Rose Adagio to inspire everyone to remember just how great this company was.

Again, it could not be more clear that ABT is pushing a social/political agenda at the expense of artistic merit and integrity. The attachment to Jessica Lang is worrisome. I hope they don't decide to bring her on in some official choreographic capacity. Most of her stuff is dreck; the public will not buy it.

Again, here was ABT promoting its face not with its most talented but with those it deems to be the right color. Honestly, this pushing along of Calvin Royal in front of Tom Forster and Blaine Hoven and a large contingent of corpsmen who dance rings around him is not going to do either the company or Royal any good.

I hope that the trustees who got their star-turns in last night's video open up their wallets, because the public is NOT. The public has answered loudly what it thinks about ABT's current state and its dismal direction: as of now, the public of the United States has only coughed up $35K in donations.

You wanna see donations skyrocket? Remove McKenzie and install either Corella, Bocca, or Irina and Max. I love all four, but right now, this company desperately, desperately needs Irina and would benefit magnificently from Max. What is the Board waiting for?

[Diana]

"ABT should have shown clips of Cynthia Gregory's Rose Adagio to inspire everyone to remember just how great this company was."

Speaking of which, I was comparing her Rose Adagio (on YouTube) with the one that Somova did, and the choreography in Cynthia's was more difficult (and I suspect, more authentic). I'm going from memory and I'm not as literate a ballet-goer as some here, but the famous balances in the ABT version were way more difficult.

I'm not saying that in the spirit of, "Take that, Russians!" I'm saying it because it's true, and no matter who the dancer is, we should call out slippage of standards.

Of course, Somova is an actual dancer who can and should be held to a higher standard, while Copeland isn't.

To respond to Anisette, why not cast her in parts where she could excel, my answer is, because she insists on being cast in every iconic lead in every demanding classical (and Romantic) ballet. I've never seen with any dancer, ever. No ballerina has ever been allowed the license she has. When Kirkland moved to ABT, it was assumed she was a natural - and she was. But doing a full-length Swan Lake was considered a stretch. I never saw it, but I heard that, great a dancer as she was, she never quite nailed it. (Haglund may disagree.)

The point is, no one gave her slack. Kirkland. Do you get my point, Anisette?

This would never happen in opera, or classical music. It's a shame it happens in ballet.

[Diana]

When Kirkland moved to ABT, it was assumed she was a natural - and she was.

Natural Giselle, sorry. I should have proofread before hitting post.

[Gerry]

I’ve always wondered why Kirkland didn’t excel at Swan Lake. Or maybe she just didn’t like the role and never really sought to be cast? Certainly she her Balanchine training would have made her more than strong enough. And she had incredible lyricism.

That “gala“ was abysmal.

[Diana]

"I’ve always wondered why Kirkland didn’t excel at Swan Lake."

It just wasn't her part. That happens.

[Diana]

Haglund & Jeannette - I've looked high & low for a link to the Live At Lincoln Center that Jeannette referred to - if you find it be sure to post it, please? I wouldn't miss that for anything.

[Fan phyl]

Great comments all, and, as usual, Haglund, you nailed it.The only hope for ABT is to sweep ABT clean, get rid of McKenzie,their new exec Director who has contributed to the company going from bad to worse, and the whole board who doesn't know or care about dance, just getting their names in print and being photographed with fake ballerina Misty who had been allowed to direct a once great company around her publicity obsessed narcissism to cover the fact that she can't dance. Corella is probably happy at PA Ballet, but the others you mentioned would be great. If they would join a sinking ship. That's a big IF.

[jose]

Regarding Gelsey's SL, I remembered in NYT reviewer writing " she listened to too many coaches".

[Haglund]

Thanks, Jose. I found Anna Kisselgoff's review of Gelsey Kirkland's Swan Lake debut.
https://www.nytimes.com/1977/06/12/archives/dance-gelsey-kirklands-swan-triumphs-in-many-spots-with-romantic.html
Kisselgoff was disappointed because Gelsey tried to insert too many spectacular tricks into her Black Swan variation which went awry. Anna also noted a weakness in releves in the White Swan Act II variation. But there were many, many compliments and clearly Anna had an interest in following Gelsey's development in this role.

That said, Gelsey's harsh self-criticism was as much of an addiction as any of her other addictions. Self-disappointment may have driven her into things and driven her away from things as well (like Swan Lake).

I wonder whether anyone would have ever told her (genuinely) that she wasn't right for the role or would never succeed. More likely, it was a self-assessment -- and one that possibly cost ballet some historic performances of Swan Lake.