Bruce Wall

In answer to your question, Emeralds, I would say on the significant scale - NO - as the situation has been building for YEARS. The NYCB administrative powers-that-be have been toying with so-called 'dynamic pricing' long before it entered unto the UK fray. The Fourth Ring - outside of the orchestra/stalls - is the largest section of the State Theater and has been/is - for the vast majority of performances now - short of the most popular (e.g., Nutcracker, access programmes, retirement specials, etc.,) largely closed off. In the past few years the third ring has often been closed off too. I do understand - NYCB does not - and indeed never has - received anywhere near the government subsidy that, say, the UK's Royal or ENB proportionately do. NYCB dance more and produce more simply because they have always had to in order to maintain the support base they have quite rightly achieved as a truly world class entity. To give the NYCB team their due they have made provision for the young - allowing very generous discounts for those Under 30 and have even maintained a small range of tickets - now in the orchestra and (largely) second ring - that are more affordable - especially compared with, say, Broadway prices. Those tickets are currently (i.e., if you walked up to the box office today) $38/£30.40 before NYS tax and facility charge. (Basically after those they come out at $42.50) They are next season even kindly going out of their way to maintain that level for people who were registered as current subscribers in the 2022 season - understandably not wanting to lose their patronage. In my 2023/24 subscription (72 tickets) I have kindly been able to buy the same seat I had in the 2022 season for $40. I can promise you I am most grateful for this as for decades NYCB - from back in the days when Balanchine was still there in the flesh to rule - has played a very important part in my cultural life. In many ways it built it. That said, I am concerned - as those same $40 seats kindly granted to me in the 2023/24 NYCB season will for future single ticket buyers - and indeed any future NEW subscribers - or even established subscribers wishing to change their level - now be $73.00 before the tax/facility charge. $73 in effect will be the new $38. That will be lowest price it seems and THAT is - at least from my perspective - a HUGE increase. Now, that would not be unusual for key Broadway entities today - but certainly it would have taken the root out of the historic construct my own passion from the days - and it was long ago I understand - when I used to commonly frequent the Fourth Ring standing room in State Theater - now largely unavailable. Those days are clearly gone - I just don't want to see the core ethic that built and supported such genius for our world - the balletic one that is - be destroyed in the world's economic wash. With Wendy Whelan and Jonathan Stafford at NYCB's helm I sincerely don't think that will happen. They have - from my purvey at least - done an outstanding job in often hugely difficult circumstances. They have resolutely maintained and developed the balletic idiom - much as Tamara Rojo did with ENB. Certainly it will, I fear, be sadly much more privileged than it ever was before - but then it is exactly that, a privilege to be able to share in the on-going development of the genius that Balanchine and Robbins rooted and that Peck and Ratmansky now help to move on. Thankfully it DOES exist ultimately as a boon to us all. The other week I got on the subway - it was a Number one local train - at 137th and Broadway and was surprised and delighted to find myself sitting opposite none other than Edward Villella. We had - amongst other things - just that conversation all the way down to 66th Street. That too was a privilege. He had been coaching Robbins' Faun for NYCB which he originated. He said he saw Roman Mejia as his successor. I SO agree. I, for one, don't care what it costs. I'm not missing - while I can - the construct of such a career as that. If I know anything I know that you can't buy the time back. That is a personal choice. I am fully aware of that. I was in Munich on Sunday to see two performances of the new Ratmansky Tschaikovsky Overtures - in large part because I very much enjoy Ratmansky and know his work is not hugely popular in this country (thank you, the late Mr. Crisp) and - without hesitation - wanted to again catch up with the stunning magic of Shale Wagman - now in party with so many dancers who once were with ENB. What a glorious training ground ours is and how wonderful to be able to see them move on and flourish balletically. We can ALL be rightly proud of that. I'm sure ENB's prices will rise too - but that is all party with the world we live in. Now, as ever, things come at a cost - and it remains a matter of choice - but happily the digital regimes have at least made sight of such entities possible for many more. NYCB's recent programme in Madrid's lovely opera house - Teatro Real - of Balanchine's Serenade and works by Robbins and Peck never seen in the UK will be broadcast for free on PBS (America's Public Broadcasting Service) and its satellite outlets. I realise it is not the same as seeing these things live - as I do what I can to make sure I am privileged to do - (again it is a choice) - but then our American friends do not get to champion such treasures as the full Dante Project by the contemporary British master - McGregor - live either - not to mention the wholly stunning performances of the Royal's fine dancers in what they now do best - in what what they now are built for - were it not for the digital world - or should they chose to travel - as clearly some do. We can only ever live in our time - and this time continues to give so much. We should all I think feel privileged to have access to such blessings.

Dear Mary, I so wish that there had been oh, so many more who felt as you obviously do in 2008 in London when they clearly had just that opportunity. Sadly as reality informed, such was not to be the case. I, myself, completely understand that, however. The education for the majority - from a core balletic perspective - necessary to support such undertakings simply had not been in place. Sadly I think in many instances that is the same case for younger audiences in NYC today. It is not the Balanchine and Robbins programmes that they are cramming into - short of the access performances. The youth support IS there - but so many of the senior contingent that historically would have encouraged them are very much now a dying breed. Still, the new IS selling at both addresses. I will place my faith in this instance in Mr. Spalding. I don't think we have much choice. I am assuming he will know what will sell today for his native audience. If it doesn't then I think we will have every right to be very disappointed. Certainly it worked a trick with Tiler Peck's glorious programme - such as I hope you, yourself, were able to enjoy. It was certainly worth travelling for - as members here reported. I know I had friends from NYC who flew over to attend it as they had so enjoyed its precursor presented in NYC's beautifully restored City Center - a venue where so many of Balanchine's fabled works were originally staged.

I don't think we should be so entirely harsh - Here is NYCB's Anthony Huxley talking about Duo Concertant - and you see him dancing in it here with the TRULY stunning Indiana Woodward - We should be so lucky! -

One thing I'm still haunted by is the near-empty (proportionately speaking) houses for some of the NYCB Programme I performances at the Coliseum in 2008 - let alone the other show bills. It was a sea of red I recall - and that first programme was an ALL BALANCHINE one of - are you ready - Serenade (with Kistler and a flying Ashley Bouder no less); Agon - with Whelan and the sadly late Evans in the core PDD --- (Albert died far too soon for anyone's good) - AND SYMPHONY IN C! For some of those performances I had received complimentary tickets - and I had already bought a seat for all. At the time it seemed as if you couldn't even give it away in London. 'It isn't Mayerling; it isn't Manon' I found myself muttering. That said - with the right starry casting - certainly a Manon would sell for ABT in the 4,000 space (3.800 seats; 200 standing) Met in the Big Apple. I went to ALL performances of NYCB at the Chatelet in Paris in 2016 - and that's a house far larger than the one in Covent Garden - and all performances were heavily sold. I will ALWAYS remember that there were 22 curtain calls for the first performance of Peck's Everywhere We Go ... but then Peck is now very much celebrated there as he is in NYC. His programmes now sell much better than Balanchine's often do. 'Choreographer as Rock Star' I mused as he bounded up to the stage from a corner house wing before an access performance of his (largely) new Copland Dance Episodes this year. They were cheering and pounding the floor - and it wasn't even opening night. Quite right too. It was exhilarating just to be there - much as it is when his Royal equivalent - McGregor - comes out onto the ROH stage. We all, I suppose, have to find joy in the times in which we live. Sadly we don't have much choice often I fear otherwise.

I completely understand - and completely sympathise believe me - especially with the announced considerable rise in NYCB prices. Although I can understand given competition with the likes of Broadway where prices are now out of so, so many people's reach. I fear for the All Balanchine Season upcoming. For recent NYCB All Balanchine showings I have attended - the last ones being just over a week ago - not only the Fourth Ring but also the Third Ring were completely closed - and even then the Second Ring was not completely full. Watching so many brilliant performances - the likes of Woodward and Joe Gordon (now surely one of the world's major classical dancers) in La Source; Mearns, von Eyck and Mejia in Namouna; Retiring Ball and Woodward in the Haieff Divertimento; Chun and Tiler Peck in Raymonda Variations or Tiler Peck and a rejuvenated Veyette in the Donizetti ones (how he does what he does with virtually no plie is beyond me but you have to give credit where much credit is due) and both Huxley and Ball in that oh, so glorious male variation that Balanchine added to Square Dance in 1976 - I kept saying to myself 'what does it now take to get people to come out and support such stunning glories?' That said, JNC and Sim, it might be best in this instance to write to the powers that be at Sadler's Wells. They are the ones with the true influence in these regards, i.e., in terms of any London planning, now and in the foreseeable future - be it for NYCB or anything else.

I think we have to be realistic in terms of what I'm certain were the demands that NYCB will have met in the construction of a programme for today's Sadler's Wells. This now is very much the house that Spalding built. I think we should be grateful that we're getting a ballet-focused work by Peck and a short Balanchine. I think that Whelan and Stafford have done a truly wonderful job in NYC - (bless them BIG TIME for bringing back Balanchine's magnificent Haieff Divermento to life for example - but they are not in the driver's seat here. I'm going to expect therefore that Spalding will have known EXACTLY what will sell in HIS house and that the houses for this part-week season will be full to bursting and not sadly empty as they were for the glorious three week season of San Francisco Ballet in 2019. If you want to see the Balanchine and Robbins - and core balletic Peck and Ratmansky - I would hugely recommend a trip to NYC and its stunning State Theater, itself in part designed by Balanchine. (The orchestra itself levitates from the pit as the music ALWAYS comes first there and the tempi are always respected. Indeed I was at the Sleeping Beauty dress in the NYCB Winter season and Stafford from the stage asked the conductor - while the production was ongoing no less - if the tempi of one of the Fairy solos could be slowed for a particular dancer and the conductor - whose notes always come with primary impact for ALL here - gave a one word answer: 'No'). So different from other addresses but so right in the house that Balanchine built. I still vividly recall seeing him place that metronome on the stage any number of times in rehearsals. If you go to New York for the Fall (Autumn) season it is ALL Balanchine. I'll be there for all of it - and SO look forward to it - and would be most happy to meet you there.

I can see this programme has definitely been targeted at what would now be defined as befitting a 'Sadler's Wells audience'. (So much of the huge core rep that NYCB dances is just too big for the small Wells' stage.) I very much enjoyed Peck's Rotunda and, of course, Duo Concertant - which I was lucky enough to have first seen with its original cast - Kay Mazzo and Peter Martins. (The latter too may have been chosen as it is a small Balanchine work - with just two dancers - [Rotunda has twelve] - and has been performed by a local company in the UK.) If you get the Balanchine with the magnificent Woodward with either Furlan or Huxley - as the Wells' site pictures - you will definitely have a ticket worth getting. Gustave Le Gray No. 1 was originally created by Tanowitz for Miami City Ballet and has a cast of four in the NYCB version. Both Tanowitz and composer Caroline Shaw are now known entities to London audiences. The last piece by Abrahams (who has, of course, now done two works for the Royal) is - at least from my purvey - somewhat hampered by its fashion designer togs - given that it was a product of a Spring Season fashion gala. Here is a film on 2022's effort from whence Love Letter (on shuffle) with sixteen dancers sprung. I'm certain it was in-part chosen - and certainly given the prime position of being the closing 'money' work - because Giles Deacon is a BRITISH designer of international repute. The wonderful talents of Quinn Starner, Tiler Peck and Christopher Grant - all of whom performed in Tiler Peck's recent stunning showcase at the Wells - were in the original cast of this work.

Give it four decades pr so. This appears to be the same case as was applied it seems to Tudor.

Personally, I'd love to see Joe Sissens tackle it.

Very much look forward to that. His Namoura was a triumph last night at NYCB as are so many of his works made for this Company which itself proudly continues to delight and grow within the concerted focus of the balletic idiom itself. Pictures at an Exhibition (now in the rep of so many major Companies whose focus is on ballet) and Odessa (to be revived again by NYCB in next Winter's season) are exemplars of his craft as are his first major work for NYCB, Russian Seasons and certainly his Concerto DSCH. All this is topped off by the impact of Voices - which the more I see it the more I enjoy and respect the enormous diversity of his gifts. Whilst they are so different from the magnificence of the Royal's core McGregor, one so very suited to the Royal's contemporary strength - both men hold a very distinctive voice - one uniquely their own that mark them out. They just come from opposite ends of the dance spectrum. This is most clear when you look how each company is primed towards its communal movements. The world is enriched by these opposites. What a magnificent work the hour-long Namouna is - now too a goodly number of years old - yet still witty and ever enlarging in its scope being one filled with humane passion. Nadon (in her debut), Stanley, Ulbrecht (that lad truly defies time), the extraordinary Emma von Enyk (who had attended the RBS prior to transferring to SAB) and Phelan were all dazzling in their charges much as the effervescent Woodward and Joe Gordon - now surely one of the world's great classical dancers oh, so noble - were together and apart stunning in their depiction of Balanchine's insouciant La Source. The whole evening shone, say, the way a quality performance of La Fille Mal Gardee might. The very air bubbled with delight; one buoyed by the NYCB's fervent orchestra in their insightful playing of Lalo's theatrically piquant score. Saw a rehearsal in the afternoon of the same and it was glorious to see Ratmansky working with his uniquely willing charges and their unmitigated respect in his hands. Both were truly joyous happenings. I so look forward to his new NYCB ballets, one each year for at least the next five years.

Seems that a certain reality - and, indeed, a concerted and well deserved slice of humble pie - has yet to be on the local menu - but that being said one is hugely grateful for the refreshing fare in Ashton's specific regard that has today been offered by all parties concerned. At least it IS happening at long last.

This is the programme I referenced in my note above, i.e., (and here I'm quoting myself): (ii) Prior to the pandemic there was a plan to bring a number of NYCB dancers to the Wells with Peck's Rotunda (a 12 dancer ballet to music by Nico Muhly) as part of a programme mixed with other artists from other companies. Perhaps they are planning to revive those plans. Rotunda - which I enjoyed when I saw its premiere performances in February 2020 - just before the pandemic - IS in the NYCB Summer Season 2024, so it makes sense that it would be placed here - much as they did rep for the current Summer Season recently in their half week Madrid tour last month. Indeed I had heard from a NYCB patron during the recent Winter season that there had been 'talk' of reviving those specific plans - given that funds had already been raised for that same. That, too, would account for the mention of NYCB's appearance at the Wells in 2024 in the NYCB announcement. This, too, I understand was an idea originally fostered by the Well's leadership so that too might give the idea credence. My hunch is it is THIS PROGRAMME that NYCB will be dancing - and it will be ONLY 'Rotunda' (i.e., no other works by NYCB) as it will no doubt be a reinstating of the original programme the SW's creative team had assembled. March makes sense - much as it was scheduled last time - as noted above. Sara Mearns is happily back dancing now. She was onstage last night at State Theater. Here is a clip from the SW's Facebook page sampling the same - https://www.facebook.com/watch/?v=774478163074484. The original cast was: Sara Mearns, Miriam Miller, Sara Adams, Claire Kretzschmar, Brittany Pollack, Unity Phelan, Gonzalo Garcia, Andrew Scordato, Adrian Danchig-Waring, Daniel Ulbricht, Jovani Furlan, Gilbert Bolden III. Sadly the lovely Claire Kretzschmar and Gonazlo Garcia are no longer dancing with the Company. Jovani Furlan, of course, appeared in Tiler Peck's ballet in her programme at the Wells. All other dancers are still current. I can well see this as being something that would happily fit in the SW's remit.

.... And that's just in the Fall (Autumn) season

When was the last time NYCB toured to the U.K.? 2008 at the Coliseum. Sadly many of the programmes were sadly lacking in significant audience numbers.

Two ideas on the above - (i) NYCB finishes it Winter Season at State Theater on 3rd March. They are then appearing with the following programme at the Harris Theatre in Chicago's lovely Millennium Park between 21st and 23rd March 2024. Masters at Work: Balanchine + RobbinsPeter Ilyitch Tschaikovsky / George Balanchine — SerenadeFrédéric Chopin / Jerome Robbins — In the NightPaul Hindemith / George Balanchine — The Four Temperaments I was wondering if they might present the same programme at Sadler's Wells for an equal length of time - or perhaps a day longer - say, 15th to 18th March. (ii) Prior to the pandemic there was a plan to bring a number of NYCB dancers to the Wells with Peck's Rotunda (a 12 dancer ballet to music by Nico Muhly) as part of a programme mixed with other artists from other companies. Perhaps they are planning to revive those plans. Rotunda - which I enjoyed when I saw its premiere performances in February 2020 - just before the pandemic - IS in the NYCB Summer Season 2024, so it makes sense that it would be placed here - much as they did rep for the current Summer Season recently in their half week Madrid tour last month. Indeed I had heard from a NYCB patron during the recent Winter season that there had been 'talk' of reviving those specific plans - given that funds had already been raised for that same. That, too, would account for the mention of NYCB's appearance at the Wells in 2024 in the NYCB announcement. This, too, I understand was an idea originally fostered by the Well's leadership so that too might give the idea credence.

Thought this evening's Cinderella was simply sublime. The detailed focus of the stunning step-sisters (the formidable team of Gartside and Hay) made all the difference for me - as opposed to other combinations I've seen. It let the production and - crucially the audience - not only breathe - but relax sufficiently to fully enter into the story being told as enveloped in the glorious genius of Ashton. Tonight people on both sides of the footlights not only responded - but listened. One without the other is always lacking in my book. Somehow on those occasions the shoe simply doesn't fit - or, if it must - it does so somewhat awkwardly. The squeeze pinches. Not so here. The enchanted largess of Kaneko and Bracewell as our heroic protagonists were entirely magical both together and apart as were the corps and the soloists. This was a very special occasion which glistened rapturously at the pinnacle of the staircase of my own mind's eye. It was a privilege to be there. The entire evening was gold tossed.

Interesting to see that Ashton's Cinderella is featured in Boston Ballet's new season coming just announced today:- https://www.bostonballet.org/home/tickets-performances/

Nice to see that NYCB note that they will be 'streaming' the programme they did in Madrid - In 2024 PBS will stream and broadcast the US Premiere of “New York City Ballet in Madrid,” an evening of three ballets – Balanchine’s Serenade and Square Dance, and Peck’s The Times Are Racing – recorded at the Teatro Real in the Spanish capital in March 2023.

Mira Nadon whose promotion to principal at NYCB last month (just before coming in Tiler Peck's SW's London show) is 21. NYCB has a long history of promotions at this age or below. Darci Kistler was 17 when she was promoted to principal by Balanchine.

I so agree with you, Sim - about it being a shame - but in a way I think it may be only fitting - as these things so often come out in the wash. I say that because in the very early 80's I remember being in a wonderful chat session with Ashton at the glory that is the NYPL in Lincoln Center and he said more than once that he felt 'more appreciated in America than anywhere else'. He was, certainly, a visionary. Next time you are in New York you can listen to him saying such. The recording is happily extant.

I'm now thinking of the dedicated Ballet Zurich audience who will have seen so many of their own favourites depart - Still, that is the way of life - and change - in and of itself - is no bad thing. We all have to keep breathing. If it is any relief for you, miliosor, there was one season at ENB under Ms Rojo where 18 dancers (if I remember correctly) decamped - including the much loved Summerscales and (Y.) Acosta team - and there was much anxiety at the time but then Tamara filled many of those spaces with totally magical artists - some of whom are delighting us today - like Daniel McCormick (a CA/SF reared boy himself), Emily Suzuki, Rhys Antoni Yeomans, Francesco Gabriele Frola and Noam Durand - and all was soon forgotten. You are in good hands. I still struggle with the loss of Cirio from ENB - but will so look forward to seeing him with Boston in Paris next May.

Methinks, Benjamin, you'd have an absolutely 'horrific' field day should you ever see Scarlett's 'Sweet Violets' or 'Hansel and Gretel'. Both were built in the 'late McMillan' tradition. Heaven forefend that you should ever reach unto the latter Master's 'Judas Tree'. I sometimes wonder - and it may just be me - if other core Royal choreographers don't sometimes feel pressured by Lady M's seeming dominance at that address into more extreme corners as those - it would appear - are, what have come to sell there in the name of 'modern art'. It is, of course, blessedly different elsewhere. Variety is, as is oft mentioned hereabouts, the SPICE of LIFE.

I would SO love that too, Jane S, but sadly it is not I think the current way at least here on balance - outside, of course, of the core McGregors - which this Company SO shine in. You can, of course, go elsewhere. Somehow doing that makes the 'long stories' more doable at home - and the 'elaborate costumes' do, of course, let people see the tax pounds in action. That said I, like you, would happily waylay that side of the scales somewhat. They have yet to revive Balanchine's Ballo Della Regina ... which I believe they only did once .... but then, this Company did the intoxicating Liebeslieder Waltzer ... but only did that once too. I'm sure we are much more like to see the big ticket heavy hitters ... and I know we will be grateful for the Company's dedication to them. They are building their audience very specifically to see that the chosen core works - the McMillans, the McGregors, the Wheeldons - will long be cherished into the/their future. It is the very much the same at NYCB with the Balanchines, the Robbins, the Pecks, the Forsythes and the Ratmanskys being strictly adhered to - and it is truly wonderful to see that audience - like the one at Covent Garden - grow in the specific terms of the future of these works.

Didn't Sambe say in his LBC interview that there would be a McMillan triple and an Ashton triple? I wonder if the later though would be in the Linbury as I think that previously there had been a planned Ashton programme there. If so, I hope it is of (rare) works long not seen at the Covent Garden address.

Won't be at all surprised - given the need to fill coffers post Covid lockdowns - if Wheeldon's Alice is on the bill. Many McGregor one acts in line for revival. Hasn't Yugen only been done once?