NYCB at Sadler's Wells - 07-10 March 2024

[Blossom]

3 hours ago, Emeralds said:

Thanks for posting his reply, Blossom. Wonder if someone has pointed out to him that the dancer forces and costume weight (=freight costs) are even lower if they substituted Gustave and Love Letter with Other Dances and Dances at A Gathering....!  DAAG is one hour with a small cast, so DAAG and Rotunda could fill one programme, Duo Concertant, Other Dances and DAAG could be Programme B and we will be very happy, box office registers ringing. 😁 And the initial 3 show obligation to Justin Peck, Nico Muhly and Sara Mearns fulfilled. Actually they have not even promised that Sara is able to come. (Or could there be a bit of envy going on that ROH has had three Tanowitz and 2 Abraham premieres already and SWT has had none? Hey chaps, this is not a contest nor a TikTok battle - we’re in the Performing Arts!) 

Personally don’t think I could take DAAG again. Balanchine may have described it as ‘popcorn’ to Robbins, but it’s about a third too long and I would prefer to have something punchier or more Balanchine.

I get Alistair Spalding’s point, around economics but also finding the right niche in the market, but still disappointing when classical ballet programmes at Sadlers Wells are so much more accessible (affordable for audiences and a smaller auditorium for companies to fill vs Coli). Grateful at least that we’re seeing more classical in the Linbury with American visitors in 2024. 

[Emeralds]

9 hours ago, Blossom said:

Personally don’t think I could take DAAG again. Balanchine may have described it as ‘popcorn’ to Robbins, but it’s about a third too long and I would prefer to have something punchier or more Balanchine.

I get Alistair Spalding’s point, around economics but also finding the right niche in the market, but still disappointing when classical ballet programmes at Sadlers Wells are so much more accessible (affordable for audiences and a smaller auditorium for companies to fill vs Coli). Grateful at least that we’re seeing more classical in the Linbury with American visitors in 2024. 

I personally wouldn’t have programmed DAAG myself as it’s been staged by RB twice in the last 4 years (admittedly after being shelved for decades) but it would sell better than 6 shows of the current programme they have- there will still be people going who didn’t want to risk Covid in 2020 and 2021 or couldn’t afford the ROH ticket prices, especially if the posters show photos from DAAG (it is almost impossible to get an unattractive shot from DAAG) rather than the unflattering Rotunda group shot they are currently favouring.

 

I’d prefer something new to London like La Source and Square Dance, but my suggestion of DAAG was more in response to Spalding’s reasoning that it was down to musician and dancer numbers. (It still doesn’t say how they are planning to provide the music for Rotunda, which requires a small orchestra.)

 

In fact, even if all they did was bring Other Dances to make up a Programme B with other ballets, that would still sell better and be more popular with regulars.

 

Young audiences and first time attendees also prefer classical (ie Balanchine and Robbins) rather than the Tanowitz, Rotunda and Abraham- it’s unfortunate that of all the works they have in their rep from these three dancemakers, they appear to have picked the more gimmicky and alienating ones (that’s just my opinion, but have a look on YouTube or the NYCB website to see what I mean). The recent RB Abraham premiere was actually very classical in comparison- some sections looked like Bournonville and Ashton, and I’d definitely be happy to book it again with the second cast of Boswell, Brændsrød, Hamilton, Junker, Townsend (didn’t catch the first cast).

 

With regard to your grassroots campaign you suggested, I bring someone 

or more than one person who is new to ballet or who wouldn’t have thought of booking tickets for themselves at least 80% of the time, and their preference is definitely for the classical pieces like Nutcracker, Giselle, Swan 

Lake, Fille, Two Pigeons, DAAG, The Concert, Alice’s Adventures in Wonderland, Apollo, Romeo and Juliet, Don Q, Hobson’s Choice, Jewels (all the Balanchine really). Of the contemporary works, the only ones that were well liked were Woolf Works, Yugen and Light of Passage (the latter for the choice of music and because it finished early!)

 

On 10/05/2023 at 19:24, Sim said:

I guess this is how they think they will draw in those newer and younger audiences that they need.  Feed them a lot of 'right on' stuff and that'll do the trick.  Maybe it does do the trick...I don't know because I avoid much of it.  

FWIW, Sim, I don’t go to contemporary that often, but when I have the audience is mostly older frequent attendees who, from their audible chatter at interval time, appear to have found their fave genre and go repeatedly.

All the other new (only been once at most) and younger (under 20) people I’ve taken wouldn’t book the new works and would actually pick classical.

 

I know only one new person under 35 who liked contemporary more than classical....but insisted he would never pay and attend in person, not when prices are high for him and he can watch it for free on YouTube or Facebook. So basically if you got young audiences to programme what they want to see, they will be asking for Square Dance or Concerto Barocco, Duo Concertant (or Other Dances), La Source, and (wait for it) The Concert. All Balanchine and Robbins! I don’t know a single person young or old who didn’t enjoy The Concert! 

Edited May 12, 2023 by Emeralds

[JNC]

16 hours ago, Mary said:

I don't want to be harsh and the above does look lovely, Bruce: they are beautiful dancers. But it's just that those of us who have to travel to London, it is quite an investment of time and money, and it would be good to see a lot more of what we like in the programme............

 

Indeed this is just one part of the programme and I’ll be honest I wanted a “big balanchine” (by this I mean more well known) like ballo della Regina, serenade. I’m sure people will say that we can see those in London because RB did them, but it was a while ago (before my ballet watching time) and it’s unlikely we’ll see them again, certainly not for a long time, in London. 
 

It’s obviously a financial thing with the number of dancers coming but a shame and as others have noted you could do more Balanchine/Robbins etc on a smaller scale.

 

To be honest I’m glad they didn’t bring Dances at a Gathering. I really liked it but that is one that was on quite recently at the opera house and on DVD as well. generally my preference is for works that I haven’t seen before (but classical works rather than contemporary premieres) so here if I did go at least it would be something different…I do like Tanowitz although it is mixed (liked the Diamonds bill duet I forget the actual name of, everyone keeps me was a bit overly long for my tastes but still interesting). Abraham is the one I’m not really interested in at all. 

so for me it’s one Balanchine I would want to see (albeit not a top choice), intrigued by Tanowitz and Peck but not bothered by Abraham. Let’s see how much tickets cost and what trains might be doing closer to the time. In the meantime very much looking forward to ENB’s theme and variations, though I don’t think Spalding can use it to cover his own choices!
 

@Emeralds your suggestions sound great though. 

[Emeralds]

5 minutes ago, JNC said:

Indeed this is just one part of the programme and I’ll be honest I wanted a “big balanchine” (by this I mean more well known) like ballo della Regina, serenade. I’m sure people will say that we can see those in London because RB did them, but it was a while ago (before my ballet watching time) and it’s unlikely we’ll see them again, certainly not for a long time, in London. 
 

It’s obviously a financial thing with the number of dancers coming but a shame and as others have noted you could do more Balanchine/Robbins etc on a smaller scale.

 

To be honest I’m glad they didn’t bring Dances at a Gathering. I really liked it but that is one that was on quite recently at the opera house and on DVD as well. generally my preference is for works that I haven’t seen before (but classical works rather than contemporary premieres) so here if I did go at least it would be something different…I do like Tanowitz although it is mixed (liked the Diamonds bill duet I forget the actual name of, everyone keeps me was a bit overly long for my tastes but still interesting). Abraham is the one I’m not really interested in at all. 

so for me it’s one Balanchine I would want to see (albeit not a top choice), intrigued by Tanowitz and Peck but not bothered by Abraham. Let’s see how much tickets cost and what trains might be doing closer to the time. In the meantime very much looking forward to ENB’s theme and variations, though I don’t think Spalding can use it to cover his own choices!
 

@Emeralds your suggestions sound great though. 

It was called Dispatch Duet - I must admit I had to check the cast list as the name escaped me too!  (I concur with you; DAAG wouldn’t have been my first choice at all but for me, it would be preferable to an hour of the more gimmicky works. Also, I’d like to see NYCB dance DAAG as I’ve never seen them dance it other than on tv years ago.) I also agree re:Theme and Variations!  (Also a bit of a desperate attempt by Spalding to boost SWT ticket sales without ENB casting info!) 

 

The NYCB tickets are in the range £15 to £85 (same range as Tiler Peck’s visit - and same visit sponsor); I don’t know what distribution they are in or what the middle prices are yet, but members with priority booking will be able to see those on the SWT website now. 

 

Thanks, JNC! 👍

[bridiem]

14 hours ago, Blossom said:

From Alistair Spalding...

 

Dear Julie,

Thanks for getting in touch. Yes the programme that New York City Ballet are bringing this time is predominantly contemporary choreography. It sis an aspect of ballet that we focus on here at the theatre as we feel that there is a good deal of classical ballet elsewhere in London. It is also, frankly, a matter of economics, the dancer and orchestral forces for such a programme are less, whereas the last time we brought the company to London (which was actually at the Coliseum) we were able to present a more expansive programme because of the larger capacity there.

 

The good news on Balanchine is that English National Ballet are presenting Theme and Variations in their September season.

 

With Best Wishes

 

Alistair

 

So why bring one of the world's foremost classical ballet companies to London if your mission is to focus on 'contemporary choreography' at the expense of 'classical ballet'? And in terms of 'classical ballet' elsewhere in London, in respect of Balanchine and Robbins, for which NYCB are famous, there is hardly ever any to be seen. THAT would have been distinctive and ground-breaking. The repertoire for this visit is largely predictable and repetitive of other work to be seen regularly in London now. And I understand about the economics, but as others have said, there are more smaller Balanchine and Robbins pieces that could have been chosen if necessary. This smacks of an attempt to justify what is in fact a choice.

 

[alison]

I should point out that Square Dance is hardly unknown to London balletgoers - ENB have put it on twice, I think, perhaps more, in my balletgoing memory, albeit not very recently.

[Bruce Wall]

14 hours ago, Emeralds said:

 

@Bruce Wall, I was going to ask if raised ticket prices were the cause of the low sales for NYCB recently and having to close off two sections, and I see you did mention that. I don’t think it’s a case that the audiences don’t love Balanchine ballets any more but that they have been priced out, rather like what’s happened at the Royal Ballet this year. So instead of many regulars going two or three times a week they’re going just once every two weeks. That’s why those sections had to close.

 

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.  

 

Edited May 12, 2023 by Bruce Wall

[Blossom]

1 hour ago, Emeralds said:

With regard to your grassroots campaign you suggested, I bring someone 

or more than one person who is new to ballet or who wouldn’t have thought of booking tickets for themselves at least 80% of the time, and their preference is definitely for the classical pieces like Nutcracker, Giselle, Swan 

Lake, Fille, Two Pigeons, DAAG, The Concert, Alice’s Adventures in Wonderland, Apollo, Romeo and Juliet, Don Q, Hobson’s Choice, Jewels (all the Balanchine really). Of the contemporary works, the only ones that were well liked were Woolf Works, Yugen and Light of Passage (the latter for the choice of music and because it finished early!)

I hope that many more of us do this too!

[Emeralds]

59 minutes ago, alison said:

I should point out that Square Dance is hardly unknown to London balletgoers - ENB have put it on twice, I think, perhaps more, in my balletgoing memory, albeit not very recently.

I think that was the Corn Exchange in Cambridge on the ENB small scale tour 21 years ago, wasn’t it, Alison? 😉 No performances in London itself, which was why I and people I knew couldn’t have gone. I would have had to take a day off work to attend as I didn’t finish till after 6.30. And many audience members today won’t have been old enough to catch it. (Well done for remembering that far back though - I had to google it!) 

[Jane S]

On 19/04/2023 at 08:53, Bruce Wall said:

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. 

 

It's available now on medici.tv - subscription required but I think you can get a free trial, or sign up for a month for £9.90 and there are some other nice things you could watch while you are there.

[Sophoife]

2 hours ago, Emeralds said:

With regard to your grassroots campaign you suggested, I bring someone 

or more than one person who is new to ballet or who wouldn’t have thought of booking tickets for themselves at least 80% of the time,

 

Last night my left hand seat neighbour was a young woman whose third performance ever this was, and she has an excellent programme planned for the rest of the year: "now I've discovered it I'm telling all my friends they have to try it". She has even persuaded her boyfriend in to a trip Abroad that "coincides" with Dutch National Ballet's upcoming Forsythe programme.

 

Her neighbour was a gentleman in his fifties whose first live ballet this was. He had escorted an elderly former regular now unable to travel in to London to a number of cinema relays and was finally inspired to attend in person. He was enthralled and excited and it was delightful to see.

 

Unfortunately for the ladies in front of and behind us, my right hand neighbours were a family of French people who wriggled, leaned forward, and put their feet up on the backs of the seats in front of them 😳 The poor ladies whose backs they were kicking asked them to stop, but they pretended not to understand. I told them in French how unacceptable their feet were, the third time rather pithily, which they finally accepted. They then got up en masse and left, noisily, before the curtain had even come down on the final note.

[Peanut68]

Anyone else on here long for the days when they could just be truly selfish & just timetable life & finances around seeing all the ballet they wanted around the world & online??? 🤔 A girl can but dream….

Bruce Wall - you appear to have it right!!! (Am I correct I assuming partly as work??)

[Peanut68]

Tried to edit out the word ‘selfish’ as that was not really what I meant & hope it didn’t offend anyone at all! 
Guess what I meant was longing for the day when I could legitimately put my ballet-going pretty much ahead of everything else… one day! 

[Emeralds]

6 hours ago, Bruce Wall said:

 

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.  

 

Thank you for the numbers and information about the NYCB bookings, Bruce! 👍 (I’m sorry I can’t click “like” on your post as I appear to used up my  quota-but will click when I get topped up.) 

 

Oh I have such great memories attending the NY State Theater in the 90s and trying out every ring and section! The fans sitting in the Fourth Ring know so much and were so great to chat to! NYCB fans are amazing- I went by myself to the Balanchine Celebration/Festival and within a few hours, one lady had said hello, introduced me to her friends and they looked out for me at the next show and gave me advice about the city. She even wrote to me after I flew home and we exchanged letters for a while! I can’t believe they have had to close it and the third ring too.....but good to see $38 (plus tax & charges) tickets are still available to buy. And great to see that long time subscribers’ loyalty and support (financial and other) were rewarded and acknowledged by keeping the price of the subscription down. So sad about the closure of the two levels- hopefully things will improve soon.

 

I suppose like RB has been for several years, NYCB is trying to balance how much to raise prices to be able to pay salaries and bills, versus not raising them too much so that their core loyal supporters can’t even afford to come.

 

I think RB did this by raising prices of the popular/lucrative  full length classics like Nutcracker, Swan Lake, Cinderella, Sleeping Beauty, Romeo and Juliet, because they noticed that these always sell out (“recession-proof” ballets) no matter how high the prices keep going, and keeping the prices of the mixed bills and contemporary or new works low. That’s with the exception of the Diamond Celebration mixed bill, which I think fans thought was a contemporary (well it had four new works) mixed bill done very few times, but management thought it was a posh gala repeated twice! ....so the tickets were quite high (gala prices!) to the shock of many!

 

I think they wondered when they would hit the ceiling/limit with regards the recession-proof ballets, and it looked  like they found it this year with Sleeping Beauty; perhaps some of the Balanchine productions also reached their  ceiling. Hence it looks like some challenges are universal whether in London or New York. The same post-Covid and post-invasion high inflation and economic difficulties hitting both companies are being faced by their audiences.

 

The only other thing I can think of (nothing to do with the Sadler’s Wells visit) that NYCB could try might be to do what the London production of Hamilton and the London Symphony Orchestra have done for some time (since 2018 or earlier), which is to have “wildcard” tickets at a low price (LSO prices them at £10 and Hamilton is the same I believe....I think it’s about £13 after booking fees are added in). They don’t say how many they sell so they can change it according to demand, but there is a limit. 

 

For LSO you buy one and they will seat you wherever they have a space. The wildcard ticket is the lowest price so you’ll never pay more than the value of the seat. You get told where you are seated just before you go into the auditorium on the day, You can’t resell/return/exchange the ticket for another date if you don’t like your seat (although you’re entitled to buy another if you find a better seat!) to stop people returning them en masse.

 

For Hamilton, £10 is cheaper than the lowest priced ticket  so it’s a bargain wherever you get so you can imagine the demand is huge. For LSO you are guaranteed to get in and have a seat, for Hamilton it’s like a sweepstake so you are not guaranteed to get in, but if you don’t want it or plans change it gets offered to the next person if you don’t accept and buy it (for Hamilton you don’t pay until you are successful in the sweepstake). LSO sells a lot of otherwise unsold seats this way.

 

It probably doesn’t work for ROH because the theatre, as you know, has odd and non uniform sightlines and seats of varying sizes and comfort/preferences (eg my best friend hates the tall stools as she is afraid she’d fall off, while I love them because nobody can encroach on my seat!). So the choice of seating there can be very personal, I wouldn’t do a wildcard even if it was only £1!   I remember the NYCB theatre being modern with good sightlines in most seats so I wonder if they could do the wildcard idea at whatever suitable price. Are there lots of people who are afraid to return to theatres post Covid? It has affected movie theatres here but not so much ballet (at least, not in massive numbers to be significant). 

 

I looked at the videos of the Sadler’s Wells ballets and to be honest, I am quite happy with the Abraham, Peck is Peck, it looks ok, and I’ll try to ignore the white tights problem! (At least some dancers have coloured ones) Normally I like Tanowitz’s work but the costumes (surprisingly for Reid and Harriet) in the trailer are a bit off putting- do they get changed halfway or are they in the sack-like outfits for the whole thing? Anyway, it’s only 12 minutes or so. Love Duo Concertant of course. I sure wish it was all Balanchine and Robbins though. Will book it anyway, maybe go twice if there are different casts. Just glad they can come and fingers crossed it all goes well next March!

Edited May 12, 2023 by Emeralds

[Emeralds]

5 hours ago, Sophoife said:

 

Last night my left hand seat neighbour was a young woman whose third performance ever this was, and she has an excellent programme planned for the rest of the year: "now I've discovered it I'm telling all my friends they have to try it". She has even persuaded her boyfriend in to a trip Abroad that "coincides" with Dutch National Ballet's upcoming Forsythe programme.

 

Her neighbour was a gentleman in his fifties whose first live ballet this was. He had escorted an elderly former regular now unable to travel in to London to a number of cinema relays and was finally inspired to attend in person. He was enthralled and excited and it was delightful to see.

 

Unfortunately for the ladies in front of and behind us, my right hand neighbours were a family of French people who wriggled, leaned forward, and put their feet up on the backs of the seats in front of them 😳 The poor ladies whose backs they were kicking asked them to stop, but they pretended not to understand. I told them in French how unacceptable their feet were, the third time rather pithily, which they finally accepted. They then got up en masse and left, noisily, before the curtain had even come down on the final note.

Oh no, Sophoife! How awful of those people on your right hand side. I’m sorry to hear you’ve had the bad luck to meet awful audience members not once but twice at ROH. Impressed that you were able to tell them to behave properly in French, no less, and the guts and character to do it without being fearful of retaliation. (Some don’t even dare to do it in English!) I’m very glad for you that you met nice people on your left side. Sounds like the performance went well which I’m really pleased about, and glad you got to see some great dancing from RB during your long trip!  (Oh dear, it sounds like the ROH audiences were the worst behaved in the world.....yikes! Sorry!)  @Blossom, I think we need a “good behaviour” campaign as well as a “bring a newcomer” campaign! (No idea how though! Badges? Hashtag on social media??) 

[OnePigeon]

7 hours ago, bridiem said:

 

So why bring one of the world's foremost classical ballet companies to London if your mission is to focus on 'contemporary choreography' at the expense of 'classical ballet'? And in terms of 'classical ballet' elsewhere in London, in respect of Balanchine and Robbins, for which NYCB are famous, there is hardly ever any to be seen. THAT would have been distinctive and ground-breaking. The repertoire for this visit is largely predictable and repetitive of other work to be seen regularly in London now. And I understand about the economics, but as others have said, there are more smaller Balanchine and Robbins pieces that could have been chosen if necessary. This smacks of an attempt to justify what is in fact a choice.

 

I couldn’t agree more, it seems we’re reaching mass homogenisation of style and choreographers across many once distinctive worldwide companies.  I also want to see Balanchine and Robbins danced by the dancers trained and coached in that style - it makes a difference.  Such a huge amount of work to choose from that we never get to see here; we could have felt like kids in a sweet shop, but instead I think I’ll save my money and watch Fancy Free on YouTube. 

[Sophoife]

2 hours ago, Emeralds said:

Oh no, Sophoife! How awful of those people on your right hand side. I’m sorry to hear you’ve had the bad luck to meet awful audience members not once but twice at ROH. Impressed that you were able to tell them to behave properly in French, no less, and the guts and character to do it without being fearful of retaliation. (Some don’t even dare to do it in English!) I’m very glad for you that you met nice people on your left side.

 

Yes, my left hand neighbours were all lovely.

 

I've just spent a week in Paris so my French vocab is currently better than usual. When I spoke for the third time, she did look a bit shocked, but it was the clincher 😈 Happily the family's misbehaviour didn't affect me personally but I couldn't let them behave so badly to others without saying something. Right is right, and even if I don't personally benefit I do try to stick up for it when necessary.

[nycitybird]

22 hours ago, Jane S said:

 

It's available now on medici.tv - subscription required but I think you can get a free trial, or sign up for a month for £9.90 and there are some other nice things you could watch while you are there.

 

Thanks for the tip, I'll be watching this as it seems like the ideal NYCB programme for me! I'm also disappointed in what they're bringing to London.

[alison]

On 12/05/2023 at 10:19, Emeralds said:

I think that was the Corn Exchange in Cambridge on the ENB small scale tour 21 years ago, wasn’t it, Alison?

 

Richmond, I think.

 

On 12/05/2023 at 15:57, Emeralds said:

I think they wondered when they would hit the ceiling/limit with regards the recession-proof ballets, and it looked  like they found it this year with Sleeping Beauty;

 

Actually, I think it was the previous season, with some of the autumn Romeo & Juliets.  There were noticeably some students in the "posh seats".

[Jan McNulty]

Press Release from Sadler's Wells:

 

New York City Ballet Mixed Bill  Sadler’s Wells Theatre, EC1R 4TN Thursday 7 - Sunday 10 March 2024     Tickets: £15 - £85 Ticket Office: 020 7863 8000 or www.sadlerswells.com   Sara Mearns and Gilbert Bolden III in Justin Peck’s Rotunda – Photo by Erin Baiano   The celebrated New York City Ballet (NYCB) makes its Sadler’s Wells debut in March 2024, bringing UK premieres of works by Kyle Abraham, Justin Peck, and Pam Tanowitz, and a classic work by George Balanchine.   NYCB is one of the foremost ballet companies in the world and is known for its contemporary style, speed, and musicality. Currently celebrating its 75th Anniversary, NYCB was founded in 1948 by choreographer George Balanchine and arts patron Lincoln Kirstein. This is the first time the company has performed in London since 2008.   Justin Peck’s Rotunda features a commissioned score from American composer Nico Muhly and an ensemble of 12 dancers. Peck, NYCB’s Resident Choreographer and Artistic Advisor, has created more than 20 works for NYCB. Recent projects outside of NYCB include Illinois, a new stage adaptation of Sufjan Stevens’ album of the same name, and creating the choreography for Steven Spielberg’s film adaptation of West Side Story in 2022.                                                                                   Balanchine’s Duo Concertant, a work for two dancers and two onstage musicians, is set to the music of Igor Stravinsky and was created for NYCB’s legendary Stravinsky Festival in 1972. Balanchine is widely regarded as one of the most influential choreographers of the 20th century, and co-founded NYCB and the School of American Ballet, NYCB’s official training academy.    Pam Tanowitz’ Gustave Le Gray No.1 is set to Caroline Shaw’s piano composition ‘Gustave le Gray,’ and features four dancers in flowing red costumes who interact with an onstage pianist who performs the score. Tanowitz first presented her work in the UK in 2019 to great acclaim with Four Quartets at the Barbican. Since then, she has been commissioned by The Royal Ballet, and returned to the Barbican in 2023 with Song of Songs.   Love Letter (on shuffle) by MacArthur Fellow Kyle Abraham is set to the music of James Blake and features costumes by British fashion designer Giles Deacon. Abraham founded his acclaimed modern dance company A.I.M. in 2005, and has been commissioned by many dance companies including two recent commissions for The Royal Ballet. Sadler’s Wells first presented Abraham’s work in 2017 with Pavement, in 2022 with Requiem: Fire in the Air of the Earth and most recently in September 2023 with Are You in Your Feelings? for Alvin Ailey American Dance Theater.  NYCB Artistic Director Jonathan Stafford said, “New York City Ballet is thrilled to return to London during our 75th anniversary season with an exciting new generation of dancers performing three of the newest works created for our repertory, along with a favorite from our co-founder George Balanchine. NYCB first performed in London two years after its founding and it has always been a special place for the Company. We are very grateful to Sadler’s Wells for inviting us to return during our diamond anniversary year.” Kindly supported by Blavatnik Family Foundation   Audio described performance on Sunday 10 March at 2 pm  ENDS NOTES TO EDITORS Listings Information New York City Ballet Mixed Bill Sadler’s Wells Theatre, EC1R 4TN Thursday 7 - Sunday 10 March 2024       Tickets: £15 - £85 Ticket Office: 020 7863 8000 or www.sadlerswells.com About Sadler’s Wells      Sadler's Wells is a world-leading dance organisation. We strive to make and share dance that inspires us all. Our acclaimed year-round programme spans dance of every kind, from contemporary to flamenco, Bollywood to ballet, salsa to street dance and tango to tap.    We commission, produce and present more dance than any other organisation in the world. Since 2005, we have helped to bring more than 200 new dance works to the stage, embracing both the popular and the unknown. Our acclaimed productions tour the world. Since 2005 we’ve produced 64 new full-length works and performed to audiences of more than two million, touring to 51 countries.      Each year, over half a million people visit our three London theatres - Sadler’s Wells Theatre, Lilian Baylis Studio and Peacock Theatre. Millions more attend our touring productions nationally and internationally or explore our digital platforms, including Sadler’s Wells Digital Stage.     Sadler’s Wells East   In 2024 we’re opening a fourth London venue in Stratford’s Queen Elizabeth Olympic Park. Sadler’s Wells East will house a 550-seat mid-scale theatre, as well as facilities for the new Rose Choreographic School and the hip hop theatre training centre, Academy Breakin’ Convention.   Sadler’s Wells East joins the rich cultural heritage of Stratford, opening in London’s Queen Elizabeth Olympic Park as part of the East Bank development alongside the BBC, UAL’s London College of Fashion, UCL and the V&A. Sadler’s Wells East will support artist development and training, and the creation of new work. It will build the infrastructure for dance and make it accessible to more people. Sadler’s Wells East will house a flexible theatre presenting a wide variety of dance performances. Community will be at the heart of Sadler’s Wells East with a large open foyer that can be used by everyone as a meeting or performance space. There will also be dance studios and world-class dance facilities for dancemakers to train, create and rehearse productions.    Supporting artists  Supporting artists is at the heart of our work. We have associate artists and companies, which nurture some of the most exciting talent working in dance today. We host the National Youth Dance Company, which draws together some of the brightest young dancers from across the country. Sadler’s Wells Breakin' Convention runs professional development programmes to champion and develop the world’s best hip hop artists, as well as producing, programming and touring groundbreaking hip hop performances.      Learning and community links  Around 30,000 people take part in our learning and engagement programmes every year. We support schools local to our theatres in Islington and Stratford, designing experiences for children and young people to watch, explore and critically engage with the arts. We also run Company of Elders, a resident performance company of dancers aged over 60 who rehearse with renowned artists to make new work for public performances locally, nationally and internationally.      Sadler’s Wells is an Arts Council England National Portfolio Organisation.    www.sadlerswells.com    Stay up to date with everything Sadler’s Wells on social media     Facebook: @SadlersWells     Twitter: @Sadlers_Wells     Instagram: @sadlers_wells     YouTube: Sadler’s Wells Theatre     About New York City Ballet  New York City Ballet, one of the foremost ballet companies in the world, was founded in 1948 by the legendary choreographer George Balanchine and arts patron Lincoln Kirstein, and quickly became world-renowned for its athletic and contemporary style. Jerome Robbins joined NYCB the following year and, with Balanchine, helped to build its extraordinary repertory. Today, in its 75th anniversary year, NYCB continues to be inspired by its founders who envisioned an authentically American expression of ballet with a company that reflects the rich cultural diversity of our city and nation. Under the leadership of Artistic Director Jonathan Stafford, Associate Artistic Director Wendy Whelan, and Executive Director Katherine Brown, NYCB remains dedicated to its primary objectives: to preserve the ballets, dance aesthetic, and standards of excellence created and established by its founders; to develop new work that draws on the talents of contemporary choreographers and composers and speaks to the time in which it is made; and to make ballet accessible to the widest possible public through touring, education programs, the creative use of media, and other outreach efforts.   Choreographers  About Justin Peck Justin Peck is the Resident Choreographer and Artistic Advisor of New York City Ballet. He has created more than 45 works for NYCB and other dance companies around the world, including the Paris Opéra Ballet, San Francisco Ballet, Miami City Ballet, Pacific Northwest Ballet, Houston Ballet, L.A. Dance Project, and The Juilliard School. His works have also been performed by Dutch National Ballet, National Ballet of Canada, Acosta Danza, and Hong Kong Ballet, among other companies. A native of San Diego, California, Peck studied at California Ballet before enrolling at the School of American Ballet (SAB) in 2003. He joined NYCB as a dancer in 2007 and was promoted to Soloist in 2013. Peck first choreographed as a student at SAB in 2005. He participated in a working session at the New York Choreographic Institute (NYCI), an affiliate of NYCB, in the fall of 2009, and received NYCI’s first year-long choreographic residency in 2011. He was named NYCB’s Resident Choreographer, the second in the Company’s history, in July 2014, and was also appointed as Artistic Advisor in February 2019. Peck retired from dancing following NYCB’s 2019 Spring Season. He was the subject of the 2014 documentary Ballet 422, which followed him for two months as he created NYCB’s 422nd original ballet, Paz de la Jolla. In 2015, his ballet Rodeo: Four Dance Episodes won the Bessie Award for Outstanding Production and he is also the recipient of the 2018 Ted Arison Young Artist Award. Peck won a 2018 Tony Award for his choreography for the Broadway revival of Rodgers and Hammerstein’s Carousel, and he is the choreographer of Steven Spielberg’s award-winning film adaptation of West Side Story. About George Balanchine George Balanchine transformed the world of ballet. He is widely regarded as the most influential choreographer of the 20th century, and he co-founded two of ballet’s most important institutions: New York City Ballet and the School of American Ballet. Balanchine was born in St. Petersburg, Russia, in 1904, studied at the Imperial Ballet School in St. Petersburg, and danced with the Maryinsky Theatre Ballet Company, where he began choreographing short works. In the summer of 1924, Balanchine left the newly formed Soviet Union for Europe, where he was invited by impresario Serge Diaghilev to join the Ballets Russes. For that company, Balanchine choreographed his first important ballets: Apollo (1928) and Prodigal Son (1929). After Ballets Russes was dissolved following Diaghilev’s death in 1929, Balanchine spent his next few years on a variety of projects in Europe and then formed his own company, Les Ballets 1933, in Paris. Following a performance of Les Ballets 1933 at the Savoy Theatre in London, he met American arts connoisseur Lincoln Kirstein, who later persuaded him to come to the United States. In 1934, the pair founded the School of American Ballet, which remains in operation to this day, training students for companies around the world. Balanchine’s first ballet in the U.S., Serenade, set to music by Tschaikovsky, was created for SAB students and was first performed on June 9, 1934, on the grounds of the Warburg estate in White Plains, N.Y. Balanchine and Kirstein founded several short-lived ballet companies before forming Ballet Society in 1946, which was renamed New York City Ballet in 1948. Balanchine served as the Company’s ballet master from that year until his death in 1983, building it into one of the most important performing arts institutions in the world, and a cornerstone of the cultural life of New York City. He choreographed 425 works over the course of 60-plus years, and his musical choices ranged from Tschaikovsky (one of his favorite composers) to Stravinsky (his compatriot and friend) to Gershwin (who embodied the choreographer’s love of America). Many of Balanchine’s works are considered masterpieces and are performed by ballet companies all over the world.     About Pam Tanowitz Pam Tanowitz, New York-based choreographer and founder of Pam Tanowitz Dance, is known for her unflinchingly post-modern treatment of the classical dance vocabulary. The first-ever choreographer in residence at the Richard B. Fisher Center for the Performing Arts at Bard College in Annandale-on-Hudson, New York, Tanowitz has received commissions from Paul Taylor American Modern Dance, the Kennedy Center’s “Ballet Across America,” the Martha Graham Dance Company, The Royal Ballet, The Joyce Theater, Bard Summerscape Festival, Vail Dance Festival, and New York Live Arts, among numerous others. She has also created or set work for City Center’s Fall for Dance Festival, The Juilliard School, Ballet Austin, New York Theater Ballet, and Saint Louis Ballet; and has been a guest choreographer at Barnard College and Princeton University. For New York City Ballet, she has created Bartók Ballet (2019), Solo for Russell: Sites 1-5 (2020), and Law of Mosaics (2022). Originally from New Rochelle, New York, Tanowitz holds degrees from The Ohio State University and Sarah Lawrence College, and is currently a visiting guest artist at Mason Gross School of the Arts at Rutgers University. Her fellowships and awards include the Baryshnikov Arts Center’s Cage Cunningham Fellowship (2017), a City Center Choreography Fellowship (2016), a fellowship at the Center for Ballet and the Arts at New York University (2016), the Hodder Fellowship from Princeton University (2013), the Guggenheim Fellowship (2011), and a Grants to Artist Award from the Foundation for Contemporary Arts (2010). She was the recipient of a Bessie Award for Outstanding Production in 2009 and the Juried Bessie Award in 2016.   About Kyle Abraham  Kyle Abraham is a choreographer and the artistic director of A.I.M. Born in Pittsburgh where he began his dance training at the Civic Light Opera Academy and the Pittsburgh Creative and Performing Arts School, Abraham went on to study dance at SUNY Purchase. He received an MFA from the Tisch School of the Arts at New York University and holds an honorary Doctorate in Fine Arts from Washington Jefferson College. In 2005, Abraham founded his acclaimed modern dance company A.I.M. (previously called Abraham.In.Motion), which tours a repertory by Abraham and other dance artists internationally. A 2013 MacArthur Fellow, Abraham is also a 2016 Doris Duke Award recipient and a 2012 USA Ford Fellow, and has also received such awards as the Jacob’s Pillow Dance Award, the Bessie Award for Outstanding Performance in Dance, and the Princess Grace Statue Award.   For NYCB, Abraham has created Love Letter (on shuffle), The Runaway, and the films Ces noms que nous portons, a co-production with Lincoln Center for the Performing Arts, and When We Fell. He has also created works for other acclaimed dance organizations including Alvin Ailey American Dance Theater, Paul Taylor American Modern Dance, The Royal Ballet, New York City Center’s Fall For Dance Festival, and Hubbard Street Dance Chicago, among others. Additionally, he was one of four choreographers who collaborated with former NYCB Principal Dancer Wendy Whelan on Restless Creature in 2013. He has also created commissioned solo works for American Ballet Theatre Principal Dancers Misty Copeland and Calvin Royal III, for New York City Center’s Fall For Dance Festival in 2019 and 2020.  Formerly a Visiting Professor in Residence at the University of California, Los Angeles, Abraham holds the Claude and Alfred Mann Endowed Professorship in Dance at the University of Southern California Glorya Kaufman School of Dance.     Composers About Nico Muhly  Nico Muhly is an American composer who writes orchestral music, works for the stage, chamber music and sacred music. He’s received commissions from The Metropolitan Opera—Two Boys, (2011) and Marnie (2018)—Carnegie Hall, the Los Angeles Philharmonic, the Tallis Scholars, King’s College and St John’s College, Cambridge, Wigmore Hall, and The Philadelphia Orchestra, among others, and he was recently commissioned to reorchestrate a new production Orfeo for the Santa Fe Opera. He is an avid collaborator, and has worked with choreographers Justin Peck and Kyle Abraham at New York City Ballet, Benjamin Millepied at the Paris Opéra Ballet, and Bobbi Jene Smith at the Juilliard School; artists Sufjan Stevens, The National, Teitur, Anohni, James Blake, and Paul Simon; and has written film scores for The Reader (2008) and Kill Your Darlings (2013), and the BBC adaptation of Howards End (2017). Among his concerti are works for violin (Shrink, for Pekka Kuusisto), organ (Register, for James McVinnie), and viola (Nadia Sirota). He collaborates with the same artists as a composer and performer of chamber music. He has written vocal works for Iestyn Davies, Renée Fleming, and Nicholas Phan, has collaborated with artists Maira Kalman and Oliver Beer, and has created site-specific pieces for the National Gallery, London, and the Art Institute of Chicago, and written articles for The Guardian, The New York Times, and the London Review of Books. Recordings of his works have been released by Decca and Nonesuch, and he is part of the artist-run record label Bedroom Community, which released his first two albums, Speaks Volumes (2006) and Mothertongue (2008).  About Igor Stravinsky  Igor Stravinsky, one of the leading composers of the 20th century, has had a tremendous impact on the world of classical music. Over the course of his career, he composed in a remarkable variety of styles, incorporating Russian and French traditions, neo-classicism, 12-tone principles, jazz—anything that intrigued and inspired him. Stravinsky was born outside of St. Petersburg in 1882, and while he later became a citizen of first France and then the U.S., he often turned to his Russian roots for his compositions, drawing on folk melodies and rhythms. Early in his career, he came to the attention of Serge Diaghilev, the impresario behind the Ballets Russes. Diaghilev commissioned several scores from Stravinsky that have gone on to become classics of both the ballet stage and the concert hall: The Firebird (1910), Petroushka (1911), and The Rite of Spring (1913). As his music evolved over the course of his life, he became more interested in economical, pared-down compositions, and his work is recognizable by its clarity of sound, rhythmic drive, and appealing austerity. Stravinsky died in New York, in 1971. In Stravinsky’s obituary in The New York Times, George Balanchine said of his friend and fellow Russian, “I feel he is still with us. He has left us the treasures of his genius, which will live with us forever.” About Caroline Shaw Caroline Shaw is a musician who moves among roles, genres, and mediums, trying to imagine a world of sound that has never been heard before but has always existed. She often works in collaboration with others, as producer, composer, violinist, and vocalist. Shaw is the recipient of the 2013 Pulitzer Prize in Music, several Grammy awards, an honorary doctorate from Yale, and a Thomas J. Watson Fellowship. Recent projects include Justin Peck's Partita for New York City Ballet, the score to Fleishman is in Trouble (FX/Hulu), vocal work with Rosalía (MOTOMAMI), the score to Josephine Decker's film The Sky Is Everywhere (A24/Apple), music for the National Theatre’s production of The Crucible (dir. Lyndsey Turner),  a new stage work LIFE (Gandini Juggling/Merce Cunningham Trust), Microfictions Vol. 3 for NY Philharmonic and Roomful of Teeth, a live orchestral score for Wu Tsang's silent film Moby Dick co-composed with Andrew Yee, two albums on Nonesuch (Evergreen and The Blue Hour), the score for Helen Simoneau's Delicate Power, tours of Graveyards & Gardens (co-created immersive theatrical work with Vanessa Goodman), and tours with Sō Percussion featuring songs from Let The Soil Play Its Simple Part (Nonesuch), amid occasional chamber music appearances as violist (Chamber Music Society of Minnesota, La Jolla Music Society). Shaw has written over 100 works in the last decade, for Anne Sofie von Otter, Davóne Tines, Yo-Yo Ma, Renée Fleming, Dawn Upshaw, LA Phil, Philharmonia Baroque, Seattle Symphony, Cincinnati Symphony, Aizuri Quartet, The Crossing, Dover Quartet, Calidore Quartet, Brooklyn Rider, Miro Quartet, I Giardini, Ars Nova Copenhagen, Ariadne Greif, Brooklyn Youth Chorus, Britt Festival, and the Vail Dance Festival. She has contributed production to albums by Rosalía, Woodkid, and Nas. Her work as vocalist or composer has appeared in several films, TV series, and podcasts including The Humans, Bombshell, Yellowjackets, Maid, Dark, Beyonce's Homecoming, Tár, Dolly Parton's America, and More Perfect. About James Blake  James Blake is a London-born musician and producer. Following three EPs, his self-titled debut album was released in 2011. For his sophomore effort Overgrown, released in 2013, he was nominated for the Grammy Award for Best New Artist and received Britain’s Mercury Prize. He has since released multiple EPs and studio albums, receiving many awards and nominations, including Grammy nominations as a featured artist on Beyoncé’s 2016 album Lemonade, for Best Alternative Album for 2019’s Assume Form, and for Best Dance/Electronic Recording in 2022 for “Before,” and Album of the Year at the Latin Grammy Awards as a songwriter and producer for Rosalía’s MOTOMAMI.  Other collaborations as a performer or producer have been with artists including Bon Iver, Brian Eno, Frank Ocean, Vince Staples, Jay-Z, Kendrick Lamar, Travis Scott, and Moses Sumney.

[alison]

Well, I got that one wrong - there aren't many seats left at all. Also, there's a Thursday matinee which doesn't appear to have been advertised, that I could see.

[Emeralds]

Hoping security will be tighter on 7-10 March (and indeed during La Strada) than at Edward Scissorhands! 

[art_enthusiast]

7 minutes ago, Emeralds said:

Hoping security will be tighter on 7-10 March (and indeed during La Strada) than at Edward Scissorhands! 

 

What happened at Edward Scissorhands? I didn't end up going unfortunately

[Jan McNulty]

19 minutes ago, art_enthusiast said:

 

What happened at Edward Scissorhands? I didn't end up going unfortunately

 

A performance was disrupted by people who are not happy with some of Sadler's Wells corporate sponsors.

 

The theatre must be between a rock and a hard place.  I am not sure if it has been imposed yet but there was a fuss last year about charities cutting ties with fossil fuel sponsors and the Charities Commission saying they should not turn down such sponsorship (very much paraphrased):

 

https://www.theguardian.com/society/2023/nov/09/charities-must-have-good-reason-to-reject-donations-says-head-of-england-regulator

 

It was reported in The Stage but I couldn't find any other references and I had already used my quota of free articles so couldn't actually read anything other than the headline.

[Emeralds]

A protest group was against Sadler's Wells accepting sponsorship from a bank it accused of investing in a company that supplies weapons for Israel. (You can read the article for free by signing up to The Stage for free updates- you get 3 free articles a month). The bank has said they don't fund any such companies and an investment group they had in the past which did invest in many companies which included arms, they no longer have any ties to. 

 

It does bring into question the issue of "one person's activism is another person's hypocrisy". If the head of the Charities Commission is against arts organisations rejecting fossil fuel company donations, then they too should be strenuously condemning groups doing these protests against theatres that have complied with the CC's wishes - and one could argue,  providing funds for extra security staff to stand watch in the auditorium at every show. They can't have their cake and eat it, leaving theatres in the lurch while critising them for dropping unpopular donors. 

 

Am hoping NYCB and Alina Cojocaru's audiences will be considered too "niche"  for these protest groups to bother with - apparently the Edward Scissorhands performance was picked because it was sold out. 

 

Edited January 21 by Emeralds

[BalletcoForum Moderators]

Your post breached the AUP by over quoting and has been hidden.

 

"Quoting from newspapers and other websites The copyright situation of material on the internet is complicated, made more so by different national laws. As far as BalletcoForum is concerned we allow brief quotes of a sentence or two from other sites or material, with the source acknowledged, and backed up if relevant by a link. Anything more than this will be removed."

[Jan McNulty]

The article mentioned by Emeralds is on the front page of the Stage (left hand side, latest news).  If you have registered for the stage you can read 3 articles per month.

 

https://www.thestage.co.uk

 

The incident wasn't mentioned in any other news items that I could find when I was doing the links.

[ChrisG]

I notice that all the shows except the very first are now showing as ‘Sold Out’!

[Bruce Wall]

See that ALL the NYCB performances (short of the Thursday matinee which has 'limited availability) are SOLD OUT.  Spalding obvously clearly knew what he needed to do to appeal to his dedicated UK audience.  Well done him.  Credit where credit is due.  

[Bruce Wall]

 

 

Casting is now out for NYCB in London - 

 

https://sadlers-wells-assets.s3.amazonaws.com/uploads/2024/02/NYCB-Casting_Sadlers-Wells_March-7-10-2024.pdf 

 

Glad to see it's either Danny or Roman for the final solo/lunge in Rotunda ... and good casting for Duo.  Tiler, Roman and Stanley are in for Love Letter - with Stanley doing double duty where he does Duo Concertant with Woodward.  

 

Rotunda - Sara Mearns is doing the role she originated with her original partner - the talented Gilbert Bolden III.  Otherwise it is Megan Fairchild with lanky Peter Walker.  You are spoiled for choice here in terms of the main male as it is either Danny Ublrecht (YEAH - London WILL get to see Danny - doubt you will see him again) or Roman Mejia.  (That I'm surprised at as he didn't actually do any of his castings in this role in NYC.)   Sadly - as reported previously - the thrilling Jovani Furlan is out of the the PDT he created (Jules Maibe - and how he has come forward this season - is in for him as he was - short of the initial rehearsals - in NYC) and I'm delighted that you'll get a chance to see Victor Abreu in this.  For my money, he's special.  (The lad's only in Rotunda so he'll have lots of time to sight see - plus he has worked SOOOOO hard in this NYC season ... Those performances in Odessa, in Hallelujah Junction, in Sin3M, in Solitude in so, SO much.  He more than deserves a little break.) 

Duo Concertant - It's either Megan and Anthony Huxley (old hands at this turn) or the glorious combination of Indiana Woodward and Stanley Taylor.  If you are lucky enough to have a ticket for the latter I think you will NOT be disappointed.  Taylor's performances are always uniquely charged - as you will see in the role created for [them] in Love Letter.

 

Gustave - Good casting - not that you are likely (short of Adrian Danchig-Wearing - but even then) to know who is who.  So glad that Naomi Corti is getting a chance here.  She is a lovely dancer.  You'll know the electic Emily Kikta - She'll be the tallest.  

 

Love Letter - HERE YOU HAVE TAYLOR STANLEY - It would be a VERY DIFFERENT BALLET WITHOUT HIM - in the stunning role - [they] created and - Yes, London - the original combination of those fire-eating spirits (at least in this) Tiler Peck and Roman Mejia, again as originally designated.  So pleased too in this that you'll get to see Alexa Maxwell (who if she isn't made a principal at the end of this year I will be surprised given the castings she has received.  She is now a principal in all BUT the actual title); the formidable Emily Kikta - adore that woman and wish they would cast her more; Cameron Grant and young Quinn Starner (who some will remember from Tiler's earlier programme at the Wells); Canin Webber who is a FANTASTIC DANCER - his pseudo Puck in Robbins Four Seasons was a thrill and a half - and even McKenzie Beradino Soares - that young lad I wrote about speaking to on that stoop.  

 

MOST SADLY - NO MIRA NADON - (Somehow it's just not City Ballet nowadays without her radiance); NO EMMA VON ENCK and NO CHUN WEI CHAN but, hey, you can't have everything .... This is VERY positive I think as it is.  

 

 

(Wonder if they could convince Roman and Tiler to stick around for the Ballet Icons Gala.  They could do Tschai PDD or the Central Stars and Stripes PDD (both of which they will be doing this week) - or they could do (as they might prefer) Le Corsaire or Don Q PDD (Don't know if Tiler's done the latter ... but Roman definitely has - certainly they have done the Corsaire together and the ENB Phil would be primed for that already.)   Perhaps they could do the central PDD from Donezetti Variations - which they did do together for one performance in Washington.  

 

 

 

Edited February 26 by Bruce Wall

[Bruce Wall]

Oh, I take it back ... MIRA NADON IS COMING .... BUT ONLY IN GUSTAVE ..... Talk about a hidden secret .... 

[Emeralds]

Well, so much for bringing only a small group- from the cast list it feels like the whole company is here! (Enough to perform even Goldberg Variations and certainly more than enough for most Robbins piano ballets instead of the tablecloth ballet!) Very pleased that Megan Fairchild, Daniel Ulbricht, Anthony Huxley, Indiana Woodward, Adrian Danchig-Waring, Sara Mearns, Taylor Stanley, Unity Phelan, Emily Kikta, Peter Walker are scheduled to be coming, as well as Tiler Peck, Roman Mejia, Mira Nadon, Christopher Grant,  Quinn Starmer, who came last year. Thanks for the heads up that the casting is out, @Bruce Wall (though I already booked my tickets of course). 

 

Oddly enough I booked two dates randomly to be able to see the company twice and got both casts, which is great and  almost never happens! I'm surprised that the sales website went from "fairly" sold to "sold out" unusually quickly. Well, if the seats are all paid up that's very good news for the company. I doubt very much that the programming was the reason for it - rather that their Coliseum visit was too long lash time. They're only performing on 4 days this time whereas that Coliseum visit was about 11 days in a theatre 1.5 times the capacity of Sadler's Wells, so they haven't actually sold better- they just sold more or less the same number of (or ever fewer!) tickets as 2008 but squeezed into fewer shows and fewer seats. 😉 Well, the shorter visit and more limited programme should reduce touring costs!

 

I'm really going just to see the dancers and quality (or otherwise) of the work to me is of secondary importance (except for Duo Concertant- which has already been performed here by 3 different companies and we know to be very good) ....but hey, just glad that NYCB are back after 14 years - would be happy just to see them do company class! 

Edited February 26 by Emeralds

[alison]

So: Gustave Le Gray has either 4 female, or 3 female and 1 male, dancers?