ABT sent out a solicitation letter that warned in bold print that a lack of donations to its new Crisis Relief Fund could mean ABT's dissolution. It's not the brightest strategy to ask for money while saying you may be going out of business. Perhaps suggesting some cut backs and a new artistic management might have been a better plan to attract donors.
Look, this company has been in the same situation for years — and always with a load of excuses. How has New York City Ballet managed itself to a position over the years where it can now afford to pay its employees during a crisis lay-off, but ABT as an organization can't survive even by laying off everyone and eliminating virtually all expenses? Questions have to be asked and answered. Again, why doesn't ABT have a revenue stream built from performance video? How has ABT justified the tremendous expenditures on costumes and scenery for productions that were not particularly successful? These types of painful questions have to be addressed so that ABT doesn't end up in a position where it has to plead that the company is on the verge of dissolution if donors don't open up their wallets for ABT's benefit during a global crisis where other people are dying and starving.
54 responses to ““and, possibly, dissolution.””
Subjective issues aside, ABT’s problem vs. NYC Ballet is that the latter was established as a NYC-based company from the beginning and was, for more than half its life, unique as the Balanchine company, in its repertory, roster and school. In addition, it always had a physical home in New York. Over the years it was able to build a financial base of support through audience devotion and contributions, both personal and corporate. ABT, on the other hand, prided itself in its early years as being a touring company and wasn’t able to start building a stable NY presence until it hooked up with the MET in 1977 and began offering subscriptions. But ABT’s repertory wasn’t unique like that of NYCB – it succeeded in part because it was the only other major game in town, and, while audiences liked the eclectic nature of its offerings (less today, but that’s another story), it was the only company offering full-length classics (which only became a dominant part of the repertory after it began its long-term MET engagements). But having a limited presence in New York, even through today, has been a problem in building the kind of audience support that NYC Ballet has been more successful in achieving. This is not meant to excuse issues with financial, administrative or artistic management. But had ABT been able to have its own theater, years ago, it would have had a leg up, so to speak.
Subjective issues aside, ABT’s problem vs. NYC Ballet is that the latter was established as a NYC-based company from the beginning and was, for more than half its life, unique as the Balanchine company, in its repertory, roster and school. In addition, it always had a physical home in New York. Over the years it was able to build a financial base of support through audience devotion and contributions, both personal and corporate. ABT, on the other hand, prided itself in its early years as being a touring company and wasn’t able to start building a stable NY presence until it hooked up with the MET in 1977 and began offering subscriptions. But ABT’s repertory wasn’t unique like that of NYCB – it succeeded in part because it was the only other major game in town, and, while audiences liked the eclectic nature of its offerings (less today, but that’s another story), it was the only company offering full-length classics (which only became a dominant part of the repertory after it began its long-term MET engagements). But having a limited presence in New York, even through today, has been a problem in building the kind of audience support that NYC Ballet has been more successful in achieving. This is not meant to excuse issues with financial, administrative or artistic management. But had ABT been able to have its own theater, years ago, it would have had a leg up, so to speak.
Thanks for the info and comprehensive perspective.
ABT was performing a full length Giselle as early as in the mid 1940s in New York. They performed a full length Swan Lake in the mid 1960s at NY State Theater. These two ballets have dominated the rep for more than a half century and are still among their best sellers.
Perhaps the following idea dovetails into your theory that if ABT had been able to have their own theater years ago, it would have had a leg up: Why didn’t ABT merge with the Met Opera into an organizational structure like the ROH, Mariinsky, POB and so many others? They would then officially have had their own stage and definitely more recognition and support. Maybe a merger, actually a takeover, was proposed at some point in the past and the Met said ‘no thanks’. These days the Met has its own problems but at least it is finding creative ways to solve them including ways that required complex negotiating with the unions.
We need a major, world class classical ballet company in this city that focuses on full length classical ballets as well as one-act classics. It seems the best chance for that and the best chance for ABT is some kind of Met takeover that wipes the company clean of its failed strategies.
ABT sees that its ship is sinking. But it is so focused on mopping up the water that it hasn’t considered how to plug the massive holes in the starboard.
Thanks for the info and comprehensive perspective.
ABT was performing a full length Giselle as early as in the mid 1940s in New York. They performed a full length Swan Lake in the mid 1960s at NY State Theater. These two ballets have dominated the rep for more than a half century and are still among their best sellers.
Perhaps the following idea dovetails into your theory that if ABT had been able to have their own theater years ago, it would have had a leg up: Why didn’t ABT merge with the Met Opera into an organizational structure like the ROH, Mariinsky, POB and so many others? They would then officially have had their own stage and definitely more recognition and support. Maybe a merger, actually a takeover, was proposed at some point in the past and the Met said ‘no thanks’. These days the Met has its own problems but at least it is finding creative ways to solve them including ways that required complex negotiating with the unions.
We need a major, world class classical ballet company in this city that focuses on full length classical ballets as well as one-act classics. It seems the best chance for that and the best chance for ABT is some kind of Met takeover that wipes the company clean of its failed strategies.
ABT sees that its ship is sinking. But it is so focused on mopping up the water that it hasn’t considered how to plug the massive holes in the starboard.
I always thought a merger with the Met would have made financial sense, with the company also providing dancers for Met productions as well as reducing its overhead. I don’t know if this was ever discussed between the organizations, but my perception is that the Met never saw a financial benefit to such an undertaking; it would have been incumbent upon the Met to take on the fiscal liability. In fact, the Met disbanded its 130-year-old ballet company in 1913 to reduce expenses, and shifted to hiring dancers for individual productions. Also, most other major houses intersperse opera and ballet within the week – which is probably the best way to maximize audiences for both. That would require a seismic shift in how the Met operates, with probably no financial benefit. But it would be a terrific thing to have.
I always thought a merger with the Met would have made financial sense, with the company also providing dancers for Met productions as well as reducing its overhead. I don’t know if this was ever discussed between the organizations, but my perception is that the Met never saw a financial benefit to such an undertaking; it would have been incumbent upon the Met to take on the fiscal liability. In fact, the Met disbanded its 130-year-old ballet company in 1913 to reduce expenses, and shifted to hiring dancers for individual productions. Also, most other major houses intersperse opera and ballet within the week – which is probably the best way to maximize audiences for both. That would require a seismic shift in how the Met operates, with probably no financial benefit. But it would be a terrific thing to have.
Correction: the Met disbanded its ballet company in 2013, not 1913.
Correction: the Met disbanded its ballet company in 2013, not 1913.
We could go on and on about the respective histories of ABT and NYCB but the fact is that the buck stops in the Chairman’s office.
Everything has changed since the 1980s. It’s all money money money. From 1948-1982, NYCB was very much a mom-and-pop shop run by three mad geniuses with Eddy Bigelow and Barbara Horgan to keep things sane. Kirstein took care of the bills. Balanchine was very good at getting extra bucks from the Upper East Side matrons. The school got Ford Foundation money. Dancers got paid bupkis, they didn’t have PTs on salary. That’s all changed – for the dancer’s physical health, for the better. In other ways, not so much. You always have to pay the piper. If the Board Chair calls it quits, it’s quits. Remember the NYC Opera? Beverly Sills was a major musical celebrity. It’s history.
Andrew F. Barth, ABT’s Board Chair, lives in California. ABT has “Executive Committee” and a lot of “Trustees.” I know nothing about most of them. It looks very cumbersome and impersonal to me.
NYCB has an actual board, with officers. I know some of the names, some I don’t. I get the feeling that the company means something to the ones I am familiar with. They care about the legacy, they want the company to thrive. That’s important. They’ll ride this storm out.
But the storm will be way harder than we’ve been led to believe. I think it will go on for another two years, more or less. We didn’t take care of things the way S. Korea & New Zealand did, so we’re stuck with going towards herd immunity.
If ABT doesn’t survive this wrenching period I would not be surprised.
It might be all for the best for those of their current dancers who are in their prime, who are being held back by the shoddy management, but who stick it out at ABT because it’s familiar and ABT still has the faded luster of its glory years. Getting a kick in the pants might be just what they need.
We could go on and on about the respective histories of ABT and NYCB but the fact is that the buck stops in the Chairman’s office.
Everything has changed since the 1980s. It’s all money money money. From 1948-1982, NYCB was very much a mom-and-pop shop run by three mad geniuses with Eddy Bigelow and Barbara Horgan to keep things sane. Kirstein took care of the bills. Balanchine was very good at getting extra bucks from the Upper East Side matrons. The school got Ford Foundation money. Dancers got paid bupkis, they didn’t have PTs on salary. That’s all changed – for the dancer’s physical health, for the better. In other ways, not so much. You always have to pay the piper. If the Board Chair calls it quits, it’s quits. Remember the NYC Opera? Beverly Sills was a major musical celebrity. It’s history.
Andrew F. Barth, ABT’s Board Chair, lives in California. ABT has “Executive Committee” and a lot of “Trustees.” I know nothing about most of them. It looks very cumbersome and impersonal to me.
NYCB has an actual board, with officers. I know some of the names, some I don’t. I get the feeling that the company means something to the ones I am familiar with. They care about the legacy, they want the company to thrive. That’s important. They’ll ride this storm out.
But the storm will be way harder than we’ve been led to believe. I think it will go on for another two years, more or less. We didn’t take care of things the way S. Korea & New Zealand did, so we’re stuck with going towards herd immunity.
If ABT doesn’t survive this wrenching period I would not be surprised.
It might be all for the best for those of their current dancers who are in their prime, who are being held back by the shoddy management, but who stick it out at ABT because it’s familiar and ABT still has the faded luster of its glory years. Getting a kick in the pants might be just what they need.
Now I see that ABT is joining the web streaming bandwagon…finally! Last night, they posted an initial “Save the Date-May 12” announcement on their Facebook that some sort of streaming event is in the works; details to follow. Nice photo of Copeland and Royal III as Romeo & Juliet on the invitation.
Now I see that ABT is joining the web streaming bandwagon…finally! Last night, they posted an initial “Save the Date-May 12” announcement on their Facebook that some sort of streaming event is in the works; details to follow. Nice photo of Copeland and Royal III as Romeo & Juliet on the invitation.
Correction: The announcement about ABT’s May 12, 7PM “Together Tonight” event came through an email to subscribers, not FB. The email includes a link to its website: http://www.abt.org/support/special-events/abt-together-tonight/
Hard to tell what it will be. Hopefully some real ballet performances and not just a bunch of greetings by people hanging out in their basements.
Correction: The announcement about ABT’s May 12, 7PM “Together Tonight” event came through an email to subscribers, not FB. The email includes a link to its website: http://www.abt.org/support/special-events/abt-together-tonight/
Hard to tell what it will be. Hopefully some real ballet performances and not just a bunch of greetings by people hanging out in their basements.
I’ve been expecting ABT to travel the same road as NYC Opera for the past few years. The mismanagement at every level was impossible to ignore. But the most horrible is the public face of the company and the dancers it tries to sell. They have consistently buried true classical talent for management favorites. And the NY ballet fans have had enough.
Being affiliated with the MET would be the best course of action. Then they could be a primarily NY based company with guaranteed performance space. However I think the MET has found their own methods of survival and taking on a failing ballet company is not in their interests now.
Honestly I can see NYCB stepping up to the plate and exploring more full lengths that could be tailored to their style. They have plenty of talent that would be wonderful Giselles.
I’ve been expecting ABT to travel the same road as NYC Opera for the past few years. The mismanagement at every level was impossible to ignore. But the most horrible is the public face of the company and the dancers it tries to sell. They have consistently buried true classical talent for management favorites. And the NY ballet fans have had enough.
Being affiliated with the MET would be the best course of action. Then they could be a primarily NY based company with guaranteed performance space. However I think the MET has found their own methods of survival and taking on a failing ballet company is not in their interests now.
Honestly I can see NYCB stepping up to the plate and exploring more full lengths that could be tailored to their style. They have plenty of talent that would be wonderful Giselles.
ABT’s problem is, and has always been, financial. One can argue about repertory, casting and rosters, but changes there would probably not have been enough to overcome the fundamental problems the company faces, especially in an era when it’s getting clobbered on multiple fronts: declining performing arts audiences, its inability to achieve a stable and sufficient presence in New York, increasing difficulty in touring, failure to build a sufficient endowment, and – now – this pandemic. To paraphrase Mr. B: first, the cash.
ABT’s problem is, and has always been, financial. One can argue about repertory, casting and rosters, but changes there would probably not have been enough to overcome the fundamental problems the company faces, especially in an era when it’s getting clobbered on multiple fronts: declining performing arts audiences, its inability to achieve a stable and sufficient presence in New York, increasing difficulty in touring, failure to build a sufficient endowment, and – now – this pandemic. To paraphrase Mr. B: first, the cash.
ABT would have a chance if they would finally get rid of the inept so called artistic director who mounts one awful new production after another and is a slave to PR(Misty Fakarina) rather than developing true talent, plus a shoddy inept so -called board, or whatever it is, that ignores the flight of fans and donors and won’t recognize why. Clean house of them all and you have a chance of survival.
ABT would have a chance if they would finally get rid of the inept so called artistic director who mounts one awful new production after another and is a slave to PR(Misty Fakarina) rather than developing true talent, plus a shoddy inept so -called board, or whatever it is, that ignores the flight of fans and donors and won’t recognize why. Clean house of them all and you have a chance of survival.
I agree that ABT needs someone to wipe it clean of its failed strategies–and that includes reliance on inept dancers who rose through persistent and obnoxious self-promotion. The leader of the company must be someone who recognizes and commits to the highest quality all of the time — without long pauses to promote a political/social agenda. Artistic integrity should always come first. There is a wonderful core of capable and talented dancers that should be preserved in ABT’s house, but there is trash cluttering up the front yard and an owner who thinks his trash is treasure.
McKenzie has alienated many supporters with his political/social campaign and his failed efforts to make ABT look contemporary by lowering the standards of classical ballet. If McKenzie truly loved ABT (instead of loving his social/political ideals and a few dancers), he would have resigned for the benefit of the company long ago.
I agree that ABT needs someone to wipe it clean of its failed strategies–and that includes reliance on inept dancers who rose through persistent and obnoxious self-promotion. The leader of the company must be someone who recognizes and commits to the highest quality all of the time — without long pauses to promote a political/social agenda. Artistic integrity should always come first. There is a wonderful core of capable and talented dancers that should be preserved in ABT’s house, but there is trash cluttering up the front yard and an owner who thinks his trash is treasure.
McKenzie has alienated many supporters with his political/social campaign and his failed efforts to make ABT look contemporary by lowering the standards of classical ballet. If McKenzie truly loved ABT (instead of loving his social/political ideals and a few dancers), he would have resigned for the benefit of the company long ago.
Can we please also address the issue of the Met itself? It is not now, and never has been, a suitable venue for dance. It’s too big and there are no good sightlines to the stage. ABT needs to find a home more suitable for its endeavors.
Can we please also address the issue of the Met itself? It is not now, and never has been, a suitable venue for dance. It’s too big and there are no good sightlines to the stage. ABT needs to find a home more suitable for its endeavors.
This morning’s teaser-update from ABT about its May 12 “Together Tonight” web event features a pen-and-ink artist as s/he draws Copeland & Royal as R&J. I wonder if the drawing will be auctioned off during the event?
https://m.facebook.com/AmericanBalletTheatre/
This morning’s teaser-update from ABT about its May 12 “Together Tonight” web event features a pen-and-ink artist as s/he draws Copeland & Royal as R&J. I wonder if the drawing will be auctioned off during the event?
https://m.facebook.com/AmericanBalletTheatre/
…which, Jeannette, illustrates my point of ABT pushing a social/political agenda in front of artistic integrity. That strategy has cost the company a lot of longtime supporters. But if it is their choice to undervalue artistic integrity even if it results in failure and dissolution, then, it is their choice. When the final chapter of ABT is written, it will be that it opted for a social/political agenda over artistic integrity. And there will be people who say, well then, it deserved to fail.
…which, Jeannette, illustrates my point of ABT pushing a social/political agenda in front of artistic integrity. That strategy has cost the company a lot of longtime supporters. But if it is their choice to undervalue artistic integrity even if it results in failure and dissolution, then, it is their choice. When the final chapter of ABT is written, it will be that it opted for a social/political agenda over artistic integrity. And there will be people who say, well then, it deserved to fail.
There are hints of NYCB going the same route. Not sure where I read it, but somewhere I read references to “problematic” aspects of Bugaku. I’ve never heard an actual Japanese person objecting to it, just ticked off arts radicals.
It would be a shame if Bugaku was consigned to the graveyard for political reasons. I can understand changing a few gestures in Nutcracker, but Bugaku? Because someone got upset about something?
There are hints of NYCB going the same route. Not sure where I read it, but somewhere I read references to “problematic” aspects of Bugaku. I’ve never heard an actual Japanese person objecting to it, just ticked off arts radicals.
It would be a shame if Bugaku was consigned to the graveyard for political reasons. I can understand changing a few gestures in Nutcracker, but Bugaku? Because someone got upset about something?
It’s pathetic, Diana. There is an entire generation that possesses both a victim mentality and a sense of over-entitlement concurrently. They zero in on where they will get the most attention by whining. You don’t see any of this group complaining about the UNauthentic food in NYC Japanese restaurants that are owned by Koreans and Chinese. Hell no, they eat it up like everyone else. But stage a ballet with a Japanese character wherein not one single second of movement rises any where near an Oxford, Webster, or Brittanica definition of racism, and you will still hear whiners who huff loudly about how grossly offended they are — while using their “offense” to create a media reputation. By the way, they’re the generation predominately not wearing masks while running & cycling in the parks.
It’s pathetic, Diana. There is an entire generation that possesses both a victim mentality and a sense of over-entitlement concurrently. They zero in on where they will get the most attention by whining. You don’t see any of this group complaining about the UNauthentic food in NYC Japanese restaurants that are owned by Koreans and Chinese. Hell no, they eat it up like everyone else. But stage a ballet with a Japanese character wherein not one single second of movement rises any where near an Oxford, Webster, or Brittanica definition of racism, and you will still hear whiners who huff loudly about how grossly offended they are — while using their “offense” to create a media reputation. By the way, they’re the generation predominately not wearing masks while running & cycling in the parks.
This ordeal is only beginning Haglund but there is always some good that comes from bad (think WW2, Civil War…)
The world that emerges from C19 will be meaner, but also leaner. Small, useless non-profits dedicated to policing our thoughts may go out of business. Who is going to pay for them?
I could go on and on about this, but I’ll leave it at that.
Who is going to pay for them?
This ordeal is only beginning Haglund but there is always some good that comes from bad (think WW2, Civil War…)
The world that emerges from C19 will be meaner, but also leaner. Small, useless non-profits dedicated to policing our thoughts may go out of business. Who is going to pay for them?
I could go on and on about this, but I’ll leave it at that.
Who is going to pay for them?
In a positive note, if there are not paying anyone, and Abt will be close for performances for some time due to covid-19, if the ship is going down at least maybe give it a bold new try? restructure everything that does not work, board, artistic, and try something new…. Mr. Couomo is not afraid to say he does not know anything, so he brings the best minds to helping him make the best decisions. Even if Abt has not done so well in the past years, the company has a story, many people love the institution and I do not think none will be happy to see it close. I hope Abt can find people who help them navigate this storm, that they find a way to get us back into the theather with a high quality dance performance.
In a positive note, if there are not paying anyone, and Abt will be close for performances for some time due to covid-19, if the ship is going down at least maybe give it a bold new try? restructure everything that does not work, board, artistic, and try something new…. Mr. Couomo is not afraid to say he does not know anything, so he brings the best minds to helping him make the best decisions. Even if Abt has not done so well in the past years, the company has a story, many people love the institution and I do not think none will be happy to see it close. I hope Abt can find people who help them navigate this storm, that they find a way to get us back into the theather with a high quality dance performance.
I agree, Dancelight, that it would certainly help if ABT could find the right person to steer its rudder. It would be nice if they gave a new try to creating a world-respected classical repertoire. The NY Phil knows that if it doesn’t give the audience the desired dose of Mozart, that audience will soon stop walking through the doors. The patrons want to hear 250-year-old music over and over and over again because it has not been equaled by contemporary composers. The audience continually says “Schmew” to the “new” and the NYPhil is terrified to try to push them too far. That’s the way it should be.
I agree, Dancelight, that it would certainly help if ABT could find the right person to steer its rudder. It would be nice if they gave a new try to creating a world-respected classical repertoire. The NY Phil knows that if it doesn’t give the audience the desired dose of Mozart, that audience will soon stop walking through the doors. The patrons want to hear 250-year-old music over and over and over again because it has not been equaled by contemporary composers. The audience continually says “Schmew” to the “new” and the NYPhil is terrified to try to push them too far. That’s the way it should be.
ABT has hitched its wagon to Ratmansky’s star and that star crashed to Earth awhile ago. His productions, while interesting for one viewing, do not bearing repeat viewings and are HUGE budget busters. I’ve been asking for years to see more Ashton and more DeMille. Where Aare they? Why isn’t ABT listening to its audience? If they did, they wouldn’t have to beg like Oliver Twist for more gruel. Honestly, the company deserves to be dissolved.
ABT has hitched its wagon to Ratmansky’s star and that star crashed to Earth awhile ago. His productions, while interesting for one viewing, do not bearing repeat viewings and are HUGE budget busters. I’ve been asking for years to see more Ashton and more DeMille. Where Aare they? Why isn’t ABT listening to its audience? If they did, they wouldn’t have to beg like Oliver Twist for more gruel. Honestly, the company deserves to be dissolved.
I concur with Gerry here especially since they’re celebrating the 80th Anniversary, where is all that history? And I saw in today’s NY Times about the YouTube gala? Sounds more “Broadway” vs ballet, as much as I love Bennett I just can’t see the fit compared to maybe a celebration highlighting works from Ashton or DeMille in this historical event. Don’t get me wrong, I’m all for new work but let’s not sacrifice the classics, especially when a company as ABT is about that, after all it’s American Ballet Theatre and not American Broadway Theatre, IMHO.
I concur with Gerry here especially since they’re celebrating the 80th Anniversary, where is all that history? And I saw in today’s NY Times about the YouTube gala? Sounds more “Broadway” vs ballet, as much as I love Bennett I just can’t see the fit compared to maybe a celebration highlighting works from Ashton or DeMille in this historical event. Don’t get me wrong, I’m all for new work but let’s not sacrifice the classics, especially when a company as ABT is about that, after all it’s American Ballet Theatre and not American Broadway Theatre, IMHO.
ITA with Gerry and H.F.
ABT’s digital spring gala sounds like something to run away from fast. Jessica Lang, more Jessica Lang, David Lang — remember when the spring gala was more like Lang Lang playing Chopin with Stella and Sascha gliding around the piano?
Meanwhile, witness the outstanding content from NYCB on that same evening.
It’s troubling to read that while ABT predicts an $18 million loss due to the COVID-19 shutdown, they are only confident that they can bring in $1 million in contributions by May 11. What about the other $17 million? Are the people who donate the $1 million giving money for no reason other than to help wind down operations?
ITA with Gerry and H.F.
ABT’s digital spring gala sounds like something to run away from fast. Jessica Lang, more Jessica Lang, David Lang — remember when the spring gala was more like Lang Lang playing Chopin with Stella and Sascha gliding around the piano?
Meanwhile, witness the outstanding content from NYCB on that same evening.
It’s troubling to read that while ABT predicts an $18 million loss due to the COVID-19 shutdown, they are only confident that they can bring in $1 million in contributions by May 11. What about the other $17 million? Are the people who donate the $1 million giving money for no reason other than to help wind down operations?
Haglund – I just saw Megan Fairchild on YouTube talking with Isabel Leonard – at approx 9 minutes Megan talks about the future of live performance. She said she got really depressed and I think I saw a hint of a tear in her eye… and I got to thinking – she’s right. This is not going to end on May 15, we all come “off pause.”
Even if the virus doesn’t stage a comeback, how are you going to get audiences to shell out big bucks for ballet? Sports, I don’t even know about that. People talk a big game, but if they think a deadly virus is lurking, will they bring their kids? It will take a long time to build up the confidence. There’s no pent up demand as there is with cars and lipstick.
And if the virus *does* stage a comeback, in time for flu season?
Even NYCB, our great, wonderful, NYCB, may be very weakened by this vicious virus, as Cuomo calls it.
Haglund – I just saw Megan Fairchild on YouTube talking with Isabel Leonard – at approx 9 minutes Megan talks about the future of live performance. She said she got really depressed and I think I saw a hint of a tear in her eye… and I got to thinking – she’s right. This is not going to end on May 15, we all come “off pause.”
Even if the virus doesn’t stage a comeback, how are you going to get audiences to shell out big bucks for ballet? Sports, I don’t even know about that. People talk a big game, but if they think a deadly virus is lurking, will they bring their kids? It will take a long time to build up the confidence. There’s no pent up demand as there is with cars and lipstick.
And if the virus *does* stage a comeback, in time for flu season?
Even NYCB, our great, wonderful, NYCB, may be very weakened by this vicious virus, as Cuomo calls it.
Diana, I suspect that optimism may start to return over the summer as testing for antibodies becomes more refined & extensive and we get closer to a vaccine. Each day that we live this seems like a year, but it is really only a day. We may end up not having spring and fall seasons of anything in the performing arts — which will be terrible for a myriad of reasons — but there will come a time when we’re all crowded into the theater again. Many in our generation lived through and remember the polio epidemic of the 1950s. It was horrible. The fear of the virus possibly lurking right around your corner was almost paralyzing in itself, but we got through it.
IMO, the science surrounding COVID is moving a lot more quickly than we thought it would. Initially we were told that no vaccine would be ready for clinical trials until the fall or later. The reality is that human clinical trials started in March. Initially we were told that it would be months and months before there would be widespread testing either for the virus or antibodies. Those tests are ramping up now. I’m anticipating a summer where we’ll see fast-tracking of a lot of things. However, if those Asian giant murder hornets show up here, I may just fold.
Diana, I suspect that optimism may start to return over the summer as testing for antibodies becomes more refined & extensive and we get closer to a vaccine. Each day that we live this seems like a year, but it is really only a day. We may end up not having spring and fall seasons of anything in the performing arts — which will be terrible for a myriad of reasons — but there will come a time when we’re all crowded into the theater again. Many in our generation lived through and remember the polio epidemic of the 1950s. It was horrible. The fear of the virus possibly lurking right around your corner was almost paralyzing in itself, but we got through it.
IMO, the science surrounding COVID is moving a lot more quickly than we thought it would. Initially we were told that no vaccine would be ready for clinical trials until the fall or later. The reality is that human clinical trials started in March. Initially we were told that it would be months and months before there would be widespread testing either for the virus or antibodies. Those tests are ramping up now. I’m anticipating a summer where we’ll see fast-tracking of a lot of things. However, if those Asian giant murder hornets show up here, I may just fold.
How dare you call them Asian murder hornets.
How dare you call them Asian murder hornets.
LOL
LOL
It all comes down to leadership.
We could destroy these Non-Specific Murder Hornets with a concerted effort. We just don’t do it because the US has gotten in the habit of failure and that’s because we have crap leadership. A real leader gets things done. From a ballet company to a country. Fakes don’t. They make excuses for failure.
It all comes down to leadership.
We could destroy these Non-Specific Murder Hornets with a concerted effort. We just don’t do it because the US has gotten in the habit of failure and that’s because we have crap leadership. A real leader gets things done. From a ballet company to a country. Fakes don’t. They make excuses for failure.