How nauseating it was to observe the self-satisfied smirking of ABT’s chief financial officer, William Taylor, as he ticked off one false statement after another as justification for ABT’s secret “Star Strategy” during a taped interview on the campus of Babson College last October. The video of the interview, uploaded to YouTube in December, was abruptly yanked from public view this past week after being discovered by the dance community. A spokesperson at Babson College confirmed that ABT demanded that the video be removed from YouTube. The company clearly wants to cover up what Taylor had to say. Fortunately, Haglund and others had the opportunity to watch the whole thing and make notes before it was yanked down.
Taylor, speaking on behalf of ABT during Babson’s Arts and Business Conversations series, disclosed that in 2008, ABT made a conscious decision to force a business strategy upon the artistic model that would ultimately reduce performing opportunities for the company’s own artists and result in truncated careers and lower incomes. He called it ABT’s Star Strategy, a strategy that would become a secret plan to replace the company’s own artists with other dancers from other companies who ABT deemed had benefited from recent media attention that they believed could automatically be converted into enough ticket sales to justify sacrificing the careers of the company’s own dancers and destroying the company’s future artistic vessels. Taylor claimed that there were only a handful of these “stars” around who could drive ticket sales and that all the top companies vied for them – none of which he substantiated. Paris Opera Ballet, Mariinsky Ballet, and New York City Ballet are considered the top companies – all of them well above ABT – and none vie for, beg for, or otherwise need any of the guest artists that ABT claims it does.
ABT made the conscious decision to go out and buy artistic product created by others rather than replace the failing artistic and executive directors and the fumbling stumblebums who call themselves ABT’s marketing professionals. It was a conscious decision to save the captain of a sinking ship and his 1st mate while allowing the passengers to drown. It was the signaling by the members of ABT’s board that their friendship and devotion to Kevin McKenzie outweighed their sense of responsibility to the institution.
There is evidence everywhere on the internet (videos, published interviews, etc.) that confirms ABT never disclosed to the dancers that their reduction in stage time, loss of opportunities, loss of advancement and corresponding income were all part and parcel of a meticulously designed strategy by management and board to do just that – to create and reinforce a public perception that ABT’s own dancers were little more than the wall paper behind a few guest artists who were imported because they had managed to acquire a media following. In fact, ABT aggressively promoted the guest artists themselves while barely lifting a finger for the company’s own artists.
At approximately 11:24 into the interview, Taylor misrepresented that in the previous season, Diana Vishneva had opened a new production on a Monday night which saw sales of 105% while on Tuesday night a dancer who Taylor claimed “doesn’t quite have that star quality” only sold 40% of the house. Taylor emphasized the words Monday and Tuesday while widening his eyes to suggest how amazing it all was. But what a bald-faced lie.
The only new productions in the previous season were Cinderella and The Tempest, neither of which had Vishneva in the cast. In the preceding 2013 Met season, the only premiere was two-thirds of the Shostakovich Trilogy which opened on a Friday, not Monday. In addition to Vishneva, the opening cast included Semionova, Gomes, Cornejo, Messmer, Salstein, Hallberg, Boylston, Kent, Stearns, Osipova, and Vasiliev. Given that cast, what fool would conclude that it was Vishneva who filled the seats to 105% – if, in fact, they were filled with paying customers? What fool would expect that the premiere night of a production, regardless of the night of the week, would not automatically sell better than the second night? ABT could put Vishneva in a cast on a Monday premiere night and again on Tuesday night, and the premiere night would automatically sell better. What fool doesn’t know that a Monday night premiere would draw additional audience simply because New York City Ballet doesn’t perform across the Lincoln Center Plaza on Mondays?
At around 13:51 of the tape, Taylor told his audience that Osipova & Vasiliev departed ABT and went to the Royal Ballet. Yes, he clearly said that Vasiliev went to the Royal Ballet. Taylor then said that the following Met season ticket sales didn’t do as well; now “ we’re trying to bring them back,” he said. The 2014 season omitted Osipova, but we still had Vasiliev’s hams in Don Q, AND ABT imported Smirnova, Tereshkina, Shkylerov, Kotchetkova, Cojocaru, Jackson, Muntagirov, Matvienko, Watson, Lendorf, and Nedak. Cojocaru and Matvienko withdrew because of injury, but ABT still employed 10 so-called star guest artists and still couldn’t achieve sales as good as the year before. Why were any of these people invited back? Taylor didn’t volunteer any explanation as to why his secret star strategy with 10 so-called stars, including Vasiliev, didn’t maintain sales. Based on his strategy, one would have expected sales to actually improve over the previous year.
In discussing the so-called stars that ABT hires, Taylor explained how they had already built up their reputations through the media and he said that ABT didn’t have anyone like that. He quickly added with throat giggling glee and a knowing nod of the head “except for Misty.” Clearly, Taylor and ABT’s board and management fully approve of Copeland’s methods of attracting attention – from her book full of undocumented accusations, aspersions, and lies about her circumstances and accomplishments, to her provocative photos including those of her bare tits and ass that she distributed to her underage minor fan base on Instagram, to her full-blown exaggerations about her own importance, to her disrespect of her colleagues whom she calls underdogs, to her campaign that is designed to take the focus off of her actual dancing ability. ABT is so enamored of Copeland's ability to flaunt herself that they continually engage her personal agent to run the media for the ABT galas. For every gala, Copeland is featured prominently whereas the other soloists with whom she must compete are blacked out from media coverage or given a minimal appearance. The agent invites celebrities to the gala who have a financial or social investment in Copeland to further raise her profile on the occasion. In addition, Copeland's agent has wormed her way onto the advisory board for ABT’s Project Plie and has unfettered access to both artistic and administrative management for promoting her client. “Oh, Kevin, you have to promote her. You don’t understand what she means to our community. Please, please, please…” – (add tears, promises of contributions, maybe even a peek under the blouse.)
It just doesn’t seem to matter how badly or how un-star-like Copeland’s actual dancing is. The bar has been set so low for her by ABT, by the media, and by a few supporters that anything she does correctly is deemed miraculous. It just doesn’t seem to matter that she is and always has been the weakest dancer in the soloist ranks. It just doesn’t seem to matter that choreography has to be dumbed down for her. It doesn’t seem that she has the will or the smarts to accomplish her goals honestly, nor does it matter to her. Sadly, she pursues media coverage instead of pursuing the balletic technique and aesthetic that elude her.
But let’s get back to Taylor who admitted that ABT couldn’t make its Nutcracker at BAM financially successful. The moderator pointed out that nearly every ballet
company has a Nutcracker and that they are always cash cows, but ABT’s lost money. Taylor replied that it was because they could not charge the prices in Brooklyn that they needed to charge. He didn’t explain, however, why so many $20 and $30 seats stayed empty. He offered that ABT was moving the Nutcracker out to Orange County, California which he described as a very wealthy community where they will be able to charge the prices they need to charge. Yes, and it's 74% white and 2% black whereas Brooklyn is 42% white and 34% black. So much for ABT’s dedication to its vaunted Project Plie.
Taylor stated multiple times how he had the numbers, the statistics, to prove that the secret “star strategy” worked. But he offered no explanation as to how his numbers accounted for the popularity of company dancers cast alongside the so-called star, or the effect of what is concurrently on the stage at NYCB, or the actual programing content, or the effect of the day of the week, or the effect of the company’s own advertising of guest artists and its corresponding absence of advertising of its own dancers. In short, it’s all a secret because the strategy would not stand up to independent scrutiny nor would it conform to the type of care and nurturing that a board of directors of a non-profit is responsible for delivering.
ABT has become a cesspool of corrupt influence and bungling business practices all simmering under a cover of secrecy.
14 responses to “Garbage in, garbage out at ABT
Manipulation & misuse of unverified statistics to promote a faulty star strategy”
I believe I read an interview recently in which Osipova or Vasiliev said guesting will be the norm now for stars of their stature. It was a way for Osipova to blunt criticisms of lack of loyalty to specific company or style. Opera was the example that was mentioned because opera used to have stars under contract, whereas now it is all about hiring guest stars for specific roles. The Met in the 60-70s had biggest star tenors and sopranos under contract and these stars even were required to tour the country with the company, but times changed and that practice went away.
I wonder if ballet is also undergoing something similar. I hope not, because ballet is more visual art form than opera, cohesive style matters more in ballet. Charisma matters more in ballet too, a lead has to be able to carry a full length ballet, so one wonders why dull Semionova is dancing leads instead of being hidden in back row of corps. In opera having charisma and good looks are a bonus, most important is still the voice or good musicianship. Though even now there is a divide on the state of opera and lack of great voices let alone charismatic singers of decades past. Again, using opera as analog to ballet, from watching youtude videos it is clear that the 1950-70s had some great singers, Callas and her male equivalent Corelli sold out houses after houses because of voice, charisma, and extreme good looks. That was considered by some to be the golden age as far as great singing and showmanship go.
Today ballet really only has a few international stars, and even these stars are not household names like Nureyev or Baryshnikov once were. Even these “stars” such as Osipova are more tricksters or hype than actually deserving of star status. So I kind of feel for the publicity departments of large companies, who must oversell or outright lie to the public about how wonderful these guest dancers are, when in actuality they are no better than homegrown dancers if homegrown dancers were to be given a chance.
I believe I read an interview recently in which Osipova or Vasiliev said guesting will be the norm now for stars of their stature. It was a way for Osipova to blunt criticisms of lack of loyalty to specific company or style. Opera was the example that was mentioned because opera used to have stars under contract, whereas now it is all about hiring guest stars for specific roles. The Met in the 60-70s had biggest star tenors and sopranos under contract and these stars even were required to tour the country with the company, but times changed and that practice went away.
I wonder if ballet is also undergoing something similar. I hope not, because ballet is more visual art form than opera, cohesive style matters more in ballet. Charisma matters more in ballet too, a lead has to be able to carry a full length ballet, so one wonders why dull Semionova is dancing leads instead of being hidden in back row of corps. In opera having charisma and good looks are a bonus, most important is still the voice or good musicianship. Though even now there is a divide on the state of opera and lack of great voices let alone charismatic singers of decades past. Again, using opera as analog to ballet, from watching youtude videos it is clear that the 1950-70s had some great singers, Callas and her male equivalent Corelli sold out houses after houses because of voice, charisma, and extreme good looks. That was considered by some to be the golden age as far as great singing and showmanship go.
Today ballet really only has a few international stars, and even these stars are not household names like Nureyev or Baryshnikov once were. Even these “stars” such as Osipova are more tricksters or hype than actually deserving of star status. So I kind of feel for the publicity departments of large companies, who must oversell or outright lie to the public about how wonderful these guest dancers are, when in actuality they are no better than homegrown dancers if homegrown dancers were to be given a chance.
All interesting points, Genna.
I recall writing some time ago about why ballet could not be managed like opera (http://haglundsheel.typepad.com/haglunds_heel/2014/05/balle-is-not-opera.html ), and I believe that it is because of the fundamental difference in the core audience. The core audience of opera doesn’t care or know what a chorus singer sounds like, because their individual voices cannot be heard. The opera audience doesn’t know what it might be missing by not experiencing what a chorus singer might sound like in a featured role.
The ballet core audience, on the other hand, will spot the most talented ones from the back of the balconies and begin a personal journey of following those artists sometimes for decades, investing time and money in watching them grow, and experiencing enormous satisfaction in watching entire careers unfold.
These so-called stars that are brought in based on media interest are fads who die out as soon as the media interest does. They are not part of and have no commitment to our community, nor do they feel a responsibility to make each performance better than the next. They fly in, do a few tricks – often poorly, pick up their checks, and fly out.
An exception might be Robert Bolle who has done, as far as I’m concerned, a wonderful job dancing with many of ABT’s ballerinas. He may not tour much with the company, but he has filled a big need when he’s been here and done it graciously. Also, one of the first things that he did upon joining ABT was to plop down more than $1 million on a condo in Manhattan. (It’s public record.) He didn’t go to a local HSBC or Chase and take out a loan. No, he brought over $1 million in cash from somewhere else into the local economy and bought a place to live. Bolle has already invested more in being a New Yorker than ABT will ever invest in him as an artist. This doesn’t mean that we’re not still pissed off at him for cancelling ABT performances so that he could swing around in the nude in Mats Ek’s Giselle.
For ballet to succeed on an opera model, it will have to resign itself to giving up its core audience or find an alternative way to produce ballets so that the audience is not interested in what is going on behind the guest artists. Perhaps, and I say this as a joke although I know that it could become a reality, perhaps ballet should just use videos of corps dancers and soloists as back up for the guest artists and blur the faces.
All interesting points, Genna.
I recall writing some time ago about why ballet could not be managed like opera (http://haglundsheel.typepad.com/haglunds_heel/2014/05/balle-is-not-opera.html ), and I believe that it is because of the fundamental difference in the core audience. The core audience of opera doesn’t care or know what a chorus singer sounds like, because their individual voices cannot be heard. The opera audience doesn’t know what it might be missing by not experiencing what a chorus singer might sound like in a featured role.
The ballet core audience, on the other hand, will spot the most talented ones from the back of the balconies and begin a personal journey of following those artists sometimes for decades, investing time and money in watching them grow, and experiencing enormous satisfaction in watching entire careers unfold.
These so-called stars that are brought in based on media interest are fads who die out as soon as the media interest does. They are not part of and have no commitment to our community, nor do they feel a responsibility to make each performance better than the next. They fly in, do a few tricks – often poorly, pick up their checks, and fly out.
An exception might be Robert Bolle who has done, as far as I’m concerned, a wonderful job dancing with many of ABT’s ballerinas. He may not tour much with the company, but he has filled a big need when he’s been here and done it graciously. Also, one of the first things that he did upon joining ABT was to plop down more than $1 million on a condo in Manhattan. (It’s public record.) He didn’t go to a local HSBC or Chase and take out a loan. No, he brought over $1 million in cash from somewhere else into the local economy and bought a place to live. Bolle has already invested more in being a New Yorker than ABT will ever invest in him as an artist. This doesn’t mean that we’re not still pissed off at him for cancelling ABT performances so that he could swing around in the nude in Mats Ek’s Giselle.
For ballet to succeed on an opera model, it will have to resign itself to giving up its core audience or find an alternative way to produce ballets so that the audience is not interested in what is going on behind the guest artists. Perhaps, and I say this as a joke although I know that it could become a reality, perhaps ballet should just use videos of corps dancers and soloists as back up for the guest artists and blur the faces.
Just reading about this “Star Strategy” makes me sick. Is there anything that can be done to get rid of the AD and the Board? Who do they answer to? ABT is a total mess and many outstanding dancers (Abrera, Lane) don’t get the roles they deserve. I’d hate to lose them, but I would be happy for them if they left and were able to dance the roles they were born to do. I am not placing any bets on them being promoted after Kent, Reyes and Herrera retire.
Just reading about this “Star Strategy” makes me sick. Is there anything that can be done to get rid of the AD and the Board? Who do they answer to? ABT is a total mess and many outstanding dancers (Abrera, Lane) don’t get the roles they deserve. I’d hate to lose them, but I would be happy for them if they left and were able to dance the roles they were born to do. I am not placing any bets on them being promoted after Kent, Reyes and Herrera retire.
This is the most plausible explanation I’ve heard for the stalemate in promotions at ABT. Up to now people have been shrugging their shoulders and saying things like “Only one person knows how these decisions are made.” That is clearly not the case. It is unconscionable behavior on the part of ABT’s Board and the AD to treat dancers as if they’re pawns on a chess board, not as human beings. Maybe this is a story that could go viral online, if someone knew the best strategy to make that happen.
This is the most plausible explanation I’ve heard for the stalemate in promotions at ABT. Up to now people have been shrugging their shoulders and saying things like “Only one person knows how these decisions are made.” That is clearly not the case. It is unconscionable behavior on the part of ABT’s Board and the AD to treat dancers as if they’re pawns on a chess board, not as human beings. Maybe this is a story that could go viral online, if someone knew the best strategy to make that happen.
The way you get rid of an artistic director and a board is to stop giving money and stop supporting the behavior that is objectionable. There seems to be a denial in Ballet Consumerland about the connection between having our own artists sidelined and people buying tickets to see the freakin’ guest artists. It’s like some form of a balletomane eating disorder where people complain about the food but can’t stop stuffing it in their mouths.
The way you get rid of an artistic director and a board is to stop giving money and stop supporting the behavior that is objectionable. There seems to be a denial in Ballet Consumerland about the connection between having our own artists sidelined and people buying tickets to see the freakin’ guest artists. It’s like some form of a balletomane eating disorder where people complain about the food but can’t stop stuffing it in their mouths.
It is just a matter of time when guest artists stop being a cash cow (although it’s questionable how much money they really bring in) and become a liability for ABT. Recently, Ivan Vasiliev pulled out of his highly anticipated debut in “Mayerling” with theh Stanislavsky Theater just a couple of days before the performance. He cited his injured knee as a reason but went on to dance Ivan in “Ivan the Terrible” with the Bolshoi. The Stanislavsky didn’t hold back its displeasure. To help Vasiliev rehearse the role, they hired a coach from ROH for £5,500 and agreed to pay Vasiliev $8,500 for the performance. But apparently the Bolshoi outbid them.
Links to Stanislavsky’s announcement of Vasiliev’s withdrawal:
http://old.stanmus.ru/event/3594
ROH coach fees:
http://zakupki.gov.ru/223/purchase/public/purchase/info/lot-info.html?lotId=2541787&purchaseId=1791807&purchaseMethodType=EP
Vasiliev’s salary:
http://zakupki.gov.ru/223/purchase/public/purchase/info/lot-info.html?lotId=2655144&purchaseId=1876878&purchaseMethodType=EP
It is just a matter of time when guest artists stop being a cash cow (although it’s questionable how much money they really bring in) and become a liability for ABT. Recently, Ivan Vasiliev pulled out of his highly anticipated debut in “Mayerling” with theh Stanislavsky Theater just a couple of days before the performance. He cited his injured knee as a reason but went on to dance Ivan in “Ivan the Terrible” with the Bolshoi. The Stanislavsky didn’t hold back its displeasure. To help Vasiliev rehearse the role, they hired a coach from ROH for £5,500 and agreed to pay Vasiliev $8,500 for the performance. But apparently the Bolshoi outbid them.
Links to Stanislavsky’s announcement of Vasiliev’s withdrawal:
http://old.stanmus.ru/event/3594
ROH coach fees:
http://zakupki.gov.ru/223/purchase/public/purchase/info/lot-info.html?lotId=2541787&purchaseId=1791807&purchaseMethodType=EP
Vasiliev’s salary:
http://zakupki.gov.ru/223/purchase/public/purchase/info/lot-info.html?lotId=2655144&purchaseId=1876878&purchaseMethodType=EP
I’m sorry to have missed viewing the interview and thank you for writing about it. This is beyond disheartening.
I’m sorry to have missed viewing the interview and thank you for writing about it. This is beyond disheartening.