So ABT has chosen to promote a dancer to principal status even though she cannot manage simple entrechat sixes in basic soloist work, has turned in an array of weak principal performances, and is without a doubt the weakest technician of all of the soloist women. Oh but wait, she reminds the director so much of one of his favorite partners and looks perfect in makeup – that's all it takes.
Ladies and gentlemen, we introduce you to ABT's new Stepford principal.
104 responses to “Unbelievably disappointed”
If nothing else, at least take some comfort in the fact that she’s a better actress than Osipova, and while a little less than exciting, she doesn’t inspire any cringing. We knew it was coming for so long that it’s hard to get worked up about it.
Though it did make me a tiny bit want to sneak Stella!!!!! signs into the Met on Saturday.
If nothing else, at least take some comfort in the fact that she’s a better actress than Osipova, and while a little less than exciting, she doesn’t inspire any cringing. We knew it was coming for so long that it’s hard to get worked up about it.
Though it did make me a tiny bit want to sneak Stella!!!!! signs into the Met on Saturday.
Stella needs to leave. She needs to leave before Saturday night. In fact, that whole cast should simply call in sick.
Stella needs to leave. She needs to leave before Saturday night. In fact, that whole cast should simply call in sick.
Only if they buy me a monthly travel pass to New Zealand.
Only if they buy me a monthly travel pass to New Zealand.
How stylish of ABT to make this announcement the day before the dancer, who should have gotten the promotion but didn’t, has to dance her final principal performance of the season. How fucking stylish.
How stylish of ABT to make this announcement the day before the dancer, who should have gotten the promotion but didn’t, has to dance her final principal performance of the season. How fucking stylish.
This is crazy – I’ve seen her perform in Coppelia and Thais pas de deux when she was in the corps and she was lovely in both, but neither of those performances warrant lead roles in Giselle, Bayadere, Onegin, R+J, etc….over Stella Abrera? Sarah Lane? Misty Copeland? Kristi Boone even? I don’t know. Maybe her sponsors had an influence. Somehow I saw this coming, but I didn’t think it would happen now. Or for a few years at least
This is crazy – I’ve seen her perform in Coppelia and Thais pas de deux when she was in the corps and she was lovely in both, but neither of those performances warrant lead roles in Giselle, Bayadere, Onegin, R+J, etc….over Stella Abrera? Sarah Lane? Misty Copeland? Kristi Boone even? I don’t know. Maybe her sponsors had an influence. Somehow I saw this coming, but I didn’t think it would happen now. Or for a few years at least
I think hee is beautiful. Congratulations to her 🙂 it’s not her fault she’s not stella- no need to be such a meannie, hag.
And congrats to hammoudi- love him 🙂
I think hee is beautiful. Congratulations to her 🙂 it’s not her fault she’s not stella- no need to be such a meannie, hag.
And congrats to hammoudi- love him 🙂
I find her not only lacking in technical requisites but completely artificial theatrically. She doesn’t have what it takes to do even half of the principal repertory.
I find her not only lacking in technical requisites but completely artificial theatrically. She doesn’t have what it takes to do even half of the principal repertory.
I heard about the news a while ago today, and already anticipated what you were going to say about the promotion, Haglund. Besides the obvious, what else does it say about the entire rank of soloists? For one, why are the male dancers not moving up? at least 3 of them have been there for years, and you know they are not going anywhere higher up. Yet, two of the best principals are leaving, one male principal doesn’t dance at all this season. As of the end of this season, you have 5 working male principals with 10 working female principals (and I haven’t even counted the “guests” yet). Most of the time the opening nights go to the guests anyway. That’s quite an unhealthy work culture, just saying, not that you don’t know that already.
I heard about the news a while ago today, and already anticipated what you were going to say about the promotion, Haglund. Besides the obvious, what else does it say about the entire rank of soloists? For one, why are the male dancers not moving up? at least 3 of them have been there for years, and you know they are not going anywhere higher up. Yet, two of the best principals are leaving, one male principal doesn’t dance at all this season. As of the end of this season, you have 5 working male principals with 10 working female principals (and I haven’t even counted the “guests” yet). Most of the time the opening nights go to the guests anyway. That’s quite an unhealthy work culture, just saying, not that you don’t know that already.
From the Wall Street Journal’s Pia Catton:
“Whoa. Hee Seo over Stella?”
https://twitter.com/PiaCatton
From the Wall Street Journal’s Pia Catton:
“Whoa. Hee Seo over Stella?”
https://twitter.com/PiaCatton
I like Sarah Lane.
Is she considered technically good enough to be a principal ?
I like Sarah Lane.
Is she considered technically good enough to be a principal ?
This is over and above depressing. The AD is depriving ABT’s audience base of seeing the best dancers of this generation. He is educating the public to admire mediocrity in the women and acrobatics in the men. When a history of ballet is written decades from now, I hope the period of his tenure will be cited as the time of the decline of classical ballet in America from a fine art into third-rate entertainment.
This is over and above depressing. The AD is depriving ABT’s audience base of seeing the best dancers of this generation. He is educating the public to admire mediocrity in the women and acrobatics in the men. When a history of ballet is written decades from now, I hope the period of his tenure will be cited as the time of the decline of classical ballet in America from a fine art into third-rate entertainment.
Angelica, that will be the nicest thing said about his tenure.
Angelica, that will be the nicest thing said about his tenure.
Angelica, I’d be curious to hear more about what you perceive as “mediocrity” in the female dancers. (I presume you’re referring to the guest artists — Osipova, Cojocaru, Semionova.) And Haglund, since I gather (from previous posts) that you agree, I’d be curious to hear from you as well. I’m not necessarily suggesting that I disagree — in fact I’ve had mixed reactions to these women’s performances. But because there has been such widespread acclaim (by professional reviewers, bloggers, and online commenters), I’d be curious to hear about what exactly you’ve both seen that causes you to label their dancing “mediocre.” (And again, I want to emphasize that I’m asking in the spirit of curiosity, not disagreement.) Haglund, perhaps you might even consider writing up your impressions in a more detailed post?
Angelica, I’d be curious to hear more about what you perceive as “mediocrity” in the female dancers. (I presume you’re referring to the guest artists — Osipova, Cojocaru, Semionova.) And Haglund, since I gather (from previous posts) that you agree, I’d be curious to hear from you as well. I’m not necessarily suggesting that I disagree — in fact I’ve had mixed reactions to these women’s performances. But because there has been such widespread acclaim (by professional reviewers, bloggers, and online commenters), I’d be curious to hear about what exactly you’ve both seen that causes you to label their dancing “mediocre.” (And again, I want to emphasize that I’m asking in the spirit of curiosity, not disagreement.) Haglund, perhaps you might even consider writing up your impressions in a more detailed post?
The main issue from my standpoint is that the best dancers, the dancers who have proven themselves, the dancers who have towed the ABT line for years, the dancers whom ABT has relied upon as principals are not getting the recognition and roles that they deserve. Yes, the mediocrity charge is leveled at most of the guest artists. It used to be that ABT’s guest artists were the best in the world at what they do. Not anymore. Cojocaru, when she first guested with ABT years ago was a total bore. Now, she’s so technically inept that she has to change and dumb down the steps and still doesn’t necessarily do them cleanly. Her has-been boyfriend, Kobborg, isn’t just past his prime, he cannot do the choreography at all. Osipova and Vasiliev are the farthest things from classical ballet dancers that are on the ballet stage today. No aesthetic. No lines. Nothing but gross gymno-dancenastics. Semionova-a complete bore of a dancer with a beautiful body. A complete bore. It is criminal to hire these dancers over the extraordinary talent within the ranks of ABT. McKenzie is appealing to an audience that is the lowest, most ignorant common denominator that he can find.
Nanushka, I don’t know how extensively you’ve been reading, but I have not seen anything less than a divergence of opinion on these guest artists and there has been no consensus that ABT has done right to hire them instead of giving the company’s own dancers opportunities. I’ve written about the problem extensively over the past few years.
Dancers at ABT such as Seo and Stearns have been ushered past better dancers with more seniority to the head of the line time and time again simply because of their physical appearances. Stearns was promoted how many years ago, and he still isn’t good enough to be a principal and is far less of a fully formed artist than other soloists and corps members.
You will always see more online commenters cheering than complaining. There are people who make it their job to trash someone like Somova while promoting someone like Boylston. You have to see everyone’s performances yourself to make a judgement, and if you’ve been watching ABT for 50+ years as I have, then you would see what a hideous direction it is taking.
The main issue from my standpoint is that the best dancers, the dancers who have proven themselves, the dancers who have towed the ABT line for years, the dancers whom ABT has relied upon as principals are not getting the recognition and roles that they deserve. Yes, the mediocrity charge is leveled at most of the guest artists. It used to be that ABT’s guest artists were the best in the world at what they do. Not anymore. Cojocaru, when she first guested with ABT years ago was a total bore. Now, she’s so technically inept that she has to change and dumb down the steps and still doesn’t necessarily do them cleanly. Her has-been boyfriend, Kobborg, isn’t just past his prime, he cannot do the choreography at all. Osipova and Vasiliev are the farthest things from classical ballet dancers that are on the ballet stage today. No aesthetic. No lines. Nothing but gross gymno-dancenastics. Semionova-a complete bore of a dancer with a beautiful body. A complete bore. It is criminal to hire these dancers over the extraordinary talent within the ranks of ABT. McKenzie is appealing to an audience that is the lowest, most ignorant common denominator that he can find.
Nanushka, I don’t know how extensively you’ve been reading, but I have not seen anything less than a divergence of opinion on these guest artists and there has been no consensus that ABT has done right to hire them instead of giving the company’s own dancers opportunities. I’ve written about the problem extensively over the past few years.
Dancers at ABT such as Seo and Stearns have been ushered past better dancers with more seniority to the head of the line time and time again simply because of their physical appearances. Stearns was promoted how many years ago, and he still isn’t good enough to be a principal and is far less of a fully formed artist than other soloists and corps members.
You will always see more online commenters cheering than complaining. There are people who make it their job to trash someone like Somova while promoting someone like Boylston. You have to see everyone’s performances yourself to make a judgement, and if you’ve been watching ABT for 50+ years as I have, then you would see what a hideous direction it is taking.
Nanushka, Time constraints force me to be brief, so here goes: (1) I’m referring more to Seo and Boylston, both of whom are getting rocketed through the ranks despite technical limitations in the one case and lack of refinement in the other, whereas the more deserving artists, Stella and Sarah, who are both technically accomplished as well as refined are being left in the dust with no opportunity to develop and express their singular talents; (2) My understanding is that Osipova and Vasiliev left the Bolshoi for the Mikhailovsky because at the Bolshoi they weren’t getting the great classical roles that they wanted to dance but for which they lack the requisite elegant classical lines. I agree with the Bolshoi. At ABT, Osipova, at least, is getting to dance all the great classical roles. If you compare her with Veronika Part, for example, it is clear that Part embodies the purest virtues of classical ballet and Osipova does not. Osipova and Vasiliev are fun to watch for many, but for those of us trained to appreciate and cherish the true classical lines of ballet they are not artists of the caliber of Vishneva and Gomes, for example. It’s from watching great classical dancing that you learn what to look for. When the artists lack the fundamental virtues, the audience isn’t being educated in this eloquent fine art. Cojocaru and Semionova are not currently on my agenda. Hope that helps.
Nanushka, Time constraints force me to be brief, so here goes: (1) I’m referring more to Seo and Boylston, both of whom are getting rocketed through the ranks despite technical limitations in the one case and lack of refinement in the other, whereas the more deserving artists, Stella and Sarah, who are both technically accomplished as well as refined are being left in the dust with no opportunity to develop and express their singular talents; (2) My understanding is that Osipova and Vasiliev left the Bolshoi for the Mikhailovsky because at the Bolshoi they weren’t getting the great classical roles that they wanted to dance but for which they lack the requisite elegant classical lines. I agree with the Bolshoi. At ABT, Osipova, at least, is getting to dance all the great classical roles. If you compare her with Veronika Part, for example, it is clear that Part embodies the purest virtues of classical ballet and Osipova does not. Osipova and Vasiliev are fun to watch for many, but for those of us trained to appreciate and cherish the true classical lines of ballet they are not artists of the caliber of Vishneva and Gomes, for example. It’s from watching great classical dancing that you learn what to look for. When the artists lack the fundamental virtues, the audience isn’t being educated in this eloquent fine art. Cojocaru and Semionova are not currently on my agenda. Hope that helps.
P.S. Cojocaru and Semionova are not currently on my agenda because I haven’t seen them enough to have informed opinions.
P.S. Cojocaru and Semionova are not currently on my agenda because I haven’t seen them enough to have informed opinions.
Thanks very much for the more detailed descriptions of what you’ve both seen. I’m very aware of (and share) the general concerns about guest artists and favored junior soloists pushing out others who are deserving of opportunities, but I hadn’t read as much specific, detailed criticism of the guest artists. In general, apart from certain specific complaints (e.g. Cojocaru changing the Giselle choreography, Osipova over-doing it as Juliet) I’ve found most of the more general descriptions of their dancing to be quite positive.
Angelica, I share your appreciation of Veronika Part (whom I really love more than any other dancer I’ve seen). My reaction to the Hee Seo promotion is that she probably deserves it much less than certain other dancers — but then again, I don’t see those other dancers as being true principals either. The problem, I suspect, is that they haven’t been given the necessary opportunities to develop in principal roles, and that they haven’t been giving top-notch, rigorous coaching. (David Hallberg’s comment in a recent interview about how he’s received excellent coaching since joining the Bolshoi is, I think, indicative of the problems with McKenzie and ABT.) I do not really think that Stella Abrera, Sarah Lane, Jared Matthews, etc. should have been promoted at this time — but I also don’t think that Hee Seo should have been promoted ahead of them. Alexandre Hammoudi, on the other hand, should have been made soloist some time ago. (He too, though, is in my opinion not yet ready to be a principal and only time will tell if he ever will be.)
Thanks very much for the more detailed descriptions of what you’ve both seen. I’m very aware of (and share) the general concerns about guest artists and favored junior soloists pushing out others who are deserving of opportunities, but I hadn’t read as much specific, detailed criticism of the guest artists. In general, apart from certain specific complaints (e.g. Cojocaru changing the Giselle choreography, Osipova over-doing it as Juliet) I’ve found most of the more general descriptions of their dancing to be quite positive.
Angelica, I share your appreciation of Veronika Part (whom I really love more than any other dancer I’ve seen). My reaction to the Hee Seo promotion is that she probably deserves it much less than certain other dancers — but then again, I don’t see those other dancers as being true principals either. The problem, I suspect, is that they haven’t been given the necessary opportunities to develop in principal roles, and that they haven’t been giving top-notch, rigorous coaching. (David Hallberg’s comment in a recent interview about how he’s received excellent coaching since joining the Bolshoi is, I think, indicative of the problems with McKenzie and ABT.) I do not really think that Stella Abrera, Sarah Lane, Jared Matthews, etc. should have been promoted at this time — but I also don’t think that Hee Seo should have been promoted ahead of them. Alexandre Hammoudi, on the other hand, should have been made soloist some time ago. (He too, though, is in my opinion not yet ready to be a principal and only time will tell if he ever will be.)
Thanks for taking it all in, nanushka. You’re almost there if Veronika is your favorite ballerina. At the risk of repeating myself, Stella is definitely ready for principal roles (she’d been scheduled to dance Giselle before her injury and now that she’s well she should be given the opportunity again). She danced the killer Petipa ballet Sleeping Beauty for 10 nights in New Zealand, and she’s the closest thing to Veronika and Julie in the company as far as her classicism, although unique in her own way, which distinguishes her.
Sarah performed wonderfully in Nutcracker and danced Odette/Odile opposite Angel Corella with the Barcelona Ballet. If Angel chose her as his partner, he obviously saw her as technically proficient and a true artist. She has also danced Giselle with some company out in the Midwest.
Petipa ballets are unforgiving, and these are both dancers who are ripe for the challenge and more than adequate to meet it. I agree with you about the coaching, but that applies to everyone in the company. And I agree about Jared Matthews, although I do think he’s on the way up.
Thanks for taking it all in, nanushka. You’re almost there if Veronika is your favorite ballerina. At the risk of repeating myself, Stella is definitely ready for principal roles (she’d been scheduled to dance Giselle before her injury and now that she’s well she should be given the opportunity again). She danced the killer Petipa ballet Sleeping Beauty for 10 nights in New Zealand, and she’s the closest thing to Veronika and Julie in the company as far as her classicism, although unique in her own way, which distinguishes her.
Sarah performed wonderfully in Nutcracker and danced Odette/Odile opposite Angel Corella with the Barcelona Ballet. If Angel chose her as his partner, he obviously saw her as technically proficient and a true artist. She has also danced Giselle with some company out in the Midwest.
Petipa ballets are unforgiving, and these are both dancers who are ripe for the challenge and more than adequate to meet it. I agree with you about the coaching, but that applies to everyone in the company. And I agree about Jared Matthews, although I do think he’s on the way up.
Yep, saw it coming. Surprised it’s taken so long. Her Juliet debut was good, and I saw a spark between her and Carreno in Kylian’s Overgrown Path, but other than that it’s been meh. I’ve since moved to LA, but when I saw her and Stella head to head in Thirteen Diversions at Segerstrom it was no contest.
Stella should definitely leave. It’s a shame her hard work won’t get her that brass ring. I remember the performance when I thought she’d arrived as a principal. It was probably five years ago now. She was Lescaut’s Mistress to Vishneva’s Manon, and she matched her dramatically and technically. Jared’s Thais with Vishneva was also scorching, the partnering so proficient.
We can only wait for Stiefel, Corella or Bocca to take McKenzie’s job.
Yep, saw it coming. Surprised it’s taken so long. Her Juliet debut was good, and I saw a spark between her and Carreno in Kylian’s Overgrown Path, but other than that it’s been meh. I’ve since moved to LA, but when I saw her and Stella head to head in Thirteen Diversions at Segerstrom it was no contest.
Stella should definitely leave. It’s a shame her hard work won’t get her that brass ring. I remember the performance when I thought she’d arrived as a principal. It was probably five years ago now. She was Lescaut’s Mistress to Vishneva’s Manon, and she matched her dramatically and technically. Jared’s Thais with Vishneva was also scorching, the partnering so proficient.
We can only wait for Stiefel, Corella or Bocca to take McKenzie’s job.
Hi Annie!
Could not agree with you more.
It’s about to get worse. Instead of announcing more promotions of its talented corps dancers to soloist (Tamm, Gorak, Doble, Ribagorda, Hoven, Phillips, Zhurbin), ABT is about to install as soloist another tall, skinny import from Boston who seems only able to dance with little ballerinas. If they can’t pick up the tall ballerinas, they should just stay home.
Hi Annie!
Could not agree with you more.
It’s about to get worse. Instead of announcing more promotions of its talented corps dancers to soloist (Tamm, Gorak, Doble, Ribagorda, Hoven, Phillips, Zhurbin), ABT is about to install as soloist another tall, skinny import from Boston who seems only able to dance with little ballerinas. If they can’t pick up the tall ballerinas, they should just stay home.
Add Scott,Davis and Foster to the list.
Add Scott,Davis and Foster to the list.
It is truly devastating when not only the bringing in of guest artists from outside is over-done, but the promotions that come within are not even making up for it. I do think Alexandre Hammoudi deserves it at this point (and the ranks of male soloists as well), however I do not think that Hee Seo is ready for it.
It is truly devastating when not only the bringing in of guest artists from outside is over-done, but the promotions that come within are not even making up for it. I do think Alexandre Hammoudi deserves it at this point (and the ranks of male soloists as well), however I do not think that Hee Seo is ready for it.
Hi Jose. You’re right. And two out of the three you mentioned are tall enough to partner ABT’s tallest ballerina.
Hi Jose. You’re right. And two out of the three you mentioned are tall enough to partner ABT’s tallest ballerina.
I obviously agree, Kallima. Too many marketing factors are entering into promotions and hires. Sure Hee Seo will be great for the box office in South Korea and Taiwan which is where ABT will be for the remainder of July. But is she the best of the soloists? She has nowhere near the abilities of Abrera, Lane, or Kajiya. Not even close.
I obviously agree, Kallima. Too many marketing factors are entering into promotions and hires. Sure Hee Seo will be great for the box office in South Korea and Taiwan which is where ABT will be for the remainder of July. But is she the best of the soloists? She has nowhere near the abilities of Abrera, Lane, or Kajiya. Not even close.
I don’t know. I used to agree a hundred and ten percent with Haglund, but lately I’ve found I very much appreciate and enjoy the dancers you so strongly dislike.
In the first place, I adore Hee Seo. Her Juliet is the best I’ve seen since Alessandra Ferri. I love her every time I see her. No, she can’t do a perfect entrechat six, but her line is beautiful, her turns are effortless, her punctuation is dynamic, her port de bras are elegant, and her acting is superb. I think she completely deserves this promotion, and will be sure to include her in my subscription next season, as I did this season.
I like her even better with Cory Stearns. My thinking is that Stearns and Seo should have been promoted together this year. Firstly, Stearns should have had more time in the incubator, both for his technique (which is not perfect, but aside from his petite allegro I actually find it quite good), and to avoid forming the kind of negative reputation some internet commentators have fostered. Secondly, he has been partnered with women based on their height, rather than on their mutual chemistry–chemistry he has in spades with Seo. Their debut in R&J was remarkable, not only for their individual qualities but also for their incredible partnership. I think McKenzie should think less about promoting single dancers, and more about promoting working partnerships.
Stella Abrera is wonderful. She deserves a promotion to principal. I agree with that completely. However, I do not agree that she is superior to Seo, merely a different kind of dancer. Furthermore, that she deserves promotion does not diminish Seo’s qualities. The same applies to Sarah Lane.
As for the supposedly “vulgar” former-guest artists, I have to disagree. Natalia Osipova may not be a great Juliet, or a great Giselle, but I have found her interpretations of roles like Kitri, Gamzatti, and Medora are awe-inspiring–for their dynamic characterizations as much as for her prodigious technical abilities. No, she is not traditionally classical, but isn’t there room in the world for change? Yes, elegant classical tradition has been immortalized in beautiful women like Abrera and Juliet Kent, but I don’t see that they cannot coexist with raw, feline performers like Osipova.
As for Polina Semionova being vulgar, well, that’s pretty much the last word I’d use for her. Her white swan this year with Hallberg was stunning. Musical. Tragic. Swan-like. Her sky-scraping extensions were only used as tools to forward her dramatic interpretation. Where Gillian Murphy (my personal favorite swan) emphasizes power and dynamism, Semionova emphasizes lightness and grace. I saw nothing vulgar about her at all.
Alexandre Hammoudi also deserves hearty congratulations. I have been watching him in the corps de ballet for years, just waiting for them to promote him. On a side note, I think Jared Matthews will also warrant promotion in the near future, to principal. He seems to be trying to fill the gargantuan shoes left by Angel Corella, technically and dramatically, and although NO ONE is Corella, after another year in the soloist-incubator with a few showcase lead roles I expect to see another M-name in the principal roster.
I strongly implore Haglund to give some of these dancers another chance (especially Seo and Semionova). My appreciation for their skills does not diminish my appreciation for The Great Cornejo (possibly the greatest male dancer in the world), Marcelo Gomes, Stella Abrera, etc etc.
Nor does it diminish my appreciation for your blog! I enjoy reading it immensely! I merely wish you would try to approach other kinds of performers with a more open mind without foisting your dislike for Kevin McKenzie onto every dancer he invites or promotes. I think you might find you rather like them–in spite of their director.
I don’t know. I used to agree a hundred and ten percent with Haglund, but lately I’ve found I very much appreciate and enjoy the dancers you so strongly dislike.
In the first place, I adore Hee Seo. Her Juliet is the best I’ve seen since Alessandra Ferri. I love her every time I see her. No, she can’t do a perfect entrechat six, but her line is beautiful, her turns are effortless, her punctuation is dynamic, her port de bras are elegant, and her acting is superb. I think she completely deserves this promotion, and will be sure to include her in my subscription next season, as I did this season.
I like her even better with Cory Stearns. My thinking is that Stearns and Seo should have been promoted together this year. Firstly, Stearns should have had more time in the incubator, both for his technique (which is not perfect, but aside from his petite allegro I actually find it quite good), and to avoid forming the kind of negative reputation some internet commentators have fostered. Secondly, he has been partnered with women based on their height, rather than on their mutual chemistry–chemistry he has in spades with Seo. Their debut in R&J was remarkable, not only for their individual qualities but also for their incredible partnership. I think McKenzie should think less about promoting single dancers, and more about promoting working partnerships.
Stella Abrera is wonderful. She deserves a promotion to principal. I agree with that completely. However, I do not agree that she is superior to Seo, merely a different kind of dancer. Furthermore, that she deserves promotion does not diminish Seo’s qualities. The same applies to Sarah Lane.
As for the supposedly “vulgar” former-guest artists, I have to disagree. Natalia Osipova may not be a great Juliet, or a great Giselle, but I have found her interpretations of roles like Kitri, Gamzatti, and Medora are awe-inspiring–for their dynamic characterizations as much as for her prodigious technical abilities. No, she is not traditionally classical, but isn’t there room in the world for change? Yes, elegant classical tradition has been immortalized in beautiful women like Abrera and Juliet Kent, but I don’t see that they cannot coexist with raw, feline performers like Osipova.
As for Polina Semionova being vulgar, well, that’s pretty much the last word I’d use for her. Her white swan this year with Hallberg was stunning. Musical. Tragic. Swan-like. Her sky-scraping extensions were only used as tools to forward her dramatic interpretation. Where Gillian Murphy (my personal favorite swan) emphasizes power and dynamism, Semionova emphasizes lightness and grace. I saw nothing vulgar about her at all.
Alexandre Hammoudi also deserves hearty congratulations. I have been watching him in the corps de ballet for years, just waiting for them to promote him. On a side note, I think Jared Matthews will also warrant promotion in the near future, to principal. He seems to be trying to fill the gargantuan shoes left by Angel Corella, technically and dramatically, and although NO ONE is Corella, after another year in the soloist-incubator with a few showcase lead roles I expect to see another M-name in the principal roster.
I strongly implore Haglund to give some of these dancers another chance (especially Seo and Semionova). My appreciation for their skills does not diminish my appreciation for The Great Cornejo (possibly the greatest male dancer in the world), Marcelo Gomes, Stella Abrera, etc etc.
Nor does it diminish my appreciation for your blog! I enjoy reading it immensely! I merely wish you would try to approach other kinds of performers with a more open mind without foisting your dislike for Kevin McKenzie onto every dancer he invites or promotes. I think you might find you rather like them–in spite of their director.
When it comes to these dancers….
Hee Seo – I do not think she is bad at all, just not quite ready. And that is especially clear when there are other soloists who are ready and whom I would have preferred to see promoted.
Cory Stearns – Just doesn’t do it for me. Whenever I see him, I think of a ‘good class room student’ who’s just going through the steps and is doing quite well, but not much more. And I think a bit more is needed as a principal. It simply doesn’t really reach me.
Natalia Osipova – Her ‘unclassical’ line has bothered me less than her artistic interpretations of what she is doing. And that does not only concern roles like Juliet or princess Aurora. Of course this is all related to personal taste and preference in the end, however I think that even in roles like Kitri etc., one can call attention to one’s fireworks without appearing showy. And for some reason, the showy part always shines through when I watch Osipova, lacking any sort of charme or innocent sparkle the way it was the case with people like Angel Corella. And in more dramatic roles, despite people describing her as very authentic and very into it, I can’t get rid of the artificial feel I get. For my personal taste, I prefer something flowing naturally; art being somehow ‘natural’ even though it is in a way ‘man-made’, and when I watch Osipova, I get the ‘man-made’ feeling over the ‘natural’. Maybe I am just a romantic here though….
Semionova – She has a fine technique and very beautiful lines and feet. I wouldn’t actually mind her all that much if there weren’t people like Sarah Lane and Stella Abrera who are overlooked and have been for years. Polina still needs development in the artistic field in order to project stronger. When I have watched her, there isn’t much I can feel from her (even though what I see is very beautiful usually), the only times where I could actually feel something was when she danced with Malakhov who might have rubbed off a bit. However, as opposed to Osipova whom I find rather off-putting, I see potential here definitely. In the end, I can’t ignore those who have been overlooked still.
When it comes to these dancers….
Hee Seo – I do not think she is bad at all, just not quite ready. And that is especially clear when there are other soloists who are ready and whom I would have preferred to see promoted.
Cory Stearns – Just doesn’t do it for me. Whenever I see him, I think of a ‘good class room student’ who’s just going through the steps and is doing quite well, but not much more. And I think a bit more is needed as a principal. It simply doesn’t really reach me.
Natalia Osipova – Her ‘unclassical’ line has bothered me less than her artistic interpretations of what she is doing. And that does not only concern roles like Juliet or princess Aurora. Of course this is all related to personal taste and preference in the end, however I think that even in roles like Kitri etc., one can call attention to one’s fireworks without appearing showy. And for some reason, the showy part always shines through when I watch Osipova, lacking any sort of charme or innocent sparkle the way it was the case with people like Angel Corella. And in more dramatic roles, despite people describing her as very authentic and very into it, I can’t get rid of the artificial feel I get. For my personal taste, I prefer something flowing naturally; art being somehow ‘natural’ even though it is in a way ‘man-made’, and when I watch Osipova, I get the ‘man-made’ feeling over the ‘natural’. Maybe I am just a romantic here though….
Semionova – She has a fine technique and very beautiful lines and feet. I wouldn’t actually mind her all that much if there weren’t people like Sarah Lane and Stella Abrera who are overlooked and have been for years. Polina still needs development in the artistic field in order to project stronger. When I have watched her, there isn’t much I can feel from her (even though what I see is very beautiful usually), the only times where I could actually feel something was when she danced with Malakhov who might have rubbed off a bit. However, as opposed to Osipova whom I find rather off-putting, I see potential here definitely. In the end, I can’t ignore those who have been overlooked still.
I have to add that I usually very warmly welcome something ‘raw’, and I am not a technical nit-picker by any means. The problem is just that the artistic aspect as far as expressing and projecting goes is either lacking in many of these people or done in a way that seems ‘artificial’ to me.
I have to add that I usually very warmly welcome something ‘raw’, and I am not a technical nit-picker by any means. The problem is just that the artistic aspect as far as expressing and projecting goes is either lacking in many of these people or done in a way that seems ‘artificial’ to me.
Hoagland I hadn’t wanted to step in this conversation but as someone of Taiwanese ancestry I find your statement that Hee Seo would be “great for box office” I’m Taiwan extremely offensive and insensitive. Seo is Korean and relations between Koreans and Taiwanese are tense. Always have been. I’d anything the Taiwanese would dislike her based on her ethnicity. That is simply the bald truth. Please do not make assumptions about marketing ballerinas based on race. You have just assumed that all Asians are alike. Very offensive and the typical Westerners’ view of Asians.
Hoagland I hadn’t wanted to step in this conversation but as someone of Taiwanese ancestry I find your statement that Hee Seo would be “great for box office” I’m Taiwan extremely offensive and insensitive. Seo is Korean and relations between Koreans and Taiwanese are tense. Always have been. I’d anything the Taiwanese would dislike her based on her ethnicity. That is simply the bald truth. Please do not make assumptions about marketing ballerinas based on race. You have just assumed that all Asians are alike. Very offensive and the typical Westerners’ view of Asians.
Sorry Ivy. No offense intended, certainly, but I’m not sure why you found the comments “extremely offensive and insensitive.” Hasn’t there been a great deal of bi-lateral cultural and investment movement between Taiwan and South Korea for quite a while? ABT is banking on Hee Seo to knock the socks off the audiences in Taiwan – she’s cast more than anyone else except Gomes and Part. It should be interesting to see if the Taiwanese dislike her because she is South Korean as you indicated might happen. But again, Ivy, no offense intended. However, yes, ABT markets and casts dancers all over the world based on race, ethnicity, origin – you name it and they do it.
– Haglund
Sorry Ivy. No offense intended, certainly, but I’m not sure why you found the comments “extremely offensive and insensitive.” Hasn’t there been a great deal of bi-lateral cultural and investment movement between Taiwan and South Korea for quite a while? ABT is banking on Hee Seo to knock the socks off the audiences in Taiwan – she’s cast more than anyone else except Gomes and Part. It should be interesting to see if the Taiwanese dislike her because she is South Korean as you indicated might happen. But again, Ivy, no offense intended. However, yes, ABT markets and casts dancers all over the world based on race, ethnicity, origin – you name it and they do it.
– Haglund
I can tell you that to this day Taiwanese families would probably disapprove of their children marrying someone Korean, and the feeling is mutual. That Taiwanese media can be very cruel about ethnicity. I found your comments offensive because you’re assuming Seo was cast because she’d be a huge hit in Taiwan when most likely there will be prejudice against her. You’re assuming all Asians are alike in order to prove your point. It ignores the centuries of ethnic conflict in Asia, just so you can take another cheap shot at Seo or McKenzie. You think all Asian audiences will blindly applaud another Asian ballerina? Please.
I can tell you that to this day Taiwanese families would probably disapprove of their children marrying someone Korean, and the feeling is mutual. That Taiwanese media can be very cruel about ethnicity. I found your comments offensive because you’re assuming Seo was cast because she’d be a huge hit in Taiwan when most likely there will be prejudice against her. You’re assuming all Asians are alike in order to prove your point. It ignores the centuries of ethnic conflict in Asia, just so you can take another cheap shot at Seo or McKenzie. You think all Asian audiences will blindly applaud another Asian ballerina? Please.
No Ivy, your assumptions about my assumptions are in error.
No Ivy, your assumptions about my assumptions are in error.
Olivia and Kallima, thanks for your thoughtful comments. Most of the issues we are discussing could be resolved if Kevin McKenzie would promote all of the soloists to principals who deserve promotion before he establishes the need to bring in guest artists and import permanent dancers from elsewhere.
It would cost little to promote half of the soloists to principal level. According to ABT’s AGMA agreement, after a dancer has been a soloist for three years, he makes a minimum of $2251 per week. A principal makes a minimum of $2464. There may be step-up payments when a soloist takes on a principal role as there are when a corps member takes on a soloist or principal role, but I haven’t read that far into the agreement to see. I stress that these are minimums and that lucrative individual contracts are often negotiated. You can see on the latest ABT Form 990 at Guidestar.com that Julie Kent made $167,185; Paloma made $171,529; and Gillian made $157,466 for the year of the last filing. Indeed there may be longterm soloists who are making more than a first year principal would – we don’t know, but it’s possible.
My point is that there is no financial incentive not to promote all the dancers who should be promoted, i.e., all the dancers who have been functioning successfully in principal roles for years but simply have not been designated as principals.
So, this all begs the question: Why is McKenzie holding back on promotions? The stinginess does not build additional value or status into the principal title. It does, however, create animosity on a couple of different levels.
From my viewpoint, I’ve invested a lot of years watching the development (trials & tribulations and successes) of Abrera, Radetsky, Lane, Copeland, Matthews, and of late Kajiya. Along the same line, I’ve invested a lot of time watching Cornejo develop into the perfect prince who should be dancing Swan Lake. But the promotions and opportunities are not happening and no one outside of a few individuals at ABT knows why. (Believe me, no matter what he says, Alastair Macaulay does not know why.)
So why is McKenzie allowing the animosity between donors, subscribers, ticketbuyers and the company to boil along? Why isn’t there more transparency? At Paris Opera Ballet, there are annual exams and everyone is graded and promoted or not promoted based on grades. It’s certainly not 100% objective, but it’s certainly transparent.
There has been a veritable uproar over McKenzie’s management or lack of management of the talent. It is not HIS talent to squander. He is but a steward, and he needs to do a lot better and be more transparent. Donations are down, according to McKenzie, and from all appearances, so are ticket sales. There’s a reason.
Olivia and Kallima, thanks for your thoughtful comments. Most of the issues we are discussing could be resolved if Kevin McKenzie would promote all of the soloists to principals who deserve promotion before he establishes the need to bring in guest artists and import permanent dancers from elsewhere.
It would cost little to promote half of the soloists to principal level. According to ABT’s AGMA agreement, after a dancer has been a soloist for three years, he makes a minimum of $2251 per week. A principal makes a minimum of $2464. There may be step-up payments when a soloist takes on a principal role as there are when a corps member takes on a soloist or principal role, but I haven’t read that far into the agreement to see. I stress that these are minimums and that lucrative individual contracts are often negotiated. You can see on the latest ABT Form 990 at Guidestar.com that Julie Kent made $167,185; Paloma made $171,529; and Gillian made $157,466 for the year of the last filing. Indeed there may be longterm soloists who are making more than a first year principal would – we don’t know, but it’s possible.
My point is that there is no financial incentive not to promote all the dancers who should be promoted, i.e., all the dancers who have been functioning successfully in principal roles for years but simply have not been designated as principals.
So, this all begs the question: Why is McKenzie holding back on promotions? The stinginess does not build additional value or status into the principal title. It does, however, create animosity on a couple of different levels.
From my viewpoint, I’ve invested a lot of years watching the development (trials & tribulations and successes) of Abrera, Radetsky, Lane, Copeland, Matthews, and of late Kajiya. Along the same line, I’ve invested a lot of time watching Cornejo develop into the perfect prince who should be dancing Swan Lake. But the promotions and opportunities are not happening and no one outside of a few individuals at ABT knows why. (Believe me, no matter what he says, Alastair Macaulay does not know why.)
So why is McKenzie allowing the animosity between donors, subscribers, ticketbuyers and the company to boil along? Why isn’t there more transparency? At Paris Opera Ballet, there are annual exams and everyone is graded and promoted or not promoted based on grades. It’s certainly not 100% objective, but it’s certainly transparent.
There has been a veritable uproar over McKenzie’s management or lack of management of the talent. It is not HIS talent to squander. He is but a steward, and he needs to do a lot better and be more transparent. Donations are down, according to McKenzie, and from all appearances, so are ticket sales. There’s a reason.
Well, while I am deeply (deeply) disappointed that Stella or Sarah or Maria are not advancing I am not against the promotion of Seo. I’ve only seen her in a leading role once (R&J a few years ago) so I can’t comment on her artistic development or her technical issues since then BUT I would not actively avoid her like I do with a few of ABTs other principal women (no offense to Herrera, but Bright Stream was the first time I ever emotionally felt something for her work in a 3-acter and I was not a Wiles fan either). I hope she stays injury-free and her promotion gives her the gusto to refine some of her issues.
I’m happy that Kevin is still finding a place in his (cold) heart for a lyrical ballerina, amid the growing theatrics of the Met season. I’d rather this than the promotion of someone who exists solely in a technique vacuum, oblivious to drama or restraint.
This news about Boston is unsettling, Haglund.
Well, while I am deeply (deeply) disappointed that Stella or Sarah or Maria are not advancing I am not against the promotion of Seo. I’ve only seen her in a leading role once (R&J a few years ago) so I can’t comment on her artistic development or her technical issues since then BUT I would not actively avoid her like I do with a few of ABTs other principal women (no offense to Herrera, but Bright Stream was the first time I ever emotionally felt something for her work in a 3-acter and I was not a Wiles fan either). I hope she stays injury-free and her promotion gives her the gusto to refine some of her issues.
I’m happy that Kevin is still finding a place in his (cold) heart for a lyrical ballerina, amid the growing theatrics of the Met season. I’d rather this than the promotion of someone who exists solely in a technique vacuum, oblivious to drama or restraint.
This news about Boston is unsettling, Haglund.
I know.
I know.
Haglund,
Who is the dancer from Boston being brought in to ABT?
Haglund,
Who is the dancer from Boston being brought in to ABT?
Haglund, are those weekly salaries for 40 weeks a year? Then the dancers are on their own to earn extra money elsewhere? Do you happen to know how these salaries compare with NYCB salaries?
Haglund, are those weekly salaries for 40 weeks a year? Then the dancers are on their own to earn extra money elsewhere? Do you happen to know how these salaries compare with NYCB salaries?
LKR, it’s James Whiteside – a wonderful dancer, but not wonderful enough to step in ahead of the people already there who are chomping at the bit for chances to dance.
LKR, it’s James Whiteside – a wonderful dancer, but not wonderful enough to step in ahead of the people already there who are chomping at the bit for chances to dance.
Angelica, it says 36 weeks per year. I’m going to email you the docs to peruse at your leisure. I know nothing about NYCB’s agreement; nor have I searched for information.
Angelica, it says 36 weeks per year. I’m going to email you the docs to peruse at your leisure. I know nothing about NYCB’s agreement; nor have I searched for information.
As an – er – interesting sidenote, James Whiteside has a second career under the name JbDubs, including liberal use of fishnet stockings and autotune. Check him out on YouTube and Google Images.
As an – er – interesting sidenote, James Whiteside has a second career under the name JbDubs, including liberal use of fishnet stockings and autotune. Check him out on YouTube and Google Images.
Yes, I’ve seen it. It’s amusing for the first minute and then it’s old. I doubt that his outside artistic product will attract untapped donors or audience to ABT and may turn off some people. He might even be more of a risk than Sergei Polunin would have been. Sergei, BTW, has hooked up with the Stanislavsky Theater; so, he’s decided to return to ballet after all. Yawn.
Yes, I’ve seen it. It’s amusing for the first minute and then it’s old. I doubt that his outside artistic product will attract untapped donors or audience to ABT and may turn off some people. He might even be more of a risk than Sergei Polunin would have been. Sergei, BTW, has hooked up with the Stanislavsky Theater; so, he’s decided to return to ballet after all. Yawn.
One can see how his side act might find more appreciative audiences in New York than in Boston, though — perhaps adding motivation to the move?
One can see how his side act might find more appreciative audiences in New York than in Boston, though — perhaps adding motivation to the move?
Mr. Whiteside bringing his talents to The Big Apple might be disheartening to balletomanes and ultimately unfair to deserving ABT soloists, but he and his side act may very well bring lots of new fans to the ballet.
As a new fan myself, it’s incredibly frustrating to see how poorly ballet is marketed.
Mr. Whiteside bringing his talents to The Big Apple might be disheartening to balletomanes and ultimately unfair to deserving ABT soloists, but he and his side act may very well bring lots of new fans to the ballet.
As a new fan myself, it’s incredibly frustrating to see how poorly ballet is marketed.
So, what does everyone think? Does Polunin at the Stanislavsky Theater put him out of the picture for ABT? Because they were interested in hiring him, or at least having him guest, no?
Me thinks that Muntagirov will be hired in the next couple years. Hell, maybe tomorrow, when Stiefel out of the picture (even though, being realistic, he has been for quite some time). But that would be a real shame if Muntagirov gets the call to join the company. Everyone has been talking him up as the greatest thing since ice cream and I don’t get it. Phenomenal technique, but his “artistry” is a plastered-on cheshire cat grin.
So, what does everyone think? Does Polunin at the Stanislavsky Theater put him out of the picture for ABT? Because they were interested in hiring him, or at least having him guest, no?
Me thinks that Muntagirov will be hired in the next couple years. Hell, maybe tomorrow, when Stiefel out of the picture (even though, being realistic, he has been for quite some time). But that would be a real shame if Muntagirov gets the call to join the company. Everyone has been talking him up as the greatest thing since ice cream and I don’t get it. Phenomenal technique, but his “artistry” is a plastered-on cheshire cat grin.
ABT doesn’t need Polunin’s dancing, his tatoos, his drugs, his unreliability, his ego, or his immaturity. When he finally grows up, maybe he’ll return to the Royal Ballet to make amends and thank the people who gave him his career. Somehow I doubt it.
ABT doesn’t need Muntagirov either. He doesn’t have anything that a half dozen corps or soloists don’t have who are being overlooked by ABT, and quite frankly, he’s homely. ABT shouldn’t have been sneaking around behind Muntagirov’s Artistic Director’s back trying to seduce him to quit ENB and come here.
ABT doesn’t need Polunin’s dancing, his tatoos, his drugs, his unreliability, his ego, or his immaturity. When he finally grows up, maybe he’ll return to the Royal Ballet to make amends and thank the people who gave him his career. Somehow I doubt it.
ABT doesn’t need Muntagirov either. He doesn’t have anything that a half dozen corps or soloists don’t have who are being overlooked by ABT, and quite frankly, he’s homely. ABT shouldn’t have been sneaking around behind Muntagirov’s Artistic Director’s back trying to seduce him to quit ENB and come here.
I was in Detroit for Hee Seo’s debut as Juliet back in March 2009. I’ve hardly seen her since then, so I really don’t have an opinion on whether or not she deserves to be a principal. I agree wholeheartedly that Sarah and Stella have what it takes to be principals. Nonetheless, I’ve never forgotten Hee Seo’s Juliet. That day, on stage in Detroit, she was absolutely magical… stunning… truly exquisite. It’s one of those performances I will never, ever forget. I guess you had to be there, but her performance was so, so special.
I was in Detroit for Hee Seo’s debut as Juliet back in March 2009. I’ve hardly seen her since then, so I really don’t have an opinion on whether or not she deserves to be a principal. I agree wholeheartedly that Sarah and Stella have what it takes to be principals. Nonetheless, I’ve never forgotten Hee Seo’s Juliet. That day, on stage in Detroit, she was absolutely magical… stunning… truly exquisite. It’s one of those performances I will never, ever forget. I guess you had to be there, but her performance was so, so special.
I for one really do enjoy Hee Seo’s performances. I think she could be a little stronger technically, but her interpretations and onstage presence are definitely star quality.
I’m not saying that other dancers are not deserving of promotions too, but I think a company has to take into more into consideration than how well someone looks onstage. I’m sure there are other factors than salary involved; principal dancers also have to be cast and need to carry box offices. There’s a lot of care and feeding that extends beyond salary. They also have artistic burdens, like dancing new choreography. One of the soloists is notoriously difficult to work with. Choreographers won’t create on her a second time and her partners don’t like working with her. I’m sure it’s a factor.
I for one really do enjoy Hee Seo’s performances. I think she could be a little stronger technically, but her interpretations and onstage presence are definitely star quality.
I’m not saying that other dancers are not deserving of promotions too, but I think a company has to take into more into consideration than how well someone looks onstage. I’m sure there are other factors than salary involved; principal dancers also have to be cast and need to carry box offices. There’s a lot of care and feeding that extends beyond salary. They also have artistic burdens, like dancing new choreography. One of the soloists is notoriously difficult to work with. Choreographers won’t create on her a second time and her partners don’t like working with her. I’m sure it’s a factor.
Theoretically, you may be right, Silk. But believe me, Cory Stearns isn’t carrying anybody’s box office, isn’t anyone’s choice as a dancer on whom to choreograph, and his partners can’t depend on him to participate in any type of on-stage chemistry. McKenzie has done nothing but pour resources into that guy while neglecting a lot of other people. Hee Seo is an adequate dancer who a lot of people are pinning their hopes on, just the way they did with Stearns. She deserved a few more chances, but she didn’t deserve the prize yet – certainly not when there were highly accomplished soloists who are much better dancers. Right now, she’s on track to have a career where she’s carried from one pretty pose on stage to another pretty pose on stage without ever having to muster up any technique. She has weak feet and legs regardless of how pretty they might be.
Theoretically, you may be right, Silk. But believe me, Cory Stearns isn’t carrying anybody’s box office, isn’t anyone’s choice as a dancer on whom to choreograph, and his partners can’t depend on him to participate in any type of on-stage chemistry. McKenzie has done nothing but pour resources into that guy while neglecting a lot of other people. Hee Seo is an adequate dancer who a lot of people are pinning their hopes on, just the way they did with Stearns. She deserved a few more chances, but she didn’t deserve the prize yet – certainly not when there were highly accomplished soloists who are much better dancers. Right now, she’s on track to have a career where she’s carried from one pretty pose on stage to another pretty pose on stage without ever having to muster up any technique. She has weak feet and legs regardless of how pretty they might be.
I would love to know who the soloist is who is notoriously difficult to work with.
I would love to know who the soloist is who is notoriously difficult to work with.
I hope this isn’t too much of a tangent. I was struck by your statement “You can see on the latest ABT Form 990 at Guidestar.com that Julie Kent made $167,185; Paloma made $171,529; and Gillian made $157,466.” I looked up the 990s myself and noticed that they are only required to list the highest paid employees, not all of them. Those three are the only dancers on the list, with the others being the AD, assistant AD, exec. dir., conductor, etc.
It’s interesting that the three highest-paid dancers are all women. We can exclude the part-timers (e.g., Stiefel and Corella) and the visitors only present part of the year. But that leaves some stellar full-time male principals who are presumably all paid less than these three women: e.g., Gomes, Cornejo, Hallberg (as he had not yet signed on with the Bolshoi when the 2010 report was issued).
I also found it interesting that Ratmansky in 2010 is being paid almost $250K, while McKenzie himself is just under $300K — and Peter Martins is well over $600K.
Just wondered if you had any insights into this, especially the pay for the male dancers and the staggering discrepancy between McKenzie and Martins.
I hope this isn’t too much of a tangent. I was struck by your statement “You can see on the latest ABT Form 990 at Guidestar.com that Julie Kent made $167,185; Paloma made $171,529; and Gillian made $157,466.” I looked up the 990s myself and noticed that they are only required to list the highest paid employees, not all of them. Those three are the only dancers on the list, with the others being the AD, assistant AD, exec. dir., conductor, etc.
It’s interesting that the three highest-paid dancers are all women. We can exclude the part-timers (e.g., Stiefel and Corella) and the visitors only present part of the year. But that leaves some stellar full-time male principals who are presumably all paid less than these three women: e.g., Gomes, Cornejo, Hallberg (as he had not yet signed on with the Bolshoi when the 2010 report was issued).
I also found it interesting that Ratmansky in 2010 is being paid almost $250K, while McKenzie himself is just under $300K — and Peter Martins is well over $600K.
Just wondered if you had any insights into this, especially the pay for the male dancers and the staggering discrepancy between McKenzie and Martins.
Hi Julie in Denver!
I don’t have the answer to that but speculate that some performers are compensated per performance or using some other metric. Julie has been there the longest. Paloma 20+ years. Gillian 16 years. While there are union established minimums for principals, whatever is paid above is negotiated which is why there are savvy agents.
As far as McKenzie and Martins go, it may be that their salaries are (wrongly, IMO) geared toward what for-profit execs with similar budgets are paid. ABT’s last reported income was $38,682,192. NYCB’s was $54,223,323. ABT’s income looks to be about 70% of NYCB’s. So there should be a huge discrepancy in compensation as well. Also, Martins has other responsibilities.
It’s hard to see how actual artistic job performance could have any bearing on what these guys are paid, because there aren’t people on either board who actually know anything about ballet who could create or evaluate performance criteria. McKenzie and Martins have it really easy in this respect. Nobody is calling McKenzie to task for the waste of human capital and he has his hands in somebody’s deep pocket that enables him to spend freely on guest artists while neglecting internal development. It’s a sweet deal.
Hi Julie in Denver!
I don’t have the answer to that but speculate that some performers are compensated per performance or using some other metric. Julie has been there the longest. Paloma 20+ years. Gillian 16 years. While there are union established minimums for principals, whatever is paid above is negotiated which is why there are savvy agents.
As far as McKenzie and Martins go, it may be that their salaries are (wrongly, IMO) geared toward what for-profit execs with similar budgets are paid. ABT’s last reported income was $38,682,192. NYCB’s was $54,223,323. ABT’s income looks to be about 70% of NYCB’s. So there should be a huge discrepancy in compensation as well. Also, Martins has other responsibilities.
It’s hard to see how actual artistic job performance could have any bearing on what these guys are paid, because there aren’t people on either board who actually know anything about ballet who could create or evaluate performance criteria. McKenzie and Martins have it really easy in this respect. Nobody is calling McKenzie to task for the waste of human capital and he has his hands in somebody’s deep pocket that enables him to spend freely on guest artists while neglecting internal development. It’s a sweet deal.
I really enjoy reading this blog. I find it educational, informed, a little gossipy, and highly entertaining. As someone who has spent his life watching POB, NYCB, and come to appreciate ABT over the past 15 years I have to say I agree with Halgund. While Ms. Seo has had a bit of success with her interpretation of Juliet, when I read on Oberon’s Grove that she had been promoted to Principal status, my jaw literally dropped. I will not comment on others be more deserving- I will simply say that this in NOT someone ready for or even capable of delivering Principal level work. She is about 7 years to early at least. And to Cory Stearns- he is eye candy, tall, and statuesque just as Marcelo Gomes is- however, unlike Mr. Gomes, Stearns lacks the strength, turns, partnering, line, artistry, jumps, and petit allegro. Truly, I look forward to the day that McKenzie (in spite of what he has done for the budget) is gone.
I really enjoy reading this blog. I find it educational, informed, a little gossipy, and highly entertaining. As someone who has spent his life watching POB, NYCB, and come to appreciate ABT over the past 15 years I have to say I agree with Halgund. While Ms. Seo has had a bit of success with her interpretation of Juliet, when I read on Oberon’s Grove that she had been promoted to Principal status, my jaw literally dropped. I will not comment on others be more deserving- I will simply say that this in NOT someone ready for or even capable of delivering Principal level work. She is about 7 years to early at least. And to Cory Stearns- he is eye candy, tall, and statuesque just as Marcelo Gomes is- however, unlike Mr. Gomes, Stearns lacks the strength, turns, partnering, line, artistry, jumps, and petit allegro. Truly, I look forward to the day that McKenzie (in spite of what he has done for the budget) is gone.
Hi JMPII! Thanks for reading H.H.
I think that McKenzie’s choice to promote Hee Seo immediately before embarking on a South Korean tour was a dead giveaway that this was not a quality promotion.
Hi JMPII! Thanks for reading H.H.
I think that McKenzie’s choice to promote Hee Seo immediately before embarking on a South Korean tour was a dead giveaway that this was not a quality promotion.