9 replies to this topic

[carbro]

Thanks to Ambonnay for the heads up she posted on ABT's forum.

The ballet companies appearing in the festival are:

• Miami City Ballet (The Golden Section, 28-29 Sep)
• NYCB (Red Angels, 30 Sep-01 Oct)
• San Francisco Ballet (Diving into the Lilacs [pas de deux], 02-03 Oct.)
• Corella Ballet Castilla y Leon (Solea, 06-07 Oct.)
• American Ballet Theater (Thais pas de deux, 08-09 Oct.)

--> Link to full programs.   Tickets on sale 12 Sep.,  11AM

[mussel]

What's the best strategy to get decent seats?  Joining the line at City Center at crack of dawn or sitting in front of computer all morning and afternoon trying to get thru?

[Ambonnay]

Reminder the Fall for Dance reservation date starts this weekend (see above).

[carbro]

From City Center's website:

Important information for  all ticket buyers on Sunday, September 12.

• Due to heavy demand for Fall for Dance tickets, an online waiting room has been created to protect the website from overcrowding.

• The waiting room will be open Sunday at 10am.  Each visitor will be assigned a number in the order in which they arrive & be moved automatically back to the website in the same order.

• If you are on the website earlier, you must refresh your browser at 10am in order to be assigned a number in the waiting room queus.

• We recommend purchasing tickets to all other events on any day except Sunday, Sept. 12.

[4mrdncr]

I'm non-techie, what is a "waiting room queue?  How do I know what my number is?  Will I be re-directed/returned to the Fall for Dance "Buy Tickets" page or will it just bring me to the homepage?  

If I take the earliest 3+hr bus to NYC, I won't get there until 9:30am ---is that too late to get a ticket at the box office?  I only want to attend 1 - 2 days, and actually only really want to see one performance.  worth it or not?

Reply soon, gotta get some shut-eye if I'm to make that early bus.

[Ambonnay]

I'm in the Waiting Room Queue website, although I also am not technologically inclined.

I got into the Waiting Room shortly after 10:00 am, and was originally assigned a number in the 500s.  Even though the ordering only starts at 11 am, my number has declined slowly and is now 473.

At the bottom of the page for the Waiting Room, the following messages are noted:

"This queue is shorter than the one at the New York City Center Box Office - hang in there!
There will be little change in your queue number until 11am, when tickets go on sale."

If you buy tickets on line, there is a "facility fee" of $3/order, plus a "Web per ticket fee" of $6/ticket (making the effective price $16/ticket).

[4mrdncr]

Ambonnay, on 12 September 2010 - 06:14 AM, said:

I'm in the Waiting Room Queue website, although I also am not technologically inclined.

I got into the Waiting Room shortly after 10:00 am, and was originally assigned a number in the 500s.  Even though the ordering only starts at 11 am, my number has declined slowly and is now 473.

At the bottom of the page for the Waiting Room, the following messages are noted:

"This queue is shorter than the one at the New York City Center Box Office - hang in there!
There will be little change in your queue number until 11am, when tickets go on sale."

If you buy tickets on line, there is a "facility fee" of $3/order, plus a "Web per ticket fee" of $6/ticket (making the effective price $16/ticket).

I went to the website quite early in the morning--(couldn't see paying extra for a 3+hr bus ride then waiting alone in a long line for many hours)--but I forgot to LOG INTO the website until an hour had passed.  Consequently, my number was slightly higher then I thought it would be.  But it went down pretty fast, and I got my tickets by 11:10.  Then it took almost 4 HOURS for CityTix to email them to me.  Oh well.  Hope the weather was kind to all those in line.  (I once did a big research paper on 'queueing theory'--human behavior in such situations can be quite interesting...I assume all balletomanes are unfailingly informed AND polite.)

[Helene]

4mrdncr, on 12 September 2010 - 03:04 PM, said:

Then it took almost 4 HOURS for CityTix to email them to me.

Are these "print your own" like from Ticketmaster?

The very nice person at the PNB box office who exchanged two tickets for me and helped me purchase three more offered to email them to me.  I already felt like crying because the new printed ones for All Thrap would be generic instead of having the stunning photo of Carla Korbes in "Waterbaby Bagatelles" on them, but, in the future, I'm going to have to be ecologically correct as well as saving PNB postage and handling costs, and to get over how the emailed ones aren't going to look quite the same in my ticket vase.

[Ambonnay]

I attended last evening's Fall for Dance program.

Not particularly impressed with the performances, except that Yuan Yuan Tan was effective in an excerpt from the Diving into the Lilacs. She has elegant lines with long legs, and used the beauty of her form to effect during the PDD performance.

[4mrdncr]

(I moved this post from the CBCL thread. It took me a while to find the FFD thread.)

Soon after the San Cugat SL's, Angel & Carmen Corella flew to NYC for performances of "Solea" at Oct.6-7 Fall for Dance. Their plane was delayed by the general strike in Spain, and they landed with barely 2hrs to get to NYCC, change, warm-up, and perform...but still, they were both in top form Wednesday night. As noted before, they performed "Solea" previously during CBCL's engagement at NYCC last March, and have also toured Spain with it since then. I think it is a very deft piece that does what it's supposed to do: 1) Allow Angel and Carmen to dance together and express their warm supportive relationship, (2) Show aspects of flamenco and ballet simultaneously to allow one to contrast/compare, and(3)convey some Spanish culture to a general audience through its music, dance, and Spanish exemplars.
(RE: Gia Courlas' NYT review...Carmen's choreography in "Solea" is not as fast or fiercely technical as her brother's so I think there is a very good reason why she did not compete with Angel's virtuosity; ie. blame the choreography, not the dancer.)
However, despite some tightness in his trapezius/neck I noticed--and who wouldn't have that after a long plane ride and no time to recover?, I haven't seen Angel dance as well as he did Wednesday night in two years. I saw both perfs but Wednesday's especially had super control in the piro sequences; speed, height, and form in the diagonal, and a final menege of jetes that flew with the 180 form, ballon and technique I always remembered. The audience of course was just thrilled to see AC & CC (technique or not) and vociferously proclaimed their support, but I simply got a lump in my throat and could only smile inside & out; all the time thinking: "He's finally back; in more ways than one