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| Serenade |
-- By Tom Phillips
Three years ago, mad as hell about New York City Ballet’s plan to triple and quadruple ticket prices, I and a few other balletomanes declared an audience strike against our long-time beloved ballet company. We hoped a boycott would shake up the management, and force a return to popular prices.
Three years ago, mad as hell about New York City Ballet’s plan to triple and quadruple ticket prices, I and a few other balletomanes declared an audience strike against our long-time beloved ballet company. We hoped a boycott would shake up the management, and force a return to popular prices.
Three years
later, they win. Drawn by rave reviews
and gorgeous pictures in the paper, I finally slunk back across my invisible picket
line yesterday. I paid 62 dollars for a seat in Row G on the side in the
fourth ring – three times what I would have paid just a few years ago. The reward was a brilliant triple bill of
Balanchine classics – Serenade, Agon, and Symphony in C – from a company
dancing better than it has in years. Is
this the effect of prosperity? If so,
you can’t argue with success.
