FY2008 Annual Report - New York City Ballet

Transcription

Annual Report 2008
MISSION STATEMENT
George Balanchine and Lincoln Kirstein formed
New York City Ballet with the goal of producing
and performing a new ballet repertory that would
re-imagine the principles of classical dance.
Under the leadership of Ballet Master in Chief
Peter Martins, the Company remains dedicated to
their vision as it pursues two primary objectives:
1) to preserve the ballets, dance aesthetic, and
standards of excellence created and established
by its founders;
2) to develop new work that draws on the creative
talents of contemporary choreographers and
composers, and speaks to the time in which it
is made.
CONTENTS
^
This mission is accompanied by a commitment to
expand the Company’s audience and make ballet
accessible to the widest possible public through
touring, education programs, the creative use of
media, and other outreach efforts.
NEW YORK CITY BALLET
Founders: George Balanchine and Lincoln Kirstein
Founding Choreographers: George Balanchine and Jerome Robbins
Ballet Master in Chief
Peter Martins
Ballet Mistress
Rosemary Dunleavy
Ballet Masters
Karin von Aroldingen Jean-Pierre Frohlich
Susan Hendl Lisa Jackson Russell Kaiser
Sara Leland Christine Redpath Richard Tanner
Kathleen Tracey
Assistant to the Ballet Master in Chief
Sean Lavery
Teaching Associate
Merrill Ashley
NEW YORK CITY BALLET ORCHESTRA
Music Director: Fayçal Karoui
Principal Conductor: Maurice Kaplow
Guest Conductor: Clotilde Otranto
Conductor Emeritus: Hugo Fiorato
THE COMPANY
Jared Angle Charles Askegard Yvonne Borree
Ashley Bouder Joaquin De Luz Albert Evans Megan Fairchild
Gonzalo Garcia Stephen Hanna Nikolaj Hübbe Sterling Hyltin
Darci Kistler Maria Kowroski Sébastien Marcovici Nilas Martins
Benjamin Millepied Philip Neal Jenifer Ringer Jennie Somogyi
Abi Stafford Jonathan Stafford Janie Taylor Daniel Ulbricht
Andrew Veyette Wendy Whelan Damian Woetzel
Tyler Angle† Ellen Bar Antonio Carmena Robert Fairchild Jason Fowler
Tom Gold Craig Hall Adam Hendrickson Arch Higgins Rebecca Krohn
Ask la Cour Savannah Lowery Sara Mearns Tiler Peck Amar Ramasar
Teresa Reichlen Rachel Rutherford Ana Sophia Scheller
Sean Suozzi Jennifer Tinsley-Williams
Dena Abergel Devin Alberda Marika Anderson Daniel Applebaum Faye Arthurs
Katie Bergstrom Saskia Beskow Likolani Brown Maya Collins Adrian Danchig-Waring
Alina Dronova Sophie Flack Kyle Froman Kaitlyn Gilliland Pauline Golbin
Amanda Hankes Anthony Huxley Ralph Ippolito Russell Janzen Dara Johnson
Glenn Keenan Lauren King Ashley Laracey Austin Laurent Megan LeCrone
Meagan Mann Jenelle Manzi Kathryn Morgan Gwyneth Muller Courtney Muscroft
Ellen Ostrom Vincent Paradiso Georgina Pazcoguin Justin Peck Allen Peiffer
Erica Pereira Rachel Piskin Brittany Pollack David Prottas Matthew Renko
Tabitha Rinko-Gay Troy Schumacher Andrew Scordato Mary Elizabeth Sell Henry Seth
Aaron Severini Briana Shepherd Gretchen Smith Christian Tworzyanski Max van der Sterre
Giovanni Villalobos Elizabeth Walker Sarah-Rose Williams Stephanie Zungre
Solo Pianists
Elaine Chelton, Cameron Grant, Nancy McDill, Richard Moredock, Alan Moverman, Susan Walters
Children’s Ballet Master: Garielle Whittle
† Janice Levin Dancer Honoree for 2007–2008
As of June 29, 2008
2007-2008 NEW YORK CITY BALLET REPERTORY
George Balanchine Ballets: Apollo Ballo della Regina Brahms-Schoenberg Quarte
Divertimento from “Le Baiser de la Fée” The Four Temperaments George Balanchine’s Th
Mozartiana Prodigal Son Raymonda Variations Robert Schumann’s “Davidsbündler
The Sleeping Beauty (Garland Dance) La Sonnambula Square Dance Stars and Stripes Th
Symphony in C Symphony in Three Movements Tarantella Le Tombeau de Couperin
Tschaikovsky Piano Concerto No. 2 Union Jack Western Symphony Mauro Bigonzetti Ball
August Bournonville Ballet: Flower Festival Pas de Deux Adam Hendrickson Ballet: Flit
Peter Martins Ballets: Beethoven Romance The Chairman Dances Les Gentilhommes Gr
A Life for the Tsar Purple River of Light Romeo + Juliet The Sleeping Beauty (Rose Ad
Thou Swell Valse Triste Zakouski Alexei Ratmansky Ballets: Concerto DSCH*
Russian Seasons Jerome Robbins Ballets: Afternoon of a Faun Andantino Antique Epigra
Brandenburg The Cage Circus Polka The Concert Dances at a Gathering Dybbu
Fanfare Four Bagatelles The Four Seasons Glass Pieces The Goldberg Varia
In G Major In Memory of… Interplay In the Night Ives, Songs Mother Goose Moves
N.Y. Export: Opus Jazz Opus 19/The Dreamer Other Dances Piano Pieces A Suite
West Side Story Suite 2 & 3 Part Inventions Susan Stroman Ballet: Double
Christopher Wheeldon Ballets: An American in Paris Carousel (A Dance) Liturgy Merc
The Nightingale and the Rose Rococo Variations*
Total Ballets: 86
Contents
Mission Statement front flap
et Bugaku
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NYCB Artists, Orchestra,
Directors, and Personnel
he Nutcracker™ Jewels
tänze” Serenade
he Steadfast Tin Soldier
Tschaikovsky Pas de Deux
lets: In Vento Oltremare*
of Fury—The Monarch*
razioso* Jeu de Cartes
agio, Aurora’s Wedding)
Middle Duet
aphs Brahms/Handel
k Fancy Free
ations I’m Old Fashioned
Les Noces
of Dances Watermill
Feature
Letters from the Ballet Master in
Chief and Chairman
8
2007-08 Season Overview
9
Opening Night Benefit
10
Nutcracker Family Benefit
11
Rebranding NYCB
12
Winter Season World Premieres
14
Annual Luncheon
16
Jerome Robbins Celebration
19
Spring Gala
20
Dance with the Dancers
21
Spring Season World Premiere
23
Dancers’ Choice
24
Beyond NYC
25
NYCB Archive
26
Our Audiences and Community
28
New York Choreographic Institute
30
Our Dedicated Volunteers
31
Fond Farewells
32
Donor Recognition
33
2008 Financial Summary
34
NYCB Financial Statements
* World Premiere
CONTENTS
^
curial Manoeuvres
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LETTER FROM THE BALLET MASTER AND CHIEF
NEW YORK CITY BALLET ORCHESTRA
First Violins
Double Basses
Trombones
Arturo Delmoni,
Concertmaster
Ron Wasserman,
Principal
Richard Chamberlain,
Principal
Kurt Nikkanen,
Concertmaster
Marji Danilow,
Associate
Hugh Eddy, Associate
Nicolas Danielson,
Assistant
Concertmaster
Wan Hao Xu
Tuba
Stephen Johns
Jean Ingraham,
Associate
Flutes
Michael Roth,
Associate
Laura Conwesser,
Associate
Bira Rabushka
Marie Owen,
Flute and Piccolo
Piano
Sabina Skalar
Paul Peabody
Oboes
Robert Chausow
Timpani
Randall Wolfgang,
Principal
Arnold Goldberg
Jane Cochran,
Associate
Percussion
James Byars
James Sapporito,
Associate
Yevgenia Strenger
Alexander Simionescu
Qing Guo
Second Violins
Paul Dunkel, Principal
Jack Katz, Principal*
Clarinets
Conway Kuo,
Principal**
Gerhardt Koch,
Principal
Yeojin Cho, Associate**
Steven Hartman,
Associate
Bin Lu
Min Young Song
Andrew Schaw
Nelly Kim
Helen Strilec
Sue Ellen Colgan
Violas
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Grey Fulmer
Robert Biddlecome,
Bass Trombone
Maureen Gallagher,
Principal
Laurance Fader,
Associate
Susan Pray
Brian Hysong,
Clarinet and
Bass Clarinet
Bassoons
Michael Martin
Richard Hagen,
Associate
Arnold Goldberg
Assistant to the
Orchestra Manager
Tom Beck
Orchestra Librarian
Michael Martin
Paul Ingraham
Fred Zlotkin, Principal
Trumpets
Eugene Moye,
Associate
Raymond Mase,
Principal
Robert Gardner
Ruth Alsop
Neil Balm,
Co-Principal
Peter Sanders
Robert Haley
David Jenkins
Orchestra Manager
French Horns
Warren Laffredo
Alessandro Benetello
James Baker, Principal
Donald MacCourt
Barbara Baird
Ann Kim Rozenblatt
Cameron Grant
Ethan Silverman,
Associate, Bassoon
and Contrabassoon
H. Robert Carlisle,
Principal
Cellos
Sara Cutler
Harrison Hollingsworth,
Principal
Liane Marston
Jeffrey Jacobi*
Harp
*On leave of absence
** 2008 Spring Season
As of June 29, 2008
LETTER FROM THE CHAIRMAN
NEW YORK CITY BALLET, INC
Board of Directors
Barry S. Friedberg
Chairman
Frederick W. Beinecke
President
Nina Griscom
David W. Heleniak
Stephen A.
Schwarzman
Franci Blassberg
Marlene Hess
Thomas Shiah
Donya Bommer
Marilyn Laurie
Howard Solomon
Jeffrey M. Peek
Treasurer
Daniel Brodsky
Robert I. Lipp
Lesley Stahl
Hon. Kimba M. Wood
Secretary
Judy Bernstein Bunzl
Carol D. Mack
Ruth S. Stanton
Jane Chace Carroll
Clarke Murphy
Bonnie Strauss
Michael A. Cooper
David A. Nadler
John L. Vogelstein
David E.R. Dangoor
Marie Nugent-Head
David Webb
Samuel A. DiPiazza, Jr.
Gordon Pattee
Dr. Sue Ann Weinberg
Barbara R. Evans
Michael E. Patterson
William H. Wright II
Randal R. Craft, Jr.
Counsel
Advisory Board
Maria Bartiromo
Jonathan R. Bell
Meyer Feldberg
Robert W. Pittman
Gregory J. Fleming
Theodore C. Rogers
Perry B. Granoff
Denise Saul
Chairmen Emeriti:
Eugene P. Grisanti, Theodore C. Rogers, Howard Solomon
Directors Emeriti:
Gillian Attfield, Mary Sharp Cronson, Nancy Norman Lassalle, David H. Mortimer,
Edward J. Toohey
Members Ex-Officio:
Hon. Michael R. Bloomberg, Hon. Kate D. Levin, Martin J. Oppenheimer
Amy S. Butte
Co-Chairman
Clarke Murphy
Co-Chairman
Russell Reynolds
Associates
Michael Berkowitz
Roger Bolton
APCO Worldwide
Patrick BousquetChavanne
The Estée Lauder
Companies Inc.
Mary Cirillo-Goldberg
Gail E. Cohen
Fiduciary Trust
Company
International
Linnea Conrad
Goldman, Sachs & Co.
Special Events
Ambassadors
Nina Griscom
Chairman
Scott Davis
PricewaterhouseCoopers LLP
Valerie S. Peltier
Tishman Speyer
Properties
Simon Freakley
Kroll Inc.
Linda E. Rappaport
Shearman & Sterling
MaryAnne Gilmartin
Forest City Ratner
Companies
Joshua Rubenstein
Katten Muchin
Rosenman, LLP
Ann B. Lane
Carol A. Smith
ELLE
Patricia Malone
COACH
Alison Mass
Goldman, Sachs & Co.
Mary Ann Tighe
CB Richard Ellis
Kate Betts
Gillian Miniter
Candace Bushnell
Charlotte Moss
Barbara Cirkva
Schumacher
Alba Clemente
Eric Nederlander
Alexandra Shiva
Robert Couturier
Xenia Krinitzky Roff
Susan Tabak
Fe Saracino Fendi
Allison Sarofim
As of June 2008
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2007-08 SEASON
STAFF
General Manager:
Administration
Costume and Wardrobe
Marketing and Online Media
Kenneth Tabachnick
Personal Assistant to
Mr. Martins: Deborah Koolish
Company Manager:
Debra Bernard
Executive Assistant to the
General Manager:
Mercedes Pina
Assistant to the General
Manager: Barbara Hart
Administrative Assistant:
Aarti Ogirala
Payroll and Benefits
Administrator: Ieasha Bell
Office Manager:
Melaura Benitez
Archivist: Laura Raucher
Director, New Media:
Kristin Sloan
Director: Marc Happel
Manager, Costume Shop:
Dara Faust
Wardrobe Mistress:
Jacqueline (Norma) Attride
Wardrobe Master: John Radwick
Assistant Wardrobe Mistress:
Marlene Olson
Assistant Wardrobe Master:
Phillip Rolfe
Men’s Wardrobe Consultant:
Leslie Copeland
Make-Up, Hair, and Visual
Consultant: Michael Avedon
Ballet Shoe Supervisor:
Angel Betancourt
Managing Director: Tom Michel
Director, Marketing: Karen Girty
Associate Director, Ticket
Services: Anne M. Vantine
Manager, Publications:
Dustin Brauneck
Manager, Group Sales:
Connie Coddington
Manager, Gift and Book Shop:
Julio Cruz
Manager, Online Media:
Richard Dryden
Manager, Marketing:
Jill Jefferson
Manager, Ticket Services:
Andrianna Smela
Senior Designer: Luis Bravo
Designer: Christine Navin
Assistant, Marketing:
Caitlin Gillette
Chief Financial Officer:
Brooks Parsons
Finance
Budget Manager:
Jennifer Butler
Director, Patron Information
Systems: Stephen Williams
Director, Donor Records:
Elizabeth V. Ferris
Database Editor: Resan Ocot
Production and Design
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Managing Director: Perry Silvey
Resident Lighting Designer:
Mark Stanley
Production Stage Manager:
Marquerite Mehler
Lighting Director:
Penny Jacobus
Stage Manager: Loreen Domijan
Assistant Stage Manager:
Betsy Ayer
Technical Assistant:
Robert S. Leach
Lighting Assistant:
Keri Thibodeau
Music Coordinator:
Richard Moredock
Rehearsal Pianists:
Boris Poliakine, Mack Schlefer
Music and Video Archivist:
Serapio Walton
Régisseur: Thomas A. Lemanski
Piano Technician:
Fred Hitchcock
Health and Wellness
Orthopedic Consultants:
William G. Hamilton, M.D.,
Phillip A. Bauman, M.D.
Chiropractic Consultant:
Lawrence E. DeMann Jr., D.C.
Director of Physical Therapy:
Marika Molnar
Physical Therapists:
Rebecca Blanchard, Rocky
Bornstein, Jemina Cassis,
Marika Hartog, Liz Henry,
Katy Keller, Andrew
Megginson, Michelle
Rodriguez, Nadia Sefcovic,
Jo Smith, Andrea Zujko
Nutritionist: Joy Bauer, M.S.,
R.D., CDN
Wellness Consultant:
Linda H. Hamilton, Ph.D.
Communications and
Special Projects
Managing Director:
Robert Daniels
Associate Director,
Communications:
Siobhan Burns
Manager, Press Relations:
Joe Guttridge
Education
Manager, School Programs:
Lauren Gordon
Manager, Outreach Programs:
Catherine Romano
Coordinator: Megan Leitzinger
Development and Special Events
Managing Director: Diane Nixa
Director, Special Events:
Sheri Low
Director, Guild:
Faith Shaw Petrides
Director, Major Gifts:
Georgia Siampalioti
Associate Director, Major Gifts:
Julia Rosenfeld
Manager, Development
Operations: Jeremy Dewey
Manager, Patron Relations:
John McPeak
Manager, Special Events:
Christine van Kipnis
Associate, Institutional Support:
Miranda Jirik
Associate, Major Gifts:
Kimberly Portis
Coordinator, Special Events:
Jemima Attanasio
Coordinator, Guild:
Dana Cavooris
Assistant, Guild: Emily Katz
Assistant, Major Gifts:
Jennifer Sult Kleinman
Assistant, Special Events:
Marisa Marinelli
Assistant, Guild: Alta Withers
Volunteer and Program
Resources
Managing Director:
Joan Quatrano
Assistant Director:
Laura Picariello
2007-08 ANNUAL REPORT
AFFILIATES
George Balanchine Trust
Director: Ellen Sorrin
Managing Trustee:
Barbara Horgan
Coordinator: Jennifer Cheung
The School of American Ballet
Official School of
New York City Ballet
Founders: George Balanchine
and Lincoln Kirstein
Artistic Director and Chairman
of the Faculty: Peter Martins
Co-Chairman of Faculty:
Kay Mazzo
Executive Director:
Marjorie Van Dercook
New York Choreographic
Institute
Founder and Artistic Director:
Peter Martins
Associate Artistic Director:
Richard Tanner
Managing Director: Ellen Sorrin
Gwyneth Muller with
Daniel Applebaum (front)
and Pauline Golbin with
Allen Peiffer in George
Balanchine’s Le Tombeau
de Couperin
As of June 29, 2008
LETTER FROM THE BALLET MASTER AND CHIEF
Peter Martins, Ballet Master in Chief
This past year we paid respect to two supremely
important people to the history of New York City
Ballet. Our Opening Night Benefit in November
marked the finale of our year-long Kirstein
Centennial Celebration, and featured a revival
of A Life for the Tsar, which I had originally choreographed as a tribute to Lincoln in 1993. The
performance of this piece featured 150 Company
members and students from the School of
American Ballet, joined by guests from the New
York City Opera chorus.
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In the spring we honored the 90th anniversary
of the birth of Co-Founding Choreographer
Jerome Robbins by presenting 10 all-Robbins
programs featuring 33 of his ballets, allowing
us a wonderful opportunity to celebrate the
genius, humor, and insight of this greatest of
American-born choreographers. In addition,
as part of our ongoing commitment to the
precepts laid down by our founders, George
Balanchine and Lincoln Kirstein, and most
especially to the creation of new work, we also
introduced commissions from Mauro Bigonzetti,
Alexei Ratmansky, and Christopher Wheeldon,
all of which were popular and critical
successes.
The Company continued to blossom, as highly
talented young apprentices advanced into the
ranks of the Company proper, and scores of
new roles were taken on by our extraordinary
dancers. But there are also the bittersweet
occasions when we must inevitably bid farewell
to our veterans moving on to new phases in their
lives. This past year, after long and successful
careers, Nikolaj Hübbe and Damian Woetzel
retired, leaving us with glorious memories of
their distinguished careers.
2008 was a productive year for the Company
with our summer Saratoga residency, a highly
successful tour to London—our first in
25 years—and our annual Kennedy Center
performances, in addition to 23 weeks of
performances in our home theater at
Lincoln Center.
Our family is broad and diverse and it takes the
participation of all of you to produce the amazing
work we see onstage. We deeply appreciate your
loyalty and your generous support, without which
we would not be able to grow and succeed. It is
the devotion and dedication of our entire family
that enables New York City Ballet to continue in
the spirit established by our brilliant founders,
George Balanchine and Lincoln Kirstein.
LETTER FROM THE CHAIRMAN
Barry S. Friedberg, Chairman
It is bittersweet for me to write this letter,
my last as Chairman of the Board of New York
City Ballet. During my five-year tenure we have
accomplished so much, and it has been my
great privilege to be part of this glorious and
creative enterprise.
The Concert Maria Kowroski
With that in mind, I am happy to report that the
Company is healthy and sound. As we enter
volatile economic times, we have successfully
built a foundation that should help the Company
steer its way through whatever the next few
years may bring. The Company’s artistic level
continues to improve and our management is
searching always to make sure that we avoid
complacency, as well as making efforts to
maintain our leading position in the classical
arts and performance arena.
In addition to our regular activities, we have
joined with our partner in the New York State
Theater, New York City Opera, in a major renovation project, adding several technological
improvements to our home. As part of that
effort, we have secured a $100 million gift from
David H. Koch, for whom the theater will be
renamed. His generous gift serves as a solid
basis that will ensure our home can serve the
needs of our audiences in a modern and technological fashion during the coming years.
Over the past five years, I have had the great
joy of working with extremely committed board
members and patrons who share a great love
for the Company. With their help, I am able to
leave the Company stronger than when I arrived
and better situated to handle the uncertainty
of the foreseeable future. I am truly grateful
to all of you for that support and to the artists
who work day in and day out to create the beauty
and grace that we all love.
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2007-08 SEASON
Dances at a Gathering Benjamin Millepied
During its 60th year, New York City Ballet maintained its preeminence as a cultural institution
of the highest magnitude, performing a ballet
repertory unparalleled in its diversity and scope
for audiences both in America and abroad. The
Company’s 2007-08 Season introduced five world
premieres, bid farewell to two of its great stars,
surpassed its 2,000th performance of George
Balanchine’s The Nutcracker™, and recognized
Founding Choreographer Jerome Robbins
with a celebration of his monumental artistic
achievements. With over 100 stellar dancers,
the acclaimed 62-piece NYCB Orchestra, and a
glowing legacy passed on by Founders George
Balanchine and Lincoln Kirstein, Ballet Master
in Chief Peter Martins continues to lead the
Company towards an innovative future for classical dance in the new millennium.
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2007-08 Season by the Numbers
Repertory ballets: 82 Full-length ballets: 4
World Premieres: 5 Major revivals: 5 Commissioned score: 1
Dancers: 100 Performances: 207 Attendance: 396,531
2007-08: WINTER SEASON
Ashley Bouder, Gonzalo
Garcia, Andrew Veyette,
and Daniel Ulbricht in the
world premiere of Peter
Martins’ Grazioso
Clockwise from above left:
Amy Fine Collins with
Event Chairmen Linda
Wells and Carol Mack;
Event Chairmen Candace
and Frederick Beinecke;
Event Chairmen Barbara
and John Vogelstein with
Franci Blassberg and
Joe Rice
Event photos by
Mary Hilliard
The winter season at the New York State Theater
commenced on November 20, 2007, with an
Opening Night Benefit titled “Dancing for
Lincoln: A Centennial Celebration.” The onenight-only conclusion of the Kirstein Centennial
Celebration, which began during the prior spring
season and commemorated what would have
been Kirstein’s 100th birthday on May 4, 2007,
featured the season’s only performances of
Grazioso, a world premiere by Peter Martins, and
A Life for the Tsar, with over 150 performers—
students from the School of American Ballet
and NYCB dancers—honoring Kirstein. The
evening also included Balanchine’s Garland
Dance from The Sleeping Beauty, Christopher
Wheeldon’s Liturgy, and an excerpt from
Balanchine’s Western Symphony. As a highlight,
Company Soloists Ellen Bar and Sean Suozzi
introduced a special sneak preview from a film
adaptation of Jerome Robbins’ N.Y. Export: Opus
Jazz, which they conceived and are creating.
Event chairmen were Candace and Frederick
Beinecke, Carol Mack, Barbara and John
Vogelstein, and Linda Wells. The festive event
raised over $1.7 million for the Company.
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Clockwise from top left:
Dewdrop Ana Sophia
Scheller signing autographs; Marc Murphy
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with daughter, Campbell
(left), and Grace Burns;
Event Chairman Kristin
Kennedy Clark with son,
Henry; Candy Canes
with Chairmen Christy
Turlington Burns and
Pamela Schein Murphy
Event photos by
Mary Hilliard
The 2007 Nutcracker Family Benefit on
December 8 was a splendid holiday treat for the
Company’s youngest fans and their families.
Following a performance of the perennial classic
George Balanchine’s The Nutcracker™, benefit
guests were given a backstage tour of the
“Land of Sweets.” The party continued on the
Promenade where the Sugarplum Fairy, Her
Cavalier, and other characters from the ballet
signed autographs, and Santa Claus himself
made a special appearance. Benefit Chairmen
were Christy Turlington Burns, Kristin
Kennedy Clark, Pamela Schein Murphy, and
Ann Tenenbaum. Gingerbread houses were
courtesy of Cookie Magazine, and proceeds from
the event, totaling more than $695,000, support
NYCB’s education programs and the School of
American Ballet’s Scholarship Fund.
Sponsored by Little Marc Jacobs and
Maybelline New York.
Beginning in January 2008, New York City Ballet
unveiled a unique, new brand identity for the
institution. Working in collaboration with
the world-renowned design firm Pentagram,
a revitalized logo and photographic style for
the Company was launched as a means for reinvigorating New York City Ballet’s visual identity
and reaching new and younger audiences.
Affecting all areas of the Company, the comprehensive rebranding effort was seen during the
fiscal year on printed brochures and collateral,
advertisements, theater and outdoor signage,
stationary, online presences, and merchandise,
among other materials and media. In an effort
for NYCB to distinguish itself even further
from other cultural institutions, the 2007-08
advertising campaigns were shot in dramatic
black and white photography; however, future
incarnations will incorporate striking, fullcolor imagery.
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Rebranded materials
included the 2008 Spring
Season brochure (top)
and outdoor signage
around the New York
State Theater (above)
Support for New York City Ballet audience
development, including the rebranding project,
is provided by Denise Sobel and Norman Keller.
Outdoor signage photography © Andrew Bordwin,
NYC
The 2008 Winter Season welcomed three world
premieres into the Company’s repertory. The
first, Grazioso, was created as a pièce d’occasion
for the Opening Night Benefit, and featured four
principals, three men and a woman, in a series
of virtuoso dances to music by Glinka.
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The second world premiere of the season, Mauro
Bigonzetti’s Oltremare, took place on January 23
as part of the 12th annual New Combinations
Evening, scheduled each year to coincide with
Balanchine’s birthday. A brooding and intensely
physical work depicting the journey towards a
new life, Oltremare, along with all new choreography at New York City Ballet, was supported by
the Company’s New Combinations Fund.
Created in 1992, the New Combinations Fund
has united patrons who are captivated by the
creative process and inspired to support it.
Since its inception, the Fund has helped commission and stage more than 100 new ballets
by choreographers ranging from Co-Founding
Choreographer Jerome Robbins to Twyla
Tharp and Jorma Elo.
Rococo Variations, Christopher Wheeldon’s
final ballet as New York City Ballet’s Resident
Choreographer, was the season’s third world
premiere. Set to Tschaikovsky’s Variations on
a Rococo Theme, the choreography was indeed
rococo in its intricacy and delicacy, but also
deeply Romantic in its explorations of partnering, and modern in its sensibility.
Sterling Hyltin, Sara
Mearns, Giovanni
Grazioso
Rococo Variations
Music: Mikhail Glinka
Choreography: Peter Martins
Costumes: Holly Hynes
Lighting: Mark Stanley
Premiere: November 20, 2007, New York City
Ballet, New York State Theater
Original cast: Ashley Bouder, Gonzalo Garcia,
Daniel Ulbricht, Andrew Veyette
Music: Peter Ilyitch Tschaikovsky
Choreography: Christopher Wheeldon
Costumes: Holly Hynes
Premiere: February 7, 2008, New York City
Original cast: Sterling Hyltin, Sara Mearns,
Giovanni Villalobos, Adrian Danchig-Waring
Solo cellist: Fred Zlotkin
Villalobos, and Adrian
Danchig-Waring in
Christopher Wheeldon’s
Rococo Variations
Opposite: the ensemble
of Mauro Bigonzetti’s
Oltremare
The performance and creation of Peter Martins’
Grazioso was funded in part by an endowment gift
from the Solomon family, given in loving memory
of Carolyn B. Solomon.
Rococo Variations was made possible in part by a
lead grant from the Geoffrey C. Hughes Foundation,
which has supported Christopher Wheeldon’s
residency since 2001.
Oltremare
Music: Bruno Moretti (commissioned by NYCB)
Choreography: Mauro Bigonzetti
Costumes: Mauro Bigonzetti and Marc Happel
Premiere: January 23, 2008, New York City
Original cast: Maria Kowroski, Tyler Angle,
Tiler Peck, Amar Ramasar, Teresa Reichlen,
Ana Sophia Scheller, Maya Collins,
Megan LeCrone, Georgina Pazcoguin,
Jonathan Stafford, Andrew Veyette,
Jason Fowler, Vincent Paradiso, Sean Suozzi
Oltremare was made possible in part by a dance
commissioning grant from the New York State
Council on the Arts.
The creation of new work at New York City Ballet
is made possible by generous support from
The Fan Fox and Leslie R. Samuels Foundation,
The Irene Diamond Fund, Lila Acheson and DeWitt
Wallace Endowment Fund, and contributors to
the New Combinations and Repertory Funds.
13
Event Chairman Nina
Griscom; Corporate
Chairman Marc Hruschka
and Susan Tabak; Event
Chairman Caroline Dean;
last year’s Janice Levin
Dancer Honoree, Tiler
Peck, with this year’s
14
Honoree, Tyler Angle;
Rachel Hovnanian with
Event Chairman Nicole
Miller and Tracy Snyder;
Event Chairman Katie von
Strasser; the onstage
panel discussion with
Peter Martins, Nikolaj
Hübbe, Joaquin De Luz,
Sean Suozzi, Daniel
Ulbricht, and Sean Lavery
Panel photo © Paul
Kolnik, event photos by
John Calabrese
The 2008 Annual Luncheon on February 13,
“Ballet is Man—Too!” paid tribute to George
Balanchine’s spectacular choreography for male
dancers. Although the role of the male dancer
at New York City Ballet often focuses on partnering, many important roles have been created
for male dancers, and the men of NYCB have
put their distinctive mark on these ballets.
Peter Martins moderated an onstage program
with panelists including Principal Dancers
Joaquin De Luz, Nikolaj Hübbe, and Daniel
Ulbricht, Soloist Sean Suozzi, and Assistant to
the Ballet Master in Chief Sean Lavery. The
program featured excerpts from Balanchine’s
Agon, Apollo, Divertimento from “Le Baiser de la
Fée”, The Four Temperaments, Mozartiana,
Prodigal Son, and Square Dance.
As part of the afternoon, Mr. Martins also
announced this year’s Janice Levin Dancer
Honoree. Awarded annually to a promising
young member of the corps de ballet who
studied at the School of American Ballet, this
year’s award was bestowed upon Tyler Angle.
Following the program, guests lunched
on the theater’s Promenade, raising over
$390,000 for the Company. Event Chairmen
were Caroline Dean, Nina Griscom, Nicole
Miller, and Katie von Strasser. Marc Hruschka
of Chopard generously served as Corporate
Chairmen.
Sponsored by Chopard.
The only reason I can bear the harsh
weather of winter is because of New York
City Ballet’s magnificent Nutcracker
and its winter repertory season. Nothing
is better than walking into the New York
State Theater with frozen hands and
feet and knowing that in a mere few
minutes the greatest dance company in
the world will be warming me up.
—Jim Mattimore,
—New York City Ballet Guild Member
Mrs. Mertz loved New York City Ballet.
Not long ago, I found a letter from George
Balanchine to Mrs. Mertz thanking her
for underwriting the costumes for Vienna
Waltzes, saying they couldn’t have
been created without her help. My fellow
trustees and I felt how fitting it would be
for the LuEsther T. Mertz Charitable
Trust to honor her spirit with a gift to the
Company for costume refurbishment.
15
Mrs. Mertz would be so pleased to know
what a difference her legacy continues to
make to her beloved ballet.
—Larry Condon, Trustee,
—LuEsther T. Mertz Charitable Trust
2008 Winter Season by the Numbers
Ballets: 44 World Premieres: 3 Performances: 103
Featured role debuts: 140 Attendance: 226,679
Diamonds Maria Kowroski, Philip Neal
2007-08: SPRING SEASON
The 2008 Spring Season recognized Robbins’
monumental artistic achievements and innumerable contributions to American culture on
the 90th anniversary of his birth. From Broadway
to ballet, Jerome Robbins was the most creative
and revered choreographer this country has
ever produced, and the spring repertory included
33 Robbins ballets on 10 dedicated programs
exploring his choreographic inspirations and
thematic fascinations. Highlights included
major revivals of four works and a momentous
restaging of Les Noces as Stravinsky and Robbins
originally conceived and produced the ballet,
with full choir and four grand pianos onstage.
Guest artists from around the world and students
from the School of American Ballet helped
celebrate the occasion.
New York City Ballet is extraordinarily grateful
to The Jerome Robbins Foundation for support
of the revival, refurbishment, and presentation
of works by Jerome Robbins—particularly those
works that have been absent from the repertory
for more than four years—in preparation for
the Jerome Robbins Celebration. Major support
was also provided by the Joseph and Sylvia
Slifka Foundation, with additional funding from
the Harriet Ford Dickenson Foundation, The
New York Community Trust–Mary P. Oenslager
Foundation Fund, and National Endowment
for the Arts.
16
2008 Spring Revivals
Brahms/Handel
Music by Johannes Brahms
(Variations and Fugue on a Theme by Handel)
Orchestrated by Edmund Rubbra
Choreography by Jerome Robbins and
Twyla Tharp
Costumes by Oscar de la Renta
Lighting by Jennifer Tipton
Staged by Stacy Caddell
Revival cast: Ashley Bouder, Wendy Whelan,
Philip Neal, Andrew Veyette, Rebecca Krohn,
Georgina Pazcoguin, Tiler Peck,
Teresa Reichlen, Ana Sophia Scheller,
Adrian Danchig-Waring, Jason Fowler,
David Prottas, Amar Ramasar,
Antique Epigraphs Saskia Beskow, Teresa Reichlen, Rebecca Krohn
The ensemble of
Jerome Robbins’
Les Noces
Giovanni Villalobos, Likolani Brown,
Kaitlyn Gilliland, Dara Johnson,
Meagan Mann, Briana Shepherd,
Sarah-Rose Williams, Stephanie Zungre,
Russell Janzen, Vincent Paradiso,
Justin Peck, Allen Peiffer, Matthew Renko,
Troy Schumacher, Andrew Scordato
Four Bagatelles
Music by Ludwig van Beethoven
Choreography by Jerome Robbins
Costumes by Florence Klotz
Lighting by Ronald Bates
Revival cast: Ashley Bouder, Gonzalo Garcia
Les Noces
(A Dance-Cantata)
Music by Igor Stravinsky
Set by Oliver Smith
Scenic supervision by Rosaria Sinisi
Costumes by Patricia Zipprodt
Revival cast: Tiler Peck (The Bride),
Rachel Rutherford and Stephen Hanna
(Her Parents), Adam Hendrickson (The Groom),
Rebecca Krohn and Jonathan Stafford
(His Parents), Georgina Pazcoguin and
Benjamin Millepied (Matchmakers), Faye
Arthurs, Katie Bergstrom, Saskia Beskow,
Amanda Hankes, Glenn Keenan, Lauren King,
Meagan Mann, Gwyneth Muller, Gretchen
Smith, Cameron Dieck, Kyle Froman, Austin
Laurent, Vincent Paradiso, Justin Peck,
David Prottas, Christian Tworzyanski,
Max van der Sterre, Giovanni Villalobos
Singers: Sari Gruber (Soprano),
Elizabeth DeShong (Mezzo-Soprano),
Bryan Griffin (Tenor), Jason Hardy (Bass)
Percussionists: James Baker,
Benjamin Herman, Michael Osrowitz,
Joseph Passaro, Pablo Rieppi, James Sapporito
17
Counterclockwise from
above: Guest Artist
Julie Kent and Damian
Woetzel in Other Dances;
Ashley Bouder and
Gonzalo Garcia in Four
Bagatelles; Nikolaj Hübbe
in Watermill; Andrew
Veyette, Wendy Whelan,
Philip Neal, and Ashley
Bouder in Brahms/Handel
18
Other Dances
Music by Frédéric Chopin
Costumes by Santo Loquasto
Lighting by Ronald Bates
Revival cast: Julie Kent*, Damian Woetzel
Pianist: Cameron Grant
* Guest Artist
Watermill
Music by Teiji Ito
Costumes by Patricia Zipprodt
Décor by Jerome Robbins in association
with David Reppa
Revival cast: Nikolaj Hübbe, Kaitlyn Gilliland,
Zachary Catazaro, Matthew Renko,
Adam Hendrickson, Katie Bergstrom,
Saskia Beskow, Sophie Flack, Amanda Hankes,
Dara Johnson, Glenn Keenan, Gwyneth Muller,
Daniel Applebaum, Ralph Ippolito,
Vincent Paradiso, Allen Peiffer, Justin Peck,
David Prottas, Andrew Scordato, Henry Seth,
Christian Tworzyanski, Max van der Sterre
Former NYCB Principal
Dancer Robert La Fosse
and students from the
School of American Ballet
in Robbins’ Circus Polka
Clockwise from above left:
Corporate Chairman
Richard Beckman with his
wife Kristen, Lauren
Bacall with Honorary
Chairman Mica Ertegün,
Peter Martins with Event
Chairmen Charlotte Moss
and Barry S. Friedberg
and Veronique and Robert
Pittman
Event photos by
Mary Hilliard
The 2008 Spring Gala on April 29 officially started
the Jerome Robbins Celebration, and the festive
evening began with a poignant photo montage
of archival images set to Chopin music famously
used in Robbins’ Dances at a Gathering. Then the
audience viewed a short film of Robbins preparing dancers for the premiere of his West Side
Story Suite at New York City Ballet. The dancing
began in earnest as the littlest of dancers took
the stage in Circus Polka, followed by his glowing
The Four Seasons and an ebullient performance
of the now immortal West Side Story Suite.
Following the program, guests gathered on
the Promenade and Terrace for an elegant
supper ball. Honorary Chairman Mica Ertegün
and Event Chairmen Charlotte Moss and Barry
S. Friedberg and Veronique and Robert Pittman
joined Vice Chairman Eric Nederlander and
Corporate Chairman Richard D. Beckman of
Condé Nast Media Group in helping to make the
evening a spectacular occasion. Honorary Artists
Committee Members for the event included
Jason Alexander, Lauren Bacall, Mikhail
Baryshnikov, Arthur Laurents, Santo Loquasto,
Patti LuPone, Rita Moreno, Bernadette Peters,
Hal Prince, Chita Rivera, Stephen Sondheim,
Susan Stroman, and Jennifer Tipton. With
the leadership and generosity of the chairmen,
committee members, and numerous others,
New York City Ballet raised more than
$2.2 million, the most successful fundraising
event in the Company’s history.
Sponsored by Condé Nast Media Group.
19
Company members in a
Roman-inspired skit
Always one of the hottest tickets on the New
York social calendar, the Company’s 24th annual
Dance with the Dancers benefit on June 9, titled
“When in Rome...,” brought true bacchanalian
revelry to the New York State Theater. Dressed
in chic togas and crowned with laurel wreaths,
guests sipped on P.I.N.K. Lemonade before
sitting down to a feast that would have made
the gods proud. Between courses, Company
dancers entertained guests with a ravishing
performance featuring, among others, Cleopatra
and Mark Antony, before opening the dance
floor to attendees.
20
Clockwise from above
left: Event Chairman
Jennie Tarr Coyne with
Dancer Chairmen Megan
Fairchild, Georgina
Pazcoguin, and Sean
Suozzi; Event Chairmen
Tatiana and Campion Platt;
Event Chairman Allison
Sarofim; Corporate
Chairman Carol A. Smith
Hosted by Dancer Chairmen Megan Fairchild,
Georgina Pazcoguin, and Sean Suozzi, Event
Chairmen Jennie Tarr Coyne, Tatiana and
Campion Platt, and Allison Sarofim, along with
Corporate Chairmen Carol A. Smith of ELLE
and Vincent Ottomanelli of Salvatore Ferragamo,
more than 600 guests celebrated into the
morning hours, raising over $449,000.
with Joe Lee and
Corporate Chairman
Vincent Ottomanelli with
Dana Gers
Event photos by
Mary Hilliard
Sponsored by ELLE and Salvatore Ferragamo.
Wendy Whelan and
Benjamin Millepied
with the ensemble of
Alexei Ratmansky’s
Concerto DSCH
Concerto DSCH
The spring season’s first world premiere,
Alexei Ratmansky’s Concerto DSCH, entered
the repertory on May 29. With its thrilling
Shostakovich score and dynamic texture, this
new work was warmly received by enthusiastic
audiences and cited by The New York Times
as “the most captivating classical ballet
premiere in years.”
Music by Dmitri Shostakovich
Choreography by Alexei Ratmansky
Costumes by Holly Hynes
Lighting by Mark Stanley
Original cast: Ashley Bouder, Wendy Whelan,
Joaquin De Luz, Gonzalo Garcia, Benjamin
Millepied, Rebecca Krohn, Rachel Rutherford,
Abi Stafford, Craig Hall, Amar Ramasar,
Jonathan Stafford, Saskia Beskow, Lauren
King, Georgina Pazcoguin, Stephanie Zungre,
Antonio Carmena, Adrian Danchig-Waring,
Adam Hendrickson, Sean Suozzi
Solo pianist: Susan Walters
Concerto DSCH was made possible in part by
support from The Irene Diamond Fund, Lila
Acheson and DeWitt Wallace Endowment Fund,
The Fan Fox and Leslie R. Samuels Foundation,
contributors to the New Combinations and
Repertory Funds, and a dance commissioning
grant from the New York State Council on
the Arts.
21
SPRING SEASON
2008 Spring Season by the Numbers
Ballets: 61 World Premieres: 2 Featured role debuts: 124
Performances: 63 Attendance: 103,571
Chairing the fund raising for Dancers’
Choice was the most satisfying project
I had ever attempted: it was a joy
to help ensure that the dancers have a
cushion in cases of calamity.
—Arlene C. Cooper, Dancers’ Choice Chair
CIT is pleased that participation in the
Fourth Ring discount ticket program
22
has more than tripled during the two
years of our sponsorship. We are proud
to support New York City Ballet as it
continues to find new audiences to
delight and inspire.
—Jeffrey M. Peek, Chairman and Chief
—Executive Officer of CIT
I’m Old Fashioned Sara Mearns, Stephen Hanna
World Premiere
Flit of Fury—The Monarch
Music by Aaron Severini
Choreography by Adam Hendrickson
Woman’s costume by Magda Berliner
Men’s costumes by Adam Hendrickson
Lighting by Mark Stanley
Original cast: Gretchen Smith, Robert Fairchild,
Allen Peiffer, David Prottas, Sean Suozzi
Duo-pianists: Steven Beck, Stephen Gosling
Janie Taylor and Craig
Hall in Peter Martins’
Purple; Robert Fairchild,
Allen Peiffer, Sean Suozzi,
and David Prottas in the
world premiere of
Flit of Fury—The Monarch;
Savannah Lowery in
Balanchine’s Union Jack
On June 27, the last Friday of the Company’s
spring season, New York City Ballet held a
benefit performance to support the Dancers’
Emergency Fund. Originally conceived by
Jerome Robbins, the fund was instituted to
provide financial resources for NYCB dancers
in situations of extraordinary need. Principal
Dancer Jonathan Stafford was chosen by
Peter Martins to organize the entire evening,
which included a world premiere ballet as its
centerpiece, choreographed by Soloist Adam
Hendrickson to music composed by Corps
de Ballet Member Aaron Severini. Other program highlights included performances of Mr.
Martins’ Beethoven Romance and Purple and
the pas de deux from Christopher Wheeldon’s
Mercurial Manoeuvres, as well as excerpts from
Balanchine’s Emeralds, Rubies, Square Dance,
Stars and Stripes, Symphony in C, and Union Jack,
and Robbins’ Dances at a Gathering, Glass
Pieces, and Interplay.
The evening also included two short films: the
first was a documentary on the creation of Flit
of Fury—The Monarch in which Mr. Hendrickson
and Mr. Severini shared their inspirations for
the piece between clips of their rehearsals;
the second film, When We Were Kids, included
charming interviews of current dancers spliced
with footage of them dancing as children.
Dancers’ Choice restored a tradition at NYCB
of holding benefits for the Fund. Thanks to the
leadership of Arlene C. Cooper, over $75,000
was raised for the production of Dancers’ Choice,
thus allowing the Company to collect over
$100,000 for the Dancers’ Emergency Fund from
ticket sales, t-shirt and gift shop sales, and
donations to the silent auction. Additional thanks
is extended to Haerer Printing Solutions for
their printing of promotional materials. New
York City Ballet collaborated with Matt Sundin/
Emsfilm on video production.
23
Company class onstage
at the London Coliseum
Photo by Kyle Froman
Washington, D.C.
Saratoga Springs, New York
While New York City Ballet spends most of its
performance calendar in New York City, the
Company is fortunate to share its wealth of
repertory and magnificent dancers with audiences outside of the city. NYCB journeyed
upstate in July 2007 for its 42nd residency at
the Saratoga Performing Arts Center. Fulllength ballets are always a special treat in the
open-aired amphitheater, and the season
included four performances of Mr. Martins’
new Romeo + Juliet. A special gala performance
on July 14 featured Christopher Wheeldon’s
Carousel (A Dance), Alexei Ratmansky’s Middle
Duet, Balanchine’s Tarantella, and Aurora’s
Wedding from Peter Martins’ full-length The
Sleeping Beauty.
24
We participated in the Company’s patron trip to London and
were so very impressed with our dancers, especially
watching them perform in a different setting for audiences
who don’t have the opportunity to see them as often
as we do!
—Ahmet and Noriko Cakmak,
—New York City Ballet Patrons
Three days after the Company concluded its
2008 Winter Season in NYC, it was back onstage
for 7 performances (February 27 through March
2) at the John F. Kennedy Center for Performing
Arts. Sarah Kaufman of The Washington Times,
praised the dancers: “What strikes you foremost
is the dancers’ sweep, their ability to simply get
moving, and to do it with speed. A powerful propulsion was at the core of each work.” This was
NYCB’s fifth trip to Washington, D.C., since 2004.
London, England
After 25 years’ absence, New York City Ballet
returned to London in March 2008 for 14 performances at the London Coliseum, opening the
momentous occasion with a program to match:
Balanchine’s Serenade, Agon, and Symphony in
C. Mark Monahan of The Daily Telegraph called
the all-Balanchine program “a tremendous
evening of exceptionally confident dancing.” The
repertory also included an all-Robbins program,
an all-American program including Thou Swell,
Tarantella, Western Symphony, and West Side
Story Suite, as well as a program with works by
Mauro Bigonzetti, Martins, Wheeldon,
and Ratmansky.
New York City Ballet’s touring activity is made
possible in part by endowment grants from
the Harriet Ford Dickenson Foundation and The
Andrew W. Mellon Foundation, with additional
support provided by the Lila Acheson and DeWitt
Wallace Endowment Fund.
2007-2008
Notable
Artifacts
Donor: Time Life
8 boxes of news clippings from
the 1940s and 1950s on NYCB and
related artists
Donor: Barbara Weisberger, Founder
of Pennsylvania Ballet and the first
child student enrolled at The School
of American Ballet in 1934
The Metropolitan Opera
in a performance of
2 photo scans of George Balanchine’s
Aida for the Metropolitan Opera
Aida choreographed by
Balanchine
Donor: NYCB Costume Shop
The NYCB Archive continues to expand its
accumulation of resources and reach of support,
fielding questions from researchers and
members of the press as well as serving the
Company’s own needs. During April of 2008,
the Archive relocated from its former home
at 111th Street and Broadway to its new location
at 1 Chase Manhattan Plaza. In addition to
tripling its space to approximately 3,000 square
feet, the Archive’s facilities now include
climate control, UV filters on the lights, air
purifier units, and custodial support—significant
improvements over its previous space.
The relocation required numerous hours of
preparation in order to schedule the transfer in
such a way that the boxes were handled as few
times as possible. Each carton was numbered
and its dimensions noted in a spreadsheet,
so appropriate shelving could be ordered and
assembled prior to the move. Fragile items
were repackaged to avoid damage in transit,
and each box was given a specific location to
permit overall growth within the various collections. Clancy-Cullen Moving & Storage, Co.
facilitated the weeklong relocation, handling
the Company’s many treasures with the
greatest of care. Special thanks to JPMorgan
Chase for housing the New York City Ballet
Archive.
Original Rubies costume worn by Karin
von Aroldingen, made in Karinska’s
shop, and Balanchine’s honorary doctoral gown from Columbia University
At the close of the year, the Archive’s
28,756 records were housed in the
following collections:
Nancy Norman Lasalle Ballet Society
Collection: 6,679 entries
New York City Ballet Collection:
17,266 entries
The School of American Ballet
Collection: 3,529 entries
Tanaquil Le Clercq Collection:
997 entries
John Taras Collection: 285 entries
2007-08 SEASON
2007-08 Public
Programs
Ballet Among the Blooms
2-hour presentation at
NY Botanical Garden
Ballet for Young People
1-hour onstage programs:
1 Winter, 1 Spring
Children’s Workshops
45-minute pre-performance workshops:
3 Winter, 3 Spring
NYCB Seminars
Above: Savannah Lowery
90-minute onstage panel discussions:
3 Winter, 1 Spring
performs the Arabian
variation from George
Balanchine’s The
Nutcracker TM at a Ballet
Studio Talks
for Young People presentation; right, NYCB’s
45-minute pre-performance programs:
4 Winter, 4 Spring
youngest fans participating in a Children’s
Workshop
26
Public Programs at NYCB
Throughout the performance season, NYCB
helped bring audience members closer to the
artists onstage by presenting public programs
and exhibitions to broaden their understanding
of the accomplishments achieved through
the hard work of its thrilling dancers and the
numerous staff members behind the scenes.
Chief among these programs are the Company’s
Close-Up events offering opportunities to learn
from and interact with members of the Company.
Public programs during the 2008 fiscal year
included NYCB Seminars onstage at the New
York State Theater and informal Studio Talks
with dancers, musicians, choreographers,
designers, and ballet masters, as well as opportunities for first-time ballet-goers to explore
the world of dance at An Evening with Friends
at the Ballet and First Position Discussions.
Families with children had the chance to get
their bodies moving at Children’s Workshops,
where their imaginations were inspired by lively,
interactive movement activities. Ballet for Young
People, a child-friendly one-hour adventure into
the world of choreography, is always a popular
choice among the Company’s youngest fans.
Exhibitions
Since the Company’s 50th anniversary celebration during the 1998-1999 Season, NYCB has
exhibited photo galleries in the New York State
Theater during its performance seasons. This
year photo exhibits included The Nutcracker
Project Student Art and Poetry Exhibit, showcasing public school students’ creative works,
and a new exhibit in the spring, Jerome Robbins:
A Celebration in Photographs, that celebrated the
life of Jerome Robbins with 100 panels illustrating
his upbringing and career, including historical
documents and archival images of his works.
2007-08 SEASON
NYCB
Educational
Programs by the
Numbers
Backstage at the Ballet
1-hour tours, Preschool–2nd Grade
Total Participants: 720
Working Day with NYCB
1-hour tours, 3rd–College
Ballet Fanfare
Lecture Demonstrations
Total Participants: 1,418
Nutcracker Project
Clockwise from top:
Curricular academic program,
3rd–4th Grade
participants on a
Backstage at the Ballet
tour, public school
students in a Ballet
Bridges choreographic
Ballet Bridges Elementary
exploration, NYCB dancer
Ralph Ippolito demon-
Curricular movement program,
3rd–5th Grade
strates correct posture
for Physical Therapist
Katy Keller during NYCB’s
Wellness Weekend, a
young student holding
Ballet Bridges Middle School
a pointe shoe for the
first time
Outreach in NYC and the
Greater Metropolitan Area
New York City Ballet continues inspiring thousands of people outside of the theater, informing
them of the cultural and physical importance of
ballet through outreach programs for schools
and the general public. The Company strives to
give back to the greater metropolitan community
through its school programs and this year
reached over 6,500 students in all five of New
York City’s boroughs in addition to three counties
outside of New York.
Support for New York City Ballet’s education
and outreach programming in 2007-2008 was
provided by Citi Foundation, Sue and Michael
Steinberg, The Tiger Baron Foundation,
The Dreitzer Foundation, Rose M. Badgeley
Residuary Charitable Trust, Edith Everett,
Macy’s Foundation, Murray L. Nathan, Naomi O.
Seligman, and other generous contributors to
the Mentors Circle and Education Funds.
Curricular movement program,
6th–8th Grade
NYCB Workout High School
Physical education and master classes
NYCB Internships
Wellness Workshops
Total Participants: 197 in 6 cities
Wellness Weekend
2007-08 SEASON
2007-2008
Fellowship
Initiative Grants
Ballet Met
Artistic Director: Gerard Charles
Choreographer/Fellow:
Adam Hundt
Carolina Ballet
Artistic Director: Robert Weiss
Attila Bongar
Milwaukee Ballet
Artistic Director: Michael Pink
Petr Zaradnicek
North Carolina Dance Theatre
Artistic Director:
Jean-Pierre Bonnefoux
Madeline Guerdat
28
An affiliate of NYCB, the New York Choreographic
Institute was founded by Peter Martins and
Irene Diamond in the spring of 2000 with a gift
of $5.5 million from the Irene Diamond Fund to
encourage aspiring and established choreographers alike in their artistic development. The
Institute’s primary activity is to provide choreographers with the opportunity to develop their
craft in a nurturing environment, free of the
pressures associated with public performances.
This is achieved during two working sessions
in New York at NYCB’s rehearsal studios each
year. The choreographers’ work in the studio is
supplemented by attending performances and
exhibitions throughout the city with the intent of
helping to inform their choreographic decisions
by broadening an understanding of performance and fine art.
In addition to its New York choreographic
sessions, the Institute established a Fellowship
Initiative program in 2005. Designed to give
other classical dance companies the means to
replicate, on a smaller scale, the opportunities
that the Institute provides to choreographers,
the Institute annually awards as many as five
fellowships of up to $15,000 to recipient companies to create programs that encourage the
development of classical choreographers. The
fellowships are granted to both national and
international classical dance companies that
are willing to supply choreographers with the
dancers, musicians, and studio time necessary
to explore their craft. As the Institute’s interest
is in the process of choreography itself, the
fellowships do not involve costumes, scenery,
or lighting designs, but do culminate in an
informal showing of the work created.
2007-08 SEASON
2007-2008
New York
Choreographic
Institute
Participants
2007 Fall Session
Jiri Bubenicek—
Dresden Semperoper Ballet,
principal dancer; choreographer
Top to bottom: students
from the School of
Douglas Lee—
Stuttgart Ballet, principal dancer;
choreographer
American Ballet in
Michael Tucker’s spring
session choreographic
work; NYCB’s Megan
LeCrone, Zachary
Annabelle Lopez Ochoa—
choreographer
Catazaro, and Mary
Elizabeth Sell performing
Douglas Lee’s choreo-
Richard Siegel—
The Bakery, artistic director;
choreographer
graphy; the 2008 Spring
Session choreographers
(left to right): Alejandro
Cerrudo, Daniela Cardim,
Massimiliano Volpini—
Teatro alla Scala Ballet, corps de
ballet member; choreographer
Kiyon Gaines, Matthew
Renko, Darius Barnes,
and Michael Tucker
Opposite: SAB student
Shelby Elsbree and NYCB
dancer Anthony Huxley
2008 Spring Session
performing choreography
Darius Barnes—
New York City Ballet, apprentice
by Jiri Bubenicek
Middle photo this page and
photo on opposite page by
Daniela Cardim—
Het Nationale Ballet, coryphée;
choreographer
Rosalie O’Connor
With the conclusion of the Fall 2007 and Spring
2008 choreographic sessions, a total of 58
choreographers from more than ten different
countries have participated in the Intitute’s
15 sessions during its seven years of existence.
In addition to leadership gifts from The Irene
Diamond Fund, major funding for the Institute’s
endowment has been contributed by Bob and
Martha Lipp, Harriet Ford Dickenson Foundation,
Agnes Gund and Daniel Shapiro, and Barry S.
Friedberg and Charlotte Moss, with additional
generous support from Marie Nugent-Head and
James C. Marlas, The Hochberg Foundation
Trust, Annie and Art Sandler, David and Susan
Viniar, and The Horace W. Goldsmith Foundation.
Alejandro Cerrudo—
Hubbard Street Dance Chicago
Kiyon Gaines—
Pacific Northwest Ballet, corps de
ballet member; choreographer
Matthew Renko—
New York City Ballet, apprentice
Michael Tucker—
The School of American Ballet,
student
29
2007-08 SEASON
Rebecca Krohn, Sean
Suozzi, and Ellen Bar in
George Balanchine’s Agon
30
Since 1985, NYCB’s loyal volunteers have
provided services to all areas of the Company
as well as actively supporting and promoting
the Company among friends and family. Over
250 in number, and ranging in age from 16 to
90, volunteers maintain an enthusiastic and
helpful presence while staffing Green Room
receptions, providing patron assistance at
information tables, and selling mementos at
the Gift Shop. Volunteers also help research
and write repertory notes for world and
Company premieres as well as biographical
information for the composers and choreographers. These notes are in turn distributed
to subscribers and made available in weekly
editions at information tables during performances, where information on the New York
State Theater, costuming, and pointe shoes
is also provided for audience members.
Each year, volunteers contribute valuable
assistance, staffing special performances and
events at the theater. This includes meeting
and greeting audience members at open dress
rehearsals and educational events, giving more
than 30 docent talks per season for first-time
ballet-goers, and coordinating rehearsal visits
for members of the NYCB Guild. Additionally,
volunteers assist the Company’s administrative
offices at both the theater and the Rose Building,
saving the Company and its staff innumerable
hours and money. We are grateful for the
unwavering dedication of all our volunteers.
The Company extends its appreciation to Mr.
Babbington Caterers and Whole Foods for their
generosity and support of NYCB’s volunteers.
2007-08 SEASON
Nikolaj Hübbe (above) and
Damian Woetzel taking
their final bows with New
York City Ballet
On a very emotional Sunday afternoon, Nikolaj
Hübbe gave his final performance as a New York
City Ballet principal dancer. The program on
February 10 showed the range of his astonishing
talents—from classical to folk-tinged and streetsmart to comedic, including excerpts from
Balanchine’s Apollo and Western Symphony,
Robbins’ West Side Story Suite, and Martins’
Zakouski. Along with dancing these four ballets,
Mr. Hübbe also staged Bournonville’s Flower
Festival pas de deux for two young dancers
from the corps de ballet, Kathryn Morgan and
David Prottas, showing off his skills as a ballet
master. These skills will come in handy in the
next phase of his life as Artistic Director of the
Royal Danish Ballet, the company where he
started his career.
On June 18, the company celebrated the career
of one of its most charismatic principal dancers.
Damian Woetzel’s powerful and passionate
performances captivated the hearts of innumerable audiences, and he marked his retirement
with a unique one-evening-only performance.
The farewell program featured Mr. Woetzel
in Robbins’ Fancy Free and Balanchine’s Rubies
and Prodigal Son, with three casts of principals
sharing the responsibility of dancing Rubies
alongside Mr. Woetzel.
31
The ensemble of Jerome
Robbins’ Glass Pieces
32
New York City Ballet’s 2007-2008 Season was
made possible by generous grants from the
Joseph and Sylvia Slifka Foundation, Harriet Ford
Dickenson Foundation, Richard Haven Lasdon,
The Jerome Robbins Foundation, Denise Sobel
and Norman Keller, The Fan Fox and Leslie R.
Samuels Foundation, The Irene Diamond Fund,
The Shubert Foundation, The Ambrose Monell
Foundation, The Florence Gould Foundation,
Geoffrey C. Hughes Foundation, LuEsther T.
Mertz Charitable Trust, The New York Community
Trust–Mary P. Oenslager Foundation Fund,
New York State Music Fund, Kent Simons, The
Starr Foundation, Sue and Michael Steinberg,
and public funds from the New York State
Council on the Arts, New York City Department
of Cultural Affairs, and the National Endowment
for the Arts. New York City Ballet also extends
thanks to the many other donors who generously
support the Company.
Special thanks is extended to CIT, who for the
second year running has sponsored $20 tickets
in the Fourth Ring for New York City Ballet
performances at the New York State Theater.
CIT also graciously supported two open dress
rehearsals, one each in the winter and spring
repertory seasons, opening doors to audiences
that might not normally have the opportunity
to come to the ballet.
We are fortunate to be able to support New York City Ballet, and we have enjoyed
seeing the Company grow and develop over the years.
—Denise Sobel and Norman Keller,
—New York City Ballet Patrons
2007-08 ANNUAL REPORT2007-08 SEASON
Revenues
Other Income 2%
Investment Income
45%
Performance Ticket Sales
and Tour Fees
70%
Ballet Production
Costs
16%
Public Support
37%
Expenses
Production Management
Expenses
7%
Facility Expenses
Support
Services
8%
15%
Public Support
Government
37%
8%
Corporations
Foundations
8%
Individuals
(including Guild
memberships)
11%
Estates & Trusts
13%
23%
Special Events
New York City Ballet’s gross operating revenues
from all sources were $59,672,000, which was
an increase of 3% over the prior fiscal year.
Ticket sales and tour fees of $26,831,000
increased $54,000 from 2007. Contributions
designated for operations totaled $22,088,000
or 37% of total revenues, a 1% increase from
2007. Investment income from endowment of
$9,330,000 was an 11% increase from 2007.
Endowment investments totaled $142,411,000,
down from $171,296,000 on June 30, 2007.
Operating expenses in 2008 were $60,828,000,
a 3% increase from 2007. The excess of expenses
over revenues resulted in a $1,156,000 operating
deficit. For a complete set of financial statements, please go to nycballet.com/company/
reports.html or call 212-870-7784.
33
NEW YORK CITY BALLET, INC. FINANCIAL STATEMENTS
Statements of Financial Position
at June 30, (in thousands)
2008
2007
$ 26,124
$ 12,069
142,411
9,489
285
157
990
1,797
171,296
11,858
359
181
1,127
603
5,944
6,403
$ 187,197
$ 203,896
$ 3,553
$ 3,419
–
898
7,056
59
734
5,619
11,507
9,831
(6,881)
4,283
64,135
61,537
(2,803)
4,635
77,909
79,741
289
5,118
632
6,039
360
5,983
505
6,848
57,750
20,844
29,520
108,114
57,750
20,626
29,100
107,476
175,690
194,065
$ 187,197
$ 203,896
Assets
Cash and cash equivalents
Investments
Pledges receivable
Accounts receivable
Inventory
Deferred production costs
Due from CCMD
Leasehold in Rose Building and other property and
equipment, less accumulated depreciation of $7,953
in 2008 and $7,299 in 2007
Total assets
Liabilities and net assets
Liabilities:
Accounts payable and accrued expenses
Advance ticket sales and other deferred revenue
Payroll-related liabilities due to CCMD
Payroll-related and other liabilities
Total liabilities
Net assets
Unrestricted:
Undesignated
Investment in Rose Building
Board-designated (see note 7)
34
Temporarily restricted:
Future productions
Time and other restrictions
Dancers’ emergency
Permanently restricted:
Wallace endowment
Unrestricted endowments
Restricted endowments (see note 7)
Total net assets
Total liabilities and net assets
The accompanying notes are an integral part
of these financial statements
Statements of Activities
for the year ended June 30
(in thousands)
2008
2007
$ 26,831
$ 26,777
9,330
1,423
8,400
983
37,584
36,160
42,663
4,738
4,048
51,449
40,647
4,260
4,031
48,938
4,581
4,798
9,379
4,442
5,608
10,050
60,828
58,988
(23,244)
(22,828)
Changes in unrestricted net assets
Operating revenues:
Performance ticket sales and tour fees
Investment income not to exceed spending policy
Other revenues
Total operating revenues
Operating expenses:
Program services:
Ballet production costs
Facility expenses
Production management expenses
Supporting services:
Administration
Public support expense
Total operating expenses
Loss from operations before public support
Public support including utilization
of temporarily restricted net assets:
Appropriation from the City of New York
Other governmental agencies
Special events
Guild memberships and activities
Foundations
Corporations
Individuals
Estates and trusts
Total public support
Operating deficit
Pension plan and post employment adjustments
Investment income over spending policy
(Decrease) increase in unrestricted net assets
(continued)
1,340
346
5,148
2,847
2,537
1,687
5,394
2,789
1,246
300
5,033
2,663
2,938
2,123
7,027
518
22,088
21,848
(1,156)
(980)
(606)
(16,442)
(1,632)
17,352
$ (18,204)
$ 14,740
35
Statements of Activities
for the year ended June 30 (continued)
(in thousands)
2008
2007
Changes in temporarily restricted net assets
Investment revenue
$ (11)
Public support:
City support
Other government
Guild memberships
Foundations
Corporations
Individuals
Estates and trusts
Utilization of temporarily restricted net assets
Change in value of split-interest arrangements
–
115
–
646
1,115
2,021
–
(4,704)
9
(Decrease) increase in temporarily restricted net assets
(809)
$ 1,387
3
90
–
1,681
1,083
3,024
11
(6,430)
68
917
Changes in permanently restricted net assets
Public support:
Foundations
Corporations
Individuals
Increase in permanently restricted net assets
114
11
513
4,612
–
162
638
4,774
Change in total net assets
(18,375)
Net assets:
Beginning of year
194,065
173,634
End of year
$ 175,690
$ 194,065
36
20,4311
Statements of Cash Flows
for the year ended June 30
(in thousands)
2008
2007
Cash flows from operating activities
Change in net assets:
Unrestricted
Temporarily restricted
Permanently restricted
Adjustments to reconcile change in net assets
to net cash used in operating activities:
Depreciation
Contributions restricted for long-term activities
Net losses/(gains) on investments
(Increases) decreases in assets:
Pledges receivable
Accounts receivable
Inventory
Deferred production costs
Due from CCMD
(Increases) decreases in liabilities:
Accounts payable and accrued expenses
Advance ticket sales and other deferred revenue
Payroll-related liabilities due to CCMD
Payroll-related and other liabilities
Net cash used in operating activities
$ (18,204)
$ 14,740
(809)
638
917
4,774
(18,375)
20,431
672
(400)
9,160
592
(1,026)
(25,196)
2,369
74
24
137
(1,194)
(1,222)
160
23
70
196
134
(59)
164
1,437
2,000
(223)
45
100
(5,857)
(4,050)
56,485
(36,760)
(213)
19,512
52,304
(53,296)
(79)
(1,071)
400
400
1,026
1,026
14,055
(4,095)
Cash flows from investing activities
Proceeds from sales of investments
Purchases of investments
Purchases of property and equipment
Net cash provided by (used in) investing activities
Cash flows from financing activities
Endowment contributions
Net cash provided by financing activities
Net increase (decrease) in cash and cash equivalents
Beginning of year
End of year
12,069
16,164
$ 26,124
$ 12,069
37
1. Summary of Financial Statement Presentation
and Significant Accounting Policies
The New York City Ballet, Inc. (City Ballet) is a
not-for-profit organization and a constituent of
City Center of Music and Drama, Inc. (CCMD). City
Ballet operates as an entity independent of CCMD
that provides certain services as described further
below. CCMD is the sole member of City Ballet.
City Ballet is a tax-exempt organization and,
accordingly, is not subject to income tax in accordance with §501(c)(3) of the Internal Revenue Code
(the “Code”) and has been classified as a publicly
supported organization as defined in §509(a)(2)
of the Code. Contributions to City Ballet are tax
deductible to contributors as provided by law.
The following is a summary of significant accounting policies consistently followed by City Ballet in
the preparation of its financial statements.
Financial statement presentation
The accounts of City Ballet are maintained in
accordance with the principles of fund accounting.
This procedure classifies resources for accounting
purposes into funds established to reflect the
activities and objectives specified by donors and/or
City Ballet’s Board of Directors. The financial statements are presented in accordance with accounting
principles generally accepted in the United States of
America, which require that a not-for-profit organization’s statement of financial position report the
amounts for each of three classes of net assets—
permanently restricted, temporarily restricted, and
unrestricted—based upon the existence or absence
of donor-imposed restrictions. The preparation of
financial statements in conformity with generally
accepted accounting principles requires management to make assumptions and estimates that
affect the amounts reported.
Reclassifications Certain prior-year balances
have been reclassified for comparative purposes.
38
Cash and cash equivalents consist of highly liquid
investments with an original maturity of three
months or less.
Property and equipment
City Ballet does not own any land or buildings.
Purchases of furniture and equipment that are
not material are charged to current operations.
Significant additions are capitalized and are
depreciated using the straight-line method over
the estimated useful lives of the assets.
Investments
The investments in the accompanying financial
statements consist of marketable debt and equity
securities, several money-market accounts and
certain “alternative,” limited-partnership investments. The debt, equity and money-market investments are reported at their fair values, which are
bases on quoted market prices. The alternative
investments are adjusted to fair values annually,
at City Ballet’s fiscal year-end, based on the valuations of the underlying assets as provided by the
respective investment managers. Management
reviews the calendar year-end audited values
provided by the investment managers and believes
the reported amounts of these investments at City
Ballet’s fiscal year-end to be reasonable estimates
of fair value.
Board-designated funds
Board-designated funds have been established
by City Ballet as part of unrestricted net assets for
purposes similar to those with donor-imposed
restrictions. In June 1991 the Board adopted a
policy permitting management to budget and
expend a percentage (5.0% for fiscal-years 2008
and 2007) of a moving average of quarterly market
values of its investment portfolio. The difference
between this calculated amount and actual investment income is shown as “Investment income
not to exceed spending policy” in the accompanying
statements of activities and added to “Boarddesignated net assets.”
Endowments, NEA and working capital reserve
Endowments, including certain National
Endowment for the Arts (NEA) challenge grant
funds, are subject to the donor- imposed restriction
requiring that the gift be maintained in perpetuity
with only the income being utilized. All such funds
are included as part of permanently restricted
net assets. Amounts may be withdrawn from these
funds during the year to finance current operations, with the condition that all withdrawals are
fully repaid in cash prior to that fiscal year-end.
Investment income from these funds is available
for operations.
Public support, grants, and contributions
City Ballet reports gifts of cash and other assets as
restricted support if they are received with donor
stipulations that limit the use of the donation. When
a donor restriction expires, that is, when a stipulated time restriction ends or a purpose restriction
is accomplished, temporarily restricted net assets
are reclassified to unrestricted net assets and
reported in the statements of activities as part of
public support including utilization of temporarily
restricted net assets.
Choreographic Institute Endowment
The New York Choreographic Institute has a
restricted endowment that supports its activities.
At the close of fiscal-year 2008, $776,000 remained
unutilized at year-end and is included in temporarily
restricted net assets for the Choreographic
Institute.
Production costs
City Ballet charges costume, scenery, and other
production costs for current productions to expense
as incurred. Costs relating to future productions
are deferred until the year in which the productions
are first presented.
Allocation of expenses, income and support
CCMD provides services to City Ballet in connection
with its operation and management of the New
York State Theater and other administrative and
accounting services under a management and
services agreement. CCMD’s New York State
Theater facility expenses, facility income, and New
York City facility support are allocated among the
constituents based upon the number of scheduled
performance weeks in the theater during the year.
Allocation of expenses, income and support
(continued)
Administrative revenue and expense are allocated
equally among the constituents except for contributions and grants restricted for theater improvements and depreciation of donated equipment and
facilities. Allocated expenses result in intercompany receivables and payables that are periodically
liquidated through cash transfers.
Functional allocation of expenses
Expenses are classified according to the programs
for which they were incurred and are summarized
on a functional basis in the accompanying statements of activities. Accordingly, certain costs have
been allocated among programs and supporting
services in reasonable ratios by management.
New accounting pronouncements
The Financial Accounting Standards Board has
released Statement of Financial Accounting
Standards (SFAS) No. 157, “Fair Value Measurement,” which defines fair value, establishes a
framework for the measurement of the fair value
of an organization’s assets and liabilities in
various circumstances, and enhances disclosures
about fair-value measurements. The City Ballet
is required to adopt SFAS No. 157 for fiscalyear 2009.
In August 2008, the FASB released a Staff Position
document (FSP), FAS No. 117-1, “Endowments
of Not-for-Profit Organizations: Net Asset
Classification of Funds Subject to an Enacted
Version of the Uniform Prudent Management of
Institutional Funds Act, and Enhanced Disclosures
for All Endowment Funds.” The FSP requires
expanded disclosures about the activities in an
organization’s endowment funds (both donorrestricted and board-designated) and is effective
for City Ballet in fiscal-year 2009.
2. Investments
The following is a summary of the quoted market
value of investments and cash equivalents as of
June 30th (in thousands):
Equities
Corporate bonds
Government bonds
Diversified hedge funds
Cash equivalents
2008
2007
$ 44,791
$ 93,666
2,697
31,534
63,388
27,187
1,324
21,947
54,359
12,277
$ 169,597
$ 183,573
Total (loss)/income from investments amounted to
$(7,122,000) and $27,139,000 in fiscal-years 2008
and 2007, respectively. These amounts are inclusive
of utilized interest of $587,000 and $316,000 in
2008 and 2007, respectively. Year-to-year variation
is due to market fluctuations and the performance
of the portfolio managers.
3. Pledges Receivable
Pledges have been recorded at their present
value, net of applicable discounts, of $513,000 and
$755,000 in fiscal-years 2008 and 2007, respec-
tively. No provision for uncollectible pledges has
been made. Pledges specifically for City Ballet’s
endowment, net of applicable discounts, totaled
$5,430,000 and $6,972,000 in fiscal-years 2008
and 2007, respectively. Pledges are expected to
be collected as follows (in thousands):
Less than one year
One to five years
2008
2007
$ 4,513
$ 6,785
4,976
5,073
4. Pension Plans
City Ballet participates in a noncontributory,
defined-benefit pension plan (the “Plan”) for
nonunion, salaried employees of CCMD and its
constituents. Pension benefits are based on years
of service and final average compensation, as
defined in the Plan. Plan benefit obligations and
assets are combined for all participants of the
Plan. The policy is to fund annually the required
contribution necessary to comply with the
Employee Retirement Income Security Act
of 1974.
Unrestricted net assets decreased by $79,000
and $1,632,000 in fiscal-years 2008 and 2007,
respectively, resulting from minimum pension
liability adjustments required to increase the
accrued pension benefit liability to the amount
of the unfunded projected benefit obligation at
each June 30. These amounts were inclusive of
City Ballet’s share of CCMD’s costs. The fiscal-year
2007 adjustment is due primarily to changes in
measuring the benefit obligation in accordance
with the adoption of Financial Accounting
Standards Board Statement No. 158, “Employers’
Accounting for Defined Benefit Pension and Other
Postretirement Plans,” which requires the use of
the pension plan’s projected benefit obligation
instead of its accumulated benefit obligation for
determination of the pension liability.
Amounts are allocated to City Ballet based on an
actuarial determination of City Ballet’s participation
in the Plan. Separate information regarding the
components of pension cost, the fair value of plan
assets, and accumulated and projected benefit
obligations is not available for City Ballet. Such
information, along with the key actuarial assumptions, is contained in the financial statements
of CCMD.
City Ballet’s allocated portion of net periodic
pension cost for fiscal-years 2008 and 2007 was
$586,000 and $673,000, respectively. Partially
as a result of these factors, City Ballet’s allocated
portion of accrued pension benefit/liability at
June 30, 2008 and 2007 was $3,090,000 and
$2,969,000, respectively.
City Ballet also contributes to union pension
plans directly and through CCMD, based upon a
percentage of those employees’ salaries. Pension
costs associated with plans paid directly by City
Ballet amounted to approximately $2,483,000
and $2,490,000 in fiscal-years 2008 and 2007,
respectively.
39
5. Commitments
Samuel B. and David Rose Building
(Rose Building): During fiscal-year 1985, City
Ballet entered into an agreement whereby it
contributed, based on space usage, a pro rata share
of the costs of the Rose Building. Under the agreement, City Ballet received a 99-year lease for its
space. Construction costs were capitalized and are
being amortized over the anticipated useful life
of the building. Depreciation began in fiscal-year
1992 when the space was put into service, and
amounted to $352,000 for fiscal-years 2008 and
2007. Also under the terms of the lease, in addition
to its own operating costs, City Ballet is committed
to pay its share of common area costs.
Warehouse and telemarketing office:
During fiscal-years 2008 and 2007, City Ballet
leased space for two warehouses and a telemarketing office. Rent expense including these spaces
for fiscal-years 2008 and 2007 was $408,000 and
$209,000, respectively. Future minimum lease
payments under these leases at June 30, 2008 are
$109,000 for fiscal-year 2009 and $17,000 for
fiscal-year 2010.
6. Postretirement and Postemployment Benefits
Other than Pensions
40
In 1978, CCMD adopted the policy of providing the
option to certain employees with 20 years of service
and who were 65 years of age upon their retirement
from City Ballet or CCMD, to continue in the group
medical and life insurance plan, at no cost to the
employee. The CCMD Board of Governors ended
this policy in April 1995 for employees who had not
vested in this benefit. In 1997 the CCMD Board of
Governors reinstituted this benefit for all active
employees who had, at that date, already achieved
the requisite 20 years of service. In addition,
City Ballet contracts with various unions include
provisions for severance payments to members
after they reach a predetermined length of service.
City Ballet funds both of these obligations using
the pay-as-you-go method.
Subsequent to the adoption of FASB Statement
No. 158 (see Note 4), the unrestricted net assets
of City Ballet were decreased by $457,000 to
record the adjustments required to increase the
accrued postretirement benefit liability to the
amount of the unfunded projected benefit obligation as of June 30, 2008. These amounts were
inclusive of City Ballet’s share of CCMD’s costs.
Such amounts are reflected as adjustments to
net assets in the accompanying statements
of activities.
The following tables set forth basic information
relating to the accrued benefit liability
(in thousands):
Postretirement Benefit
Obligation at the end
of year
Accumulated Obligation
Unrecognized Amounts
2008
2007
$ 1,157
$ 1,154
700
659
$ 457
$ 495
Postretirement Benefit
Obligation at the end
of year
Actives not fully eligible
to retire
Actives fully eligible
to retire
Retirees
End of year
2008
2007
$ 105
$ 95
199
853
186
873
$ 1,157
$ 1,154
The following items are the components of the net
periodic postretirement benefit cost and corresponding changes to the accumulated obligation
for each fiscal year (in thousands):
Net periodic postretirement
benefit cost:
Service
Interest
Amortization of prior years’
service cost
Amortization of
accumulated loss
Net periodic postretirement
benefit cost
Actual payments
Net change
Accumulated obligation:
Beginning of year
End of year
2008
2007
$ 3
$ 6
76
48
–
6
38
20
117
(76)
41
80
(62)
18
659
641
$ 700
$ 659
Estimated Benefit payments are as follows:
Year Beginning
July 1st
Estimated Employer
Benefit Payment
2008
$ 97
2009
98
2010
98
2011
98
2012
98
2013
98
2014–2018
499
The accumulated postretirement benefit obligation was actuarially determined as of June 30,
2008, using assumed discount rates of 6.75%.
The assumed rate of future increases in health
care was 10% in the first year, declining to 4%
by the year 2018. Had the health-care cost-trend
rate assumption been increased by 1%, the
accumulated postretirement benefit obligation
would have increased by 14%. The effect of this
change on the sum of the service and interest
cost components of net periodic postretirement
benefit cost would have been an increase of 11%.
The postretirement balance is reflected as part
of payroll-related liabilities.
7. Net Asset Designations and Restrictions
City Ballet’s Board of Trustees has designated
some of its unrestricted net assets for certain
purposes as follows (in thousands):
2008
2007
Cash/investment reserves $ 14,303
Functioning as endowment
44,990
1,606
Touring
Repertory
3,236
$ 11,636
$ 64,135
$ 77,909
61,431
1,606
3,236
City Ballet’s donors have restricted the income
from some of their endowment contributions for
certain purposes as follows (in thousands):
Touring
Martins repertory fund
Levin dancer
Education
Scenic design maintenance
Robbins repertory fund
Choreographic institute
Nureyev emerging
choreographers
Dance on
Balanchine repertory
Musical leadership
Kirstein apprentice and
loan funds
2008
2007
$ 2,975
$ 2,975
3,000
1,000
905
250
67
15,642
3,000
1,000
905
250
67
15,457
675
481
2,310
2,000
457
464
2,310
2,000
215
215
$ 29,520
$ 29,100
8. Schedule of Functional Expenses
Salaries
Benefits
Salaries and related
benefits
Occupancy
Depreciation
Printing
Transportation
Scenery, music, and
costumes
Professional fees
Data processing, telephone
and office expenses
Miscellaneous expenses
CCMD shared services
allocation
Ballet
Production
Costs
Facility
Expenses
Production
Mgmt.
Expenses
Total
Program
Services
Admin.
Public
Support
Expenses
2008
Total
2007
Total
$ 24,082
$ 63
$ 3,226
8,041
19
750
$ 27,371
$ 1,453
$ 1,368
$ 30,192
$ 29,521
8,810
452
494
9,756
9,353
32,123
82
3,976
36,181
1,905
1,862
39,948
38,874
231
200
3,757
1,722
2,553
636
353
–
–
–
–
–
–
–
–
867
553
3,757
1,722
2,553
2
50
32
39
–
6
51
178
112
–
875
654
3,967
1,873
2,553
764
592
4,329
1,534
2,614
1,446
392
–
–
51
–
1,497
392
558
105
2,418
171
4,473
668
4,595
496
239
–
–
3,667
21
–
260
3,667
349
1,541
–
–
609
5,208
619
4,571
$ 42,663
$ 4,738
$ 4,048
$ 51,449
$ 4,581
$ 4,798
$ 60,828
$ 58,988
41
INDEPENDENT AUDITORS’ REPORT
Eisner LLP
Accountants and Advisors
To the Board of Directors
of New York City Ballet, Inc.
We have audited the accompanying statements of financial position of the
New York City Ballet, Inc. (“City Ballet”) as of June 30, 2008 and 2007, and
the related statements of activities and cash flows for the years then ended.
These financial statements are the responsibility of City Ballet’s management. Our responsibility is to express an opinion on these financial statements based on our audits.
We conducted our audits in accordance with auditing standards generally
accepted in the United States of America. Those standards require that we
plan and perform the audit to obtain reasonable assurance about whether
the financial statements are free of material misstatement. An audit includes
examining, on a test basis, evidence supporting the amounts and disclosures
in the financial statements. An audit also includes assessing the accounting
principles used and significant estimates made by management, as well
as evaluating the overall financial statement presentation. We believe that
our audits provide a reasonable basis for our opinion.
In our opinion, the financial statements enumerated above present fairly, in
all material respects, the financial position of the New York City Ballet, Inc.
as of June 30, 2008 and 2007, and the changes in its net assets and its cash
flows for the years then ended, in conformity with accounting principles
generally accepted in the United States of America.
42
New York, New York
November 19, 2008
CREDITS
^
David H. Koch Theater, 20 Lincoln Center, New York, NY 10023
CREDITS
^
Cover: Abi Stafford and Albert Evans
in George Balanchine’s Symphony in
Three Movements
Studio photography by Nick Heavican
All other photography ©Paul Kolnik
unless otherwise indicated
Design: Design per se, Inc, New York
The photographs in this book depict
choreography copyrighted by the
individual choreographers. Receipt of
this book does not convey the right
to reproduce the choreography, sets,
or costumes depicted herein.
©New York City Ballet, Inc.
The Cage Wendy Whelan, Craig Hall

FY2008 Annual Report - New York City Ballet

Transcription

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