It’s still early, but as Atlanta Ballet prepares to open its run of Jean-Christophe Maillot’s “Romeo et Juliette” on Friday, the 2013-14 season appears to be turning out nicely.
Things got off to a flying start with a successful series of November appearances by the company in Beijing at an inaugural international dance festival organized by the National Ballet of China. The dancers returned to Atlanta just in time to begin rehearsals for “Atlanta Ballet’s Nutcracker.”
The company has just announced that the production of the holiday classic, presented every year since 1959, had a record run, with revenues of $2.09 million.
With that momentum, Atlanta Ballet now moves into the heart of its schedule: “Romeo et Juliette,” the mixed repertory “Modern Choreographic Voices” in March, “Hamlet” in April and the mixed rep “Mayhem” in May.
At this early juncture, advance ticket sales for each of the programs are tracking as well or better than last season, which itself achieved a 30 percent attendance jump over 2011-12.
“It’s too early to break open the champagne but it’s looking hopeful,” executive director Arturo Jacobus said.
Since joining Atlanta Ballet in 2010, the veteran dance administrator has helped stabilize the organization, allowing artistic director John McFall to further focus the troupe’s onstage identity. McFall has blended bold contemporary choreography into a repertory once dominated by classical ballet.
Still, “Nutcracker” remains a key part of Atlanta Ballet’s mix. It contributes not just to the bottom line but allows performance opportunities for students from its Centre for Dance Education. The school also achieved a record number in 2013, with its 1,200 enrollment the highest since its 1996 opening.
“Nutcracker” attracted 49,246 over its four-week, 22-performance Fox Theatre run, averaging more than 2,200 patrons per show.
Jacobus attributed the record success of the holiday standard to many factors: the improving economy, consistent branding over several years, an energetic marketing approach (from social media to billboards) and appearances by magician Drew Thomas (who added illusions in 2012 and in 2013 appeared for two weeks as Drosselmeyer in a production he further tricked up).
Well before “Nutcracker’s” success, the company finished the 2012-13 fiscal year last July 31 with a deficit of $150,000, which Jacobus called “very small in the scheme of a $9.9 million annual budget.” Cash reserves were tapped to balance the books.
“We’re very happy,” Jacobus said. “Now the challenge going forward is sustainability. We’ve come a long way, hit a stride artistically and organizationally. Now we need to do what is necessary to make sure that lasts.”
With that in mind, the ballet is expected to announce a capital campaign perhaps as soon as year’s end that would build its artistic innovation fund, expand its endowment and cash reserves, launch a fund to support national and international touring and pay for the build-out of a 200-seat black box theater at the Michael C. Carlos Dance Centre.
Unlike many “homeless” Atlanta arts groups, Atlanta Ballet owns its Westside headquarters as a result of its last capital campaign, which concluded in 2012. The company raised $20.7 million, far exceeding its original goal of $14.8 million, and ushering in era of attracting top choreographers such as Twyla Tharp, Ohad Naharin (whose “Secus” tops the March program) and new choreographer in residence Helen Pickett (whose “The Exiled” will receive its world premiere in the May program).
"Romeo et Juliette" tickets, starting at $20, are available via 404-892-3303, www.atlantaballet.com.
THEATER
‘Romeo’ also on boards at Shakespeare Tavern
The Atlanta Shakespeare Company at the New American Shakespeare Tavern has its own take of “Romeo and Juliet.” The just-opened 14th annual production is running in repertory with “Much Ado About Nothing” and “The Taming of the Shrew.”
Through March 30. $15-$36. 499 Peachtree St. N.E. Atlanta. 404-874-5299, www.shakespearetavern.com.
VISUAL ART
Self-storage units harbor artful compulsions
Atlanta artist Sarah Hobbs, who transformed three W Atlanta-Midtown hotel rooms into a site-specific installation on travelers’ phobias and worries in late 2012, is back at it. Her installation “Repository” will open 4-6 p.m. Saturday in four units at 14th Street Self Storage.
The installation further explores human obsessiveness. This time, according to presenter Solomon Projects, it’s “the concept of individuals creating a completely private space for themselves within a public facility in order to house a compulsion, difficult aspect of their life, or a surreptitious sanctuary.”
Viewing hours: 11 a.m.-6 p.m. Tuesdays through Saturdays. Through Feb. 22. 151 14th St. N.W., Atlanta. Free. www.facebook.com/SolomonProjects.
Two Atlanta artists in High spotlight
The High Museum of Art will open two exhibits by Atlanta artists on Saturday: “Medford Johnston: Counterpoise” and “Splendor: The Work of Jim Waters” (both through June 8).
The colorful and fluid forms in the works of Johnston, a retired Georgia State University art professor who has served as a mentor to many up-and-coming artists, were inspired by people and places he encountered during travels in Tanzania and Kenya in the late 1980s.
The show by Waters will include works on paper and a site-specific installation that suggest a relationship between the natural and artificial worlds. Outside of his own art-making, Waters works as the High’s exhibitions designer.
$19.50; $16.50, 65 and over and students; $12, ages 6-17; free, 5 and younger. 1280 Peachtree St. N.E. 404-733-4444, www.high.org.
About the Author
