Northeast

NYC Ballet celebrates 75th anniversary as it attracts larger, younger crowds

Published

2 years ago

May 26, 2024

NYC Ballet celebrates 75th anniversary as it attracts larger, younger crowds

New York City Ballet, one of the world’s premier dance troupes, has been celebrating its 75th anniversary all year.
Affordable pricing has been a major factor in attracting younger people to shows. Some evenings target young professionals with post-show receptions.
The New York City Ballet’s 2024 budget is about $102 million, compared to $88 million in 2019. Audience capacity has exceeded pre-pandemic levels.

Alice McDermott settled into her seat at New York City Ballet on a recent Friday night, excited to see her first-ever ballet performance. The 31-year-old Manhattanite, who works in recruiting, was on a fun girls’ night out with three friends she’d met through work, starting with dinner.

“They told me I’d love the ballet,” says McDermott, who was also excited to realize she was already familiar with one of the evening’s performers, Tiler Peck, via the dancer’s popular Instagram feed. “They said you can put on a nice dress and just immerse yourself in another world, whilst marveling at what the human body can achieve.”

Seems they were right: At the end of the evening, McDermott, a new fan, went home and watched a ballet documentary.

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Perhaps you could call it “Ballet and the City”? Whatever the term for McDermott’s ballet evening with pals, the scenario would surely be music to the ears of the company — which has been celebrating its 75th birthday with fanfare this year — and especially its artistic leaders of the past five years, Jonathan Stafford and Wendy Whelan.

The two, both former dancers at the storied troupe founded by George Balanchine, have made it a key goal to bring in a younger audience to ensure the company’s long-term health — and more broadly, to guard the vitality of a centuries-old art form.

It seems to be working. Though some initiatives have been in place for longer, the last five years have seen a marked shift, according to numbers provided to the Associated Press: In 2023, 53% of ticket buyers were under age 50, and people in their 30s made up the largest age segment by decade. Five years earlier, in 2018, 41% of ticket buyers were under 50, and people in their 60s made up the largest age segment.

New York City Ballet’s associate artistic director Wendy Whelan, left, and artistic director Jonathan Stafford, right, stand inside the lobby of the David H. Koch Theater at Lincoln Center on Feb. 29, 2024, in New York City. (AP Photo/Bebeto Matthews)

Now, longtime ballet followers note that on a bustling Friday evening you can look down from the first ring of the David H. Koch Theater at Lincoln Center and not simply see, well, a sea of gray.

`A GENERATION OF YOUNG PROFESSIONALS’

A major factor in attracting younger people, especially those under 30, has been affordable pricing. There are also evenings targeting young professionals, including post-show receptions. And there have been collaborations with visual or musical artists with youthful followings — like the musician Solange, who in 2022 was commissioned to score a ballet by 23-year old choreographer Gianna Reisen.

The Solange collaboration was a significant moment, Whelan and Stafford said in a recent interview, surveying the past five years as the thumping of leaping dancers’ feet echoed through the ceiling above Stafford’s office.

“We sold out every show,” Whelan noted. “It was a little nugget, but it was memorable.”

Perhaps even more important was the fact, says Stafford, that about 70% of those ticket buyers were new to the company — contributing to “a generation of young professionals in the city that are at our theater every night now.”

Katherine Brown, the ballet’s executive director, said the company had taken a look at the theater and vastly reduced the price of certain seats — and saw them fill up. She also noted the 30-for-30 program, where members under 30 can buy any seat in the house for $30. “That thing has just exploded,” Brown says, from some 1,800 members in the last full season before the pandemic-forced shutdown, to some 14,000 now.

One can’t discount the “pure economics” of an evening at the ballet, especially for young people, says Wendy Perron, longtime dance writer and former editor of Dance Magazine. “When I was in New York in the ’70s and ‘80s, I just couldn’t afford to go to the ballet,” she says.

GETTING BETTER ACQUAINTED

Also not to be discounted: the effect of social media in promoting dancers as people with personalities.

“We’ve got this crop of really exciting but also relatable, approachable dancers, and through social media, audiences can connect to them in a way they couldn’t back when we were dancing,” says Stafford, who retired as a dancer in 2014.

Consider Peck, one of the company’s most popular ballerinas (and a rising choreographer), whose Instagram feed had reached McDermott before she ever saw her dance. Peck supplies her half-million followers with short, punchy videos about everything from her 10 favorite dance roles to how she applies stage makeup. Her videos often feature her partner onstage and off, rising principal dancer Roman Mejia.

It’s all very different from a time when — like Odette in “Swan Lake” — ballerinas used to be mysterious and, above all, silent.

Social media — whether used by the company or via the dancers’ own feeds — can also answer questions. If you attended a performance of “The Nutcracker” a few seasons ago, you might have wondered why dancer Mira Nadon, as Sugarplum Fairy, suddenly disappeared from the stage at a key moment. The answer was on her Instagram later: Her pointe shoe had slipped off.

“See, you can get all your answers from Instagram now,” quips Whelan, who herself has an active feed.

ESTABLISHING A PARTNERSHIP

A few months ago, Whelan, a much-loved former NYCB principal who also retired in 2014, got a congratulatory text from Stafford in the morning — it had been exactly five years since the two had taken the helm after a turbulent period when #MeToo accusations caused scandal.

Historically, the company had been led by one man — Balanchine until 1983, then Peter Martins. This time, the board tried something new: a duet. Stafford was already interim head, and Whelan had applied for the job.

“They put us in a room and closed the door, and we were like – ‘Hi?’” Whelan says. “They were like, figure it out! And we did.” Stafford, the artistic director, serves as a bridge between the creative and business sides. Whelan, associate artistic director, focuses on the delicate task of programming.

Company insiders describe a mood different from the days when one outsized, all-powerful personality ruled from above. For one thing, the pair says they’ve instituted annual taking-stock conversations with each dancer.

Diversity — ballet is slowly changing but still overwhelmingly white — is also a priority, they say, and that includes diversifying “the pipeline,” meaning students at the affiliated School of American Ballet.

Recently, the company heralded its first two Black dancers to dance Dewdrop, the second most important female “Nutcracker” role: India Bradley and guest artist Alexandra Hutchinson of the Dance Theater of Harlem. Yet to come is a Black Sugarplum Fairy. The company says 26% of its dancers identify as people of color, whereas 10 years ago that figure was 13%. Stafford and Whelan have commissioned 12 ballets by choreographers of color in the last six years, it says.

“We know where the gaps are, and we take it seriously,” Whelan says.

She and Stafford say they’re also paying more attention to wellness, be it physical training to avoid injury, healthy diets, or a more frank discussion of mental health.

As for the company’s financial health, it is strong, Brown says, four years after the pandemic cost tens of millions in losses. The 2024 budget is roughly $102 million, compared to $88 million in 2019. Audience capacity has exceeded pre-pandemic levels.

As for new fan McDermott, she’s planning more visits, along with her friends.

“I think we have a new tradition between the four of us,” she says. “We’ll definitely be making it a bit of a thing.”

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Northeast

New York Republicans call for independent fraud investigation following Minnesota revelations

Published

4 hours ago

January 4, 2026

Press Room

New York Republicans call for independent fraud investigation following Minnesota revelations

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Republican state senators in New York on Friday wrote a letter to Gov. Kathy Hochul urging her to launch an independent investigation into possible fraud involving government programs in response to similar allegations in Minnesota.

“We write to you concerning disturbing reports of widespread fraud involving taxpayer dollars in the state of Minnesota, including schemes that reportedly involved sham daycare centers and other illegitimate entities,” the letter, signed by 12 Republican state senators, said.

The letter added that the “revelations” in Minnesota “raise serious concerns about the vulnerability of publicly funded programs to abuse.”

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The senators urged Hochul to “immediately retain an independent private professional services firm to conduct a comprehensive audit of comparable programs in New York State.”

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The letter said that the audit was necessary “to ensure that public funds are being distributed solely to legitimate organizations and eligible individuals and to identify and address any instances of fraud, waste or abuse.”

“Given that New York administers comparable programs involving billions of taxpayer dollars it is imperative that proactive measures be taken to ensure similar abuses are not occurring here,” the letter said.

The Small Business Administration announced the suspension of nearly 7,000 Minnesota borrowers after identifying hundreds of millions of dollars in suspected pandemic loan fraud this week. (Bill Clark/CQ-Roll Call, Inc via Getty Images)

The senators noted $68 million in Medicaid fraud that the U.S. Department of Justice said it uncovered at a Brooklyn operator of social adult daycare centers in July.

“At a time when resources are strained, it is essential that available funds are protected and directed exclusively to those who truly need assistance,” they added.

The senator said that with reports that Hochul’s office plans to advance a proposal for universal pre-kindergarten in the next legislative session, “ensuring these programs are efficient, transparent and free from fraud should be a shared priority for all New Yorkers.”

The Small Business Administration announced Thursday that it had suspended 6,900 Minnesota borrowers after uncovering what it says is widespread suspected fraud in the state.

SBA Administrator Kelly Loeffler sent a letter Tuesday to Minnesota Gov. Tim Walz on Dec. 23, telling him that her agency will “halt” more than $5.5 million in annual support to resource partners in the state “until further notice.”

“I am notifying you that effective immediately and until further notice, the SBA is halting the disbursement of federal funds to SBA resource partners operating in the state of Minnesota, totaling over $5.5 million in annual support,” Loeffler wrote.

The SBA said that at least $2.5 million in PPP and EIDL funds issued during the pandemic era were connected to a Somali fraud scheme based in Minneapolis.

Loeffler told Walz that $430 million in PPP funds tied to roughly 13,000 loans were flagged as potentially fraudulent but were still funded anyway, including some that were forgiven during the Biden administration.

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“The volume and concentration of potential fraud is staggering, matched in its egregiousness only by your response to those who attempted to stop it,” she wrote.

Hochul’s office told Fox News Digital in response to the letter: “This is a rich political stunt coming from the lawmaker who spent months fighting the Governor’s efforts to route out waste, fraud and abuse in the state’s Medicaid program,” referencing GOP State Sen. Robert Ortt. “Instead of suggesting we spend taxpayer dollars to do the jobs of the State Comptroller and State Inspector General, the Minority Leader should focus on supporting the many longstanding initiatives that the Governor has advanced to stop fraud and protect taxpayers.”

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Boston, MA

How Boston Dynamics upgraded the Atlas robot — and what’s next

Published

6 hours ago

January 4, 2026

Press Room

How Boston Dynamics upgraded the Atlas robot — and what’s next

In 2021, 60 Minutes visited the offices of robotics company Boston Dynamics and met an early model of its humanoid robot, Atlas.

It could run, jump and maintain its balance when pushed. But it was bulky, with stiff, mechanical movements.

Now, Atlas can cartwheel, dance, run with human-like fluidity, twist its arms, head and torso 360 degrees, and pick itself up off of the floor using only its feet.

“They call it a humanoid, but he stands up in a way no human could possibly stand up,” correspondent Bill Whitaker told Overtime. “His limbs can bend in ways ours can’t.”

Boston Dynamics CEO Robert Playter told Whitaker that Atlas’ “superhuman” range of motion is keeping with the company’s vision for humanoid robots.

“We think that’s the way you should build robots. Don’t limit yourself to what people can do, but actually go beyond,” Playter said.

Whitaker watched demonstrations of the latest Atlas model at Boston Dynamics’ headquarters in Waltham, Massachusetts. Rather than turning around to walk in the other direction, Atlas can simply rotate its upper torso 180 degrees.

“For us to turn around, we have to physically turn around,” he told Overtime. “Atlas just pivots on his core.”

Boston Dynamics’ head of robotics research, Scott Kuindersma, told Whitaker that Atlas doesn’t have wires that cross its the joints of the limbs, torso and head, allowing continuous rotation for tasks and easier maintenance of the robot.

“The robot’s not really limited in its range of motion,” Kuindersma told Whitaker. “One of the reliability issues that you often find in robots is that their wires start to break over time… we don’t have any wires that go across those rotating parts anymore.”

Another upgrade to the Atlas humanoid robot is its AI brain, powered by Nvidia chips.

Atlas’ AI can be trained to do tasks. One way is through teleoperation, in which a human controls the robot. Using virtual reality gear, the teleoperator trains Atlas to do a specific task, repeating it multiple times until the robot succeeds.

Whitaker watched a teleoperation training session. A Boston Dynamics’ machine learning scientist showed Atlas how to stack cups and tie a knot.

Kuindersma told Whitaker robot hands pose a complex engineering problem.

“Human hands are incredible machines that are very versatile. We can do many, many different manipulation tasks with the same hand,” Kuindersma said.

Boston Dynamics’ new Atlas has only three digits on each hand, which can swing into different positions or modes.

“They can act as if they were a hand with these three digits, or this digit can swing around and act more like a thumb,” Kuindersma said.

“It allows the robot to have different shaped grasps, to have two-finger opposing grasp to pick up small objects. And then also make its hands very wide, in order to pick up large objects.”

Kuindersma said the robot has tactile sensors on its fingers, which provide information to Atlas’ neural network so the robot can learn how to manipulate objects with the right amount of pressure.

But Kuindersma said there is still room to improve teleoperation systems.

“Being able to precisely control not only the shape and the motion, but the force of the grippers, is actually an interesting challenge,” Kuindersma told Whitaker.

“I think there’s still a lot of opportunity to improve teleoperation systems, so that we can do even more dexterous manipulation tasks with robots.”

Whitaker told Overtime, “There is quite a bit of hype around these humanoids right now. Financial institutions predict that we will be living with millions, if not billions, of robots in our future. We’re not there yet.”

Whitaker asked Boston Dynamics CEO Robert Playter if the humanoid hype was getting ahead of reality.

“There is definitely a hype cycle right now. Part of that is created by the optimism and enthusiasm we see for the potential,” Playter said.

“But while AI, while software, can sort of move ahead at super speeds… these are machines and building reliable machines takes time… These robots have to be reliable. They have to be affordable. That will take time to deploy.”

The video above was produced by Will Croxton. It was edited by Scott Rosann.