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"The Devil Ties My Tongue" by Amy Seiwert performed for the SKETCH Series, 2013. Photo by David DeSilva. Courtesy of Amy Seiwert's Imagery

Forbes: 2020 Drama Desk Awards: Complete List Of Nominees

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By Lee Seymour

Nominations for the 65th Drama Desk Awards were announced today, recognizing theater at every level of New York’s industry, from downtown hideyholes to the glitz of Broadway.

Even with the season cut short by the coronavirus, there were still over 200 eligible productions vying for recognition. Over three dozen shows received nods, everything from epic two-part plays to intimate chamber musicals to children’s puppet theater. The winners will be announced online on May 31st. (Full list below).

Leading the pack with 11 nominations, including Outstanding Musical, was Soft Power, which premiered downtown and had been eyeing a Rialto transfer next year.

Outstanding Choreography 

  • Camille A. Brown, for colored girls who have considered suicide/when the rainbow is enuf
  • Anne Teresa De Keersmaeker, West Side Story
  • Keone Madrid and Mari Madrid, Beyond Babel
  • Kathleen Marshall, The Unsinkable Molly Brown
  • Sonya Tayeh, Moulin Rouge!
  • Travis Wall, The Wrong Man

The category of Outstanding Choreography includes 5 women – a first we’ve seen in award nominations that includes a majority of women choreographers.

Read the full article on Forbes.com.

Marie Claire: The Worst Thing That Ever Happened to Me Is Now an Episode of ‘SVU’

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By Alexandra Waterbury as told to Chloe Angyal

A week or two before the episode was meant to come out, a stranger direct-messaged me on Instagram with a link to a Law & Order: SVU trailer: “I think this is about you.”

As I watched the trailer, I thought, That literally looks like us. There were two blonde people kissing, wearing dance clothes. It was so obviously cast to look just like me and my ex-boyfriend Chase Finlay, the man who shared revenge porn of me with his friends, who were also principal dancers at New York City Ballet.

I felt weird about it, and then I felt anxious. You never know how the media is going to portray you, and this was a TV show taking what happened to me and making it their own; they could do anything that they wanted with my story.

And then I felt angry, which is how I feel about a lot of things these days. No one at SVU talked to me about my story, or told me that they were making an episode that was so clearly based on what happened to me. The disclaimer at the start of the show states that the episode is fiction, but everyone knows that Law & Order is “ripped from the headlines.” Over the summer, one of the show’s writers had followed me on Instagram. Now I understood why.

Read the full story in Marie Claire.

DDP Releases the Financial Literacy Checklist for Women in Dance in Honor of Financial Literacy Month

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Did you know April is Financial Literacy Month?  Dance Data Project® has pulled resources from our friends at Ellevest to provide a platform that encourages financial literacy.

Read more

Wall Street Journal: Americans Can Track Stimulus Payments on New IRS Site

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By Richard Rubin

WASHINGTON—Americans can now track the status of their stimulus payments and provide their bank-account information to get their money faster via direct deposit, thanks to a new IRS website.

The Treasury Department has already issued the first round of payments via direct deposit, sending money to more than 80 million households that had bank-account information on file from their 2018 or 2019 tax returns. That money is starting to show up in bank accounts this week.

The IRS “Get My Payment” system made its debut Wednesday, though it was experiencing high volume and wasn’t providing information to all users. By providing bank-account information, people can get their payments faster through direct deposits instead of paper checks, which may take weeks or months to arrive.

Read the full article here.

Sun Times: Durbin, Duckworth, other Dem senators: End ‘ambiguity’ over jobless benefits for gig workers

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By Lynn Sweet

13 April 2020

A group of Democratic senators, including Dick Durbin and Tammy Duckworth of Illinois, implored Labor Secretary Eugene Scalia on Monday to “eliminate ambiguity” and make sure self-employed gig workers qualify for newly available COVID-19 jobless benefits.

The letter, signed by 32 Democratic senators, notes part of the guidance issued by the Labor Department dealing with eligibility “appear narrow or ambiguous, which could make states think they need to exclude workers who Congress clearly intended to receive unemployment compensation through the Pandemic Unemployment Assistance program.”

“While we believe that such workers are covered by the text of the law, we appreciate the Department’s action to eliminate ambiguity and ensure these workers receive benefits,” they added.

A package of unprecedented enhanced and extended unemployment benefits are in the emergency $2.2 trillion federal Coronavirus Aid, Relief, and Economic Security Act — known as the CARES Act — signed into law March 27.

The CARES Act created the Pandemic Unemployment Assistance program, known as PUA. The Labor Department has the job of writing rules for states on executing the new program.

Read the full article in the Chicago Sun Times.

Pointe Magazine: Susan Jaffe Named Pittsburgh Ballet Theatre’s New Artistic Director

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By Steve Sucato

14 April 2020

Pittsburgh Ballet Theatre announced today that former American Ballet Theatre principal Susan Jaffe will succeed Terrence Orr as artistic director of the company, effective July 1. Jaffe becomes PBT’s seventh artistic director and only the second female director in the company’s history.

Dubbed “America’s Quintessential American Ballerina” by The New York Times, Jaffe comes to PBT after eight years as dean of the dance program at University of North Carolina School of the Arts. Born and raised in Bethesda, Maryland, Jaffe joined ABT II at age 16, followed by ABT’s corps de ballet in 1980, at age 18. She was promoted to principal dancer just three years later, and was a company star until her retirement in 2002. Jaffe has held a wide range of teaching and leadership positions since then, and has also choreographed for ballet companies and colleges around the country. She recently launched The Effect of Intention, a series of live and online wellness workshops and audio meditations.

Pointe spoke with Jaffe shortly after receiving the news of being named to her first artistic directorship.

Why leave UNCSA?

I love UNCSA and debated leaving, but being the artistic director of a professional ballet company has been a lifelong dream of mine. I knew I would regret it if I didn’t throw my hat in the ring. When the headhunter called to say the search committee had chosen me, I was so overwhelmed with joy and emotion and a little bit of fear. This is a really big deal for me.

What are you most looking forward to?

Being back in the studio. As a dean, I didn’t get to be in the studio as often as I wanted. I am really good in the studio and am thrilled to be able to do that.

…

Giving female choreographers more opportunities is something a lot of companies have embraced; will you and the company be championing any specific interests?

I want to make sure there is a beautiful, diverse pool of choreographers and that be one of the ingredients every time I am making a program.

Read the full article in Pointe.

Dance Magazine: Learning the Principles of Choreography, Alone But Together

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By Marina Harss

13 April 2020

Choreography may be the most social art. A composer can write music alone at her piano; a painter has his paints. But dance requires human bodies sharing space and physical contact, neither of which is possible at the moment. And yet the imagination is a powerful tool. As the choreographer Jessica Lang recently told a group of seven American Ballet Theatre dancers in a Zoom session, “We may not be together, but we get to use our imaginations.”

The dancers’ faces popped up on the screen, each framed by his or her current living arrangements. Some were sitting in living rooms, between the couch and the TV. Others in the kitchen, or in a bedroom. For an hour and a half, they talked, listened, moved.

The session was part of a new initiative connected to ABT Incubator, a choreographic workshop started by the dancer David Hallberg two years ago. That first year, the dancers were simply given time and space to create a dance. Lang, who has been involved since the beginning of the Incubator, felt this wasn’t enough. She suggested that it might be useful to have a forum in which the dancers could be exposed to principles that underpin the creative process.

So this year, ABT introduced a preparatory workshop, ahead of the creation period in the fall. Then COVID-19 happened, and suddenly everyone was stuck at home. Like so much else in people’s lives, the sessions went online. The dancers meet up with Lang on Zoom for an hour and half every Wednesday, for a total of five weeks.

Read the article on Dance Magazine online.

Women’s Media Center: Federal COVID-19 relief policies failed women workers — and now feminists are fighting for them

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By Carmen Rios

9 April 2020

The COVID-19 numbers have led to widespread alarm: 16 million workers have filed for unemployment, and 100,000 to 250,000 lives are at risk. “This is a public health crisis,” Senator Kamala Harris told viewers during a tele-town hall organized by nonprofit One Fair Wage on Tuesday, “that has resulted in an economic crisis.” For women workers, who make up a disproportionate number of the low-wage workers providing essential services during the novel coronavirus’s outbreak in the U.S., that crisis is both political and personal.

“The coronavirus catastrophe has exposed what has always been a devastating reality for millions of low-paid women workers across the country: Despite working hard and providing essential services that we depend on, they are paid rock-bottom wages that devalue the work they do and put them at high risk of living in or near poverty, even when they work full time,” Julie Vogtman, National Women’s Law Center director of job quality and lead author of the organization’s recent report, When Hard Work Is Not Enough: Women in Low-Paid Jobs, said in a statement. “As thousands of restaurant servers, hotel clerks, waitresses, and fast food workers are losing their jobs every day due to the pandemic, their economic security and that of their families have become even more tenuous. Let this be a wake-up call to policymakers to increase the federal minimum wage, expand paid sick and family and medical leave, strengthen unemployment benefits, and shrink the gender wage gap that shortchanges them.”

These recommendations echo the demands of groups like Justice for Migrant Women, which in March launched an Emergency Pandemic Fund for Farmworkers with Hispanics In Philanthropy to advocate for the 2 to 3 million farmworkers, an estimated 900,000 of whom are women, who continue to plant, pick, and pack the food we’re all rushing to pick up at stores or order to our doorsteps.

Read the full article on Women’s Media Center.

Women’s Media Center: Women hardest hit as U.S. unemployment soars

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By Lauren Wolfe

8 April 2020

As the economy continued to tank amid the coronavirus pandemic, job losses rose to more than 700,000 in the month of March—and women were disproportionately affected.

Out of every 10 jobs cut in March, women lost six of them, reported the Washington-based Institute for Women’s Policy Research. Hispanic women in particular are suffering; their unemployment rate rose to 6 percent, according to U.S. Department of Labor statistics.

Across almost all sectors, but particularly leisure and hospitality—in which women hold the majority of jobs—women are feeling the brunt of the hit. With a nearly countrywide lockdown, people aren’t taking trips or going out to eat: Women’s jobs in restaurants, bars, and hotels dropped by 261,000, while men lost 181,000. The sector accounted for more than half of all jobs lost in March, the Bureau of Labor Statistics reported. The industry had employed nearly 17 million people by the end of 2019. About 30 percent of hotel workers were Hispanic, CNN reported.

Unlike now, men were laid off first during the 2008 recession because of cuts to production sectors (including manufacturing and construction), said C. Nicole Mason, president and CEO of IWPR.

“This time around, because women are over-represented in the service sector, they will experience disproportionately higher unemployment and job loss compared to men,” Mason said. Service-sector jobs generally offer lower wages and fewer benefits, “which makes women more economically vulnerable.”

Read the full article here.

Major Arts/Dance Philanthropist and Misconduct Whistleblower Anne Bass Dies at 78

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According to her partner, Julian Lethbridge, Anne Hendricks Bass has passed away following a battle with cancer. Bass will be remembered, as a patron who, according to the New York Times, “Helped raise the profile of ballet in the United States, harking back to an era when art was viewed as a vehicle for beauty and moral uplift.” Her many philanthropic endeavors spanned from Fort Worth, Texas, all the way to Cambodia, and back to New York City, where her commitment to dance was most profound.

In 1980, Bass became a Board member at New York City Ballet, which she served for the next twenty-five years. Her support of another Lincoln Center establishment, the Jerome Robbins Dance Division of the New York Public Library, which “holds the largest archive on the history of dance in the world,” will also remain a steadfast aspect of her legacy.

At DDP, we will also remember Bass as a whistleblower for the misconduct of the former Artistic Director of New York City Ballet Peter Martins, who, Bass alleged, “Inflicted ‘cruel and excessive punishment’ on a student whom he had expelled just a few weeks before graduation.” Sokvannara Sar, the student, was a Cambodian danseur sponsored by Bass at the School of American Ballet. Bass herself had discovered Sar on a trip to Cambodia, and she subsequently plucked him from poverty to ensure he was trained in New York. According to Bass, Martins’ dismissal of Sar from the School was due to “boardroom politics in which he played no part.”

The dance world is today, of course, aware of the severe allegations of abuse and misconduct against Martins, who was retired in 2018 before he could be forced to resign at the company, which is now led by Artistic Director Jonathan Stafford.

Determined in her philanthropy and outspoken against an abuser, DDP mourns Anne Bass’ death alongside our ballet community.

Read the New York Times’ farewell to Bass here.