Posted 29 March 2013 - 05:48 AM
In order to have a properly informed discussion of this question of how better the NBOC could serve its Canadian audience, I think we need answers to the following questions. I don't have them, but perhaps helene and volcanohunter can provide them.
Re: "three or four broadcasts of the Toronto performances in a movie theater"
1) How much would the dancers' and orchestra unions require that their members be paid for each one of these over and above their salary (because they would require it)
2) How much would it cost to acquire the equipment to film the broadcast, install it in the opera house in Toronto, pay the technicians to operate it, book the satellite time to transmit it, and whatever other costs are involved?
3) Would the Canadian Opera Company, which owns the opera house, charge more for this (as I understand it, they charge the NBOC for just about everything they can)
4) Is Alexei Ratmansky even willing to have his Romeo filmed for live broadcast? how much would he charge extra for the rights to his production for a live broadcast? How about the designer, Richard Hudson? The same questions apply for James Kudelka and Santo Loquasto regarding Swan Lake and Cinderella.
5) Once we have a costing for this undertaking (times "three or four"), can anyone suggest the names of people who would be willing to cough up the money (in addition to the huge amount of fundraising the NBOC has to do already every year just for its operating expenses and new productions). As I understand it, when the NBOC did a live broadcast of its Nutcracker a few years ago, it had to raise something over $100,000 to pay for it and then took a bath financially. And that was Nutcracker, a relatively easy sell to movie theatres, funders etc.. And I believe there was resistance from the other Canadian ballet companies who felt that NBOC was poaching their own audience. How easy or otherwise would it be to convince a movie theatre in Regina that they should have a showing of "Emergence"?
Look at how few ballet companies actually do live broadcasts: the Bolshoi, the Royal B, and the Paris Opera B, all hugely subsidized. Occasionally Dutch National Ballet. Doesn't that tell us something?
Re: the fact that the NBOC has in fact started touring this year, but not in Canada (other than to Ottawa):
1) Can someone provide a budget comparing the cost of transporting and providing accommodation and per diems for flying a 70+-dancer company plus orchestra plus artistic staff from Toronto to Winnipeg, Saskatoon, Calgary, Edmonton, Vancouver, and Victoria for two weeks to the same cost for transporting them 7 hours by bus to Saratoga Springs for 4 days? If Saratoga Springs came calling offering an opportunity to provide dancers with extra employment in the middle of July, should the company have refused?
2) If a prestigious theatre in London invites the NBOC to perform there, should the NBOC refuse, saying "Well actually we have to fundraise so we can go to Saskatoon instead?" I have nothing against Saskatoon, I grew up on the prairies myself, but seriously.
I'm sorry, but I do consider a comment like "NBOC's idea of a domestic tour is a run to Ottawa" to be NBOC-bashing. As I have said before on this topic, I think this kind of negativity is a case of blaming the victim.