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JumpFrog

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    Fan, avid balletgoer
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    San Francisco
  • State (US only)**, Country (Outside US only)**
    California

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  1. I also tuned in with a colleague who is new to dance going and we were both delighted. A very very good company. All the best to Henry Berlin there.
  2. Svetlana embodies the Swan like no other in this particular company. She is making the best of this version as she possibly can. In fact, all the dancers are. Isn’t that all they can do? I was also at the opening and can attest to the tepid applause. There is a lot riding on this production. There are not many brave enough to admit it doesn’t work. Kudos and highest admiration for those brave enough to admit it isn’t good enough. Even more respect to those who publicly demand better.
  3. I had the good fortune to interview her years ago for a local Seattle arts bulletin and found her inspiring. How I wish I might be able to take her class as your girls have but with two artificial hips it seems unlikely. 😉
  4. Agreed on that. I believe it will be a highlight of the year for many others too.
  5. Holy smokes did I ever miss a lot while on vacation. Thank you blackcurrant for your links here. Very interesting to read. And actually kind of nice to know that we are starting to expect more from corporate policy and how it can and must protect employees. It shows just how far behind some sector are from others. Hopefully the arts catch up. I also find it very interesting vs1 reading through this thread those who appear to be in agreement that any corruption or nepotism is wrong ....but then call about finding out about "snitches". In terms of dancers leaving it definitely does not look good. But I have to agree with volcanohunter and say I just can't blame them for wanting better repertoire and a less toxic work environment.
  6. Agree about the Peck piece. I thought it was the strongest although the others might have needed just more time and or development. I think it really takes a special choreographer to know what to choreograph for what company. It cant just be good. It has to be fitting.
  7. Excellent mom2. That is very useful. Thank you!! Please keep us updated. The incompetency would be funny if it were not so sad. Thats it! It is all documented publicly already. The company going back and deleting files from the Internet because the public are now asking questions just makes things look ***worse***. Awesome work on the PDF file. Definitely save everything. As an audience we are going to have to work together to demand this change . These wrongs are unacceptable and need fixed. Karen Kain and Barry Hughson are obviously not up to the task. A repertoire based on quality, a zero tolerance policy for nepotism, and an organization without harassment (or at the least an impartial process of some kind in the event it does). These are not unreasonable requests. And we should all be questioning those who actively try to prevent them from happening.
  8. The casting for the company tour to San Francisco has been released. Evan Mckie is still missing. https://national.ballet.ca/Media-Room/News/Just-Announced/Nijinsky-Tours-to-San-Francisco
  9. Agreed. I was looking forward to this. What I would do to see them perform Opus 19: The Dreamer in Paris. Le sigh...
  10. This keeps getting deeper. Binet Sr. has now had his quotes and history under the Endowment section of the website removed entirely. He has also been removed entirely from the National Ballet School website. This means that other than the financial contributions made through his companies (Thomson Reuters, The Globe and Mail, The Woodbridge Company L.L.C.) he will now, at least personally, appear absent from both organizations. Binet Jr. remains present throughout including under the Soaring - New Productions referenced above. Obviously, like any company would, they are trying to minimize the unfortunate optics that suggest conflict of interest. It would help them to realize that most everything, once on the internet, is forever, and, that people have been keeping a careful track of this situation for a while now. Does anyone have access to a recent programme from this season at all? It would be useful to compare the printed material and compare it to the most recent and updated website information. With all the shuffling around it is probably important to keep a record. I agree mom2. Curiouser and curiouser this is getting.
  11. The rankings aren't really considered in this company. Corps doing Principal roles, Principals doing Bluebird, and some Principals doing nothing at all. Siphe November does not appear to fit the aesthetic Karen has mandated for her tenure ie. long and thin. He does not appear to have a traditionally classical line or body at all. At least in the photos online. However the company may be changing in this regard. His jump sounds exciting. volcanohunter and kbarber you have each referenced Evan McKie as "unavailable". Do you have a source for this? Can anyone verify the reason for his absence? Hopefully if he is injured he will heal quickly.
  12. Good find mom2 and i enjoyed reading your thoughts on the mixed too. It appears Karen Kain and Barry Hughson are moving Binet around in order to both keep his and his companies money while also keeping the public outcry at bay. I hadn't heard of either the Soaring Cabinet or Music Circle and Orchestra before so did some reading this afternoon. Of particular note in the Soaring Campaign link above is the promise of "New Work". This heading is seen under a photo of The Dreamers Ever Leave You () and paired with the following quote from Binet Jr.: "I grew up wanting to be a part of this National Ballet and I'm honoured to be asked to contribute. I'm grateful for the company's commitment to my development and for the opportunity this allows me to take creative risks, which is extremely valuable as an artist." -Robert Binet, Choreographic Associate Notably, included under "Soaring Achievements to Date" is the actual creation of Binet Jr.'s position, Choreographic Associate. Further, under the "Endowment" portion of the Soaring Campaign description is the following quote from Binet. Sr.: "With a strong Endowment, the National Ballet represents an organization that is both innovative and stable, and a place where new ideas can flourish because they find the right talent and support. Artistic risks are taken within an environment of financial stability, both of which ensure a bright and prosperous future." -David Binet, Chair, Board of Directors There are then a collection of quotes offered from a variety of presumably donors, each offering their own insight into how "extraordinary" everything is. However, it does not appear any of them actually serve on the Soaring Cabinet. Those who do in fact serve on the cabinet are: David W. Binet Sandra and Jim Pitblado Gail Appel Judi Conacher The Honourable Nicole Eaton (Senator) Sandra Faire Krista Kerr Genevieve McKillon Julie Medland Jessica Ray Gretchen Ross Liam Sobey Michele Symons It really raises more questions than answers. Kylara/mom2, what are your thoughts?
  13. I agree with this. I also wonder if this situation may cause all involved to begin reconsidering the process itself. Perhaps there is a better way.
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