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JumpFrog

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Everything posted by JumpFrog

  1. 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. 😉
  2. Agreed on that. I believe it will be a highlight of the year for many others too.
  3. 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 d
  4. 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.
  5. 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.
  6. 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
  7. Agreed. I was looking forward to this. What I would do to see them perform Opus 19: The Dreamer in Paris. Le sigh...
  8. 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 try
  9. 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
  10. 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 Nati
  11. 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.
  12. So getting back to the subject.. Anyone else see the mixed program? I found the following review. https://www.theglobeandmail.com/arts/theatre-and-performance/theatre-reviews/review-made-in-canada-gives-a-panoramic-view-of-the-national-ballet/article38170873/?utm_medium=Referrer:+Social+Network+/+Media&utm_campaign=Shared+Web+Article+Links Looking forward to hearing your thoughts from this afternoon mom2.
  13. So busy that a decade goes by without follow up? I doubt it.. Saw the performance last night and since no one else appears to have gone thought i will share some thoughts. The Dreamers Ever Leave You was painful. There is no way around it. It did not seem to say anything, take you anywhere, and at points I was uncertain if it would ever end. When the curtain finally came down the overwhelming sense was "thank goodness". More than anyone I felt sad for the dancers. Here are some wonderfully talented artists in the prime of their careers and doing what? Stomping their feet...trying to
  14. That is an important point volcano, thank you. Perhaps not much consideration is taken at NBoC with regard to these things. Perhpas it just isn't relevant. I have actually been to more ballet performances then usual in the last twelve months in Toronto, London, New York, Moscow, San Francisco, Seattle. Vancouver, Melbourne, Singapore, Paris, Munich, Berlin, Copenhagen, Stuttgart, Stockholm, Oslo and even Portland, Oregon. One pre performance talk we attended that stands out was at the Australian Ballet where artistic director David McAllister spoke about how important it is for all c
  15. Out of all the wonderful William Forsythe work to choose from they choose two that have been widely seen already and one that they themselves have already done to death. The artistic choices at this company do not seem to make any sense. I can't help but wonder if Kain (through audience research?) was made to think the public no longer wants full length classical work anymore? Or if this is simply her own..unique... taste? The Being and Nothingness/The Dream program seems short. Pehaps they will do what they did last time and make a last minute turkey addition. I would LOVE to see H
  16. I concur with what you say here SandyMcKean. Although I prefer William Forsythe when he is working in a more ballet style (Artifact, In the middle) One Flat Thing grew on me after repeat viewings. The range of his creations is to me pretty spellbinding. He has made work so vastly different in style to a point I don't think many others could ever match. I am also excited for Ezra Thompson. Here is to the future!!
  17. According to Media at the National Ballet the website is correct. David Binet has been removed from the NBoC Endowment Foundation Board effective immediately.
  18. I have heard although not seen personally Nureyev choreography and the thing that stuck with me was a performer saying he felt it was almost "hard for the sake of being hard". I can't help but wonder if the prodigy type talent Nureyev had made certain technical ablilities seem more attainable than they really are for even the most accomplished of dancers and that is why his stagings are known to be "so hard".
  19. It looks like the articles are just getting started. To release them in stages is both super smart for their viewership but also gives the feeling they have more where that came from. If the ballet company have people going to the press it suggests people are really angry and probably won't stop any time soon. The lack of Kain actually directing makes sense Kylara as that would have give ample opportunity for people to get their own agendas into play relatively unnoticed and unpunished and the articles presentation of both the Binet situation and the Fischer situation side by side is part
  20. It seems to be a recurring issue in alot of places, the fact that many are becoming frustrated with the reviewing of ballet. I think it is hard to have to separate your own opinion from fact but isnt that their job? On the other hand it can be frustrating to read reviews where they say a whole lot of nothing. I think the question you pose pherank is really important- Is a reviewers impression generally matched by the rest of the audience? I think it is not much of the time but it of course depends on who is doing the reviewing. The entire premise of reviewing art is shifting. I thin
  21. Thank you for your intelligent thoughts kylara7. This is a subject that I am very interested in (nerd alert, lol) and I think that the entire movement of people calling out injustice happening right now is going to be encouraging for the kind of systemic change we all agree is needed at Canada’s National Ballet. I think you bring up some excellent points. One part of this I think is interesting is that the arts (or maybe it’s non-profits I’m not sure) seem to be very late to the party on this. It seems like all other fields have internal policy to prevent fraud, corruption, nepotism, confl
  22. 1) Are there, or should there, be rules in place, to prevent this, or any other abuse of power from happening again (a parent chairing a school board while their child attends, then transferring to the attached company when child graduates, hiring the child at that company and then securing further work for their child at another arts organization by joining their board)? 2) What policies should be in place regarding sexual harrasment between leadership and employees?
  23. Just so disappointing. This is such a shame for the company. http://frankmag.ca/2017/12/26474/
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