Canadian

1 hour ago, kbarber said:

 

No I was not thinking of a "Binet turkey".

Forgive my confusion then; a work being 'absolutely trashed' was far more likely to be Robert than James. 

1 hour ago, Helene said:

First, an Artistic Director does not have unlimited and unilateral power.  Balanchine's answer to that was to threaten to walk:  to go to Switzerland and start another little company over which he had more control.  The Miami City Ballet Board fired Edward Villella.

 

Peter Martins hired his son and his son's half brother, and both became Principal Dancers at NYCB.  He kept his wife, Darci Kistler, once a great dancer, on the payroll for long than I thought she merited it, and there was precedent for that at NYCB:  Allegra Kent was kept on the payroll for years without dancing until the Board would not longer support it. 

 

People have said lots of everything about it.  Critics have said lots of everything about it.  However, if the Board does not have such an issue with it, or is actively supporting it, and there's nothing illegal about it, it doesn't matter what people say.  And it's not, by definition, a uniformly bad thing and without merit, unless we as individual don't think the person is deserving.

But, I guess the bigger question is: is it reasonable for companies to operate this way? I mean, as you say - if the Board allows it, it doesn't matter what people say. So even if there is general discontent amongst the company and the wider audience, if the Board cannot stand up to the offending person(s), it will continue?   Am I understanding you correctly?

4 hours ago, kbarber said:

 

I don't think any other company in the world is asking for Kudelka's Cinderella, are they? It was absolutely trashed by the critics in New York.

Um... The New York Times literally could not say enough nice things about it? http://www.nytimes.com/2006/05/28/arts/dance/28tobi.html

(It was also lauded by the national post, globe and mail and the toronto star).

Could you be thinking of a Binet turkey?

4 hours ago, Helene said:

if you look at the historical connections in ballet companies across the world, having family in the company and/or administration -- artistic and business -- is quite common.

While I can't rule out familial connections in other companies, I cannot think of a single other example of nepotism being quite so bald faced as with Binet and Fischer in NBoC. Truly, another such example cannot exist: the board of director's son being hired? The daughter of two ballet masters being promoted despite a questionable season?   But even for arguments sake, let's say that nepotism does run rampant across the ballet world: Why must we accept that? Am I wrong for wanting better from our company? People detest nepotism and do not react well to having it be forced on them: Look at Will Smith and his son Jaden as an example.

3 hours ago, volcanohunter said:

I have never encountered serious suggestions that the Kudelka period was some sort of golden age in the history of the National Ballet of Canada.

Indeed, you have never heard Kudelka was the golden age in the history of the national ballet because I did not say that. However, it is impossible to ignore his success and the fact that he is now sought after around the world after such works as "Four Seasons" "Cinderella" and "The Man in Black". Admittedly, he was not good with budgets - but at least he had artistic vision. NBoC under Karen has completely lost it's way. This is a large factor in NBoC no longer being a player on the world stage - pandering performances like Pinnochio or Le Petit Prince - may sell tickets but it does nothing to advance the art form.

I suppose you are right though, volcanohunter. Under Karen this is what to expect now. I'm trying to prepare myself for a loooooooong season of Romeo and Juliet, Pinnochio and another full length Binet ballet. I just wanted better.

I have been thinking about this over the past few days, and I can't stop coming back to this: How can this be Karen Kain's legacy? She was once a definite talent in the ballet world - and she took over NBoC as artistic director, and it's like her entire focus changed. I know it's an unfair comparison because James is an internationally respected talent, but James Kudelka would NEVER have allowed the above shenanigans to occur under his watch.  Just like James would never allow the quality of works performed to have deteriorated to this level. To give credit where credit is due, Karen has made a lot of money for the company, but at what cost?  Is pandering to the lowest common denominator all we can expect? When is Harry Potter: The Ballet coming out? Or Thor Vs. Hulk: A pas de deux...     

It's just crazy to think that Karen retires soon (maybe 2 years to 6 years MAX) and this is what she will be remembered for!

7 hours ago, JumpFrog said:

 

If the national ballet wants to see improvement they must get a handle on the nepotism Fisher/Binet situation. The more one looks into the company the more apparent it becomes that, at least over the last ten years, the focus has shifted greatly, from quality and merit to money and who your parents are/ social influence. It does not appear that before this level of conflict was present. And if it did please chime in? At least not to the point of having parents in senior positions hiring or securing employment for their children. Now I anticipate many would say that that is where the world is going just now... but it doesn't make it right. 

 

I also agree that the over 40 dancers are dancing well but also that it creates a problem for the up and coming dancers. Because if you havent been there for thirty years or arent politically connected or willing to take part in that kind of culture the chances of your moving up are slim. Hell the chances of some principal dancers actually getting a principal role are slim at this point lol. The chances of any new up and coming choreographers are also slim.

 

When you have people in powerful positions working overtime to make sure that their children are secured senior level positions in a company it is a tough thing to go up against. It clearly doesn't matter much to them that the audience is aware and noting the decline of quality (Fisher in Swan Lake, Pinnochio, Binet's immersive turkey's). My hunch is that the only thing that will make them take action is when the sales continue to decline which I suppose comes back to underestimating your audience referenced earlier. It is certainly a unique situation the outcome of which will have a major impact on a number of peoples professional legacies.

 

As referenced before by some fellow BA'ers if people have any sense at all Fisher will find employment elsewhere and do it on her own merit. Binet will seek choreography in a place where his father has no relations or history of financial donation (open his own company?). This way dancers will be hired and perform roles because they are fit for the part, regardless of age or family background, and choreographers will be commissioned to create because their work is recognized as world class. Until then they can try and spin it however they like. It doesn't change the truth and it won't make them sleep any better.

PREACH!!! Never have I agreed with something more than this.  

Hahaha, did anyone else see the failed attempt to make #dreamersinlondon a thing? 

In my best regina George voice: “NBOC, stop trying to make dreamers happen. It’s never going to happen”!!

1 hour ago, kbarber said:

 He then was named "choreographic apprentice" or some such at the Royal Ballet where he was mentored by Wayne McGregor. 

Okay, I didn't want to make this personal about this kid, but this needs to be said: It says even on his own website that the "choreographic apprentice" position was created "Especially for Robert." 

15 hours ago, volcanohunter said:

 

It might really be better for Binet Sr. to step down from the company board for his son's sake. 

I guess I'm just concerned that the damage has been done at this point. Regardless of whether or not that's justified, that reputation is going to follow that poor kid.

On 6/5/2017 at 4:37 AM, mom2 said:

Honestly starting to regret that I've renewed my subscription.  I cannot understand all the excitement over Binet - TWO of his works in the gala?

 

I guess that  is easily explained by this:

7 minutes ago, Olga said:

https://beta.theglobeandmail.com/globe-investor/woodbridge-selects-long-time-executive-david-binet-as-president/article5817126/?ref=https://www.theglobeandmail.com&service=mobile

 

Profile of David Binet, Chairman of National Ballet of Canada and father of young Robert Binet. He manages $20 billion for Canada's wealthiest family. 

Which is pretty disgraceful to be honest. What a serious affront to both G. Cote, and the rest of the talented dancers in NBoC. 

7 minutes ago, volcanohunter said:

But is anyone seriously suggesting that she is completely lacking in talent or ability?

I think it's pretty evident that nobody suggested that. 

BUT - I don't think it would be possible to deny that working/getting hired somewhere (anywhere!) where your parents feature prominently is somewhat ethically ambiguous. Just on the face of it, it raises questions about the character of the parents and about the talent of the offspring.

I think Hannah is a talented dancer who would do well anywhere. Just interesting that she chose NBoC.

Was anyone else at the Gala this year? Nuages was INCREDIBLY beautiful. Hodgkinson/Gomes are magnificent. Why why why Is this work not performed more? The other standout was Ebe/Lobsanova in Coppelia. Charming and lyrical with such class. 

I am also definitely over Binet. Surely there must be fresh new talent that could be showcased instead of allowing 2 spots for a stunningly mediocre choreographer. But I'm sure that has nothing to do with the fact that his father is chairman of the board. *Sips tea and minds own business*

Hello everyone!! I'm a Canadian here and I wanted to talk to people about the national ballet!! ANyone else here familiar??