Stuart makes a very good point. I understand his thinking. Unfortunately, I cannot support the NBoC as long as Kudelka and Wilder are at the helm. I don’t think they’ve learned their lesson at all. Besides the cruel way they’ve treated Kimberly Glasco, they are far too arrogant for my tastes. You hardly ever see them at the ballet. They like to pussyfoot in and out of their seats under the mask of darkness moments before the beginning and end of the ballet. It’s too bad ballet costs so much to make. Without donations, the top seats at the NBoC would go for $200 plus. <P>For me, a company is only as honest as their marketing and relations with the public. Hence, I examined their strategy since Kudelka assumed control in June of 96/97. In the fall of 1998 the National Ballet’s policy towards Subscriber Standby Seating changed with no warning. A conscientious ballet company would have alerted subscribers to this change through the mail and their web site. Instead, subscribers found out about the change when they purchased tickets at the ticket office. All NBoC publications and subscriber correspondence clearly stated “Best Available Seating” for "Standby Seating" when subscribers renewed their season tickets in 1998. <P>I guess I’m just one of those spoiled ballet-goers who always lucked into front A. How can I sit in the far wings after A 48? The National now limits subscribers to seats 1 to 16 and 81 to 96 from rows A to L. This has created problems with some overzealous subscribers sneaking into choice empty seats. The staff at the Hummingbird Centre is notorious for ignoring such movement. If I could play Artistic Director I would give all Front Orchestra Subscribers 3 dates to choose from for “Best Available Subscriber Standby Seating.” <P>It hardly makes sense but subscribers in the nose bleed seats of the rear balcony enjoy the same Subscriber Standby Best Available Seating as those who pay to sit in the Front Orchestra. Hence, the Hubbel seats are often sold out. I alerted the ballet to this problem years ago. One day when I exchanged my Front Orchestra subscriber seat for a more choice location (row A) I noticed the oxygen masks seats were sold out. I found this very odd considering they’re usually empty. People would subscribe for the least expensive seats and then purchase Standby Seating to enjoy the best seats in the house. <P>Also in 1998, the NBoC substituted Les Grands Ballets Canadiens for a regular National Ballet of Canada performance. The National usually bills out of town companies separate from the subscription package. As a subscriber, I assume I will only be seeing the dancers in the NBoC’s yearbook. I can overlook this because of their fall tour to New York. Critically it was a success but not at the box office where it counts. They lost $250,000.<P>In their zeal to win new subscribers the National has pushed their advertising as far as Kudelka pushes his dancers with his steps. I’m referring to a very cute 1998 promotional duet with Chapters sent to Chapter 1 Club members even if they were already subscribers to the National Ballet of Canada. Somebody who shoots straight from the hip doesn’t advertise “50% off the regular ticket price” without including the subscription price. The promotion quoted the regular price for orchestra circle seating as $478.50¢. Ballet-goers would only pay that price if they ordered tickets via the phone separately for all 6 ballets. The $4.75 surcharge is a small price to pay for the convenience of ordering tickets over the telephone. It can get awfully cold lining up outside the National’s new pint sized ticket office at the Hummingbird Centre. I’ve seen many an elderly patron frozen stiff to the sidewalk. <BR>By the way, subscribers to the NBoC pay $347 for orchestra circle seating and not $478.50¢. The Chapter 1 Club Price of $234.50¢ was attractive enough to include the regular subscription price. The NBoC assumed control of all ticket orders at the beginning of the 97/98 subscription season. It was a rocky transition with the new phone number (416-345-9595). Classical 96 and 103 FM continued to broadcast the old Ticketmaster number in promoting the ballet. This was not corrected even after I alerted both the radio station and the ballet. <P>The seat pricing for the Nutcracker reflects the size of Kudelka’s ego. The NBoC charges ballet-goers the same price for Front Orchestra, Orchestra Circle and Mezzanine seating. You can’t beat the view from the Front Orchestra. It all makes about as much sense as leading off their 1999 calendar with a fired Kimberly Glasco!<P>The 98/99 subscription season contained 8 fewer dates from 96/97 (the beginning of Kudelka’s tenure). <P>I overlooked all of the above and continued to give. For me, what they did to Kimberly Glasco is unforgivable. As far as I’m concerned, Kudelka and Wilder can go to hell. And, I’m quite sure they will.<P>I readily admit I am more than slightly biased. Kimberly Glasco is my favorite dancer. I can’t help but think if the NBoC was a company on the stock market, Kudelka and Wilder would no longer be employed.<P><BR>------------------<BR>Michael Goldbarth<p>[This message has been edited by Michael Goldbarth (edited July 23, 2000).]

not commenting at all on the k.glasco situation, which has already been amply covered here, and not at all coming to anyone's defense or otherwise, i thought it nonetheless to point out that many directors enter a performance just as the lights go down and leave as soon as the applause starts to go backstage because, in the first instance, they are usually backstage giving last minute directions and in the second, are usually rushing back to give quick notes to dancers or tech people.

<I>You hardly ever see them at the ballet. They like to pussyfoot in and out of their seats under the mask of darkness moments before the beginning and end of the ballet.</I><P>I'd just like to point out that if they are involved in activities backstage, they would only just slip in at the last minute, and probably bold for the stage door to avoid the patron crush at the end.<P>

I don’t want to set off another string of posts but I have seen both Wilder and Kudelka far off in the wings waiting for the lights to dim down so they can sneak into their seats incognito. To be fair, I’m sure there were also times when their presence was needed elsewhere. From what I’ve seen and heard from this pair, they could use some lessons in public relations. They possess all the warmth of a frozen TV dinner. If Michael Goldbarth was Executive Director of the NBoC he would appoint Frank Augustyn as Artistic Director. <BR><p>[This message has been edited by Michael Goldbarth (edited July 24, 2000).]

There is one more piece in The Globe, with the parenthetical headline (The Final Curtain) in the edition of Saturday, July 22, 2000. Use the (by now) well-worn link to The Globe and enter your preferred key work (e.g., Glasco, ballet, etc.).

thanks pmeja and babslights for saying something i wanted to.........i imagine michael may have a bit of a point, re public relations skills, in this particular instance, going on what we've all read about this situation and its various entities over the last year or so..but the practice of entering the theatre at the last minute is certainly standard, and for very practical reasons. this glasco/NBoC issue is bad enuf, without imputing even more sinister aspects to ordinary behaviour!

It really is a shame Kimberly Glasco will not be allowed a farewell performance by the NBoC. If they cared about profits they would allow her to dance good-bye to her many fans. With all the publicity I’m sure the Hummingbird Centre would be a sellout.<P>------------------<BR>Michael Goldbarth

The Tuesday, July 25 Globe has an excellent piece by Heather Mallick ("Et tutu, brute) that moves beyond the surface issues and discusses some broader implications for employee relations in ballet.

That article Francis refers to starts:<P>"It's like Basil Fawlty and the war. Every time he tried not to mention the war, he started goose-stepping and dropping references to Hermann Goering. If the ballet is mentioned, Globe readers who don't want to hear another word about the blood feud between ballerina Kimberly Glasco and her ex-boss James Kudelka are going to pop a rivet."<P><p>[This message has been edited by grace (edited July 27, 2000).]

I’d like to clear up some things about Kimberly Glasco’s original severance package. <BR>According to the NBoC, and I quote: “Yes, in fact she has not been fired from the ballet. Her contract has simply not been renewed. The Ballet has conformed—as always—to the guidelines of the Canadian Actors’ Equity Association, and as such, Kimberly continues to be paid for the duration of her contract with us (6 months), and she will also receive a severance package for 5 months following.” <P>So, Glasco was offered about one week for every year worked. Big deal. Most companies give long-term valued employees severance packages of 4 to 6 weeks for every year worked. <P>I don’t know how Dirk number crunched his math or how much Glasco’s 5 months would have translated into bucks. I assume the severance package would be weighted to her average salary during 18 years (not 22 years) at the NBoC. She made principal in May of /87. Her NBoC salary for /98 was $96,000—NOT $150,000. Assuming they paid her 5 months from $96,000, she would have received $40,000—not a lot. <P>My guess is Kimberly probably took home about $500,000 after lawyer, public relation and incidental costs. We’ll probably never know for sure. With all the publicity she received I’m sure there is a book and perhaps even a movie in the works. I would love to see a new version of the Wizard of Oz with James Kudelka as the Cowardly Lion, Karen Kain as the Scarecrow, Valerie Wilder as the Tin Woman, Walter Carsen as the Wizard and, of course, Kimberly Glasco as Dorothy. <P>Currently, Ms. Glasco is an instructor at Neworld Academy & Neworldance which can be found at <A HREF="http://www.neworldacademy.com" TARGET=_blank>www.neworldacademy.com</A> <P> <P><BR>------------------<BR>Michael Goldbarth<p>[This message has been edited by Michael Goldbarth (edited July 27, 2000).]

a regrettably basic, pictureless website, but thanks for the new info, michael.

p.s. guys - i lost patience with those long URL's, that azlan helpfully inserted, to guide people to the globe and mail articles referred to by francis.<P>so i chopped them all out! <P>so, azlan: take it up with me privately - but i just wanted to be able to READ the darn thread!!!!!! <BR>

My guess is Ms. Glasco received a million dollar settlement from the NBoC with half a million going to lawyers, PR, etc. What I would love to know is why an exact figure was not released. With the NBoC registered under the charity act in Canada and receiving support from the government there should be more openness. The one good thing to come of this is I won't have to listen to Kudelka blabber anymore. I don't think he’ll be allowed to speak in public ever again. <P>------------------<BR>Michael Goldbarth<p>[This message has been edited by Michael Goldbarth (edited July 31, 2000).]

I see I have stumbled across this conversation much too late to really be relevant. This is my first post here and I am glad to see some discussion on the kim-glasco saga. I have season's tickets to the NBOC, and am currently a member. I was also a member when Ms. Glasco was given her marching orders and received all the mailings from the ballet regarding the situation. There were letters from a group of dancers and a separate letter I recall from Karen Kain in support of Mr. Kudelka. Recently there was a newspaper article (Globe and Mail I think) about the effect all of this has had on the other dancers - but mostly how they were afraid to be on stage with her or to be interviewed about her as they feared being called to testify on her behalf.<P>recently the NBOC sent subscribers a copy of a Toronto Arts magazine with a major article on Mr. Kudelka. It was very surprising indeed that they chose to send this out, as there was very little flattering material. He was obviously a talented dancer in his day, but the article describes some personality characteristics which have been present for some time and may have contributed to the Kimberly Glasco situation.<P>Some of this year's performances were in fact quite memorable; others were less so but then I'm new at all of this. Have only had season's tickets for a few years. I do think it's a bit soon to bring back Swan Lake...scheduled for the 2000-2001 season. (Ms. Glasco says she complained about the cost of this production and that is what Mr. Kudelka didn't like).<P>Like many others, I'm very glad this is over. I have seen Ms Glasco dance and it is very sad indeed that she won't be in future productions. Along with the departure of Johann Persson I am just a trifle worried about the relative health of the NBOC.

dear mom2, what an amazing coincidence! at the same time you were posting here, i was posting a reply to you at another board re the RAD grade video for your child!<P>welcome! this glasco thing has been well and truly hashed through, here at CD, in more than a few consecutive threads. you'll find the links, i believe, at the top of page 1 (i hope)...if you have any stomach for reading any more about it!<P>i'd be curious to see that Toronto Arts Mag article you mention - do you know if that is online at all? maybe michael goldbarth will let us know...<P>and to quote you <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>...just a trifle worried about the relative health of the NBOC<HR></BLOCKQUOTE> - join the club! <P>hope to see more of your posts here at CD - please visit "the studio", down the page a bit, also!