Wow! I didn’t think commenting on Karen Kain’s failure to detect a note written on high quality paper of about 7 by 4 could be interpreted as a “personal attack.” Most normal people can detect the presence of a note with their bum (I hope this isn’t too graphic for criticaldance)! Karen Kain clapping like a “robot” was a personal observation which I’m sure could be corroborated by other ballet fans. The only comment I feel bad about is any interpretation that I was making fun of Karen Kain using “orthopedic padding for her seat.” I should have used better judgment when forming my sentence there. The first time I saw Betty Oliphant struggle to make it to her seat, I was shocked. She appeared to be suffering from osteoporosis. I thought “the note” incident and clapping was both funny and sad. As for “personal attacks,” that is something which Karen Kain is very familiar with. See the below excerpts from arbitrator Christopher Albertyn’s report of temporary reinstatement.<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR> Ms. Kain says that Ms. Glasco never had a broad range of repertoire that suited her and that range had declined in recent years. She contends that Ms. Glasco’s physicality, articulation and strength in her dancing had diminished, with the result that her work lacked speed and endurance. In Ms. Kain’s view, Ms. Glasco’s dancing lacked dynamism and excitement. She says that the fewer roles assigned to Ms. Glasco in recent years are the consequence of the overall decline in her artistic ability.<P>Kain suggests that Ms. Glasco had trouble understanding, absorbing and retaining corrections. From her own experience, Ms. Kain suggests that Ms. Glasco was very slow in learning the ballet steps for Musings, with the result that she was not ready to perform in St. Louis, Missouri from April 4 to 7. 1998. Ms. Kain supports the suggestion made by other deponents on behalf of the Ballet that Ms. Glasco has not been cast often by choreographers in recent years. She suggests that Mr. Kudelka interceded on behalf of Ms. Glasco and that, had he not done so, she would have been given even fewer roles than she was.<P>Glasco points out that she has never been told that her dancing has declined. She says that Ms. Kain’s comments on her dancing have always been extremely positive. She has received no critical comment from Ms. Kain. Ms. Glasco has produced cards she received from Ms. Kain over the past three years, following Ms. Glasco’s performances of Onegin in 1996, A Month in the Country in 1997 and Musings performed in New York in October 1998 (shortly before Ms. Glasco was notified of the non-renewal of her contract). These cards are highly laudatory of Ms. Glasco’s performances. In the last, for example, Ms. Kain describes Ms. Glasco’s “beautiful movement quality” and her “understanding of this time in your life”, which Ms. Glasco understood to refer to the maturity she displayed, as was required to perform the role she did in Musings. <P>No other person in authority at the Ballet has suggested to her that her dancing has not been exemplary. She disputes any decline in ability and stamina, pointing out that La Bayadére, in which she performed some days before she was terminated, for which she received critical acclaim, is one of the most technically difficult and demanding of all ballets in the classical repertoire. Ms. Glasco disputes that she has been excluded from the performance of the works of George Balanchine or of Mr. Kudelka, and says she has recently performed works by both choreographers. The reviews Ms. Glasco received for her performance in La Bavadére on November 26, 1998 included the following: “The ballet itself is grand-scale minimalism; every step is a lesson in precision and economy. Glasco wastes nothing in her execution of them. She proceeds assuredly; her balances are long and languid, her feathery arm movements are measured and restrained. Every gesture is clear and radiant. She sparkles, a 24-karat ballerina.” (Deirdre Kelly, The Globe and Mail, Friday, November 27, 1998.)<P>“A magnificent showcase for 22 of the company’s ballerinas, led by Kimberly Glasco. It is also a breathtaking study in grace and precision, particularly when performed to the standards set by the NBoC.” (John Coulbourn, The Toronto Sun, Friday, November 27, 1998.)<P>Ms. Glasco points to the fact that in several ballets she performed in her most recent contract Mr. Kudelka selected her to perform on opening night, the ‘first cast’, when other principal dancers were available. She has performed virtually the entire repertoire produced by the Ballet: classical,<BR>neoclassical and contemporary, and she has rarely received a review which is critical of her performance.” <HR></BLOCKQUOTE><P>Ms. Kain’s comments to arbitrator Christopher Albertyn make the ballet’s statement of Glasco being an “outstanding ballerina” a little hard to swallow. It was no apology. Just part of the legal settlement. Their words carry about as much weight as a review by John Coulbourn of the Toronto Sun. <BR>Frankly, I think anybody who actually believes Kain or Kudelka read or care about what’s said about them on a Web site to be naive. If they were not in the unique situation of creating their own reality, they would have been forced to resign. <P>If indeed Karen Kain’s comments were true, why did the NBoC sign Kimberly Glasco to a 3 year contract in 1996? Why? Why?? Why???<P>For me, justice won’t be reached until Kudelka and Wilder resign. <BR><P>------------------<BR>Michael Goldbarth
The world revolves around the beauty of the ballerina.