Music
ALSOP LEAVES: Marin Alsop
is leaving as music director of the Colorado Symphony. Replacing
her will be difficult - The Colorado, based in Denver has an unusual
arrangement where the music director shares artistic decisions
with the player. Denver Post 07/30/00
MUTI MYSTERY:
Maybe it's not so surprising Riccardo Muti turned down the NY
Philharmonic music director job. He's never seemed comfortable
in the US. "He came from a world where music directors inhabit
Olympian heights. He was visibly uncomfortable with the schmoozing
expected of American music directors. He used to wince a lot."
Dallas Morning News 07/30/00
MUSICAL
CHAIRS: The Philadelphia Orchestra has been looking for a
new music director for three years, with still no one in sight.
"My fear is that the search is at an impasse. And now that
Riccardo Muti has turned down the New York Philharmonic, I fear
that the competition for that small group of star conductors is
likely to be even more fierce." Philadelphia music critics
debate the choices. Philadelphia
Inquirer 07/25/00
BARENBOIM'S
DILEMMA: The furor over Daniel Barenboim's role as director of Berlin's Staatsoper continues. "Should he
abandon what increasingly looks to be a no-win situation and leave
Berlin, concentrate on his responsibilities in Chicago (where
he has been music director since 1991) and devote more
time to playing the piano and guest conducting? Or should he stay
on at the Staatsoper, possibly in a reduced role – music director without administrative duties
- he said earlier he would accept if the authorities agree to
give his orchestra players more money?" Chicago Tribune 10/29/00
CARNEGIE CHAOS: Five of Carnegie Hall’s top executives
have resigned or been dismissed in the past six weeks, and tensions
are running so high the board of trustees has hired an outside
consultant to talk with the staff privately. Many of the disgruntled
cite the autocratic management style of new executive director
Franz Xaver Ohnesorg, whose soon-to-be-unveiled five-year plan
may instill more ire. New York Times 10/25/00 (one-time
registration required for entry)
BATTLING
FOR POSITION: Daniel Barenboim began his 10-year contract
as head of the Berlin Staatsoper in 1992 with great expectations
of leading it back to the ranks of international fame. "But
last month, city officials said he would not renew his contract
because he no longer wants to continue with the administrative
aspects of the job, and just wants to be the musical director instead." Now entreaties to him to stay.
New Jersey Online (AP) 10/23/00
NEW SPOLETO
DIRECTOR: French conductor Emmanuel Villaume,
age 36, has been named the new music director of the Spoleto Festival
USA. CNN
10/19/00
WHEN FLATTERY GETS YOU NOWHERE:
A regularly outspoken critic of the Royal Opera House’s former
management, Raymond Gubbay has applied to run the institution
after Michael Kaiser’s departure. In his application Gubbay called
the Opera House "the preserve of the rich, the influential
and those concerned with corporate entertainment." London
Times 10/18/00
·
·
I CAN FIX THIS: Gubbay "calls for a higher
status for the Executive Director which would put him or her above
the Music Director and the Artistic Director of the Royal Ballet.
He also wants more performances, longer production runs and cheaper
seats." London
Evening Standard 10/18/00
HANDICAPPING
THE MUSIC DIRECTOR
SWEEPSTAKES: The "Court of Musical Euphemisms and Factual
Economies" is now in session. Sorting out the twists and
turns of choosing music directors for America's major orchestras
is a mysterious game. "For reasons I have never fathomed,
US coverage of serious music seldom delves below the veneer of
stability and tends to reiterate every last euphemism and half-truth
without so much as a cocked eyebrow. Such complacency nurtures
a system rich in abuses and absurdities." The Telegraph (London) 10/04/00
THE
ROYAL WINNIPEG'S REVOLVING DOOR: The Royal Winnipeg Ballet
has had three artistic directors in eight years. And, with the
dismissal late last week of Andrew Wilhelm-Boyles, three executive
directors in the same period. What's happening to one of Canada's
great dance companies?
National Post 11/29/00
BIG
MISTAKE? The Bolshoi Ballet stumbles into London. The company
has been a mess the past year. There's been "talk of missing
money; of a threadbare repertoire; of a headless organisation,
because the new team of the conductor Gennady Rozhdestvensky (artistic
director) and Anatoly Iksanov (general director) had yet to get its act together."
The question is - is this a company that should be touring right
now?
The Independent (London) 01/23/01
BOSTON
BALLET BACKLASH: When the Boston Ballet unexpectedly dismissed
several of its dancers last month, and then fired the incoming
artistic director who had apparently ordered the action, the troubled
company went into full defense mode, with everyone involved desperate
to blame someone else. Now, two of the dismissed dancers paint
a dismal picture of an organization where the buck stops nowhere.
Boston
Herald 03/22/01
FROM THE BARRE
TO THE BOARDROOM: Performers aren’t always the most suited
to be arts administrators, but David McAllister might be the exception.
After giving his last performance at the Sydney Opera House on
Saturday, he will step into his new role as artistic director of Australian
Ballet and plans for his inaugural season already include a new
"Swan Lake" and "Sleeping Beauty", and adding
10 new dancers to the company. "His dressing room tells the
tale. On one side of the table is eye makeup, foundation and powder.
On the other is an ever-increasing stack of business papers."
Sydney
Morning Herald 3/23/01
WHERE
ARE ALL THE WOMEN? "Conducting is a competitive field,
but some say that for women, it seems bitterly so. America's best-known
female conductors have little to show for decades of effort. None
of the 27 American orchestras with the largest budgets has appointed
a woman music director, and many insiders expect a woman president to be
sworn in long before a female takes the helm of one of America's
top orchestras."
Minneapolis Star Tribune 03/17/01
BALLET
COMPANY SETTLES SUIT WITH DANCER: The National Ballet of Canada
and dancer Kimberly Glasco have reached a settlement on her charges
of wrongful dismissal. Glasco gets money and won't return to the
company as a judge had ordered. Glasco sued for unlawful dismissal
when the National Ballet decided not to renew her contract after
it expired in June last year. Glasco claimed she'd been fired
illegally for speaking out as a dancer representative on the board
of directors against artistic director James Kudelka's new Swan
Lake." CBC 07/20/00
WASHINGTON
DEBUT: Newly-named Kennedy Center director Michael Kaiser
"was presented to the press, patrons and politicians...capped
by a bipartisan dinner in the Capitol's Statuary Hall hosted by
the four leaders of Congress. The accolades were lavish; in turn,
the new arts center president promised to stay in the job for
at least five years, which would be 'longer than I've ever been
anywhere.' "
Washington Post 07/20/00
Deborah
Borda
TOP NY PHILHARMONIC EXEC
goes to LA. Deborah Borda surprises orchestra world by leaving NY
orchestra to manage the LA Philharmonic.
New York Times 9/30/99
REBUILDING
LA: A year ago when Deborah Borda took over management of the
Los Angeles Philharmonic, the orchestra was in shambles, with a $7
million debt and attendance and morale problems. "By
September, the end of fiscal year 1999-2000, the Phil's operating
deficit had been reduced to less than $200,000. To date, this
season's ticket sales are up an average of 13% per concert
following 10 years of steady decline - good news, but still 25%
behind ticket sales a decade ago."
Los Angeles Times 01/07/01
DO THEY
CALL THIS SUCKING UP TO YOUR BOARD? The director of the Irish Museum of Modern Art is taking the museum
to court to prevent its board from advertising his job. The museum
board recently failed to roll over the director's contract when
it expired and propose to open the post up for competition.
Irish Times 11/30/00
-------
Theatre
WHERE'S
THE RISK? London's National Theatre director Trevor Nunn is
being criticized for staging such a safe commercial hit as
"My Fair Lady." The National is subsidized by the
government because it is thought not to be commercially viable,
but when the play transfers to the commercial West End it promises
to earn Nunn and the theatre substantial profits. The
Observer (London) 03/25/01
THE
NATIONAL'S IDENTITY PROBLEM: All the fuss about the running of
London's National Theatre doesn't matter much. The real concern is
whether a successor to current director Trevor Nunn be found who
can realize the place's potential. "The ongoing off-stage
drama of the National Theatre is an instructive parable. It's the
story of a great arts institution that has, from its inception,
had a built-in identity problem. It's the story of the tail
wagging the dog – of an art-form that is all about the creation
of magic in the here-and-now being in thrall to a building that is
– in both the good and bad sense of the word – history." The
Independent (London) 12/01/00
NUNN
UNDER FIRE: The chorus of boos for London's National Theatre
director Trevor Nunn is growing. "Like circling vultures,
half of what used to be called Fleet Street have pounced on the
events and suddenly accused Nunn of every sin in the book:
artistic incompetence, overspending, pandering to white
middle-aged audiences, sticking to the boring programming of safe,
well-tried classics or musicals at the expense of cutting-edge
contemporary drama and, last but not least, of arrogance for
trying to run the ship himself and not appointing associate
directors to help him pick plays for the National's three
stages." Is the criticism justified? The
Telegraph (London) 11/14/00
RIGHT
DIRECTOR, RIGHT PLACE: She had the good fortune to direct the
hit ABBA musical. Now Phyllida Lloyd is rich and can afford to
direct all those plays she always wanted to do (like the new Mamet)
without worrying where the next Peugeot is coming from. The
Times (London) 03/05/01
ONE
WAY TO CUT LOSSES:
Sending immediate shockwaves through Britain’s theatre world,
acclaimed director Richard Eyre told a conference investigating
why UK theatre audiences were falling that the nation’
subsidized theatres (including the Royal Shakespeare Company and
National Theatre) should be disbanded, rather than continue
churning out stale work. "We have to acknowledge that theatre
companies have a finite life span and that few manage to sustain
artistic ardour beyond seven years."
The Telegraph (London) 3/02/01
FEAR
OF THE NEW? "Next Friday in London, this year's Olivier
Award for best director will go to a play first produced in either
1981, 1957, 1947, 1904 or 1879. Given the chance to strut their
stuff, to examine their times, to challenge the establishment,
these directors have dutifully ploughed their energy into what?
Revivals; classics. What's wrong with them? Are they so scared of
new plays?" The Independent
(London) 02/21/01
THINK
YOUNGER:
The Sydney Festival’s new director Brett Sheey announced his
strategy for putting his own stamp on the annual arts event by
attracting younger audiences with bold programming - a philosophy
that differs dramatically from his predecessor. "It was no
secret that Leo's great loves were opera and Western classical
music; my great loves are theatre, dance and contemporary culture
- multimedia, hybrid arts and those fusions which are reflective
of the 21st century."
Sydney
Morning Herald 2/16/01
ENCOURAGING
THE YOUNG: Are "elderly, reactionary critics"
putting young people off going to the theatre? Director Deborah
Warner thinks so, and she's slashing prices for some of the best
seats at her West End hit 'Medea' to encourage young people to
come to the theatre." The
Independent (London) 02/12/01
TAKING
SHOTS (OR BEING FRANK?): Dominic Dromgoole, artistic director
of the Oxford Stage Company has written a now-infamous book for
the jibes it takes at British theatre luminaries: "John
Mortimer (he 'has the look of a Faust who has said yes to the
devil so many times that he has got nothing to trade with') and
Tom Stoppard ('it's rather like dealing with a lunatic who keeps
telling you he's got a map showing where he buried his underpants
but he's eaten it'). The Independent
(London) 01/24/01
SAVING
THE ARENA:
Molly D. Smith, a little-known artistic director from Alaska, was
brought in to try to save Washington’s ailing Arena Stage three
years ago. "Now, as Arena commemorates its 50th year, it
looks as if the gamble has paid off. Subscription renewals are at
a high of nearly 90 percent." The
New York Times 01/10/01
(one-time registration required for
access)
THE
AGE OF THE DIRECTOR: The last 40 years have seen a rise in the
stature of the stage director. "Today's director is most
often a catalyst, visibly channeling theatrical elements and
placing a recognizable stamp on the practice." And he's
sometimes placed alongside or above the contributions of the
playwright and actors. Backstage
12/22/00
GOOD
FOR THE GOODMAN:
In the 14 years since Robert Falls became artistic director of
Chicago’s Goodman Theatre, he has turned an already esteemed
theater into one of the country’s finest. Thursday night an
audience filled its new $46 million home for the first time.
"We've got resources now that very few theaters anywhere in
America have, and we're going to make full use of them."
New
York Times 12/03/00
(one-time registration required for
access)
NEW
BLOW TO THE NATIONAL THEATRE: London's National Theatre has
been hit by a fresh crisis after the director of a new production
of Peer Gynt, due to open next month, returned home to Ireland on
medical advice. But his departure was marked by reports of
mounting friction between him and the cast at the Olivier Theatre.
He was alleged to have been asked to leave the theatre last
weekend after shouting abusively at the cast during a preview
performance. The
Independent (London) 10/28/00
IS
BRITISH THEATRE RACIST? Minority theatre is vanishing in
Britain. "So much so that many writers, actors, technicians
and directors are driving mini cabs, or have gone into teaching or
some other occupation. Some of the best have left the country. It
is worth noting there is not a single non-white artistic director
in any theatre in the UK. What we have is an industry that is
institutionally racist to its very core, yet congratulates itself
on being super-liberal."
The
Observer (London) 09/10/00
MORRIS
MAJOR: London’s Soho Theatre, founded in 1968, was one of
the city’s first fringe venues and launched the careers of
several famous playwrights. But by the early 1990s, the company
had lost its way, not to mention its audience - until Abigail
Morris took the helm as artistic director. “In just eight years
the Soho has gone from bust to boom, and Morris, whose only
previous experience was running a feminist theatre company in the
late 1980s, has become a major player in Britain's new-play
culture.” The
Guardian (London) 09/06/00
BRUSTEIN
TO LEAVE: Founding director Robert Brustein will step down as
head of American Repertory Theatre after 22 years. "Brustein
has functioned as a director, adapter, fund-raiser and playwright
(the ART will stage his adaptation of Chekhov's 'The Proposal, the
Bear, and the Wedding Reception' and his new original play `The
Face-Lift' this season, which opens next month with a limited run
of `The King Stag'). He also has remained unapologetic about some
of the company's more misguided productions."
Boston Herald 08/16/00
TIRED
OF STARGAZING?
Critics had a field day with director Sam Mendes’s comment last
week that British theater’s “reliance on Hollywood stars meant
it was in peril of being held hostage by the lure of glamour,”
since it was Mendes himself who had Nicole Kidman strip bare in
“The Blue Room” last year and set off the current craze for
celebrity casting (and stripping). But, if lagging ticket sales
are any indication, British audiences finally are tiring of
Hollywood stars taking center stage. The
Guardian 06/21/00
FIRST
LOVE: British director Sam Mendes accepted his Oscar for
"American Beauty" Sunday and immediately pledged to use
his success to draw attention and financial backing to his first
love, British theater. Mendes is the artistic director of London's
Donmar Warehouse, where he said his award "will provide power
and funds." The
Age (Melbourne) 0 3/29/00
Museums
MUSEUM
DIRECTOR HAULED BEFORE GOVERMENT COMMITTEE: The director of
Australia's National Gallery has been hauled up before a
government committee to answer charges by his former chief of
Australian art that management of the museum is in disarray. The
curator said Brian Kennedy's "management style had resulted
in exhibition planning being in disarray. Art historians were
bogged down in bureaucracy and morale among staff was
abysmal." Sydney Morning Herald
02/23/01
WHAT
HAPPENS IF NOBODY WANTS THE JOB? Before London's Victoria
& Albert Museum selected its new director last week,
headhunters had offered the job to several international
candidates, but had been turned down. "It is known they
encouraged quite a number of people to apply from all over the
world. It subtly undermines the candidature in the end." The
Independent (London) 02/11/01
JONESING
FOR THE V&A: Many believe that the Victoria & Albert
Museum needs a charismatic figure to pull it out of a prolonged
slump. But Mark Jones, named last week as new director, "is
seen as a subtle networker, a scholarly figure, adept at
behind-the-scenes politicking but unlikely to stamp his
personality on the V&A in a radical shake-up. Yet that is
exactly what some critics claim is needed to save the 149-year-old
museum from dwindling attendances and a nightmarishly bureaucratic
way of working." The
Guardian (London) 02/13/01
HOPE
FOR THE V&A? London's Victoria and Albert Museum has been
a mess for decades. Now "the reliably clumsy V&A trustees
have finally announced the name of the new director. The result
could be good news. It could be terrible news. Who knows? Mark
Jones may not be an entirely unknown quantity - he has been
running the National Museums of Scotland since 1992 - but he is
untested at the highest level and was certainly the darkest of the
three horses in the race." The
Sunday Times (London) 02/11/01
THE
TASK OF REINVENTION:
Mark Jones, director of the National Museums of Scotland, was
appointed Monday to head London’s Victoria & Albert - a
museum with flagging admissions, a stalled £80 million redesign,
and an obvious need for artistic leadership. "His next task
is to polish this Victorian jewel and make it appeal to the modern
eye. A museum cannot ossify and be left to decay. It has to
reinvent itself."
The
Herald (Glasgow) 2/07/01
TRYING
TO FIX THE VANCOUVER ART GALLERY: It's been a rough year for
the Vancouver Art Gallery. The museum's director resigned under
storms of protest from the city's artists that he was forced out
by a board that had overstepped. Now the city is looking to a new
director, plucked from LA's Museum of Contemporary Art. The
Globe & Mail (Canada) 12/20/00
THE
V&A's PROBLEMS: London's Victoria and Albert Museum is in
disarray. Attendance is down, raising money is tough, and the
museum's leadership is feuding amongst themselves. "There is
a feeling among some of the trustees that the V&A doesn’t
know where it is going. Having a director and chairman at odds
only adds to the problems, and decisions on many key issues are
now being postponed." The Art
Newspaper 10/03/00
Thomas
Krens
THE
NEW MUSEUM: The Guggenheim's Thomas Krens on criticisms of the
museum's Armani show: "We’ve expanded the concept of what a
museum/gallery is. You have to be flexible today. I see a museum
as a research and education institution, as well as a theme park -
I say theme park not in a pejorative manner. People come here for
a visceral experience. I’m involved with objects of material
culture - that’s about everything." The
Scotsman 01/08/01
POINTING
FINGERS:
Why are so many people in the museum world hurling insults at
Guggenheim Director Thomas Krens, who has overseen some of the
museum’s most successful shows to date, as well as its opening
of Bilbao and planned projects all over the world? "To hear
some people tell it, the museum world hasn't seen anything like
this since Napoleon ransacked Europe to fill the galleries of the
Louvre."
Forbes
01/08/01
WORLD
DOMINATION? "The response of the guardians of the
American museum world is to cry "McGuggenheim!", and
claim that Thomas Krens, the management-trained director of the
New York Guggenheim, is rolling out the brand. The tie-up with the
Hermitage and Kunsthistorisches are just part of a wider strategy
for what looks increasingly like a bid by Krens for world
domination." The Guardian
01/27/01
STARS
IN THEIR EYES? Some 100 of Vancouver's
most prominent visual artists and critics have signed a petition
demanding the resignation of the Vancouver Art Gallery's acting
director and the the museum's board of directors who appointed
him. The petition says that "to appoint an unqualified
individual with no experience directing a gallery or public
institution is irresponsible and reckless." The museum's
previous director "left in the wake of series of
disagreements with the board, the most recent a clash in which he
was pressured to mount a show of photographs by rock star Bryan
Adams." Toronto
Globe and Mail 04/11/00
"I'm
very bothered by the conflict of
interest of having a board member take over as director of the
gallery." CBC
04/11/00
PORTRAIT
GALLERY DIRECTOR RESIGNS: National
Portrait Gallery Director Alan Fern, who recently lost a bitter
public battle over how much space his museum would have in the
building it shares, will retire. The gallery is part of the
Smithsonian, and uses art to tell the history of people and
events. Under Fern's direction, the gallery's collection doubled
to more than 18,000 pieces and began including popular cultural
and sports figures. Last year it had 432,000 visitors. Washington
Post 02/04/00
CRITICIZING
FROM WITHIN: Last month the director of London's Barbican
criticized his fellow arts institutions for the manner in which
they were run. Now another arts leader has turned on his
colleagues. "It used to be unknown for subsidised
institutions to condemn each other." But now, "with the
attacks now coming from within, the pressure will be on the
notoriously non-interventionist Culture Secretary Chris Smith to
take a closer interest in the performance of national
institutions." The Independent
11/12/00
Malcolm
Rogers
FIRING
CURATORS, hiring an architect to expand without any public
discussion. Boston Museum of Fine Arts director Malcolm Rogers is
remaking one of America's top cultural institutions. Many are
asking - just what is he making it into? Boston
Globe 9/26/99
ALSO:
MFA's School doesn't escape controversy either.
Boston Globe 9/26/99
TROUBLED
TURNAROUND: When Malcolm Rogers became director of Boston's
Museum of Fine Art five years ago he inherited a $4 million
operating deficit. Last year the MFA had a $437,000 surplus. He
helped the museum complete a $137 million capital campaign. Last
year's 1.7 million visitors set an attendance record, and
membership has nearly doubled in five years. Even so, his
detractors are legion: "his acquisitions, his exhibition
policies, everything that has to do with art is a disaster." New
York Times 12/23/99 (one-time
registration required for entry)
SO
THIS IS DISNEYLAND? Malcolm Rogers has been in charge of
Boston's Museum of Fine Arts for five years. The museum's debt is
down, attendance is up and the institution is reaching into the
community. But the MFA has also been charged with controversy. No
question the museum is being reinvented. Is it for the better? Boston
Globe 06/11/00
Franz Xaver
Ohnesorg
CARNEGIE
CHAOS:
Five of Carnegie Hall’s top executives have resigned or been
dismissed in the past six weeks, and tensions are running so high
the board of trustees has hired an outside consultant to talk with
the staff privately. Many of the disgruntled cite the autocratic
management style of new executive director Franz Xaver Ohnesorg,
whose soon-to-be-unveiled five-year plan may instill more ire. New
York Times 10/25/00
(one-time
registration required for entry)
BERLIN'S
COUP: Franz
Xaver Ohnesorg was controversial as the head of Carnegie Hall. But
news he's going to run the Berlin Philharmonic is being greeted by
the Germans as a coup. He was first considered for the job
with Berlin's leading orchestra in 1996, but withdrew because the
Berlin Senate's regulations seemed too restrictive. He believes
that cultural institutions need to be managed as business
enterprises, as "cultural service providers."
Frankfurter
Allgemeine Zeitung 12/21/00
CARNEGIE
HALL CHIEF QUITS:
Carnegie Hall's top administrator, buffeted by the recent
resignations of four senior staff and the general unhappiness of
the Hall's workers, suddenly resigned Tuesday. He'll move to a
similar position with the Berlin Philharmonic in his native
Germany. Nando
Times (AP) 12/19/00
- ROUGH
TIME: "His tenure there was stormy, partly because of
what critics called an autocratic management style, but
yesterday he denied that problems at Carnegie Hall led him to
leave." New York Times
12/20/00 (one-time
registration required for access)
- UNFULLFILLED
POTENTIAL? "Mr.
Ohnesorg probably didn't have enough time to implement what,
as far as I understood, were very exciting ideas. The Berlin
Philharmonic is very lucky to get him."
Washington Post 12/20/00
Boston Ballet
MORE
THAN TUTUS AND TIGHTS: Faltering Boston Ballet puts together a
roadmap for getting back on track. There's a large audience in
Boston for dance, but for classical dance? Boston
Globe 01/16/00
Dance
is boffo box-office around the country, but ballet is having a
tough time.
Boston Globe 01/16/00
- CHANGES
AT BOSTON BALLET: Anna Marie Holmes is leaving artistic
director job at Boston Ballet. Denies report in Boston Herald
she was fired.
New York Times 01/03/00 (one-time
registration required for access)
Previously:
Holmes
fired Boston
Herald 12/29/99
Statement
from the Boston Herald standing by story. 01/03/00
Boston
Ballet director to step down.
Boston Globe 12/29/99
Driving
force of the company.
Boston Herald 12/29/99
LOOKING
FOR LOVE: Sizing up the search for a new artistic director
for Boston Ballet. Boston
Herald 06/09/00
BOSTON
BALLET searches for a new artistic director. The
speculation is...
Boston Globe 04/02/00
THE
GIELGUD AFFAIR: When Maina Gielgud left the Boston Ballet
six months before she was even scheduled to begin work as the
embattled company's new artistic director, accusations flew
over whose fault it was, and speculation over the
"real" reason for her dismissal was rampant. The
latest theory: it's (almost) all about the money, baby. Boston
Globe 03/25/01
BOSTON
BALLET BACKLASH: When the Boston Ballet unexpectedly
dismissed several of its dancers last month, and then fired
the incoming artistic director who had apparently ordered the
action, the troubled company went into full defense mode, with
everyone involved desperate to blame someone else. Now, two of
the dismissed dancers paint a dismal picture of an
organization where the buck stops nowhere. Boston
Herald 03/22/01
BOSTON
BALLET - WHO'S THE VILLAIN?: Maina Gielgud, who resigned
as artistic director of the Boston Ballet before beginning the
job, is refusing to take the rap for budget problems and the
firing of nine dancers. Ballet CEO Jeffrey Babcock, who's
already developed a reputation for antagonizing company
members, appears to be on the hot seat right now. Boston
Globe 03/02/0
