American ballerina Gillian Murphy
is part of an allegory for independent authors
I LIKE this story because I see it as
an analogy of how to make a success of independent writing.
Throughout
the world arts organisations are struggling as we seem to be near the bottom of
the sponsorship – government and private – cycle.
So how does a ballet company survive let alone thrive in a New Zealand city
such as Wellington with a population of 364,000 people. A tiny
population by city standards but it gets worse.
Here are
the priorities of the Wellington Regional Plan 2010-2012
The priorities for 2010 - 2012 are
- more
people get into work and stay in work
- more
children are safe
- more
young people stay on track
- reduced
reoffending by young people
- improved
quality of life for older people
- communities
are better able to support themselves.
Notice any mention of fostering the arts? No!
Well what does the government see as the
backbone of the Wellington economy?
Our economy
The key industries and employers in the region are:
- public
administration and safety
- professional,
scientific and technical services
- healthcare
and social assistance
- education
and training
- retail
trade.
Any mention of the arts or even entertainment? No!
A born-again Oliver Cromwell would seem to fit
in here.
But perhaps it
is the government not the arts community of Wellington which is out of touch
with reality.
In November
American Ballet Theatre principal dancer Gillian
Murphy will perform in a new staging
of Giselle, co-produced by Wellington based Royal New Zealand Ballet artistic
director Ethan Stiefel and
internationally acclaimed principal dancer of The Royal Ballet, John Kobborg.
The production will be in the home of the Royal New Zealand Ballet, St
James Theatre Wellington. The London Evening Standard newspaper described
the RNZB as “a text book case of how a small company can defy the debilitations
that size usually brings.”
For the Standard, bigger is not more secure. Bigger is more precarious.
Notice also tha,t for the NZRB, smaller does not prohibit international
co-operation.
How does the company do it?
For a start, the St James Theatre was designed for vaudeville. Maybe the
Cromwell ruin song was performed there. As a music hall, the St Jimmy is lower
and broader than usual ballet houses and it enhances intimacy between
performers and audience.
St James Theatre is surrounded by bars and restaurants, many of which
offer special pre-theatre dining menus and deals. As an example, Logan
Brown at 192 Cuba St
offers a three-course bistro menu for $45 and a $55 ballet package which
includes an additional glass of champagne and taxi to theatre.
The City Life Wellington Hotel at 300 Lambton
Quay offers weekend packages from $179 for a studio room,
subject to availability.
The point of this story is not that Asians, Aussies and Kiwis should
rush to the season of Giselle though
they can book at www.nzballet.org.nz.
Rather it is that indie authors can ci-operate with one another and
relatewd industries to makes less more.
Instead of more of the same offer less of the
different
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