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Issue #22.34 :: 08/26/2009 - 09/01/2009
City Ballet Board Moves to Rein in Director

Move Comes as Starrett Sought to Silence Former Board Member

BY JEFFREY DAY

Amid long-running and newly created debts, the Columbia City Ballet board has further tightened the financial reins on executive and artistic director William Starrett. But as it was doing that, the board had to simultaneously put out another fire when Starrett threatened legal action against a former board member who questioned his spending.
 

 
City Ballet Director William Starrett

These back-to-back issues have frustrated board members, but not enough to threaten Starrett’s leadership of the ballet, which he has headed for 23 of its 58-year-history.

“I don’t have any hesitation telling William I disagree with him,” says Nancy Kress, board chairwoman. “Yes, he can do wrong … I can support him but I can also question him. He is ultimately responsible to the board.”

For the coming year, the ballet has a $1.2 million budget, a decrease from $1.3 million last year. Its debt is $288,000, whittled down from $386,000 a year ago. The debt was $407,000 in 2007.   

The City Ballet is being run in a fiscally responsible manner and Starrett does not have a carte blanche, Kress says.

“No checks are signed by William alone,” she says. “There are checks and balances.”

Much of the debt can be traced to the ballet’s ambitious 2005 production, Off the Wall & Onto the Stage: Dancing the Art of Jonathan Green. Lackluster ticket sales for some subsequent productions have also contributed to the ballet company’s situation.

As the board was nailing down budget numbers last week, it learned about a “cease and desist” letter sent in Starrett’s behalf by an attorney.  The Aug. 14 letter accuses Barbara Iaquinto, who resigned from the board in June, of making “numerous defamatory communications” and publishing “false information impeaching the honesty, integrity, and reputation of Mr. Starrett.” The letter threatens a lawsuit to seek damages if Iaquinto does not “cease and desist.”

Iaquinto says it appears the letter was prompted by questions she asked about the City Ballet’s operations while she was on the board.


“When the letter came, you could have knocked me over with a feather,” says Iaquinto, who continued doing volunteer for the company after leaving the board.

The City Ballet is mentioned in the letter from the Ellis, Lawhorne and Simms law firm, but the ballet board did not sanction the letter and many board members didn’t even know about it until after it was sent. (Several found out about it from this reporter.)

Starrett says the letter was about his personal and professional reputation and had nothing to do with the ballet company. Last weekend, Iaquinto received an email from Starrett that indicated he was withdrawing the complaint. She has asked for a letter from an attorney to formally close the matter.

This is certainly not the first time the City Ballet has faced tough financial times and internal conflicts. After all, Starrett and City Ballet founder Ann Brodie had a huge falling out after he took over the company in the late 1980s. In the past decade, the City Ballet has had several financial reversals.

Board members blame some of the current money problems on the poor economy, but many of the debts have dogged the company since 2005.

 
The 2005 production of Off the Wall and on the Stage has left the City Ballet with an enduring debt.
That’s when the City Ballet created Off the Wall and Onto the Stage, inspired by the art of Lowcountry native Green. It cost about $1.2 million to produce and brought in about $800,000. The show was expected to be a moneymaker, but it didn’t get as many bookings around the country as expected and when it did sales were not always that good. The company will perform Off the Wall in Chicago in February, which the board thinks might give it a new life and the company some income.

Then the ballet got into deeper trouble earlier this year. Starrett’s most recent creation designed to put the company on the map was a ballet about the Columbia-based rock band Hootie & the Blowfish. The Hootie & the Blowfish Ballet premiered in April 2009 at the Koger Center for the Performing Arts. Expenses were higher than expected and ticket sales lower. The result was essentially a break-even run for a production that was expected to be a blockbuster that would offset other season losses. Overall, ticket sales totaled $78,003 over three performances and expenses were $78, 440; the ballet sill owes $17,500 of that amount to Fishco, Hootie’s management company, for production-related expenses. (The band members donated their time, but not that of their production staff.)

Board members say despite the fact that the company is adding debt Starrett is not running roughshod over them. The board has not been a rubber stamp for his expenses, says board member Coralee Harris, who was chairwoman during a financial crisis in 2000 and 2001.

Still, at a retreat earlier in the summer, one board member asked Starrett directly if he understood that he worked for the board — not the other way around.

“The board has always been willing to question what is going on,” Harris says. “You do get tired of talking to the wall though.”

Often, Harris says, everyone gets so excited and carried away by the Starrett’s artistic ideas they lose track of the money.

In trying to better manage the company financially, some board members have suggested the executive director slot should be spun off as a separate position. Others object to removing any of Starrett’s authority.

Creating such a position “has long been on the wish list” of the ballet, Kress says.

Board members have from time to time explored the idea of hiring a separate executive director. Two years ago, the ballet company’s treasurer Chris Ray told The State: “The ballet needs a strong financial manager who can balance William’s requirements with what we can afford.” The company has a finance director.

“Every penny is scrutinized,” says Gail Morrison, a board member and former board chairman.

Board members and Starrett say the company doesn’t have the money — at least $50,000 — to hire an executive director. (Starrett is paid $99,000 annually, an increase of $20,000 during the past decade.) The company recently laid off its marketing manager.

The “cease and desist” letter came at a bad time — when rumors were flying about the budget. The letter put the company in an awkward position and could have triggered a liability insurance policy that protects board members.

While the letter is mainly about Starrett protecting his reputation it “disturbs us,” Kress says.

“There will be a withdraw of the letter,” she says.

Jeffrey Day blogs at carolinaculture.org. For Day's commentary on the City Ballet, see his Aug. 26 and Aug. 30 entries.

 
Comments
Jeffrey. . .you know "I love ya like my luggage", but this "news story" is pretty one-sided and biased. First, I need to ask, where are the letters that Ms. Iaquinto wrote which prompted Mr. Starrett's "legal action?" Didn't "she" give you those? Jeffrey, do you recall the comments I made about egos and board members? Well, here you go; someone just got their 15 minutes of fame, albeit unprofessionally. "This isn't Kansas." When does a personality conflict rate a news article? Coralee
Coralee HarrisAugust 26th, 2009 11:56am
Just to correct an inaccuracy. Mr. Starrett's prior salary was $80,000. His new salary for the upcoming year is $99,000. So, in spite of all the uncertainties and debt, he's getting a 20% raise....go figure.
Mister KayAugust 26th, 2009 01:29pm
I've know William for many years and haven't always agreed with him but I've always respected his devotion to his dancers, his tireless work to make certain his company presents a first rate performance and his ability to make a penny scream because he pinched it so hard. He's given Columbia a ballet company that can be used to help lure potential businesses to our state as families always are interested in education and arts availability when looking to relocate. Before you make assumptions about someone, you should first be certain of your facts. How long has it been since Mr.Day has seen Off the Wall and has he ever seen Cleopatra? I've lived in Europe for many years and have enjoyed ballet while living there. These two productions equal any I saw in Europe. Mr Day must first know dance then perhaps he can give an accurate review but then that would require him to know the facts before reporting.....something foreign to him.
meb eadyAugust 26th, 2009 10:20pm
I love William and I love the Columbia City Ballet. That said, I think the company would flourish by having the executive management separated from the artistic direction. City Council and the community has, for years, questioned the integrity of the ballet's management structure. This has led to funding and PR issues galore. So just do it already! Take that $20,000 raise, and give it Lauren Hahn (Membership, Development and Marketing Director). She's already practically the Executive Director anyway.
Keely SayeAugust 27th, 2009 09:48am
No one wants to see a ballet company with the history of CCB go through difficult times. William has been steadfast in his dedication to the company. While my taste may not always agree with the programming of City Ballet, no one can deny the need for a professional ballet company in Columbia. Back in the 80's I had a professional company the SC Ballet Theatre. We had a small deficit ( @50,000.00), but it was the first time in 6 years that the company had not been in the black. It's a long story, but to make it short, the Cultural Council sent us a letter saying that they were prepared to withdraw our funding and give it to " a more deserving one" ( CCB, which was still a civic ballet) unless we merged with Ballet Michigan. We did so, and the Council insisted that the management of Ballet Michigan take over the reins. I resigned as Artistic Director. Within 4 months, BM moved out in the middle of the night, leaving us bankrupt. Our Board jumped ship. I was served a gag order. CCB's troubles remind me of those times, and times of other companies, where board members begin to question the choices of the Artistic Director, rather that doing the jobs of the Board which are - to 1: Get money, 2: give money or 3: get out. I hope that William is able to retain his artistic vision and does not get beaten down trying to run a "business".
anita ashleyAugust 27th, 2009 12:54pm
Quote: (Starrett is paid $99,000 annually, an increase of $20,000 during the past decade.) It is my understanding that this is a $19000 increase in his salary for this year alone- not over a decade. How can that be when the ballet is having to cut funding in other areas and is still functioning at a deficit- with outstanding money owed to others?
fallen star(ret)August 27th, 2009 01:02pm
After reading this article, I question whether Mr. Starrett should be the Executive Director OR the Artistic Director of the company. I've long since stopped buying season tickets as the first two shows of each season - Dracula & Nutcracker -are the same every year, year after year. I caught William and Co. performing bits of Dracula on a morning show around Halloween last year and I have to say: The choreography, costumes and music for "Castle Rocks" are the EXACT same as when I FIRST saw it in 1992. And a Hootie Ballet might have been relevant and fresh in 1995, but in 2009? No. Perhaps it is time to breathe new life into this stale company. With all the new talent appearing on the City's horizon (like Unbound dance company), surely we could find a new vision or direction for the City Ballet to go. Until then, I'll continue to donate my time, money and adoration to our Philharmonic.
Allison StrangeAugust 27th, 2009 02:33pm
In the immortal words of former Columbia City Ballet dancer Carl Askew, "Drama, girl!"
Justin KellerAugust 27th, 2009 03:21pm
Starrett took Ms. Brodie's vision of a company to train dancers to be professionals in the classical ballet tradition & turned it into his neon dream of ballet as Las Vegas spectacles. Does the arts community really want glitzy productions of Disney rip-offs and DRACULA??? This is another thing that makes SC a laughingstock.
chopsieAugust 28th, 2009 09:44am
It is amazing to me that a person can say that they are "not a dance expert" in one sentence and then say that William Starrett's work is not of a genius level. Because you are not a dance expert, your statement is null and void. What is the old saying? "One man's trash is another man's treasure?' There are many styles of dance and art that I do not find flashy and brilliant, but I am not going to bash them because I am uneducated about that particular style. To do so only makes one sound ignorant. It seems to me that there is information that has been left from this article...either intentionally or purposefully. Where is all the information on Mrs. Iaquinto? If you can produce a letter from Mr. Starrett, you should be able to do the same for her. I believe that there are always two sides to a story. It doesn't seem here that each side got the same representation. It makes you wonder. Is this piece of "journalism" written from a truly non-biased journalist trying to report the news, or is it an article that is driven by a personal agenda to bash Mr. Starrett. I guess we'll never know. And as far as the Columbia City Ballet being the laughing stock of SC....I think not. I applaud William for broadening the scope of ballet by creating more modern pieces as well as continuing to make the classical ones even better.
JaredAugust 28th, 2009 03:00pm
As a former member and supporter of the Columbia City BalletI say we all meet in a "forum" if you will, FACE TO FACE with eachother , to discuss how we can come together as a TEAM, to overcome our obstacles. So that we can work on what OUR issues are as a TEAM. This entire issue thus far has been discussed with the critics, the scorned board memeber, William haters (for whatever reason), valid or not, versus William. William is not the Columbia City Ballet. Columbia City Ballet is every person that set foot through those doors, to dance,, teach, make a costume, DONATE their time, weather helping back stage to a monetary contribution, all the way back to Anne Brodie. I think we need to sit down and really analyze what our problems are, rather than slinging mud. We are an arts organization inwhich we are most famous for our scandels, than we are so called "biggest arts organization, that brings in the biggest audience, at the biggest theatre" ART.......and that my friends is sad.
Ben TheirAugust 28th, 2009 06:46pm
After 23 years of Starrett leadership, this ballet should be a nationally renouned regional teaching and performing ballet company. It clearly IS NOT. Instead, its an mismanaged, artistically uninspired, directionless ballet company. It's clearly time for a change in leadership at the top. 23 years is far too long.
Voice Of ReasonAugust 29th, 2009 01:24pm
This in response to Jared's comment. You say that if one is not a dance expert, then their critique is null and void. Well, if we play by your rules everything you wrote is useless, because I don't believe you're an expert on dance. But hey, everyone has an opinion. Next time speak for yourself though. Because from where I've sat or should I say danced, recycled choreography, same ballets year after year and safe choices in subject matter is not broadening the scope of the art. Trust me, I'm an expert.
ben theirAugust 29th, 2009 01:12am
How many business managers has William run off over the years? Hembree? Keaton? There were at least two others.....
long memoryAugust 31st, 2009 11:36am
@long memory - McWilliams, Miller, Portnoy.
Dee GreenAugust 31st, 2009 03:11pm
I don't really call Hootie and the Blowfish and Off the Wall safe subject matter. I'm pretty sure the Columbia City Ballet has pushed the envelope with the concepts involved in those 2 ballets. And yes, I am no dance expert. But, I have seen, first hand, the hard work and dedication it takes to become a professional ballet dancer. Either way, you can critique something without being demeaning. And if "Ben Their" was there year after year, it couldn't have been that bad.
jaredAugust 31st, 2009 04:18pm
While we're talking about business managers that Starrett has run off over the years, let's not forget office managers and marketing managers (Phillips, Garrick). And board members!
Just Sayin'September 2nd, 2009 03:34pm
Jonathan Green is totally safe, and Hootie and the Blowfish is pandering to a crossover audience...The mere concept also draws laughs from people whenever I mention it--I have to tell them I'm serious. Whatever happened to Coppelia? Gisele? and how come the Columbia Classical Ballet can put on quality shows for so much less?
KBFennerSeptember 2nd, 2009 05:50pm
One of the reasons that Columbia Classical can put on shows for less is because Radenko brings in fresh foreign dancers every year who dance long enough to get their green cards then leave as soon as the coast is clear. That said, it is time for a change at City Ballet. William has surrounded himself with people who don't know jack about ballet and consequently praise his every mis-step. It is time for him to pass the torch to someone with an eye toward quality rather than gimmicks, tricks and bling. The bar for dance has been raised in Columbia and more and more people are learning what talent, coaching and real choreography looks like. City Ballet does have some talented dancers. But William is sadly out of touch with the 21st century dance scene. He is stuck in the 80s and the mediocre 80s at that. He either needs to get with the program and give us the city ballet that we deserve or move over and let new blood move in. It is inevitable. He can go out smiling, or he can just go.
Nose EnuffSeptember 3rd, 2009 12:33am
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