Beneath her poised veneer is an exacting perfectionist, a tenacious fundraiser and a total control freak. Which explains how she turned the floundering National Ballet of Canada into one of the world’s premiere arts organizations
The best seats at the Four Seasons Centre are on the right side of the grand ring, a few boxes back from the stage. From there, Karen Kain, the 63-year-old artistic director of the National Ballet of Canada, surveys her dancers, assessing every arabesque, wincing at every shaky landing.
On the slushy evening of December 13, Kain took her spot for the opening-night performance of The Nutcracker, the twinkling Christmas bauble whose annual three-week run pads the company’s pockets for the rest of the year. Kain is willowy and austere, favouring a gallery owner’s uniform of tailored leather pencil skirts and expensive slouchy knits. She resembles a lovely alien, her pale face framed with wide-set eyes and lofty cheekbones, her black pixie cut pointing into blades. Everything about her appearance seems manicured, a costume of controlled rigidity. As the curtain rose, she sat upright, tapping her chin to the beat of Tchaikovsky’s opening allegro. Read the rest of this entry »
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