Hartford Ballet in a 'try anything year.

HARTFORD--Hartford Ballet is going through one of its most dramatic metamorphoses in its twenty-six-year history. In early May, just days after the company's critically acclaimed Sleeping Beauty, the ballet's board fired Kirk Peterson, charging the artistic director with cost overruns and failure to plan adequately for the financially strapped company [See Presstime News, August, 1998, page 29].

The new Hartford Ballet is decidedly different: smaller; more modern, and more bottom-line oriented. Enid Lynn, who has run the company's school since 1971, and Peggy Lyman, chairwoman of its bachelor's degree program in dance at the University of Hartford, are co-artistic directors. Reduced from twenty-three company members to twelve, the company plans to present more modest productions, reflecting a budget of $3.3 million. (Last season's budget was $3.1 million, but $3.7 million was spent. The shortfall was made up by emergency checks from the board and a $400,000 grant from the state.)

Modern dance is featured this season, with a special emphasis on the works of Martha Graham. Classical and contemporary ballet will be represented by Balanchine pieces, by choreography developed by the company's own dancers, and by several guest choreographers. Peterson spent the last half decade developing a classical ballet reputation for his midsized company and nurturing young dancers--such as Rasta Thomas and Melissa Wishinski, both medalists at this year's USA International Ballet Competition--to worldclass heights.

Hartford Ballet also has fewer dates at its traditional downtown venue, the 2,800-seat Bushnell. The Nutcracker is once again being pushed from its traditional prime December dates to a single Thanksgiving weekend slot to make room for the return visit of The Phantom of the Opera. (Two years ago, Hartford Ballet could play only November dates for Nutcracker, making room for Miss Saigon. For that engagement, revenues dropped by 25 percent.) For its January program, the company will perform at a small, 400-seat theater at the University of Hartford, instead of at the Bushnell.

"We have to present a new way of being creative institutionally and present in a way that works for our resources, our community, and our unique talents in our midst," says Lynn. "Our challenge is to make things work fiscally this year," explains Lyman, whose background is with the Graham company, where she was a principal dancer.

But the person now running the company is Trevor Cushman, who was hired last fall as executive director. He was promoted to president and chief executive officer of the ballet following Peterson's firing. "That was not a Godzilla act," he says. "I wear the crown lightly, but this is not a coequal situation with the artistic directors. I'm running the joint." Whatever Hartford Ballet will become is Cushman's call, and for now that new identity is open to the marketplace.

Cushman is entertaining a wide range of alliances, including "something short of a marriage" with the Connecticut-based Pilobolus Dance Theatre. The small modern dance company had an occasional guest-artist relationship with Hartford Ballet under its previous artistic director, Michael Uthoff.

"There's a twinkle in our eyes," says Jonathan Wolken, one of Pilobolus's artistic directors. "The possibilities are wonderful, especially in the area of education." Wolken says that any projects would likely be intended for the 1999-2000 season.

Cushman says that he is also exploring an adjunct relationship with Boston Ballet: Hartford dancers could supplement Boston Ballet productions of story ballets that would later be presented in Connecticut.

"Would Hartford love us less if we were to franchise ourselves out?" Cushman asks. "Part of me comes back to the `How could we do any worse?' argument." He says that Hartford would be an active partner and its dancers would not necessarily be reduced to simply filling out Boston Ballet's corps.

Cushman also says that he would not exclude further artistic leadership for Hartford Ballet, comparing it to a string of guest conductors for a symphony. "Maybe we just have to reinvent this joint," he says. "This is going to be a real try-anything year. Hopefully, we'll be able to find something that clicks and capitalize on it."

Cushman projects that he will lose half of the company's 2,000 subscribers in the new Peterson-less season but hopes to win new audiences with two marketing "zingers." He plans to return live music for The Nutcracker and Romeo and Juliet performances with members of the Hartford Symphony Orchestra. He is also launching a "Bring a Child Free" program. Adults who purchase tickets get one free ticket for one child, five to fourteen years old, for all events except The Nutcracker and Friday performances.

In the meantime, four months after the firing, Hartford Ballet and Peterson are still in conflict. Management for the company says that it wants Peterson to agree not to sue the company if it decides to perform his choreography. Peterson's dances for Hartford Ballet routinely received high critical marks for their classical strength.

Last December there was a high-profile world premiere of The American Nutcracker, with new sets and costumes to Peterson's vision of the holiday piece. For Hartford Ballet's holiday presentation this year, it will use the sets and costumes commissioned for the Peterson production but with in-house choreography from three staffers. No Peterson pieces are slated for the season.

Peterson's attorney, Robert J. Kor, says that the former artistic director intends to honor whatever provisions are in the contract but would not sign any additional agreements. Kor says that the contract provides that in the event of job termination the artistic director's compensation and health benefits would continue for six months for a total severance package of about $45,000. At press time, Peterson had been without salary and health benefits since June 19. He continues to live in Hartford while teaching and freelancing around the country.