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From artist to impresario.

Article Excerpt
BRUCE SANSOM INTERIM HEAD OF DEVELOPMENT, RAMBERT DANCE COMPANY "When I decided it was time to [stop dancing for] The Royal Ballet, I had a chance conversation with Helgi Tomasson [artistic director, San Francisco Ballet]. I mentioned to him my decision to stop dancing but also expressed a desire not to leave ballet. Helgi responded by inviting me to come and shadow him for a year. It turned out to be immensely valuable for me because by this time I had decided that my principal goal was to become artistic director of a ballet company."

It was a different world when Lincoln Kirstein founded the New York City Ballet with George Balanchine at the helm. Kirstein had a vision of what America needed in a ballet company; he raised the seed money and forged the political alliances. Today there is no Kirstein at NYCB, nor is there a Diaghilev figure at any other American dance company with whom the artistic director or chief ballet master can engage in dialogue. It is more likely that an artistic director is now called upon to possess the combined abilities of Kirstein, Diaghilev, and Balanchine. Today's dance company director must be not only an artist but an impresario as well.

Manhattan-based artist manager Mark Kappel lists what he considers essential for the job: "Problem solving, security in decision making, taste, and the ability to see a work through from embryonic idea to curtain going up." Kappel, who has represented both companies seeking a leader and suitors for the job, says candidates are often outstanding in one aspect of the enterprise--dancing, choreographing, coaching, scheduling, getting bookings, or attracting donations. So just how does an aspiring dance company director acquire...

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