Banff Midsummer Ball

The Banff Centre, a home for working and developing artists in the heart of the Rocky Mountains, hosted its 30th annual signature fundraising event last weekend: the Midsummer Ball Weekend.

It began Friday morning with a friendly golf tournament and reception at the Fairmont Banff Springs. That evening, after checking into the lodge-style residences at the centre, guests were treated to an array of fine food - sushi, bison, seared tuna included - and a wine and scotch bar, before an intimate musical performance. Juno-award winning jazz pianist Hilario Duran played a three song set with bassist Roberto Occhipinti and drummer Mark Kelso, head of percussion at Toronto’s Humber College.

Between songs Occhipinti, who is an alumna of The Banff Centre, remarked on the pleasures of playing in Alberta saying, “The Banff Centre is the crown jewel of Canada … and I would hazard that in this resource-based economy, we can all appreciate that art is the ultimate renewable resource.”

The performance was followed by several pieces from the musical Loulou, a work in progress by Kelly Robinson, theatre arts director at The Banff Centre and director of creative development for Mirvish Productions. Broadway stars Hugh Panaro and Carly Street were joined by the centre’s opera students.

Following the program, The Banff Centre’s board chair Jeff Kovitz asked Alberta Minister of Culture and Community Sprit Lindsay Blackett to do a reverse ribbon-cutting, which would signify the closing of Donald Cameron Hall. The building will soon be replaced by The Kinnear Centre, a structure designed by Diamond & Schmidtt Architects and set to open next summer.

“If there’s a camera and a microphone, I’ll do it,” the Minister quipped before hopping onstage.

Saturday morning brought a fresh-faced and excited crowd to three keynote sessions. In the first, prima ballerina-turned-filmmaker Veronica Tennant, O.C. showed excerpts from her film Shadow Pleasures, a work done in partnership with Michael Ondaatje and filmed in Toronto’s Distillery District. Tennant manages to capture both the intense energy of her subjects - dancers - and the intimacy of the words to which they are performing, poems and paragraphs by Ondaatje. It is a rare and beautiful sight, leaving the viewer’s heart thudding in time to the score. The second session featured well-known pianist and organizational coach Michael Jones, who spoke eloquently about personal leadership and played songs for reflection. Author and Banff Centre alumna Maria Coffey capped off the morning with stories of travel and transcendence. A prolific author and recent guest of the Oprah Winfrey show, she and her husband Dag now lead small paddling trips to Croatia, Antarctica, Vietnam and other places.

After lunch, the group split into the three separate tours; some sneaking behind-the-scenes looks at film engineers, ballet dancers, and opera singers at work, others touring the new building, and still others toured visual artists’ studios with Berlin-based critic Jan Verwoert.

The evening’s gala attracted around three hundred guests, clad in black tie and ball gowns. Guests included former Premier Peter Lougheed, Alberta's Deputy Minister of Aboriginal Relations Maria David-Evans, Former MLA and current chair of the Western Financial Group Jim Dinning, Pat and Sherrold Moore, Margot and David Kitchen, Ian and Judy Griffin, Murray and Heather Edwards, Glen Sather, president of the New York Rangers, Matt Fox, president of ConocoPhillips Canada, John Lau, president of Husky Energy, and Mary Hofstetter, president of The Banff Centre. The master of ceremonies was Angela Knight of CBC Radio. A four course meal was served, including candied salmon salad, duck confit on brioche, veal tenderloin, and blueberry panna cotta. A performance by the Eric Friedenberg Orchestra had guests dancing late into the evening.

Published in National Post, July 25 2009

RCA honours Calgary talent; inducts 27 artists

The Royal Canadian Academy of Arts (RCA) marked its 129th year last month by hosting a four-day festival in Calgary, honouring top local talent, and inducting twenty-seven new members. President Jeffrey Spalding hosted a gala dinner at Hotel Arts where guest Lindsay Blackett, Alberta Minister of Culture and Community Spirit, made an opening address. Supporting arts and culture does not only enhance our quality of life, Blackett said, but acts as an economic driver and the foundation for a richer educational system.

Creative achievements were then recognized by the awarding of twenty-seven memberships to professionals and practitioners in the field of visual arts, and RCA medals to curator Joan Stebbins and writer Nancy Tousley. Each medal recipient delivered warm, humorous remarks which conveyed nicely their contributions to the developing narrative of contemporary Canadian art.

The affair was an intimate one, despite the hundred-or-so guest list. Audience members cheered, catcalled, and clapped as each of the new academicians were introduced and given their certificates. Among the inductees were painter Garry Kennedy, past president of the Nova Scotia College of Art and Design (from 1967 until 1990), Sara Diamond, president of the Ontario College of Art and Design, Calgary-born Christian Eckart, whose work stands in the collections of New York’s Museum of Modern Art and Guggenheim Museum, photographer Justin Wonnacott of Ottawa, Quebecois painter Marius Dubois, Calgarians Rita McKeough, John Will, and Mary Scott, and sculptor Faye Heavyshield, originally of Alberta’s Blood Reserve.

La crème of Calgary’s cultural community was also proudly present, including artists Chris Cran and Ron Moppett, Yves Trépanier and Kevin Baer, whose gallery currently displays the work of many RCA inductees, and Karen Ball and Holly Simon of Calgary Arts Development.

Far from a society of mutual appreciation - although it is that, too - the Royal Canadian Academy of Art strives to support emerging talent, and facilitate discussion about and around art for the broadest possible audience. The organization also plays a national advocacy role by debating and presenting community-oriented policy, such as developing retirement funds, voicing a cohesive opinion on legislation, and reclaiming economic control over their work.

Over the course of the four day festival, Stride Gallery hosted the Joseph Plaskett Reception, where the work of seven new artists was celebrated. The emerging talent was chosen by seven distinguished members of the RCA. Among these rising stars were sculptor Robin Murphy, director of public art for Torode, Angela Bedard, and Romy Straathof.

Other events included the granting of the RCA Trust Award to Illingworth Kerr Gallery, a gallery hop including Art Gallery of Calgary, Weiss Gallery, Masters Gallery, Loch Gallery, and Triangle Gallery, and the world premier of a classical music piece for strings and voice by Katherine Govier and Allan Gordon Bell at The Grand Theatre.

Published in National Post July 18, 2009

Theatre Calgary Reflects Oscar Glow

A touch of old Hollywood glamour was bestowed upon a relatively new city last weekend, when Theatre Calgary hosted its annual Night with the Stars fundraising gala. At the posh Ranchmen’s Club (second only in stature and iconic namesake to the Petroleum Club) close to 300 guests gathered in black-tie. They enjoyed fine wine, martini bars, a buffet-style feast of international flavours, silent auctions, and multiple live large-screen projections of the Academy Awards show.

Local actors roamed the gala in character - a Moroccan gendarme, a detective in a neck brace, and a vacationing heiress among them - providing another layer of entertaining escapism while promoting an upcoming production of Dirty Rotten Scoundrels, the play which gives life to those personalities on stage.

Hosts Jocelyn Laidlaw and Jefferson Humphreys provided a lively distraction from the broadcast’s commercial breaks, while The Honourable Lindsay Blackett, Provincial Minister of Culture and Community Spirit, provided opening remarks and provoked small whirlpools of activity as he worked the room. As the leader of a fledgling ministry, he is receiving top marks for enthusiasm, promotion, and politicking in the cultural communities. Many guests also commented on the exceptional talent based in Calgary.

“When you see a Theatre Calgary show, you could be watching theatre in any world class city. You’d never know where you were,” says Carlo Bellusci, president of Vendemmia Wines and a member of the host’s board of directors, “The quality of show is outstanding.”

And that’s no secret, according to Tom McCabe, president of Theatre Calgary. “We’ve had more interest and support in the last year than in the last twenty years combined,” he says, “It’s the first time that the government has really paid attention to the arts. We finally have a ministry of culture, and that makes a big difference, in fact it’s wonderful!”

Dr. Ian Beddis, who was honoured along with his wife Robin Beddis earlier in the evening for their continued support of the organization, agrees on both counts. “Theatre Calgary is the best live theatre you’ll see in the city,” he says simply, “Calgarians are becoming more culturally knowledgeable, as we travel and see what the rest of the world has to offer. And now we can say that Calgary offers the best and supports the best.”

Among the starlets gathered for a night of glamour were: Larry Fichtner, director of development for S.I. Systems, Terry Koch, Senior Associate at Stantec Consulting, Dr. David Cenaiko, Brian Mennis, regional director at Investors Group, Michael Stevens and Stuart Walker of UTS Energy, Nicci Shores of GWL Realty Advisors, Glenn Tibbles, managing director of Knightsbridge for Alberta and the Prairies, author Suzanne Devonshire-Baker, Jim Floyd, board director for Theatre Calgary, and Gary Duke, project director for the University of Calgary Health Research Innovation Centre.

Published in National Post, February 28 2009

How the oilpatch was stirred up by the Academy Awards

The road to the Academy Awards is paved with black gold, it seems. At least in Alberta.

Downstream, a Canadian documentary about cancer rates among residents living south of the oil patch, was recently added to the longlist for an Oscar nomination. While the shortlist nominations did not include a nod to the film, its early recognition sent giddy shock waves through the film industry here, and a mess of panicked PR bungles through an enclave of corporate energy giants and government representatives.

The film behind the buzz is a 30 minute documentary revolving around Dr. John O’Connor, a physician living in Fort Chipewyan, Alberta. For six years, the doctor has been making a public fuss about rare forms of cancer in the small town, which he claims are linked to the toxic tailing ponds from nearby oil sands development. For his trouble he was charged with four counts of professional misconduct and forced to move far away from the community, to Nova Scotia. The charges have recently been dropped, the water from tailing ponds tested, and a second – but very slow – peer review study of the situation is currently underway by the Alberta Cancer Board.

The documentary has already been screened at select locations in California, and a slew of film festivals from around the globe will show a full-length version of the film next year. Although very few Canadian have yet to see it – including those interviewed for the film – rumors are flying fast and furious.

Last month, the first response from Alberta Minister of Culture Lindsay Blackett was that “it doesn’t make a whole lot of sense” to fund a film “that’s going to be negative” of the province. “If I’m going to invest money in a film, the whole idea is to show Alberta in a better light,” Blackett said during an on-camera interview with CBC. The Minister retracted his comments six days later, saying his comments were in response to a hypothetical question, and that “no censorship or creative oversight is on the table, and it won’t be in the future.”

But the damage had already been done.

Actors unions cried out. Skittish staffers of the Alberta Film Commission denied it ever happened. The Los Angeles Times reported that “it might be impossible to fund a film in the future that is critical of local government policies and programs” and a tribal council member for the Chipewyan First Nation, whose plight is explored in the film, told local indie magazine FFWD, “The Culture Minister is not supporting the general public of Fort Chipewyan. We pay our taxes too.”

The vilified Minister made amends with locals, but the sandstorm speaks to a much larger communications malfunction. The Oscar buzz arrived soon after a carefully crafted admission by Canadian Association of Petroleum Producers (CAPP) that most Canadians don’t feel all warm and fuzzy about their work. That looks now to be a radical understatement. The same day Minister Blackett’s comments were made public, the Athabasca Chipewyan First Nation requested a judicial review on the granting of oil sands leases from the province. And soon President Barak Obama will make his first official visit abroad to Canada, including a tour of the developments - America’s closest, and largest, supply of energy. For its part, CAPP is promising a “different conversation” – read: revved up public relations campaign - this year.

Leslie Iwerks, the film’s Los Angeles-based writer and director, says Americans are apathetic and ignorant of what their energy costs in human terms. “I understand that it’s big business and they need to feed the US appetite for oil,” she says of the industry, “But you see the environmental impact and the energy it takes to get at it, and it’s pretty eye-opening. It’s big government, it’s people not caring, it’s massive environmental destruction, it’s doctors getting charged with counts that aren’t necessarily true, and it’s a lot of unanswered questions. Those are the stories I want to tell, because it’s a story about human beings.”

"This product is being produced because there is a demand for it,” says Lorraine Royer, vice president of stakeholder relations at Global Public Affairs, whose clients include many big players in the oil patch, “The industry is well aware that continuous improvement is required, and an incredible investment occurs everyday to reduce that impact.”

What this film means for perceptions of the oils sands remains unclear, but those in the movie business are hoping this bit of drama will only help their industry.

“I don’t want there to be a backlash against Alberta film, that was my main concern,” Minister Blackett explains, “It’s knowledge-based and green and all those other good things. We want more Alberta films, more producers, more work in diverse industries here. Film captures our quality of life here, through our eyes. We can’t expect someone from Los Angeles or New York or Toronto to do that for us. We need the creative industries here. I made one mistake … I misspoke. You live, you learn.”

Published in National Post, January 23 2009 (<--click to see article online)