Jasinski leaves Tulsa Ballet - artistic director Roman L. Jasinski

Dance Magazine, Feb, 1995 by Lili Cockerille Livingston

TULSA--On November 14, 1994, Roman L. Jasinski resigned his post as artistic director of Tulsa Ballet Theatre (TBT), effective May 31, 1995. Jasinski stated: "I believe it is in the best interest of Tulsa Ballet Theatre and its continued success for me to resign."

The announcement took members of TBT's board of directors, its dancers, and its staff by surprise, despite months of rumors that animosity between management and dancers was escalating. Board president Robert S. Morgan said, "Frankly, this came as a shock to us. I don't think, however, [that it is] a fatal shock. Our current balance sheet is very strong, and we have a substantial time cushion, a mortgage-free state-of-the-art facility, a close-to-$2-million operating endowment, a $500,000 building endowment fund, strong ticket sales, wonderful dancers, and tremendous community support."

Jasinski, whose four-year tenure as TBT's director included dedication of the company's new facility as well as a lawsuit brought by seven dancers whom he fired, also announced the resignation of Connie Cronley, who had served as the company's general manager since 1981. Cronley stated, "I resign with sorrow, but also great pride in all we have accomplished. There is not a ballet company in the world more [fiscally] stable than this one."

Jasinski's mother and TBT artistic director emerita, Moscelyne Larkin, who founded the company with her late husband Roman Jasinski in 1956, will remain a salaried artistic advisor for TBT. Morgan applauded Larkin's decision to help preserve the troupe's thirty-eight-year legacy.

Jasinski and Cronley cited increasing conflict between some dancers and management over the dancers' decision last spring to join the American Guild of Musical Artists (AGMA) as a factor in their decision to resign. "Unfortunately, I feel we did not have the complete support of the board." Jasinski said. "And, without a major change in management, the ballet company's position in future union negotiations would be substantially impaired and compromised." Cronley added, "We decided it would be better to step out of the line of fire and let things heal and go on from there."

Six negotiating sessions with AGMA have been held and negotiations were scheduled to resume in early January. Although not allowed to discuss specific issues, Morgan confirmed that financial considerations were not the primary motivation behind the dancers' decision to unionize. Describing the negotiating process as an eye-opening experience for him, Morgan noted, "We will have to wait until union negotiations produce a contract before we can actually sign successors."

Also at issue, according to Cronley, was the conviction of some board members that the artistic and business aspects of the company should be separated. Calling a segregated management plan "intentionally divisive," Cronley cited its detrimental effect on several other companies. Plans to restructure TBT's management and operational policies began after completion of a board-commissioned independent study of the current system by Arts Action Research. The consultant's report stated: "I don't recall ever seeing a more serious administrative imbalance in an organization that was not in serious financial trouble. TBT is more stable than most, but it is living a precarious existence."

Expressing mixed feelings' about the turn of events, Morgan said, "obviously, there is a lot of sorrow, but at the same time, this is an incredible opportunity for TBT." He also applauded Jasinski and Cronley's offer to assist as needed to assure a smooth transition and successful completion of the 1994-95 home season, which ends with the Tulsa debut of Peter Anastos's Midsummer Night's Dream, April 7-9.

"My concern now," Morgan continued, "is to establish strong lines of communication between the board, the artistic staff, and the dancers, to ensure an amicable overall transition." After guidelines for replacing Jasinski and Cronley are determined, Morgan will appoint a search committee.

Jasinski and Morgan stressed that the resignations had not been requested by the board. Jasinski pledged his support for the company. "The last thing I want to do is hurt the ballet company or the community. I grew up with the philosophy: `Do what is best for the ballet,' and that hasn't changed."