Paul Wells: A quite romantic vision - Peter Herrndorf, 1940-2023
The notion that Canada constitutes a community whose attributes extend beyond its tax rate, its weather forecasts and the latest ledger of offences inflicted and endured has always rallied too many detractors and too few champions. The champions took a heavy loss overnight when Peter Herrndorf, one of the people I admired most in this world,.
But it was Herrndorf’s work at the National Arts Centre that marked his greatest success as a cultural-industry turnaround man. The little cluster of performance spaces on the Rideau Canal was running on fumes when he got here. By the time he retired in 2017, the NAC had reclaimed its role at the centre of multiple Canadian cultural conversations — with an influence extending far beyond the capital.
The National Arts Centre was worn out when he became its CEO at 58 in 1999. A centennial project driven by a persuasive advocate from old newspaper money, Hamilton Southam, its creation had been bankrolled by Lester Pearson’s government at a time when everything seemed possible for the fast-growing Canadian federal state. Within a decade that can-do spirit was ebbing. By the 1990s the NAC felt like White Elephant on the Rideau.
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