It is one of Shakespeare's most difficult pieces to stage. Winter history deals with the themes of death and regeneration, aggression and resolution – with a statue coming to life to make good measure. However, in 2014, the choreographer acclaimed Christopher Wheeldon Made of ballet work in three acts, originally co -produced by the National Ballet of Canada and the Royal Ballet. The first American at Kennedy Center in Washington, DC, arrived two years later.
The public in southern California will have the chance to discover the dance drama April 3-6When Segerstrom Center for The Arts presents the American theater of Ballet in the first performances of this adaptation of the company which was praised by criticism from around the world.
But Winter history is just a chapter of what Wheeldon has accomplished on the way to capture the hearts of dance lovers around the world. Originally from Somerset, in England, he trained at the Royal Ballet School and continued to hang a gold medal at Lausanne prices to dance a solo of his own creation. From there, he joined the Royal Ballet, where Kenneth Macmillan encouraged the efforts of Wheeldon's dance, then became a member of the New York City Ballet in 1993 at the age of 19.
On the fast track, Wheeldon was promoted to Soloist in 1998 and four years later, he was appointed first resident choreographer in NYCB. His many works for this company include the 1997 years Slavic dances and 2001 PolyphonyThe latter, in its staging in London, would win the best new dance production at Laurence Olivier Awards. Wheeldon has since created and staged works for many global companies, including San Francisco Ballet, the Bolchoï Ballet and Paris Opera Ballet.
After having directed his own troop, Morphoses, from 2007 to 2010, Wheeldon was appointed artistic partner of the Royal Ballet in 2012. Shortly after, Dancemaker realized and choreographed the musical version of Broadway from An American in ParisWin a Tony Award himself for the best choreography in 2015. Wheeldon continued to go MJ the musicalBy pouring his second Tony for choreography in 2022 and marking an appointment for his stage management.
Classic voice SF caught up diabolical Wheeldon occupied from his home in New York. The subjects varied from Winter history And the state of the contemporary ballet to his shameless love of the Ballets d'Histoire. This conversation was published for more clarity and conciseness.
First of all, what was the momentum to make Winter history?
Originally, I was looking for a shakespeare (game) which was not Romeo and Juliet and no A summer night dream (Or) The taming of the Musagaigne. I had gone back and forth with several other titles, but it was a conversation with (director of theater and cinema) Nicholas Hytner, where he identified problems (in Winter history) who tormented theater directors over the centuries (but would) make it an advantage for the structure of a ballet.
The pastoral scenes of act 2 can be quite difficult to stage in a room but offer great opportunities for the ballet body. The tragic comic elements of Winter history Also provide a large -scale emotion, which is, of course, very beneficial when you transform emotion into movement. The greater the emotion, the more physically it offers a dancer to embody.
The play is an overwhelming representation of jealousy which ends with redemption, as well as the story of a changing that goes from happiness to calamity and again. What are the themes to which you are personally linked? Jealousy? Love?
Jealousy is a common human emotion, but on this scale, when it turns into rage and almost psychotic behavior, I am not sure I am personally related to these extreme feelings. I relate to the type of general human condition (where) it is possible to do harm and be full of remorse and to change and to be forgiven.
These are themes that call me the most, especially nowadays, where we all make mistakes all the time. And I'm not just talking about us as an individual. I am talking about us as a country, as a societies. I do not think that there can be hope unless we believe in people's change capacities. And I think it's a very, very strong central theme in Winter history.
Over the years, you have collaborated with a regular team: the composer Joby Talbot, the move and the costumes Bob Crowley, and the puppeteer Basil Twist. What does this process look like?
It is wonderful because we all know the rhythm to which each of us works. I know how they react best to the comments now. They have a level of intense confidence in me (and I know) that I sometimes like to move the steering in the room. I (may) change my mind on, perhaps, a piece of music that has been specifically written to represent (a certain) emotionally moment, feel it (could better correspond) to another moment.
There is a lot of freedom in this kind of intimate collaboration when you know yourself. There is no waxed energy to worry about upsetting someone or a sort of point of feet on certain problems because you do not know how your employee will react.
What is your attraction for history ballets? You have already choreographed The Nutcracker For the Joffrey ballet and your own adaptation of the novel Like water for chocolate For the Royal Ballet and the American Ballet Theater, among other works.
I love a story. I love going to the theater and being taken on a trip and getting lost in characters who are so completely the opposite of me or who find me in characters to which I relate. It is a very magical space, (and) that's how the theater started.
I think the public also appreciates a complex story in dance, not necessarily (just) a boy meets a girl. I think we can immerse ourselves on more difficult subjects and themes and emotional travel in dance. I know there are a lot of people who don't feel that, but I do it.
Today's history ballets also advance the art form. What do you think of the state of contemporary ballet?
I think it's great. There is a lot of very good work in progress. Personally, I am very proud of the fact – and I don't want to take the credit for this – that many choreographers have decided to tell more stories. (My ballets exist) alongside (choreographer) Alexei (Ratmansky), for example, in the kind of narration to dance.
In any case, I want to withdraw the power from the abstract, because this is where we, the public members, find our own imaginative ways to connect with the work of the choreographer. But I like this story that the ballets are made by young choreographers. And it is partly because we connect. We spend our lives telling stories.
Last year, you logged in large part with Oscarthat you have done for the Australian ballet and which is based on the life of Oscar Wilde. The male male partnership in dance has existed for some time, but I wonder if the ballet becomes more openly gay, so to speak.
No, it's really (it was not) to be honest with you. I know that it meant a lot for many gay artists, gay dancers and also for the public. For years, we have been ridiculed as in a form of gay art (while not being able to portray ourselves (and rather) to portray the kind of heteronormative prince. I think that for many gay dancers from the Australian ballet, it meant a lot of being able to represent something on the stage with which they connected as people.
But the goal was not to make a gay ballet to make a statement. In fact, I (just) adored Oscar Wilde's life for a long time and I was fascinated by him and his stories. It seemed to be a very good idea, so I said to myself: “Hell yeah, let's do this room.”
Ballet's new television series Star First on Amazon Prime next month. Are we going to see you in the series and what type of impact-if necessary-will this type of show have on the ballet today?
I think we all hope that it will have a positive impact, and if it is good, it will encourage the public to see the ballet in the theater, what we need and want. (Everyone) of the world of dance hopes that it will be good and finally break the (perception) of television programs focused on the ballet which were not so excellent.
Yes, you will see me in it. I was flattered to play myself. I think I'm in the last two episodes. These are short appearances, but I had an absolute explosion on the other side of the script. I have been running actors for about 10 years, and understanding what it is to connect with another actor, to connect with the text and to make it real and emotional, it is something that I ask my actors all the time but that I have not lived. So it was very good – and revealing – for me.
In June, you return to the Paax PNB festival on the Mayan Riviera in Mexico. What makes him special for you, in addition to music and dance, people, food and the atmosphere?
You just said, Victoria. It is really good to be also in this caliber of the artist in such a density. All these players are so magnificent. And it gives me a chance to bring the dancers closer and do what I did with my brief passage of morphoses. Set up a business for 10 days, have this experience, then let them all go at the end – and not have to worry about how we will collect funds for next year – this is the best of both worlds.
And of course, do it in such a beautiful hospital place. I mean, I just like Mexico, and it makes me crazy about the way we are dealing with this country right now.
