Why Rockette Phoebe Pearl Is a New Dance Hero
We never know where our heroes will come from.
On January 10, the Bessie Awards held an event at LaMama theatre, where Phoebe Pearl, the Rockette who spoke out against dancing at the Inauguration, appeared. Pearl remains the only current Rockette to speak publicly under her real name, and the dance community responded to her courage.
In an emotional speech, she said that chose not to perform at the inauguration, and that she was just standing up for human rights. She then toasted the first amendment, to the cheers of about a hundred people in the dance community.
Phoebe Pearl speaking at a Bessies event, photo by Heather Robles
I’m sure you know the story by now. Just before Christmas, the Rockettes learned they would be performing at this Friday's Presidential Inauguration. Donald Trump, who has bragged about sexual assault and entered dressing rooms at beauty pageants he owned to “inspect” the women, will soon be inaugurated as president. Many entertainers have refused to perform, but the Rockettes will be there, a decision made by their owner, Madison Square Garden.
In December, Pearl posted a complaint on Instagram, saying she was “embarrassed and disappointed” at the prospect of performing at the Inauguration. Because of the reaction, she had to change her Instagram settings to private. Another Rockette, using the pseudonym Mary, was quoted in Marie Claire and other publications: “It's the people in our wardrobe and hair department, some of whom are transgender. These are our friends and our family, who we've worked with for years. It's a basic human-rights issue. We have immigrants in the show. I feel like dancing for Trump would be disrespecting the men and women who…we care about."
James Dolan, executive chair of MSG, and the dancers’ union, American Guild of Variety Artists, eventually came to an agreement that any of the dancers could opt out of the performance—that went for both the full-time Rockettes (of which there are about 13) and the many more who are brought in just for the Christmas Spectacular.
There is still a worry that the dancers who choose not to perform will lose their good standing. An MSG spokeswoman says those rumors are only hearsay: "We had a very productive meeting with the Rockettes and while we will keep the details of that meeting confidential, we can say, it was made very clear to all that participation is voluntary and there will be no repercussions if anyone decides to decline participation."
However, Rosemary Novellino-Mearns, who worked in the ballet company at Radio City for 12 years, knows about retribution. Her bold act of speaking up in 1978 actually saved Radio City but cost her her job. (To find out more, read her book, Saving Radio City Music Hall: A Dancer’s True Story.) In an email she wrote, “I am very proud of the women who were opposed to performing for a man with such low moral standards. I am also concerned about the consequences that these talented woman might have to face.”
In an NPR segment on January 7, MSG was quoted as saying more dancers volunteered than they have slots for—which means that at least 18 out of 90 or so are on board. But Mary said that none of the dancers of color signed up.
If that's true, it will be a lily white line-up. We will find out on Friday. That would be sad because the Rockettes have worked to cultivate diversity in the last few years. But I suppose that would just be another sign of the new regime.
Photo © MSG Entertainment.
Back to the LaMama event last week. Lucy Sexton, director of The Bessies, explained, “As an organization dedicated to supporting dance and dance artists, The Bessies wanted to celebrate Ms. Pearl with a toast to the First Amendment of the Constitution. It is this essential American freedom of expression that dancers embody in their physical work onstage. Dance and all artistic expression are by their very nature personal and political, and a critical part of our national cultural dialogue.”
At the event, she said, “To Phoebe Pearl, to her fellow dancers at the Rockettes, know that we support you, that we salute you, that we stand ready to fight for your—and all of our—rights under the Constitution, especially the precious right of Americans to freely express ourselves."
Avant-garde icon Yvonne Rainer also spoke: “I applaud and celebrate Phoebe Pearl for her courage and audacity in her refusal of and resistance to the present political calamity.”
And here is an excerpt of Pearl's talk, caught on video by dancer/activist Salley May:
“People have been calling me courageous, but I don’t see it that way. …I’m just standing up for human rights….standing up for what we all deserve, and how we treat each other. As artists we all owe it to ourselves, owe it to the community. It’s our obligation to use our platforms to do what’s right. This isn’t political, this is about human rights. No matter where you come from, your sexual orientation or race, you deserve respect, you deserve love. We live in a country that grants us the right to speak against something that’s against that.” Then she raised her glass and toasted the First Amendment.
Dance writer Eva Yaa Asantewaa, who attended the event, posted on Facebook that she was “moved almost to tears to hear from dancer Phoebe Pearl, one of the outspoken, resisting Rockettes. In order to keep going these days…I have to keep people like this and the examples they set constantly in mind…. Phoebe, we are so proud of you, and we've got your back. People, don't ever underestimate a dancer!”
Correction: January 17, 2017
This post has been updated to reflect a statement from an MSG spokesperson about allowing dancers to opt out of the performance without repercussions.
Before too long, dancers and choreographers will get to create on the luxurious 170-acre property in rural Connecticut that is currently home to legendary visual artist Jasper Johns.
If you think that sounds far more glamorous than your average choreographic retreat, you're right. Though there are some seriously generous opportunities out there, this one seems particularly lavish.
Every dancer has learned—probably the hard way—that healthy feet are the foundation of a productive and happy day in the studio. As dancers, our most important asset has to carry the weight (literally) of everything we do. So it's not surprising that most professional dancers have foot care down to an art.
Three dancers shared their foot-care products they can't live without.
Dancers trying their hand at designing is nothing new. But they do tend to stick with studio or performance-wear (think Miami City Ballet's Ella Titus and her line of knit warm-ups or former NYCB dancer Janie Taylor and her ballet costumes). But several dancers at American Ballet Theatre—corps members Jamie Kopit, Erica Lall, Katie Boren, Katie Williams, Lauren Post, Zhong-Jing Fang and soloist Cassandra Trenary—are about to launch a fashion line that's built around designs that can be worn outside of the studio. Titled Company Cooperative, the luxe line of women's wear is handmade in New York City's garment district and designed by the dancers themselves.
Royal Ballet dancers Yasmine Naghdi and Beatriz Stix-Brunell recently got together for a different kind of performance: no decadent costumes, sets, stage makeup or lighting. Instead, the principal and first soloist danced choreography by principal character artist Kristen McNally in a stark studio.
The movement is crystal clear, and at the beginning, Naghdi and Stix-Brunell duck and weave around each other with near vacant stares. Do they even know they have a partner? And how should they interact? The situation raises a much larger question: How often do we see a female duet in ballet?
As a student, Milwaukee native John Neumeier appeared in an opera at the Lyric Opera of Chicago. As Hamburg Ballet's artistic director and one of the world's leading choreographers, Neumeier now returns to the Midwest to direct and choreograph a new version of Gluck's Orphée et Eurydice, a co-production of the Lyric Opera, LA Opera and Hamburg State Opera. Set to open in Chicago September 23 with the Joffrey Ballet, the ambitious work will see additional engagements in Los Angeles and Hamburg over the next two years.
How did you come to be involved with this collaboration?
It was initiated by the director of the Lyric Opera, Anthony Freud, but I had already been in contact with Ashley Wheater about a separate project with the Joffrey Ballet. The two things came together—and this was really interesting to me because Chicago was important at the start of my career. I was born in Milwaukee, but most of my training was in or near Chicago.
You've previously created version of Orpheus for Hamburg Ballet. What about this particular production caught your interest?
When I got this offer from Anthony, I just went back to the piece and tried to sense what it meant to me now. Gluck's Orphée was part of a push to reform opera and to make a complete work of art involving music, text and dance. What interests me—particularly in this French version we are doing—is that dance plays such an essential role. When Agnes de Mille choreographed Oklahoma!, it was considered a revolution in musical theater, because dance moved the plot along. In Orphée, we can see that the same idea had been realized several centuries ago: that dance would not be just a divertissement, but a theatrical element, literally "moving" the plot along and expressing in another form the emotion of each situation.
Another idea in Orphée which fascinates me is its directness in projecting profound human emotions—emotions not used as an excuse for vocal virtuosity, but expressed in simple and direct musical terms. In Orphée, we have a mythical subject which is related in an extremely relevant, familiar, human way.
What happens when drones become part of the dance? For Margaret Jenkins Dance Company's latest work, Skies Calling Skies Falling, video artists David and Hi-Jin Hudge used a drone hovering 200 to 400 feet above the ground to film the dancers performing in an industrial granary. The resulting footage will be projected onto the floor and walls of the Taube Atrium Theater, creating a dystopian backdrop to the live performance.
Alex Carrington of MJDC, Photo by RJ Muna
It's been 34 years since Sir Kenneth MacMillan's Mayerling touched down on American soil, when The Royal Ballet first performed the great English master's tour de force ballet stateside. On September 22–24, Houston Ballet becomes the first North American company to perform MacMillan's epic chronicle of the murder-suicide of the heir to the Austro-Hungarian Empire, Crown Prince Rudolf, and his 17-year-old mistress, Baroness Mary Vetsera. Chronicling the last chapter of the Hapsburg Empire, the ballet is known for its true-to-life realism, and for the role of Rudolf, which transformed the way male ballet dancers drive a story. It's considered a dream role for a male dancer. And with seven pas de deux with five different women, a deadly difficult one at that.
Driving Houston Ballet's Mayerling train is principal Connor Walsh, who nearly missed this opportunity to dance the part when Hurricane Harvey flooded Houston Ballet's theatrical home, Wortham Center. Now moved to the Hobby Center for the Performing Arts and back in rehearsal, Walsh took a break from his busy schedule to talk about the role of a lifetime.
Have you ever felt like your relationship to dance is something of an addiction? Not to worry, that's completely normal—it's simply the way our brains are wired.
This week, The Washington Post published an intriguing feature that looks at the science of what actually goes on upstairs when we're watching a live performance. The insight comes from the emerging field of neuroaesthetics, which uses tools like brain imaging to study the relationship between art and the brain.
Here are some of the most fascinating takeaways: