In the May 1952 issue of Dance Magazine, we published excerpts from Agnes de Mille's Dance to the Piper. Of Antony Tudor, she wrote, "I have said Antony's humor was sardonic; it was occasionally diabolic. He also said just what he thought, always a shocking experience. But he retained the unqualified admiration of his pupils....He taught and composed for almost nothing, watched everything with remembering eyes and drank his tea quietly wrapped in his dreams of world ambition. He was a kind of hibernating carnivore." Tudor left London in 1939 at the invitation of Lucia Chase to choreograph for what would become American Ballet Theatre. In ballets such as Jardin aux Lilas (Lilac Garden), Dark Elegies and Pillar of Fire, he exposed his characters' psychological landscapes without being overtly dramatic.
Below are some of our favorite images of Tudor that we've found in the DM Archives. (Spoiler alert: We've yet to catch him not wearing at least part of a suit, unless he's in costume.)
Photo courtesy DM Archives.
Yes, that is Antony Tudor underneath all that facial hair, in costume as Tybalt for his own production of Romeo and Juliet which premiered in 1943. Tudor famously was unable to finish choreographing the one-act ballet by the premiere date and it wasn't until a performance four days after opening night that audiences saw the completed version.
Photo by Gary Wagner, Courtesy DM Archives.
This was snapped in late December 1954, when Lucia Chase officially contracted Antony Tudor to have four of his ballets—Romeo and Juliet, Judgment of Paris, Pillar of Fire and Gala Performance—re-staged for ABT's 15th anniversary season. (Back then, ABT's name was simply Ballet Theatre.)
Photo by Don Bradburn, Courtesy DM Archives.
Antony Tudor's 1942 ballet Pillar of Fire was an early masterpiece in American Ballet Theatre's repertory. It focused on three sisters and the havoc wreaked by their jealousy and frustrated desires. Here, he coaches former ABT principal Sallie Wilson in the role of Hagar, which she danced for the ballet's revival.
Photo courtesy DM Archives.
Antony Tudor: dapper even after an international flight to Japan. Fun fact about this image: Our copy in the DM Archives has a handwritten note signed by Tudor on the back.
Photo courtesy DM Archives.
Echoing of Trumpets was created by Antony Tudor in 1968 in memory of a Czechoslovakian village brutalized during World War II. Here, he coaches Gerd Anderson of the Royal Swedish Ballet.
"I don't cook for just one or two people," says James Whiteside, stirring a pot on his stove. "My mom taught me to cook and she had five kids. So when I do cook, I go in!"
Aside from breakfast (usually bacon, egg and cheese on an English muffin), the American Ballet Theatre principal rarely cooks for himself during ABT's seasons. He prefers to "forage" for his lunch and go out or order in for dinner, saving the real cooking for when he has friends or colleagues to feed. "I like to have a lot of people tell me my food is delicious," he quips.
We're not sure what we did to deserve the livestream generosity the dance world is giving us these days, but this weekend, it's getting even better.
PC Joe Toreno
L.A. Dance Project, Benjamin Milliepied's trendsetting contemporary troupe, has been in residence at The Chinati Foundation for the past few days. This weekend, they're showing us what they've come up with—for three days straight.
To create great work, choreographers need the freedom to tackle difficult subjects and push physical limits. But when your instruments are human beings, is there a limit to how far you should go? Five choreographers open up about where they draw the line.
Restaurants have always been a great source of survival gigs for dancers. But today's top chefs aren't just looking for waiters to carry dishes to the table. They're hiring choreographers to give the staff dance-like skills and compose a sort of choreography for the dining room.
Leslie Scott, artistic director of dance theater company BODYART, is one of those choreographers. After working in more typical food industry jobs for 10 years, she's been tapped by top restaurants in both New York City and Los Angeles to lead workshops that finesse servers' non-verbal communication and navigation of tight spaces.
Back in 2002, dancer and choreographer Jonah Bokaer founded an art space in Brooklyn called Chez Bushwick. As Manhattan and Brooklyn were quickly becoming unaffordable, and many studio spaces were closing, Bokaer seized upon "creative placemaking"—the idea that the arts can play an integral role in community-building—before it became a buzzword. "We have been sustaining and maintaining one of the most affordable dance studios in New York State since the very beginning of my career," he says.
Fifteen years later, the challenges for choreographers in expensive urban centers continue unabated, and Bokaer has found his original mission magnified. While Chez Bushwick remains a haven for the next generation, there is also a growing number of young dancemakers who have been inspired to create their own residencies, communities and, ultimately, opportunities.
The New York City premiere of Alexei Ratmansky's sugary sweet story ballet, Whipped Cream, made for one of the most exciting spring galas at American Ballet Theatre yet. While we're usually in awe of the gowns the dancers sport on the red carpet beforehand, this time around, it was all about Whipped Cream's colorful and over-the-top costumes by Mark Ryden—and, okay, a few major dress moments, too. Ahead, check out what went on behind-the-scenes.