Inside DM

Why Mats Ek is Retiring—and Taking his Ballets With Him

The Royal Swedish Ballet in Juliet & Romeo. Photo by Gert Weigelt, Courtesy Royal Swedish Ballet.

Since the 1970s, Swedish choreographer Mats Ek has brought his instantly recognizable brand of modern expressionism, with its deep pliés and crude theatricality, to ballet. But his choreography will soon disappear from repertoires worldwide: Ek officially retired in January, and has also decided to withdraw his works. One of the last chances to see one of his pieces in the U.S. is when the Royal Swedish Ballet brings his Juliet & Romeo to the Kennedy Center in Washington, DC, June 1–4.

What prompted your decision to retire?

I would like to experience, for the first time in my life, not being tied up in a schedule. I turned 70 in 2015, and this means I've been working for 50 years without a stop.

Why did you pick Shakespeare's Romeo and Juliet for your last evening-length work, two years ago?

It was the last big ballet I wanted to tackle. It was huge but wonderful, and I was so happy to find the music, which isn't Prokofiev but Tchaikovsky.

You called your version Juliet & Romeo.

I tried to go back to the source, which is Shakespeare—but before that was an Italian short story called Juliet and Romeo. If you read the play, the major conflict takes place in the family of Juliet. There is camaraderie among Romeo's friends, with Benvolio and Mercutio, but there is pressure on Juliet to an extent that I think means she should get first hand in the title. With something we know so well, the title also becomes almost a label, and to turn it around may open the door to rethinking it.

Will your wife Ana Laguna, who has long been your muse, retire as well?

No—she's 10 years younger. She will be in the first cast of Juliet & Romeo in the U.S. tour.

What are your plans for your works?

I will fulfill the contracts already in place. The Royal Swedish Ballet has the rights to Juliet & Romeo for two more years, for instance. Some contracts have been in place for years, but I've done less and less, and I haven't signed any new ones for a while.

Why did you choose to let your repertoire disappear in that sense?

Otherwise I would never be free. I can't sell an existing piece without being active in the process. It takes time and a lot of consideration to choose dancers, rehearse…

Are you sad that your ballets won't be performed anymore?

Maybe I will be. But I don't forbid myself from changing my mind. I first want to see what it's like to be without any commissions at all, to see what comes out. And when I die, the rights to my ballets will be given over to people I trust. Let's see what they decide.

What are your plans for retirement?

I don't want to know. I want to act more spontaneously, improvise my so-called future, at least for a while. I'm glad to remain in Stockholm as my main base, but I hope to be able to stay longer in other places, too. And I won't stop thinking and dreaming.

The Conversation
News
Fox produced a live broadcast of Rent in January—but could an original musical be next? Photo by Kevin Estrada, Courtesy Fox

When a musical prepares to make the transfer from a smaller, lesser-known venue to Broadway (where theaters hold 500-plus seats), often there's a collective intake of breath from all involved. After all, a bigger house means more tickets to sell in order to stay in the black, and sometimes shows with even the most tenacious fan bases can't quite navigate such a jump. But what about the transfer from stage…to screen? Is Broadway ready to be consumed from the comfort of your couch?

Keep reading... Show less
Hive by Boston Conservatory student Alyssa Markowitz. Photo by Jim Coleman

The way we create and consume dance is changing every day. Now more than ever, the field demands that dancers not only be able to perform at the highest level, but also collaborate with choreographers to bring their artistic visions to life. Dancers who miss out on choreographic training may very well find themselves at a disadvantage as they try to launch their careers.

Keep reading... Show less
Breaking Stereotypes
Courtesy Lee

Daphne Lee was dancing with Collage Dance Collective in Memphis, Tennessee, when she received two difficult pieces of news: Her mother had been diagnosed with multiple myeloma cancer, and her father had Parkinson's disease, affecting his mobility and mental faculties.

The New Jersey native's reaction: "I really need to move home."

Keep reading... Show less
Health & Body
Bruce Mars via Unsplash

Summer is almost upon us, and whether you're a student about to go on break or a pro counting the days till layoff, don't forget that with warm weather comes a very serious responsibility: To maintain your cross-training routine on your own.

Those of us who've tried to craft our own cross-training routine know it's easier said than done. So we consulted the stars, and rounded up the best options for every zodiac sign. (TBH, you should probably consult an expert, too—we'd recommend a physical therapist, a personal trainer or your teacher.)

Keep reading... Show less
Sponsored by McCallum Theatre
Last year's winner: Manuel Vignoulle's EARTH. Jack Hartin Photography, Courtesy McCallum Theatre

It's not often that a promising choreographer gets to stage work in a world-class theater, on a skillfully-curated program with professional dancers, and with the possibility of winning a substantial cash prize. But at the McCallum Theatre's Palm Desert Choreography Festival, that's been the status quo for over twenty years.

Since Shea New, the festival's artistic director, founded the festival in 1998, she's worked tirelessly with McCallum's director of education and festival producer, Kajsa Thuresson-Frary, and stage manager and festival production manager Joanna Fookes to build a festival that nurtures choreographers, highlights high quality work, powerfully engages the local community and cultivates an audience base for dance in the Coachella Valley. The trio is backed by a strong team of professionals at McCallum and the brilliant volunteers from the local and national level who serve as adjudicators.

Keep reading... Show less
Health & Body

It's become second nature in dance studios: The instant anyone gets hurt, our immediate reaction is to run to the freezer to grab some ice (or, more realistically, a package of frozen peas).

But as routine as icing our injuries might be, the benefits are not actually backed up by scientific studies. And some experts now believe icing could even disrupt the healing process.

Keep reading... Show less
Advice for Dancers
Getty Images

I'm a contemporary dancer, and I'm nervous about trying to get pregnant since I can't predict if it might happen during the middle of the season. We have a union contract that is supposed to protect us. But I'm scared because several of my colleagues' contracts weren't renewed for no particular reason. Having a big belly could be a big reason to get rid of me!

—Andrea, New York, NY

Keep reading... Show less
Dance As Activism
From Dance of Urgency. © Ekvidi

When the going gets tough, the tough start dancing: That's the premise behind "Dance of Urgency," a recently opened exhibit at MuseumsQuartier Vienna that features photos, video and other documentary material relating to the use of dance as political protest or social uprising.

The groups featured in the show, largely based around clubs and electronic dance music scenes, span the globe and respond to a variety of issues—from inequality and social stratification to racial divides to crackdowns on club culture itself.

Keep reading... Show less
News

Last night, longtime theater legends (including Chita Rivera herself!) as well as rising stars gathered to celebrate one of Broadway's danciest events: the third annual Chita Rivera Awards.

The evening paid tribute to this season's dancer standouts, fabulous ensembles, and jaw-dropping choreography—on- and off-Broadway and on film.

As usual, several of our faves made it into the mix. (With such a fabulous talent pool of nominees to choose from, we're glad that ties were allowed.) Here are the highlights from the winner's list:

Keep reading... Show less
Career Advice
Lorenzo Di Cristina/Unsplash

When you're a foreign dancer, gaining legal rights to work in the U.S. is a challenging process. It's especially difficult if you're petitioning to work as a freelance dancer without an agent or company sponsorship.

The process requires professional muscle along with plenty of resources and heart. "There's a real misnomer that it's super easy," says Neena Dutta, immigration attorney and president of Dutta Law Firm. "People need to educate themselves and talk to a professional."

Here are four things every foreign dancer who wants to work in the U.S. needs to know to build a freelance dance career here.

Keep reading... Show less
Career Advice
Quinn Wharton

What does it take to "make it" in dance? It's no secret that turning this passion into a profession can be a struggle. In such a competitive field, talent alone isn't enough to get you where you want to be.

So what kinds of steps can you take to become successful? Dance Magazine spoke to 33 people from all corners of the industry to get their advice on the lessons that could help us all, no matter where we are in our careers.

Keep reading... Show less
Dance History
Still of Fonteyn from the 1972 film I Am a Dancer. Photo courtesy DM Archives

On May 18, 1919, Margot "Peggy" Hookham was born. She would grow up to become Dame Margot Fonteyn, England's first homegrown prima ballerina. She joined the Sadler's Wells School in 1934 and was performing principal roles with the precursor to The Royal Ballet the next year. Fonteyn was a company-defining figure, dancing Aurora for the re-opening of the Royal Opera House after World War II, creating numerous roles with Sir Frederick Ashton and forging a legendary partnership with Rudolf Nureyev.

Keep reading... Show less
Dance As Activism
Courtesy #Dance4OurLives

Memorial Day is notoriously one of Chicago's bloodiest weekends. Last year, 36 people were shot and seven died that weekend. In 2017 and 2016, the number of shootings was even higher.

When Garley "GiGi Tonyé" Briggs, a dance teacher and Chicago native, started noticing this pattern, she was preparing her second annual Memorial Day workshop for local youth.

The event's original aim was simple: "I wanted the youth of Chicago to have somewhere they could come and learn from different dancers and be off the streets on the South Side on this hot holiday," she says.

Keep reading... Show less

mailbox

Get Dance Magazine in your inbox