Agnes de Mille Sealed This Envelope in 1963. Five Choreographers Are Imagining What's Inside
Karen Azenberg, a past president of the Stage Directors and Choreographers Society, stumbled on something peculiar before the union's 2015 move to new offices: a 52-year-old sealed envelope with a handwritten note attached. It was from Agnes de Mille, the groundbreaking choreographer of Oklahoma! and Rodeo. De Mille, a founding member of SDC, had sealed the envelope with gold wax before mailing it to the union and asking, in a separate note, that it not be opened. The reason? "It is the outline for a play, and I have no means of copyrighting…The material is eminently stealable."
It triggered a chain of events that will culminate March 25 with the world premieres of five freshly commissioned dances at the annual "Mr. Abbott" Award Gala. The choreographers—Al Blackstone, Raja Feather Kelly, Kitty McNamee, Jenn Rose and Katie Spelman—prevailed in what may have been the most unusual dance competition ever.
The items had lain in SDC's files since 1963, and Azenberg gave them to the Society's current executive director, Laura Penn, who immediately had them locked in the office safe.
Penn was curious, but, she explains, "the note said don't open it. We'd honored her wishes for 50 years." But the contents spurred lots of speculation, and in the course of a conversation with Susan Stroman, Penn found herself musing about what SDC's membership might imagine the "eminently stealable" idea to be, and whether there was a way to make the letter part of the union's looming 60th-anniversary celebration. After the 50th-anniversary bash, Penn had noticed that its focus had been on male directors. "We have not given honor to the voices of the women or the choreographers," she says. "For the 60th, we could lift those voices, using the letter as inspiration."
Agnes de Mille's seal remains intact.
Howard Sherman, Courtesy SDC
The board of the Stage Directors and Choreographers Foundation, SDC's nonprofit affiliate, offered to commission five short pieces for the SDCF gala, and invited members to submit sample choreography and written answers to a question about de Mille. Stroman and nine others sifted through more than 40 entries to select winners.
"Agnes' work was known for combining storytelling and dance to propel the plot forward," Stroman wrote in an email, so she scrutinized the contenders' "choice of movement and how it lived in the art of storytelling." Fellow juror Joshua Bergasse noted the entries' wide variety of choreographic styles. "I expect the pieces to be quite diverse in concept," he wrote. Sam Pinkleton saw one thing the applicants shared: "de Mille's fierceness and MUSCLE....Nobody wants to make museum pieces."
Kitty McNamee is one choreographer imagining de Mille's "eminently stealable" idea.
Erich Koyama, Courtesy McNamee
One of their choices, McNamee, says she applied because "Agnes came from the female point of view, what we would now call the female gaze. And she was so engaged with the inequities of society."
What Penn loved was reading the varied responses. "We don't provide enough places to experience the written word of choreographers," she says. And one of these days, she may open that envelope.
What happens during a performance is the product of the painstaking process of realizing an artistic vision. Whether held beforehand, afterward, offsite or online, audience discussions tend not to be so preordained, easily thrown off track without a skilled moderator at the helm.
"I'm someone who dreaded talkbacks and Q&As," admits Bill Bragin, former director of public programming at Lincoln Center. "While I was in New York, a lot of the time it was just audience members trying to show off how smart they were."
These events present a pile of difficult questions: How much do you reveal about a piece before it's shown? How can a conversation designed to hit key points feel casual and spontaneous? How do you cater to the needs of diverse attendees, from novice dancegoers to lifelong fans to scholars and critics? And how do you avoid smothering dance with language, flattening all its complexity?
If you think becoming a trainee or apprentice is the only path to gaining experience in a dance company environment, think again.
The University of Arizona, located in the heart of Tucson, acclimates dancers to the pace and rigor of company life while offering all the academic opportunities of a globally-ranked university. If you're looking to get a head-start on your professional dance career—or to just have a college experience that balances company-level training and repertory with rigorous academics—the University of Arizona's undergraduate and graduate programs have myriad opportunites to offer:
Yes, we realize it's only August. But we can't help but to already be musing about all the incredible dance happenings of 2019.
We're getting ready for our annual Readers' Choice feature, and we want to hear from you about the shows you can't stop thinking about, the dance videos that blew your mind and the artists you discovered this year who everyone should know about.
I dance to encourage others. The longer I dance, the more I see that much of my real work is to speak life-giving words to my fellow artists. This is a multidimensionally grueling profession. I count it a privilege to remind my colleagues of how they are bringing beauty into the world through their craft. I recently noticed significant artistic growth in a fellow dancer, and when I verbalized what I saw, he beamed. The impact of positive feedback is deeper than we realize.