An Unlikely Prince
Edward Watson doesn't fit the traditional British dance profiles. Yet he's become a paragon of today's Royal Ballet.
In The Metamorphosis, Watson unleashed his wild side. Photo by Tristram Kenton, courtesy ROH.
Pale, intense and writhing in black slime, The Royal Ballet’s Edward Watson made an indelible impression on Americans on his 2013 tour. The Londoner’s extraordinary performance as the hapless insect-man in Arthur Pita’s ballet version of Kafka’s The Metamorphosis was as far from the English ballet’s celebrated lyricism as is possible to conceive.
America’s next view of Watson will be a little more conformist, squiring the former First Lady of New York City Ballet Wendy Whelan in a night of new choreography, titled Whelan/Watson: Other Stories, at New York City Center. The pairing is an intuitive one of two absolute originals, neither of them your standard classical beauty, both radiating idiosyncratic power and shape-shifting charisma onstage—a lure to choreographers everywhere.
His performance in The Winter's Tale won a 2015 Benois de la Danse award. Photo by Johan Persson, courtesy ROH.
I meet Watson inside the Royal Opera House, where, in his 21-year career, he’s had more roles created for him by in-house choreographers than anyone thinks has been equaled at any time at Covent Garden. On this occasion he looks very much younger than 39, his apricot hair and alabaster skin gleaming like a teenager’s. He’s not your standard classical prince—big-shouldered, extremely flexible, androgynous, able to be graceful or gawky at the flick of a switch.
“I think I’m not what used to be expected of an English dancer,” he agrees, “but perhaps I’m how an English dancer would be expected today. And I like that idea. People say, Oh, Ed’s not very ‘English.’ No, I’m not Michael Somes! I’m not an Ashton expert. I’m a very British dancer. I’m lucky enough to be involved in the British choreography scene today.”
Watson is a man of two faces. One is what he’s called his “psycho roles.” He is par excellence the exemplar of the twisted souls that populate many ballet dramas on his side of the Atlantic: Gregor Samsa in Metamorphosis, with his knotted limbs and bewildered eyes; the tortured Crown Prince Rudolf in Kenneth MacMillan’s Mayerling; guilty Leontes in Christopher Wheeldon’s The Winter’s Tale. The other is the humanoid abstractions his hypermobility inspired in Wayne McGregor’s modernist ballets such as Symbiont(s) and Infra.
He’s an extremist, I suggest to him. Watson laughs easily. “I know. I worry that I’m going to be a caricature of myself. People think, Oh, he’s going to do that tortured thing where he throws himself on the floor.” Fans with a British sense of humor sometimes send him skulls, macabre signs of appreciation for his morbidly mesmerizing Rudolf in Mayerling. “But I don’t want to bore people, or be bored myself by just getting out a bag of tricks. I just do what I’m told, really. And if I’m well directed, then it’s all right. I learned something important from Wendy, which is that I don’t need to be so obvious, that you can draw people in in really sharp focus by not doing that much.”
The two first met when they danced a duet together in Wheeldon’s Morphoses, and they hit it off. “We did a few things at the Guggenheim Museum and she just walked on and everyone clapped, and I went, Ah, she’s the big time. She was very approachable, a good laugh, but when she started doing her thing, it made everyone go, Whoa, okay, respect.
“What’s so remarkable about those New York ballerinas is that you can’t not watch them. They just know how to do it, in leotard and tights, whereas we’ve grown up being given a costume. It’s a way of moving, it’s a way of being, it’s a stage thing. There’s less doubt in them. I think all that Balanchine choreography requires you to be really brave, to make it say what you want it to say. I’ve danced a few Balanchines—you nearly lose your teeth on some of those steps.”
The Other Stories evening, which was co-produced by The Royal Ballet and New York City Center, is an even split of the two dancers’ tastes, with solos and duets by London-based choreographers Javier de Frutos, Arlene Phillips and Arthur Pita; North American–based Annie-B Parson and Danièle Desnoyers; and (new for the U.S. tour) the London-New Yorker Christopher Wheeldon. The two dancers worked to harness all these disparate voices into a single suggestive arc.
Watson shows a lyrical side in the Phillips solo, while the noble Whelan shows an unexpectedly comic side in Pita’s blackly witty tango duo—which brought up a kind of “English” partnering that she was very unaccustomed to, says Watson quasi-apologetically.
Watson, here in Infra, is a regular muse for Wayne McGregor. Photo by Bill Cooper, courtesy ROH.
“I’m kind of used to throwing people into stuff with all the force of my body weight. Wendy’s more used to being sculpted, although in some of the Wheeldon pieces she’s been partnered in some crazy ways, she’s always sort of floating up there. It took her a while to get used to it until she realized I wasn’t going to do it any other way.”
In fact, Watson is an exemplary, caring partner (as compensation for the torturing by tango, he introduced a grateful Whelan to banoffee pie—a dessert of banana, toffee and cream). His safe hands and burning eyes as Romeo in MacMillan’s choreographic version are much loved by London’s Juliets. But this season he decided to give Romeo up—it wasn’t his body but his memory that couldn’t take any more.
“I have had so many amazing Juliets. Even now I can shut my eyes and remember their faces, and how they felt. Amazing memories, and I really didn’t want to blot that out. It’s time for others to do Romeo.”
It’s not time to stop dancing, though. Ahead in 2016 lie a reprise of The Winter’s Tale and yet another new Wheeldon narrative ballet. This fall he danced a favorite Ashton, the hushed, lunar Monotones II, and is presently finding shelf space for a rush of new awards: Member of the Order of the British Empire from the Queen, and a 2015 Benois de la Danse award for The Winter’s Tale, to add to his 2012 Olivier Award for The Metamorphosis.
With a long CV of roles created for his physicality and his acting gifts by Pita, Wheeldon, McGregor, Kim Brandstrup and Alexei Ratmansky, among others, Watson is the distinctive, even definitive dancer of the present-day Royal Ballet, male or female—a man on dramatic and athletic cliff-edges, a man of the present. While some cry that The Royal is no longer generating the Ashtonian classical lyricism of Anthony Dowell’s era, Watson’s preeminence says a great deal about the company’s modern appeal, as a place where choreographers and curious dancers are welcomed.
“I think Ashton might be like the ‘British accent’ which Americans love,” Watson reflects. “But the ‘British accent’ is only a small part of Britain.”
Ismene Brown, founder of The Arts Desk, is dance critic of The Spectator.
Even if you haven't heard her name, you've almost certainly seen the work of commercial choreographer James Alsop. Though she's made award-winning dances for Beyoncé ("Run the World," anyone?) and worked with stars like Lady GaGa and Janelle Monae, Alsop's most recent project may be her most powerful: A moving music video for Everytown for Gun Safety, directed by Ezra Hurwitz and featuring students from the National Dance Institute.
We caught up with Alsop for our "Spotlight" series:
I want to make an apology because, in my opening speech at the Dance Magazine Awards on Monday, I inadvertently left out one awardee. I said, "Tonight we are honoring four outstanding dance artists who have contributed to the dance field over time." But then I named only three. How could I have forgotten Lourdes Lopez?!?!
We had all been hearing about Lourdes's taking the helm at Miami City Ballet with grace, intelligence, compassion and new ideas. I was planning to say, "Lourdes Lopez, who has brought new life to Miami City Ballet" because I thought that would cover a lot of ground. (My only quibble with myself was whether to say "brought new life" or "gave new life.")
Each year, The New York Times Magazine shines a spotlight on who they deem to be the best actors of the year in its Great Performers series. But, what we're wondering is, can they dance? Thankfully, the NYT Mag recruited none other than Justin Peck to put them to the test.
Peck choreographed and directed a series of 10 short dance films, placing megastars in everyday situations: riding the subway, getting out of bed in the morning, waiting at a doctor's office.
Today, we are thrilled to announce the honorees of the 2018 Dance Magazine Awards. A tradition dating back to 1954, the Dance Magazine Awards celebrate the living legends who have made a lasting impact on dance. This year's honorees include:
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On busy performance days, international guest artist Joy Womack always makes time for one activity after class and rehearsals: a nap. "I like to feel well-rested when I need to be in the spotlight at night, not dragging at the end of the day," she says. "It helps me recover and refocus."
With her earbuds tuned to a guided meditation app, she can squeeze in a nap wherever she needs to. "One time I even took a nap on the floor of the tour bus in Siberia," she says. "Dancers can sleep anywhere."
Joy Womack prioritizes napping before a show. Photo by Quinn Wharton for Pointe magazine.
As research has revealed the benefits of short daytime naps, power-napping advice has proliferated, and more dancers are choosing to include a nap in their pre-performance routines. Approaching napping strategically will help you get the most out of an afternoon snooze.
On Monday night, a memorial was held at Riverside Church to honor the life and achievements of Dance Theatre of Harlem co-founder Arthur Mitchell. With nearly three months to process and grieve (Mitchell passed away on September 19) the atmosphere was not that of mourning as much as reflection, reverence and admiration for who he was, what he built and what remains. (Watch the full livestream here.)
The church filled with family, artistic friends, fans and admirers. What was most gratifying was the volume of DTH alumni from the school, company and organization who traveled across the globe to pay their respects, from founding members to present dancers and students. The house of worship was filled with the sentiment of a family reunion. As Mitchell was sent home, it was a homecoming for many who have not shared air together in decades. What was palpable was the authentic bonds that Dance Theatre of Harlem and Mitchell fostered in all.
Fans of the sublime English National Ballet first artist Precious Adams were probably excited to see her image splashed across the company's website in a promotional image for an upcoming production of Swan Lake.
But those who took a closer look were met with a disappointing reality: Adams, who is the only black woman in the company, is not listed on the principal casting sheet for the production.
Gennadi Nedvigin is not the only early tenure director breaking out a new production of The Nutcracker this season.
We love The Nutcracker as much as the next person, but that perennial holiday classic isn't the only thing making its way onstage this month. Here are five alternatives that piqued our editors' curiosity.
The Nutcracker is synonymous with American ballet. So when Gennadi Nedvigin took the helm at Atlanta Ballet in 2016, a new version of the holiday classic was one of his top priorities. This month, evidence of two years' worth of changes will appear when the company unwraps its latest version at Atlanta's Fox Theatre Dec. 8–24. Choreographed by Yuri Possokhov and produced on a larger-than-ever scale for Atlanta, the new ballet represents Nedvigin's big ambitions.
Ballet Hispánico returns to the famed Apollo Theater in Harlem with its full-length ballet, CARMEN.maquia. Spanish choreographer Gustavo Ramirez Sansano has reenvisioned the story of Carmen to emphasize Don José, the man who falls in love with Carmen, suffers because of her infidelity, then murders her in a "fit of passion." Their duets are filled with all the sensuality, jealousy and violence you could wish for—in a totally contemporary dance language.
Sansano's previous piece for Ballet Hispánico, El Beso, bloomed with a thousand playful and witty ways of expressing desire. He has a knack for splicing humor into romance.
Not being able to attend the in-person audition at your top college can feel like the end of the world. But while it's true that going to the live audition is ideal, you can still make the best out of sending a video. Here are some of the perks:
It's become a colloquialism—or, we admit, a cliche—to say that dance can heal.
But with a new initiative launched by British Health Secretary Matt Hancock, doctors in the U.K. will soon be able to prescribe dance classes—along with art, music, sports, gardening and more—for patients suffering from conditions as various as dementia, lung problems and mental health issues.
We always figured that stretching made us more flexible by loosening up our muscles and joints. Some of us, ahem, might have even tried to fall asleep in our middle splits to get our stubbornly stiff inner thighs to let go.
But it turns out that might not actually be how stretching works.
A new review published in the Scandinavian Journal of Science & Medicine in Sports suggests that increased flexibility actually comes from your brain growing more used to the tension.
New York City Ballet fired principal dancers Amar Ramasar and Zachary Catazaro on Saturday. Both had initially been suspended until 2019 for engaging in "inappropriate communications," while principal Chase Finlay, who was the instigator of those communications, resigned. (Although, in a statement on Saturday, NYCB made it clear they had decided to terminate Finlay prior to his resignation.)
The New York Times reports that NYCB says the change from suspension to termination resulted from hearing the concerns of dancers, staff members and others in the NYCB community. Yet it's hard to ignore the fact that a lawsuit against NYCB had been filed in the meantime. A statement from NYCB executive director Katherine Brown and interim artistic team leader Jonathan Stafford stated:
"We have no higher obligation than to ensure that our dancers and staff have a workplace where they feel respected and valued, and we are committed to providing that environment for all employees of New York City Ballet."
Since the news was announced, both Catazaro and Ramasar have spoken out publicly about being fired.
What does it mean to be human? Well, many things. But if you were at the Dance Magazine Awards last night, you could argue that to be human is to dance. Speeches about the powerful humanity of our art form were backed up with performances by incredible dancers hailing from everywhere from Hubbard Street Dance Chicago to Miami City Ballet.
Misty Copeland started off the celebration. A self-professed "Dance Magazine connoisseur from the age of 13," she not only spoke about how excited she was to be in a room full of dancers, but also—having just come from Dance Theatre of Harlem's memorial for Arthur Mitchell—what she saw as their duty: "We all in this room hold a responsibility to use this art for good," she said. "Dance unifies, so let's get to work."
That sentiment was repeated throughout the night.
Choreographer Val Caniparoli started his ballet career by performing in Lew Christensen's The Nutcracker with San Francisco Ballet in 1971. Today, he still performs with SFB as Drosselmeir, in the company's current version by Helgi Tomasson.
It takes Caniparoli a lot of concentration to stick to the choreography.
"I have the four versions that I choreographed of the role in my head, plus the original I danced for years by Lew," he says. "That's a lot of versions to keep straight."
A list of Clara alumnae from Radio City's Christmas Spectacular reads like a star-studded, international gala program: Tiler Peck and Brittany Pollack of New York City Ballet (and Broadway), Meaghan Grace Hinkis of The Royal Ballet, Whitney Jensen of Norwegian National Ballet and more. Madison Square Garden's casting requirements for the role are simple: The dancer should be 4' 10" and under, appear to be 14 years old or younger and have strong ballet technique and pointework.
The unspoken requisite? They need abundant tenacity at a very young age.
When I read last month that Jessica Lang Dance had announced its farewell, I'm sure I wasn't the only dancer surprised. In the same way that many of us, when reading an obituary, instinctively look for the cause of death, I searched for a reason for the company's unexpected folding. It was buried in the fifth paragraph of The New York Times article:
Her manager, Margaret Selby, said in an interview that Jessica Lang Dance's closing showed how difficult it is to keep a small dance company running these days. "You have to raise so much money, the smaller companies don't have enough staff, and Jessica was running the company for the last seven years without a day off," she said. "She wants to focus on creative work."
Whereas the announcement itself may have come as a shock, the root cause certainly doesn't. All of us in the field are familiar with the conditions to which Selby refers. But that these problems can topple the success of a company like Lang's, which boasts seven years of national and international touring that include commissions from Jacob's Pillow and The Joyce, among others, is sobering.