Career Advice

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.

The Conversation
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
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
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
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
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
Rant & Rave

A recent trip I took to Nashville coincided with the NFL draft. As we drove into town, my Uber driver was a fount of information on the subject.

I learned that there are 32 NFL teams and that the draft takes place over seven rounds. That the team that did the poorest during the previous season gets first pick. That during an earlier event called the scouting combine, the teams assess college football players and figure out who they want.

There is also the veteran combine for "free agents"—players who have been released from their contracts or whose contracts have expired. They might be very good players, but their team needs younger members or ones with a certain skill set. All year round, experienced NFL scouts scan games across the country, checking out players and feeding that information back to the teams. Players' agents keep their eyes on opportunities for their clients which might be more rewarding.

While I sat in the traffic of 600,000 NFL fans I got thinking, is there something ballet could learn from football? Could a draft system improve young dancers' prospects and overall company caliber and contentment?

Keep reading... Show less
What Dancers Eat
Getty Images

Despite what you might think, there's no reason for dancers to be afraid of bread.

"It's looked at as this evil food," says New York State–certified dietitian and former dancer Tiffany Mendell. But the truth is, unless you have celiac disease or a gluten intolerance, bread can be a healthy source of carbohydrates—our body's preferred fuel—plus fiber and vitamins.

The key is choosing your loaf wisely.

Keep reading... Show less
Dancers Trending

It can be hard to imagine life without—or just after—dance. Perhaps that's why we find it so fascinating to hear what our favorite dancers think they'd be doing if they weren't performing for a living.

We've been asking stars about the alternate career they'd like to try in our "Spotlight" Q&A series, and their answers—from the unexpected to the predictable—do not disappoint:

Keep reading... Show less
Dance in Pop Culture
Unity Phelan in John Wick: Chapter 3 – Parabellum. Photo by Niko Tavernise, Courtesy FRANK PR

"New York City Ballet star appears in a Keanu Reeves action movie" is not a sentence we ever thought we'd write. But moviegoers seeing John Wick: Chapter 3 – Parabellum will be treated to two scenes featuring soloist Unity Phelan dancing choreography by colleague Tiler Peck. The guns-blazing popcorn flick cast Phelan as a ballerina who also happens to be training to become an elite assassin. Opens in theaters May 17.

News
Walsh's Moon Fate Sin at Danspace Project. Like Fame Notions, the title was derived from Yvonne Rainer's "No" manifesto. Photo by Ian Douglas, Courtesy Danspace Project

The Brooklyn-based choreographer Gillian Walsh is both obsessed with and deeply conflicted about dance. With her latest work, Fame Notions, May 17–19 at Performance Space New York, she seeks to understand what she calls the "fundamentally pessimistic or alienating pursuit" of being a dancer. Noting that the piece is "quiet and introverted," like much of her other work, she sees Fame Notions as one step in a larger project examining why dancers dance.

Keep reading... Show less
Career Advice
Via YouTube

What does Mikhail Baryshnikov have to say to dancers starting their careers today? On Friday, he gave the keynote speech during the graduation ceremony for the inaugural class of the USC Glorya Kaufman School of Dance.

The heart of his message: Be generous.

Keep reading... Show less

mailbox

Get Dance Magazine in your inbox