Inside DM

Au Revoir, Millepied

In the end, the revolution Benjamin Millepied sought to bring to the Paris Opéra Ballet didn't last long. In February, less than a year and a half after he took over as artistic director, the Frenchman announced that he was resigning to devote his time to choreography. This summer, he will be replaced by former étoile Aurélie Dupont, and his resignation has left France's national company reeling.

Millepied's appointment was initially welcomed by the French media and many dancers as a breath of fresh air for the institution. But issues had been mounting behind the scenes since the beginning of the 2015–16 season. Millepied's impatient criticism of the company's performances and traditions in the press and in a French TV documentary ruffled feathers, and signaled that he still saw himself as an outsider to his own company.

Officially, Millepied stated upon his resignation that the job, with its extensive administrative duties, “wasn't the right fit for me." The Paris Opéra's general director, Stéphane Lissner, who hired Millepied in 2013, praised his work with young dancers and his creation of Paris Opéra's online artistic platform, 3rd Stage. The new health system Millepied implemented, drawing on his American experience, has also been widely credited with improving care at POB, where injuries have been prevalent in recent years.

The company's image has been bruised by Millepied's departure, however. Some were quick to blame the Paris Opéra's conservatism and outdated practices for the fallout, but the dynamics at play were arguably more complex. Millepied's combative style and refusal to compromise with local culture took its toll: Company members stated to the press that they felt he had little regard for France's ballet tradition and had focused on young talent at the expense of the rest of the company, where dancers retire at 42. When Millepied presented his 2016–17 season the week after his resignation, the culture clash was again clear. His last program heavily skewed towards mixed bills and American-style neoclassicism, with five Balanchine works, including the company premiere of A Midsummer Night's Dream.

While Millepied will return to Los Angeles and his L.A. Dance Project, his successor, Aurélie Dupont, is looking to steer POB back to stability. The homegrown étoile paid tribute to Millepied's vision, adding, “I'll do my best, I promise. I have so much passion for the company and its dancers. It takes time to change things, and I will take my time." Little is known about her artistic plans, but she argued that POB would need to dance more than two classics a season, as has been the case in recent years, to improve in the classical repertoire. After outsider Millepied, POB is entrusting its fate to a long-time insider; time will tell if the company grows more insular as a result, or thrives on its own terms.

Show Comments ()
Rant & Rave
Jessica Lang's Her Notes, one of ABT's few recent commissions from women. Photo by Rosalie O'Connor

A few weeks ago, American Ballet Theatre announced the A.B.T. Women's Movement, a new program that will support three women choreographers per season, one of whom will make work on the main company.

"The ABT Women's Movement takes inspiration from the groundbreaking female choreographers who have left a lasting impact on ABT's legacy, including Agnes de Mille and Twyla Tharp," said artistic director Kevin McKenzie in a press release.

Hypothetically, this is a great idea. We're all for more ballet commissions for women. But the way ABT has promoted the initiative is problematic.

Keep reading... Show less
Dancers Trending
Cloud in Beth Gill's Catacomb. Photo by Brian Rogers, Courtesy Gill

Some dancers move to New York City with their sights set on a dream job: that one choreographer or company they have to dance for. But when Maggie Cloud graduated from Florida State University in 2010, she envisioned herself on a less straightforward path.

"I always had in mind that I would be dancing for different people," she says. "I knew I had some kind of range that I wanted to tap into."

Keep reading... Show less
News
The inimitable Alicia Alonso, now 97, remains at the helm of Ballet Nacional de Cuba. Photo by Leysis Quesada, Courtesy BNC

On the occasion of its 70th anniversary, the Ballet Nacional de Cuba tours the U.S. this spring with the resolute Cuban prima ballerina assoluta Alicia Alonso a the helm. Named a National Hero of Labor in Cuba, Alonso, 97, has weathered strained international relations and devastating fiscal challenges to have BNC emerge as a world-class dance company. Her dancers are some of ballet's best. On offer this time are Alonso's Giselle and Don Quixote. The profoundly Cuban company performs in Chicago May 18–20, Tampa May 23, Washington, D.C., May 29–June 3 and Saratoga, New York June 6–8.

Dance in Pop Culture
Participants show off their plié. Screenshot via YouTube

We all know that the general population's knowledge of ballet is sometimes...a bit skewed. (See: people touching their fingertips to the top of their head, and Kendall Jenner hopping around at the barre.)

Would your average Joe know how to do ballet's most basic step: a plié? Or, more to the point, even know what it is?

SELF decided to find out.

Keep reading... Show less
What Wendy's Watching
PC Paul Kolnik

New York City Ballet is celebrating the Jerome Robbins Centennial with twenty (20!) ballets. The great American choreographer died in 1998, so very few of today's dancers have actually worked with him. There are plenty of stories about how demanding (at times brutally so) he could be in rehearsal. But Peter Boal has written about Robbins in a more balanced, loving way. In this post he writes about how Robbins' crystal clear imagery helped him approach a role with clarity and purpose.


Keep reading... Show less
Career Advice
92Y Harkness Dance Center is hosting the first festival dedicated to dance films captured on mobile devices. Photo by Adam Grannick, Courtesy 92Y

Who says you need fancy equipment to make a festival-worthy dance film? Right now, two New York City–based dance film festivals are calling for aspiring filmmakers to show their stuff—and you don't need anything more cumbersome than a smartphone to get in on the action.

Here's everything you need to know about how to submit:

Keep reading... Show less
Dancers Trending
Lisset Santander is adding more contemporary works to her repertoire. Here with Jarrett Reimers in Christopher Wheeldon's Fools Paradise. Photo by Jennifer Zmuda, Courtesy BalletMet.

When Lisset Santander bourréed onstage as Myrtha in BalletMet's Giselle this past February, her consummate portrayal of the Queen of the Wilis was marked by steely grace and litheness. The former Cuban National Ballet dancer had defected to the U.S. at 21, and after two years with the Ohio company, she's now closer to the dance career she says she always wanted: one of limitless possibilities.

Keep reading... Show less
Career Advice
James Samson in Three Dubious Memories. Photo by Paul B. Goode, courtesy Paul Taylor Dance Company

For 17 years, James Samson has been the model Paul Taylor dancer. There is something fundamentally decent about his stage persona. He's a tall dancer—six feet—but never imposes himself. He's muscular, but gentle. And when he moves, it is his humanity that shines through, even more than his technique.

But all dancing careers come to an end, and James Samson's is no exception; now 43, he'll be retiring in August, after a final performance at the Teatro Romano in Verona, where he'll be dancing in Cloven Kingdom, Piazzolla Caldera and Promethean Fire.

Keep reading... Show less
News
via Instagram

The wait for Alexei Ratmansky's restaging of Petipa's Harlequinade is almost over! But if you can't wait until American Ballet Theatre officially debuts the ballet at the Metropolitan Opera House on June 6, we've got you covered. ABT brought the Harlequinade characters to life (and to the Alder Mansion in Yonkers, NY) in a short film by Ezra Hurwitz, and it's a guaranteed to make you laugh.


Keep reading... Show less
Rant & Rave
The power dynamics and working environments in dance can leave women vulnerable. Photo by Soragrit Wongsa/Unsplash

When an anonymous letter accused former New York City Ballet leader Peter Martins of sexual harassment last year, it felt like what had long been an open secret—the prevalence of harassment in the dance world—was finally coming to the surface. But the momentum of the #MeToo movement, at least in dance, has since died down.

Martins has retired, though an investigation did not corroborate any of the claims against him. He and former American Ballet Theatre star Marcelo Gomes, who suddenly resigned in December, were the only cases to make national headlines in the U.S. We've barely scratched the surface of the dance world's harassment problem.

Keep reading... Show less

Sponsored

Viral Videos

Sponsored

mailbox

Get Dance Magazine in your inbox

Sponsored

Giveaways