Benjamin Millepied Out at Paris Opéra, Aurélie Dupont In
No one who knows Benjamin Millepied expected him to last long at Paris Opéra Ballet—not even Benjamin Millepied. But few would have predicted he'd be gone quite so quickly.
After Paris Match first reported rumors yesterday that Millepied was stepping down as artistic director, the company held a press conference today confirming the news, and announced Aurélie Dupont as his successor starting this July. According to The New York Times, Millepied will return to Los Angeles with his wife, Natalie Portman, to focus on his own choreography and expand L.A. Dance Project.
Millepied choreographing on Aurélie Dupont last year. Photo by Agathe Poupeney, Courtesy POB
Since taking the post in November 2014, Millepied introduced a slew of bold innovations to the historic company with an attitude that some might call chutzpah, and others might call arrogance. He created a short-lived choreographic academy (currently on hiatus), he named William Forsythe associate choreographer (Forsythe tells the Times he will not be staying after his one-year contract finishes), he developed an online platform of dance-based short films called "3e Scène" or "3rd Stage" (which will remain online, but will become more focused on music and opera). He brought in top choreographers like Justin Peck and Wayne McGregor to create new ballets, overhauled the company's healthcare system and shook up the hierarchical casting structure by giving younger dancers lead roles.
As Millepied told Dance Magazine contributor Laura Cappelle in our May 2015 issue, "My time here is also a chance to do something different for a while.... At some point I won’t be here anymore—I’m sure they’ll get to do other ballets again."
It seems that Millepied's temperament is more suited to creating and innovating than managing the day-to-day administrative duties of running a ballet company of 154 dancers. Cappelle gave a live tweet of the press conference today, and shares that Stephane Lissner, the director who hired Millepied, said, "For a few weeks in December, we discussed with Benjamin his ability to direct the company while choreographing. It's his decision. An artist needs time to create." Millepied will choreograph on the company next season (the full details of which will be announced next week). "I have no regrets over appointing Millepied. He leaves too soon, but others leave too late," added Lissner.
For her part, Aurélie Dupont, who's been a face of the company for decades as one of its most beloved étoiles, seems happily surprised by her new appointment. "I have so much passion for this company. I've been here for 32 years. I want to continue, and continue what Benjamin has done," she said, though she added, "It's a classical company which does contemporary work, and it will never be the reverse with me," which seems to be a comment on the fact that Millepied has programmed only two classical ballets for next season.
Dupont has no ambitions as a choreographer, and simply seems committed to doing what's right for the company. "I'll do my best, I promise! I told myself: You can do it—it's your home," she said. "It's a love story with Paris Opéra Ballet. You lose your soul when you join it. It takes time to change things, and I will take my time."
We knew that Ivo van Hove and Anne Teresa de Keersmaeker's production of West Side Story would challenge our preconceived notions about the show.
But a recent Vogue story gives us a taste of just how nontraditional the Broadway revival will be. Most notably, van Hove is cutting "I Feel Pretty" and the "Somewhere" ballet, condensing the show into one act to better reflect the urgency of the 48-hour plot. (The choice has been approved by the West Side Story estate, including Sondheim, who has "long been uncomfortable" with some of the "I Feel Pretty" lyrics.)
Back in 2011 when Joe Lanteri first approached Katie Langan, chair of Marymount Manhattan College's dance department, about getting involved with New York City Dance Alliance, she was skeptical about the convention/competition world.
"But I was pleasantly surprised by the enormity of talent that was there," she says. "His goal was to start scholarship opportunities, and I said okay, I'm in."
Today, it's fair to say that Lanteri has far surpassed his goal of creating scholarship opportunities. But NYCDA has done so much more, bridging the gap between the convention world and the professional world by forging a wealth of partnerships with dance institutions from Marymount to The Ailey School to Complexions Contemporary Ballet and many more. There's a reason these companies and schools—some of whom otherwise may not see themselves as aligned with the convention/competition world—keep deepening their relationships with NYCDA.
Now, college scholarships are just one of many ways NYCDA has gone beyond the typical weekend-long convention experience and created life-changing opportunities for students. We rounded up some of the most notable ones:
It's a much-repeated part of Francesca Hayward's origin story that she discovered ballet at age 3, when her grandparents bought a video of The Nutcracker to keep her occupied and she immediately started dancing around the room. What's less well-known is that there was another video lined up next to The Nutcracker that Hayward liked to dance along to: Cats. "I really just did the White Cat bit and fast-forwarded the rest," she remembers. "I'd make my friends who came around be the other cats."
Twenty-four years later, she's not only become a Royal Ballet principal, but has been cast as Victoria the White Cat in Tom Hooper's new movie adaptation of the Andrew Lloyd Webber musical, out in theaters on December 20. "I remember the director telling me I'd got the part: 'Just to let you know you're the lead in a Hollywood film,' he said." Hayward laughs. "This is crazy!"
"The show must go on" may be a platitude we use to get through everything from costume malfunctions to stormy moods. But when it came to overcoming a literal hurricane, Houston Ballet was buoyed by this mantra to go from devastated to dancing in a matter of weeks—with the help of Harlequin Floors, Houston Ballet's longstanding partner who sprang into action to build new floors in record time.