Brian Brooks On How Miami City Ballet—and Pointe Shoes—Are Making His Movement Evolve
The inaugural choreographer in residence at Chicago's Harris Theater for Music and Dance has a lot of stretching to do. In the first year of his three-year tenure, Brian Brooks has worked with Hubbard Street Dance Chicago's main company and pre-professional dancers; advanced students from the Chicago Academy for the Arts; with street percussionists The Chicago Bucket Boys; his own New York City–based ensemble; and teachers from Chicago Public Schools. Next up is Miami City Ballet, which premieres the Harris Theater–commissioned One Line Drawn February 9–11, March 2–4 and March 17–18.
You've gone back and forth to Miami a few times now. How much time have you had on this project?
We did most of the work over the summer, plus two other short periods: one in January and one the week of the premiere. We're mostly finished, but I'm still editing, clarifying, shaping.
Brooks leads rehearsal at Miami City Ballet. Photo by Alexander Iziliaev, Courtesy MCB
Choreographers don't always get time for that.
We never do!
This must be nice, then.
It is. What I'm learning through working with all these different companies is the creative timeline has to be negotiated around each company's structure. I'm learning to prioritize based on when the deadlines fall, and I'm building a lot of skills for different scenarios. It's still a pressure cooker, but, with Miami City Ballet, it allowed me to be pretty adventurous. I made things that were fairly messy and trusted that, with time, we would gain confidence in them.
"I tend to work in the lateral plane," says choreographer Brian Brooks. Photo by Alexander Iziliaev, Courtesy MCB
The company is fairly pointework-oriented. What does that mean for you, as someone who leans more on contemporary techniques?
There's great fun in finding where you meet other people in the middle. We started in bare feet and flat shoes but by day three or four, it was clear that the women should be on pointe, so it became a translation of how my work changes and evolves, informed by their classical DNA. I tend to work in the lateral plane—I have this tilt and this plié, this ebb and flow, to what I do. It washes across the stage laterally, like hydroplaning or tai chi. With dancers on pointe, you also get verticality. It's electrifying how it gives contrast and height to fall from and how, also, it fractures movement more sequentially through the body. Up until now, I've only sequenced through movement in that way in the port de bras and the back. This project—and these dancers—helped me find similar qualities in the feet and legs.
Have you tried pointe shoes yourself?
Ha! A little bit. I tried Wendy Whelan's on, which I think made it to Instagram.
Miami City Ballet is an exceptionally musical group of dancers. How does that fit into the picture, given that there's original music being made, too?
Michael Gordon has composed a really epic, dynamic score. We've gotten rewrites and updates to it occasionally, and the dancers just respond to what they feel in the moment and they make very good choices. They've often helped me find something in the music I had not heard before, helped me see the sound, by being my lens and making it visible. Michael has long been at the top of my list of dream composers to collaborate with, but, honestly, that always seemed out of reach. This residency provides support and resources which are unprecedented for someone like me—and, it just so happens that Michael is from Miami!
As you're prepping your Thanksgiving meal, why not throw in a dash of dance?
This year's Macy's Thanksgiving Day Parade is stuffed (pun intended) with performances from four stellar Broadway shows, the Radio City Rockettes and students from three New York City dance institutions.
Tune in to NBC November 28 from 9 am to noon (in all time zones), or catch the rebroadcast at 2 pm (also in all time zones). Here's what's in store:
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:
Last week, Variety reported that Sergei Polunin would reunite with the team behind Dancer for another documentary. "Where 'Dancer' looked at his whole life, family and influences," director Steven Cantor said, " 'Satori' will focus more squarely on his creative process as performer and, for the first time ever, choreographer." The title references a poorly received evening of work by the same name first presented by Polunin in 2017. (It recently toured to Moscow and St. Petersburg.)
I cannot be the only person wondering why we should care.
"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.