The Most Influential People in Dance Today: Nico Muhly, Max Richter and Joby Talbot
Petipa relied on Tchaikovsky, Balanchine bonded with Stravinsky and Merce Cunningham collaborated with John Cage. When a choreographer cultivates a special partnership with a composer, their collaborations often take on a deeper richness. In the current creative climate, young choreographers have successfully enticed composers to lay out their musical blueprints for both narrative and non-narrative ballets.
Joby Talbot has written highly memorable scores: the whimsical Alice's Adventures in Wonderland, with its fantastical percussion and its riff on the "Rose Adagio," illustrates Christopher Wheeldon's trippy imagination. Similarly, the drama and joy of his Winter's Tale lay the groundwork for Wheeldon's contrast of the night and day of the ballet's moods.
Then there's Chroma—Wayne McGregor's watershed ballet whose hyperphysical juggling of the torso, balance and weight springs to life against the backdrop of Talbot's luminous score. Similarly, McGregor tapped into composer Max Richter's cinematic aesthetic for The Royal Ballet's Infra and Woolf Works.
Nico Muhly, who has worked in genres from film scoring to opera, combines classicism with the sensibilities of pop/rock. Benjamin Millepied mirrored the composer's lush orchestrations through Muhly's original scores for Two Hearts for New York City Ballet and From Here On Out at American Ballet Theatre. Stephen Petronio nabbed Muhly for his stormy I Drink the Air Before Me.
What these composers bring to the stage is the voice of now—melodies and rhythms that speak to the current generation with finesse and forward-looking vision.
Alicia has died. I walked around my apartment feeling her spirit, but knowing something had changed utterly.
My father, the late conductor Benjamin Steinberg, was the first music director of the Ballet de Cuba, as it was called then. I grew up in Vedado on la Calle 1ra y doce in a building called Vista al Mar. My family lived there from 1959 to 1963. My days were filled with watching Alicia teach class, rehearse and dance. She was everything: hilarious, serious, dramatic, passionate and elegiac. You lost yourself and found yourself when you loved her.
"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.
It's Nutcracker time again: the season of sweet delights and a sparkling good time—if we're able to ignore the sour taste left behind by the outdated racial stereotypes so often portrayed in the second act.
In 2017, as a result of a growing list of letters from audience members, to New York City Ballet's ballet master in chief Peter Martins reached out to us asking for assistance on how to modify the elements of Chinese caricature in George Balanchine's The Nutcracker. Following that conversation, we founded the Final Bow for Yellowface pledge that states, "I love ballet as an art form, and acknowledge that to achieve a diversity amongst our artists, audiences, donors, students, volunteers, and staff, I am committed to eliminating outdated and offensive stereotypes of Asians (Yellowface) on our stages."
An audience member once emailed Dallas choreographer Joshua L. Peugh, claiming his work was vulgar. It complained that he shouldn't be pushing his agenda. As the artistic director of Dark Circles Contemporary Dance, Peugh's recent choreography largely deals with LGBTQ issues.
"I got angry when I saw that email, wrote my angry response, deleted it, and then went back and explained to him that that's exactly why I should be making those works," says Peugh.
With the current political climate as polarized as it is, many artists today feel compelled to use their work to speak out on issues they care deeply about. But touring with a message is not for the faint of heart. From considerations about how to market the work to concerns about safety, touring to cities where, in general, that message may not be so welcome, requires companies to figure out how they'll respond to opposition.