The Reinvention of Simone Messmer
At Miami City Ballet, the new principal has found her sweet spot.
Photo by Nathan Sayers, styling by Andrew Shore Kaminski
What does it take to make Simone Messmer happy? It’s not just another new job; it’s the right new job.
Messmer, the latest principal with Miami City Ballet, seems to have found it. As she told her new boss, artistic director Lourdes Lopez, the other day, “I’ve never been in a company with such mentally healthy people in my life.”
Of course, that’s not the only reason the company is such a brilliant fit for this transcendent, but not exactly mild-mannered ballerina. Messmer, a former soloist with American Ballet Theatre and, briefly, with San Francisco Ballet—she only lasted a season—has found herself where she’s always wanted to be: in an environment full of rigor, in which studio exploration is as valued as a performance.
“Every single person in the company is in ballet class every day,” she says. “I’ll do a pas de deux, and they stay in the room just to watch. Everyone is on board. I’m working for someone who actually really believes in what I’m doing, so I’m going to run with that.”
Messmer, who wrote to Lopez in May, was offered a principal contract with Miami City Ballet shortly after. Though the budget was already wrapped up, Lopez obtained special permission from her board to add another dancer to the roster.
But while it all happened quickly—she started on June 1—getting to this point hasn’t been easy for Messmer. In San Francisco, she quickly realized that “it was not an environment that I was working well in. I wasn’t dancing well. But other people have really flourished there. It depends on something I’m not sure I have.”
Lopez is coaching Messmer in Balanchine's Swan Lake this season. Photo by Daniel Azoulay, courtesy Miami City Ballet.
She did get little pearls of wisdom from certain people, including Sofiane Sylve and Yuri Possokhov (dancing his Firebird was a highlight, as was tackling a new role in Alexei Ratmansky’s Shostakovich Trilogy). “But in general I was floating on the ether because I wasn’t a focus of the staff, therefore my rehearsals were almost nonexistent,” she says. “I think it was a combination of the wrong place for me and also the first time in a brand-new environment. I was at Ballet Theatre for over a decade. It was the only thing I knew.”
In leaving ABT, a company in which she felt she had little room to grow, her aim was obvious: more meaty dancing roles. When that didn’t seem to be happening in San Francisco, Messmer told artistic director Helgi Tomasson that the company wasn’t the right fit. According to Messmer, she asked him if he wanted her to remain for the Paris tour, and he told her that he was planning on having her dance Choleric in George Balanchine’s The Four Temperaments. For Messmer, that would mean missing out on auditions, but the role was worth it.
Yet she never got to dance it. “I was never called to a rehearsal,” she says. After the Paris season, she left. “Very quickly.”
Shortly after, she returned to New York City, where she got in touch with her ballet teacher Wilhelm Burmann and resumed Gyrotonic training. “They got me back to a place where I was comfortable being seen again,” she says. “It was more of a mental thing.”
But it took time. In between San Francisco and Miami, Messmer experienced several difficult months when, in order to save money, she and her boyfriend, Mike Diaz—he’s the master carpenter at Alvin Ailey American Dance Theater—lived with his sister in New Jersey. “All of a sudden, I was unemployed,” she says. “Stagnant is not a place for an artist. I don’t think I’ve ever had a struggle like that. It’s a toll on your relationship, it’s a toll on your ego, it’s a toll on everything.”
Even though she was depressed, she didn’t fall back into old patterns. Ten years ago, Messmer took a leave of absence at ABT after going down what she calls “a self-destructive path.” She declines to talk specifics, but will say that she couldn’t live with herself if she’d done that again. “It would have made it worse, and it couldn’t have gotten worse, because I maybe would have quit.”
Burmann, who admires Messmer’s rare qualities—she is both a romantic dancer and one suited to contemporary works—and has worked with her since her ABT days, has had the opportunity to study her, then and now. “She is calmer,” he says. “She is more focused, and that makes a big difference.”
But it is hardly surprising that Lopez says she needed to first believe that Messmer was interested in Miami City Ballet for the right reasons. “I was very open with her. I said, ‘You’ve left Ballet Theatre and you’ve left San Francisco, and those are major companies that any young dancer would give an eye and a tooth to join. So what’s going on here? Because something’s going on.’ ”
Messmer recalls that she was nervous. “In all honesty, I don’t want to place blame—I was unhappy in San Francisco, but it’s not my place to speak about the company that I know so little about,” she says. “It was difficult to answer questions like ‘Why didn’t it work?’ It’s not a simple answer.”
Even though Lopez was already a fan of Messmer’s dancing, she watched her in Burmann’s class and spoke to friends who had worked with her. “They all said that she’s really talented, she’s a workaholic, she’s very focused and present, she delivers onstage, but she has a very strong personality and asks a lot of questions and wants to know the answers,” Lopez says. “There was a part of me that made me wonder: If we were talking about a male dancer, would you have the same reaction?”
Lopez explained to Messmer that her sense of her was that she needed to find a place where someone would take her into a room and say, “Let’s make you a better dancer.” She told her that could happen in Miami. “I said, ‘We leave our egos at the door and it’s really all about working—but I can’t do that on my own. You’re going to have to meet me halfway. What I’m talking about is no BS, no attitude, no diva, no overthinking a situation, no under-thinking it.’ ”
A Midsummer Night's Dream rehearsal with Kleber Rebello. Photo by Daniel Azoulay, courtesy MCB.
To Lopez’s delight, there has been none of that. Messmer likes to work. She’s professional and serious. “She’s been wonderful,” Lopez continues. “And it hasn’t been easy for her because the technique is different, it’s faster. The Balanchine style is very different and she has not fought it. Quite the opposite.”
Now Messmer is learning a slew of thrilling parts, including Odette, in Balanchine’s Swan Lake, in which Lopez is coaching her, along with Janie Taylor’s luminous role in Justin Peck’s Year of the Rabbit and Balanchine’s Symphony in Three Movements, Serenade and A Midsummer Night’s Dream (both Titania and the divertissement pas de deux). While it hasn’t been easy to master the speed and intricacy of the Balanchine approach, Messmer, who has been able to work with Suki Schorer and Susan Pilarre—Lopez brought both School of American Ballet teachers to Miami to work with the company in separate visits—says that she may be more of a Balanchine dancer than she realized.
“Playing with the music the way I naturally do is geared well for this,” she explains. “There’s a big difference in the dynamic of every step. A tendu is a tendu, but in Balanchine the out–in is not even. You can do out–hold; in and out; or you hold the in. It’s that playing that makes you such a dynamic dancer.”
Now Messmer, who moved to Miami with Diaz, lives three blocks from the beach. It helps to have a carpenter-boyfriend; he is planning on building a sprung floor in their extra bedroom. She’s also grateful to her mother for sending her to Spanish-immersion school from kindergarten through eighth grade. And the Delgado sisters—Jeanette and Patricia, two of Miami City Ballet’s most treasured principals—are, in her words, “like a ray of sunshine. It’s not like anything I’ve ever seen in my life,” she adds. “I mean really.”
Messmer doesn’t think she’s ever danced as well as now—or been as confident. “I have a ton of things to work on, but I know clearly what I want to say,” she says. “It’s humbling to be in that position. And I’m super-grateful to Lourdes for taking this risk. There’s no words that can actually say thank you enough, so I just have to be that person in the company. I have to say my thank-yous through my dancing.”
Gia Kourlas writes about dance for The New York Times and other publications.
The connections dancers make in college are no joke. For recent alum Gabrielle Hamilton, working with guest choreographer John Heginbotham at Point Park University put her on the fast track to Broadway—not in an ensemble role, but as the lead dancer in one of this season's hottest tickets: Daniel Fish's arresting reboot of Oklahoma!
We caught up with Hamilton about starring in the show's dream ballet and her delightfully bizarre pre-show ritual.
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.
Last Friday, through an appeal to an independent arbitrator, the American Guild of Musical Artists successfully reinstated NYCB principals Amar Ramasar and Zachary Catazaro, previously fired for allegedly circulating sexually explicit texts containing nude photos.
AGMA opposed Ramasar and Catazaro's terminations in order to prevent the setting of a dangerous precedent that would allow dancers to be fired under less understandable consequences. But we cannot allow future cases to dictate the way we handle this situation—particularly a union committed to "doing everything in [its] power to ensure you have a respectful environment in which to work."
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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.
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I have a commitment, a romance, a love affair with dance, with the feeling that happens when the music and the steps so perfectly align and I can't help but get chills. That feeling when my partner and I are dancing as one, when everyone onstage feels the same heartbeat, when it's just me alone in my bedroom.
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"I have very little memory of my mother wearing other earrings. They were her Gwen Verdon earrings," says Fosse, speaking by phone from her home in Vermont. "She's wearing them in 99 percent of the pictures of her performing."
Four years of lectures, exams and classes can feel like a lifetime for college dancers who have their sights set on performing. So when a professional opportunity comes knocking, it can be tempting to step away from your academics. But there are a few things to consider before putting your education on hold.
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One of the country's top arbitrators has decided to reinstate Amar Ramasar and Zachary Catazaro to New York City Ballet. The former principals were fired last fall for "inappropriate communications," namely graphic text messages.
The dancers' union, American Guild of Musical Artists, fought the termination, arguing that the firings were unjust since they related entirely to non-work activity. After a careful review of the facts, an independent arbitrator determined that while the company was justified in disciplining the two men, suspension was the appropriate action and termination took it too far.
A woman passes three men in the street. The men pursue her. They thrust their pelvises at her. They continue to pursue her after she slaps one's hand and walks away. They surround her. She glances around at them in alarm. One snatches her purse (to review the Freudian significance of purses, click here) and saunters off with it, mocking her. She tries to take the purse back, and the three men toss it over her head among each other. They make her dance with them. Each time she indicates "No," the men try harder to force her submission to their advances.
This is all within the first 10 minutes of Jerome Robbins's Fancy Free, a 1944 ballet about three sailors frolicking on shore leave during World War II, beloved by many and still regularly performed (especially during the last year, since 2018 was the centennial celebration of Robbins's birth). Critic Edwin Denby, after the premiere with Ballet Theatre, called it "a remarkable comedy piece" and "a direct, manly piece."
When you're bouncing between hotel rooms without access to a kitchen, eating a pescatarian diet can be challenging. Stephanie Mincone, who most recently traveled the globe with Taylor Swift's Reputation Stadium Tour, told Dance Magazine how she does it—while fueling herself with enough energy to perform for thousands of Taylor fans.
The entrancing power of Instagram can't be denied. I've lost hours of my life scrolling the platform looking at other people documenting theirs. What starts as a "quick" fill-the-moment check-in can easily lead to a good 10-15 minute session, especially if I enter the nebulous realm of "suggested videos."
My algorithm usually shows me professional ballet dancers in performances, rehearsals, class, backstage and on tour, which I quite enjoy. But there are the other dance feeds that I find myself simultaneously intrigued and horrified by: the hyper-elastic, hyper-extended, gumby-footed girls always at the barre doing developpés to six o'clock. There are the multiple turners, the avid stretchers and we can't forget the endless balancers.
This parade of tricksters always makes me wonder, What else can they do? Can they actually dance?
The pleasure of watching prodigies perform technical feats on Instagram can be tinged with a sense of trepidation. Impressive tricks, you think, but do they have what it takes for an actual career?
Just look at 18-year-old Maria Khoreva, who has more followers than most seasoned principals; in videos, her lines and attention to detail suggested a precocious talent, and led to a Nike ambassador contract before she even graduated from the Vaganova Ballet Academy. Still, when she joined the Mariinsky Ballet last summer, there was no guarantee any of it would translate to stage prowess.
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Today—April 16, 2019—marks what would have been Merce Cunningham's 100th birthday. As dancers from Los Angeles to New York City to London gear up for Night of 100 Solos (the marathon performance event being livestreamed today), and as companies and presenters worldwide continue to celebrate the Cunningham Centennial through their programming, we searched through the Dance Magazine Archives to unearth our favorite images of the groundbreaking dancemaker.
A bright disposition with a dab of astringent charm is how I remember Brock Hayhoe, a National Ballet School of Canada schoolmate. Because we were a couple years apart, we barely brushed shoulders, except at the odd Toronto dance party where we could dance all night with mutual friends letting our inhibitions subside through the music. Dancing always allows a deeper look.
But, as my late great ballet teacher Pyotr Pestov told me when I interviewed him for Dance Magazine in 2009, "You never know what a flower is going to look like until it opens up."
One night. Three cities. Seventy-five dancers. And three unique sets of 100 solos, all choreographed by Merce Cunningham.
This incredible evening of dance will honor Cunningham's 100th birthday on April 16. The Merce Cunningham Trust has teamed up with The Barbican in London, the Brooklyn Academy of Music in New York City and the Center for the Art of Performance in Los Angeles for a tri-city celebration.
The best part? You don't have to be in those cities to watch—Night of 100 Solos is being live-streamed in its entirety for free.