Reprint from Ballet Review 42-2 Summer 2014

Summer 2014 Ballet Review From the Summer 2014 issue of Ballet Review A Conversation with Lourdes Lopez on Miami City Ballet, Morphoses, dancing for Balanchine and Robbins, classical ballet, and much more On the cover: Judson’s Legacy in Berlin – William Forsythe’s I don’t believe in outer space with Fabrice Mazliah and Christopher Roman. © 2014 Dance Research Foundation, Inc. All rights reserved 4 New York – Yaël Lewin 5 Berlin – Darrell Wilkins 9 New York – Karen Greenspan 10 New York – Harris Green Michael Langlois 12 A Conversation with Lourdes Lopez Christopher Caines 29 ;e Sylph Inside Us (Antony Tudor) 48 Joel Lobenthal 39 A Conversation with Simon Keenlyside Bill Kurtis, Francis Mason, Nancy Reynolds 43 Maria Tallchief Jay Rogoff Ballet Review 42.2 48 Childhood’s End (Mark Morris) Summer 2014 Editor and Designer: 56 Kyra Robinov Marvin Hoshino 53 Kathryn Morgan Managing Editor: Roberta Hellman Harris Green Senior Editor: 56 Balanchine’s Shakespeare Don Daniels Associate Editor: KarenGreenspan Joel Lobenthal 62 Scribbler of Tales (Akram Khan) Associate Editor: Larry Kaplan Darrell Wilkins Copy Editors: 39 69 Judson’s Legacy Barbara Palfy Naomi Mindlin Don Daniels Photographers: 87 Torchlight Tom Brazil Costas 93 London Reporter – Clement Crisp Webmaster: 94 Music on Disc – George Dorris David Weiss 100 Check It Out Associates: Peter Anastos Robert Greskovic 62 George Jackson Elizabeth Kendall Paul Parish Nancy Reynolds James Su:on David Vaughan Cover Photograph by Dominik Mentzos, The Forsythe Company: Edward Willinger Fabrice Mazliah and Christopher Roman in William Sarah C. Woodcock Forsythe’s I don’t believe in outer space. Episodes: Jennifer Kronenberg and Reyneris Reyes in the Ricercata from Bach’s Musical Offering; Jovani Furlan in the Op. 30 Variations. (Photos: Daniel Azoulay, Miami City Ballet) ballet review A Conversation with very serious. We had this pianist, Carl, and he had this crazy sense of humor. During class Lourdes Lopez he would be playing along and then suddenly he would throw this fake plastic hand across the room and Edward would laugh. We were Michael Langlois working, but we talked and joked around a lot. It was really easygoing. And then toward When I walked into Lourdes Lopez’s office at the end Edward kind of lost his sense of hu- Miami City Ballet on a Wednesday afternoon mor.” in October 03, the dancers were sixteen days In my conversations with the company away from opening their season, the first members at Miami City Ballet it was clear that in the company’s twenty-seven-year history they appreciated all Villellahad done for them that Edward Villella would not command. and for the company, in spite of his idiosyn- In April 0 Lopez was chosen to take over cratic teaching style. One dancer told me, “He the directorship of Miami City Ballet from loved the company, but it was difficult for Villella, the former New York City Ballet star him dealing with the board. So for him to be who started MCB in 985 in a storefront space with the company for ninety minutes every on Lincoln Road that now houses a Victoria’s day and teach class was really important. It Secret emporium. Over the course of nearly gave him a reason to get up in the morning.” threedecadesVillellatransformedMiamiCity, The battles Villella reportedly waged with with an annual operating budget of nearly $5 the board and the fact that his artistic objec- million, into the eighth largest ballet compa- tives continually put the company in finan- ny in the United States. cial distress were excused to a great degree by In spite of this remarkable achievement, the dancers because, as one put it, “Without Villella was seen as a polarizing figure. His Edward’s vision and his constantly pushing, company classes, which he insisted on teach- what sort of company would we have become? ing,werenot,accordingtosomedancers,well- We would have been like any other regional rounded affairs that warmed you up and pre- company. He pushed us beyond our budget. pared you for a long day of rehearsals. “He Beyond our artistic limitations.” might make the girls do fifty million hops on And so he did until 0, when the compa- pointe. Meanwhile, the boys would sit around ny announced that Villella had agreed to step getting cold for half an hour and then he’d give down at the end of the upcoming season. Five us double tours to grand plié. Okay, maybe it months later, however, he left. Almost over- wasn’t that extreme, but you definitely need- night, Lopez was asked to leave her position ed to warm up for it.” as executive director of Morphoses in New On the other hand, another dancer said, York and guide Miami City Ballet through a “They were difficult, but also really light- year that was Villella’s creation, a terrifically hearted. Edward would dance around the diverse season that would include Alexei Rat- room. He wasn’t giving corrections. When I mansky’s Symphonic Dances; Euphotic, a world first joined the company people were throw- premiere by Liam Scarlett; Ashton’s Les Pati- ing things and laughing. It was fun. It wasn’t neurs; Paul Taylor’s Piazzolla Caldera; Robbins’ Michael Langlois studied ballet at the North Caro- Dances at a Gathering; and the usual supply of lina School of the Arts, School of American Ballet, Balanchine that Miami City Ballet has become andwithDavidHoward;dancedwith,amongothers, known for: Apollo, Divertimento No. 15, La Valse, American Ballet Theatre, Ballet du Nord, and The and Slaughter on Tenth Avenue. Feld Ballet; was graduated from Brown University At fifty-five, Lourdes Lopez appears little in 996; and is a massage therapist, ballet teacher, changed from the lithe, nineteen-year-old I and writer presently living in Miami. remember when I first arrived at the School ©04 LourdesLopez,MichaelLanglois 3 of American Ballet in 977. She seems at home teachers from all over the United States. He in her new job and evidence of this is the fact invited Kyra Nichols, Maria Calegari, and me that she meets regularly with her dancers, tothisclass.Thismusthavebeen97,because something Villella apparently rarely did. “In Iwasfourteenatthetime.Thethreeofuswere fifteen years with the company,” one dancer inthetoplevelattheschoolthen.IthinkMaria confessed, “I met with Edward three times. might have just joined the company. In fact, one of the things he told me he liked Anyway, we went into the classroom and about me, when we did finally speak, was that there were Merrill [Ashley], Colleen [Neary], I didn’t cry [laughing]. ‘Sometimes when peo- and Karin [von Aroldingen]. It was fascinat- ple come in here,’ he said to me, ‘I have to have ing because Mr. B broke down everything. a whole box of tissues waiting.’” She paused Why do we do tendus? How do we do tendus? for a moment, then added, “He wanted people All of it. Somebody took a picture of him to be happy, and I think it was hard for him correcting me and sent it to my teacher in to listen to dancers complain. I understood Miami, Martha Mahr. Ms. Mahr had a local that, so I never complained.” Cuban artist do this painting from the grainy, MiamiCityBalletresidesina63,000square- not-particularly-good photograph. My moth- foot space a five-minute walk from the beach er sent it to me and said, “You should have that made Miami famous. Designed by one of Balanchine sign it.” the city’s most illustrious architectural firms, By then it was a couple years later and I had Arquitectonica, the enormous space on the just gotten into the company. I was so embar- ground floor where the company takes class rassed, but I went to Mr. B with the painting has a bank of windows that look directly onto and a box of paints of different colors so he the sidewalk, affording passersby a kneecap could sign it. And what does he do? He keeps viewofthedancerswithin.Thiskindofshow- it for the entire season. Finally, he comes up casewassomethingVillellachampionedwhen to me in class one day and says [she imitates heopenedthecompany’soriginalLincolnRoad Balanchine],“Youknow,dear,Isignedit.”And home, keeping the windows exactly as they I said, “Oh, great. Thank you.” And then he hadbeensoanyoneonthestreetcouldobserve said, “It’s a horrible painting of you. You have the dancers within. short legs and a long torso and that’s not what The office that Lopez inhabits is about the you are. But I look very handsome. I look like size of your average New York City two-bed- I’m thirty-five.” room apartment. It’s up on the third floor BR: The inscription on the left side of the and it, like the main studio, is full of windows painting says, “To Mona Lisa Lourdes, From and natural light. One of the first things I no- Leonardo Balanchine.” tice as I enter is a large oil painting hanging Lopez: He never called me Mona Lisa. He over the gigantic Apple computer atop her was just being funny, I guess. The creator of desk. The painting is done in medium tones . who knows? Of course, I’m unbelievably and depicts a young ballet dancer (Lopez) grateful that I have this painting signed by standinginfourthpositioninavirtuallyemp- him. ty ballet studio. Just behind her, adjusting BR: Let’s talk about your background in her port de bras, is the sixty-eight-year-old Miami. George Balanchine looking quite a bit younger Lopez: I was born in May 958 in Cuba. Cas- than that. tro came into power in January 959. My fa- * therleftinMarchandmymotherafewmonths Lourdes Lopez: Yes, that’s me and Mr. B. In later. I joined them here in Miami in August.

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