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A Conversation with Madeleine Onne

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A Conversation with Madeleine Onne Winter 2018-19 Ballet Review From the Winter 2018-19 issue of Ballet Review A Conversation with Madeleine Onne On the cover: Isabella Boylston and James Whiteside. (Photo: Karolina Kuras, Ballet Sun Valley Festival. © 2018 Dance Research Foundation, Inc. 4 Paris – John Marrone 5 New York – Karen Greenspan 8 Toronto – Gary Smith 10 New York – Susanna Sloat 12 Washington, D.C. – Lisa Traiger 13 Toronto – Gary Smith 14 St. Petersburg – Joel Lobenthal 15 New York – Harris Green 16 Stuttgart – Gary Smith 18 New York – Karen Greenspan 20 Boston – Jeffrey Gantz 42 Elizabeth Kendall 25 A Conversation with Madeleine Onne Ballet Review 46.4 Winter 2018-19 Karen Greenspan Editor and Designer: 31 The Space Between Marvin Hoshino Managing Editor: Joel Lobenthal Roberta Hellman 36 A Conversation with Senior Editor: 56 Violette Verdy Don Daniels Associate Editors: 42 Dance We Must: Joel Lobenthal An Exhibition from Jacob’s Pillow Larry Kaplan Alice Helpern Gary Smith Webmaster: 50 A Conversation with David S. Weiss Reid Anderson Copy Editor: Naomi Mindlin Joseph Houseal Photographers: 36 52 A Conversation with Inko di Ö Tom Brazil Costas Karen Greenspan Associates: 56 Site-Specific at the Rubin Peter Anastos Robert Greskovic George Jackson Michael Langlois Elizabeth Kendall 62 A Conversation with Paul Parish Isabella Boylston Nancy Reynolds James Sutton Edward Willinger 52 Naima Prevots Sarah C. Woodcock 73 Memorial Day 90 London Reporter – Louise Levene 95 Music on Disc – George Dorris Cover photograph by Karolina Kuras, Ballet Sun Valley Festival: Isabella Boylston and James Whiteside in the After the Rain pas de deux. A Conversation with things. Don’t just talk about it, do something! You can’t do something in the corridors. You Madeleine Onne can if you are a personnel representative, or on the board. BR: We have unions in the United States, Elizabeth Kendall but maybe a bit different. Onne: I think so. As an experienced dancer, BR: Madeleine, you are taking over the Finnish I was also on the scholarships board, giving National Ballet on August 1, 2018, but you be- money to other dancers. According to my gan to be a director when you founded a small mother, I’ve always been . “You do that; you group from within the Royal Swedish Ballet? do that.” I think it’s in my genes – to delegate. Madeleine Onne: Yes, Stockholm 59 Degrees BR: That’s odd, because the education of a North, in 1997. female ballet dancer does not encourage talk- BR: Then you became the Royal Swedish Bal- ing. let director, then Hong Kong Ballet director, Onne: But I don’t agree! I always felt I then director of the Houston Ballet Academy. could talk. I had a fantastic female artistic How did you know that you could be a leader director, Gunilla Roempke [Royal Swedish of dancers when you were still just a dancer Ballet (RSB) artistic director, 1980-1984]. She yourself? was the one taking me out of the corps de Onne: I was very much involved with the ballet to do Juliet, making me a principal union, so I realized that people listened to me. dancer. She would guide me, but she liked I was the personnel representative on the Roy- that I questioned things. We would discuss al Swedish Ballet Board. why is Juliet doing this, how she feels about BR: Why did you offer yourself as that? that. I learned to analyze and discuss, and be Onne: Because I always have lots of opin- involved. If there is a meeting, most people ions, and I hate when you go around and think think a lot, but they’re not going to raise Madeleine Onne at Finnish National Ballet. (Photo: Stefan Bremer, FNB) ©2018 Madeleine Onne, Elizabeth Kendall 25 their hand. I couldn’t keep quiet. I just had to you need to pay for the travel.” And I was like, say it. “Ho, ha ha. How can I pay for the travel?” BR: But you’re an anomaly. There aren’t very Philip Morris had a prize, a yearly prize, in many of you. Stockholm. I went to them. “I can go to Jacob’s Onne: Maybe not. Pillow. These are the best dancers in the Roy- BR: Speaking as a female dance writer, we al Swedish Ballet. Most of them got your prize. want more of you. Now I need someone to pay for the trip.” They Onne: Thanks! But it comes with a lot of re- said yes, and even paid to start a nonprofit or- sponsibility. When I talk to my friends, they ganization. They sponsored me for I don’t say, “Don’t you get tired?” or “I would hate know how many years. Everyone, of course, when dancers scream at me.” Of course it has hated me in Stockholm. There were big arti- those undersides. But the pleasure is over- cles about this horrible woman using a ciga- whelming: the joy of seeing someone you know rette company. Okay, but they weren’t throw- develop from a first rehearsal, of watching a ing money at us. And none of us, our thirteen young dancer grow to a ballerina. That’s al- dancers, was smoking! most a bigger kick than dancing myself. BR: What was the idea of the company? BR: Did you have that feeling already with Onne: I knew about the problems of tour- Stockholm 59 Degrees North? ing the whole ballet company, since I was on Onne: Yes, because I was thirty-six at that the board. We traveled with 125 people. It cost time. Before that I was as egoistical as every- a fortune, and with all the union rules, one else. It was just about me. [Laughs.] That’s etcetera. I told Phillip Morris, “If I have this the way you have to be, to go up every day and group, I can promote Swedish dance in a dif- dance when your body is in pain. It’s about ferent way.” I had the general manager’s bless- “me and my performance.” ing to call it “59 Degrees North, Soloists of the BR: And your audience! RSB.” I promised him we would only tour dur- Onne: Yes, our audience – partly our re- ing our holidays – but we had two months of ward. The thing was, I love to travel. I was get- paid leave. Usually we would go somewhere ting older. “If I start this group, with young and pay money to take class. Now we stayed dancers, they can dance, and I can go with in shape and promoted Swedish dance. We got them.” I’d heard about the Bournonville Group. amazing reviews. The Boston Globe, or the New But I was trying and trying, and nothing York Times, wrote, “The best thing since Saab.” worked. Then Frank Andersen became my di- (Saab is not Swedish anymore, but that’s an- rector, in 1995. other story.) We got this kick start, and the BR: Director of the Royal Swedish Ballet. group is still going, under other directors. It Onne: Yes. He’d started the Bournonville had its twentieth jubilee this year. Group, long ago. His first day of work in Stock- BR: And then you made a huge leap up, to holm, I was there. “I need help!” That was in the RSB itself. 1995. In 1996 I began to organize and get the Onne: People started to talk about us, espe- sponsors. In 1997 we did a season at Jacob’s Pil- cially in America. We got new invitations, and low. the main company got invitations. I was still BR: You had the idea before he came? the personnel representative on the board of Onne: I hadthe group – and the idea. “I want directors. The general manager asked me, to do this and this. I can get the rights for this “Don’t you want to apply for ballet director?” I and this.” I’d been writing to every festival in didn’t think I was up to it. And then I got it. I the world, every embassy. What am I doing remember that day still. I was out biking in the wrong? Frank is an extremely generous man. city and I biked back to the theater – the Royal He put me in touch with Ella Baff, at the Pillow. Swedish Opera House. It’s amazingly beautiful. She said, “Okay, sounds really interesting. But I went to the entrance hall, the big stairs (they 26 ballet review tried to copy the Paris Opera, but it’s more of a Onne: Maybe I didn’t notice? Because I was mini version). I was sitting there, and pinching so sure I could do it? I grew up in that theater. myself. At forty-two years old I went from be- People had seen me since I was nine years old. ing a dancer (my last role was Katharina in Tam- They knew who I was. I’ve always been fight- ing of the Shrew) – to being the director. It was ing. I have bad scoliosis: 57 degrees. I should- fabulous – but difficult to be the director over n’t be dancing. When I was thirteen, I had this your colleagues. Not a good idea. wonderful doctor, so old, you know, with the BR: I can imagine. But you did it for six eyelids hanging over. He said, “Either I can years. make you straight, or you can dance.” I start- Onne: Which was at the time one of the ed to cry. “I just want to dance.” He looked at longest in our history. Usually we threw out me, pulled on my two braids, and said, “Usu- directors after about three years.
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