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Home , Garth Fagan

Irondequoit: Region’s Highest Concentration of Seniors FREEJim Terwilliger: Inheriting IRAs Not As Easy As You May Think 55 PLUS Issue 12 November / December 2011 For Active Adults in the Rochester Area

JACK MARREN Profi le of Victor’s Mayor Bette Davis Was Right: Growing Old Is Not for Sissies Meet the volunteers of The Chorus of the Genesee and GARTH The Tool Thrift Shop in Fairport Defying FAGAN age with his world-renowned dance technique November / December 2011 - 55 PLUS 1 24 55 PLUS - November / December 2011 55+ cover Garth Fagan A Choreographer of Life

For more than 40 years, Rochester choreographer Garth Fagan has wowed audiences, been acclaimed by the critics, and defied age with his world-renowned dance technique

By Amy Cavalier

have to say what, where and why. ritics have called Garth his techniques aimed at producing You had to have some substance to Fagan “a true original,” “a well-rounded dancers capable of back it up.” genuine leader,” and “one performing well into their adulthood, Fagan’s father felt his pursuit of the greatest reformers of Fagan has been showered with praise, of the art of dance was a frivolity, .” Founder and artistic nine honorary doctorates and awards preferring his son to pursue a career Cdirector of the award-winning and aplenty. But one of the most satisfying in the medical field or science or math. internationally acclaimed Garth Fagan moments in Garth’s career came in That didn’t stop the young Fagan Dance, Fagan is practically a household pleasing his first and most important from following his own dreams. name as a result of his choreography critic — his father. Starting at the age of 16, Fagan in Walt Disney’s Broadway musical “I really loved him and cared for danced his way from Ivy Baxter’s ““The Lion King”.” his counsel so much,” says Fagan. Jamaican National Dance Company, The 71-year-old admits he was “As hard as he was, he made the man to Wayne State University in attracted to dance at the age of 16 for I am.” Detroit, becoming principal soloist shallow reasons — the flashy clothes, and choreographer of the Detroit nice cars, and high society. He stayed Contemporary Dance Company and with it because he fell in love with it. Act I - His Biggest the Dance Theater of Detroit. In the And he changed the world of dance 1960s, Fagan had plunged himself with his vision. Critic into the New York City Dance scene, In the past 40 years, Fagan’s dance Fagan was born in Kingston, and by 1970, he’d landed a teaching troupe has performed on all continents Jamaica, in May 1940. He grew up in a position at SUNY Brockport and except Antarctica, touring throughout large, nurturing family of 13 aunts and founded his own dance company in the United States, Europe, Africa, uncles. He describes his father S.W. Rochester called Bottom of the Bucket Asia, the Near and Middle East, North Fagan Webster as an Oxford educated But…Dance Theater. and South America, New Zealand, man and a Virgo. Webster was a strict In 1973, he decided to take the Australia and the West Indies. Methodist and chief education officer dance troupe to Jamaica. “We’ve been to all those places for Jamaica; Fagan, a Taurus with a “I wanted them to really see representing Rochester,” Fagan says rebellious streak. Jamaican society, how positive it was, with a smile. “We sell out before we “He kept me under surveillance… especially upper class and upper get there, so that’s been a big blessing heavy manners, that’s what they say middle class Jamaican society, to give to me.” in Jamaica for disciplining a child,” them some nourishment as to all that Fagan’s work has been seen by Fagan reminisces, “but he also taught they could become,” Fagan says. millions and reviewed by handfuls me something about hard work, “We had no money in the company. I of dance critics and fine arts writers. quality and criteria. He loved criteria. charged a lot of it on my dad’s charge For his ability to express cultural If you liked something, you’d have card.” statements through movement to to say compared to what, and you’d Fagan reserved a box seat for November / December 2011 - 55 PLUS 25 55+ cover eight people for his father, all the thought,” he says. “Is this a worthwhile “It took me on tours, and all the while warning the dancers that he endeavor?” people in her dance company were may not show up. Fagan’s father did the best dressed, fastest and most come, along with a full box of friends sophisticated people in Kingston and family. Fagan recalls his father’s Act II – Bright Lights because they traveled around the words of praise, ‘what a wonderful world, had sports cars and wore show. If you had told me it had and Fast Cars the newest clothes,” he recalls. cultural significance and intellectual “I’m ashamed to say all my reasons content, I never would have fought Fagan was big into social dancing for pursuing this were shallow, you as hard.’ as a teenager, winning prizes for the shallow.” Two weeks later, Fagan’s father mambo and the cha cha. While attending Wayne State flew him back to Jamaica, where they “That’s what everybody did, not University, Fagan met Pat Welling, a sat on a veranda and talked about the as a career or art, but for fun,” he says. dance teacher that really “nourished” show. Fagan got up the courage to tell “I was good at it and that was it.” him. She helped him with his first his father about the money he had Then he was introduced to the solo, “Contemplations,” which he charged on his credit card, and told Ivy Baxter’s Jamaican National danced in complete silence. him they could arrange a payment Dance Company. Baxter was teaching “That was really bold for the early schedule. His father says ‘you don’t gymnastics in his school and she 1960s,” he recalls. “At that point, I was owe me a dime. I’m so impressed with convinced Fagan to come to her studio really beginning to taste it — dancing you that you don’t owe me a dime.’ and take classes. could be a career. I got great reviews, About one year later, his father “I don’t have any idea what she the audience went wild. Now that suffered a stroke. Fagan says he’s saw,” Fagan says. I look back on it, it was so vulgar, thankful he brought the dance The transition from party dancing showing off tricky things you could company to Jamaica when he did. to concert dancing was easy, but do to engage the audience.” “I would have always been Fagan says, he didn’t value the art Following college, Fagan became a wondering what dad would have right away. Instead he saw the flashy member of the Detroit Contemporary lifestyle and a place he could learn. Dance Company and the Dance Theater of Detroit, serving as principal soloist and choreographer for both groups. He made his way to New York City and studied with the likes of the Company, and his friend and mentor . All the while, Fagan had his dreams set on forming his own dance company, one consisting of dancers who didn’t have any previous training or “people dancing, as opposed to dancers portraying people,” as he describes it. “I always look for what’s not been done,” he says. “I didn’t want to repeat what other people had done. I wanted my own voice, my own technique, my own way of moving.” Act III – Finding His Place Before SUNY Brockport made him an offer to teach a dance class in the summer of 1970, Fagan had never even heard of Rochester before. Fagan receives the Musgrave Medal from Former Jamaican Prime Minister “It was just an exit on the freeway P.J. Patterson in 1998 for his Contribution to the World of Dance and Dance as far as I was concerned,” Fagan Theater. says. 26 55 PLUS - November / December 2011 55+ cover

Fagan figured he’d teach in Rochester for a few years and then head back to New York City, the dance capital of the world. He taught at Brockport for the summer and was asked to return again in the fall. In the meantime, Fagan started his dance company Bottom of the Bucket, But…Dance Theater. “That was because I didn’t have trained dancers, and because we were the bottom of the bucket now, but watch what we were going to do,” he says. The company of about 16 dancers was based at the Education Opportunity Center on Andrews Street. In addition to performing, the company offered public classes, which were well subscribed to. But Fagan had much larger dreams. “I wanted to create a company where my dancers were salaried, so they’d get paid for what they do,” he says. “In my day, it was four to fi ve dancers to one hotel room. I didn’t want to subject my dancers to that because they’re professionals that The dance company in a 1993 photo. Photo courtesy of Steve Labuzetta work hard on their bodies keeping them in shape.” Within two or three years, Bottom seeing a performance in Houston, more consistent and you will rise to of the Bucket, But… was performing Texas. She was just coming off of the highest level,” she says. “Practice in New York City. Within four years, eight years of working as a dancer for and perform at the same level, and the dance company was performing several companies in New York City, suddenly your performance gets with award-winning choreographer/ “I saw them perform and that was better and better. That’s what I tell dancers and Carmen De that, I moved to Rochester to follow all my dancers now. You’re worrying Lavallade. my dream,” she says. “The music too much about the end result and In an early review in The New spoke to me in a way that said ‘that’s not about the process of learning. York Times, Anna Kisselgoff wrote of what I want to be doing’.” You want to get there before you do Bottom of the Bucket…But: “Garth Rogers-Cropper hadn’t even been the work.” Fagan, their brilliant choreographer accepted into dance troupe, she says Bill Ferguson is Fagan’s artistic and director, has literally worked she just wanted to study the work and administrative liaison and a wonders on several levels. His use of and learn the technique. Immediately, dancer with the company. He teaches black thematic material has several Fagan saw talent in the young dancer and choreographs for the Garth Fagan features in common with that of and invited her to rehearsal. Within School of Dance. After graduating other black choreographers. But he four months, she was a member of from the University of Missouri started mainly with performers with the company. in Kansas City, Ferguson moved minimal dance training. As a result, “It was the shortest time anyone to Rochester to dance with Garth much of his choreography is really had been here before they joined Garth Fagan. an incorporation of street vernacular Fagan Dance as a company member,” “Two months after I moved up style into patterns that suggest dance. she says. “I was very proud of that. here, we were performing in Sicily The method works superbly and is I haven’t looked back. It’s been the on a 2,500-year-old amphitheater that responsible for the rousing raw energy same ever since, just wonderful.” they had built a stage on for the [Garth that suffuses the choreography.” Rogers-Cropper is now director Fagan Dance] company to perform In the 1980s, Bottom of the of the Garth Fagan School of Dance on, and I’ve been hooked ever since,” Bucket…But was changed to Garth and assistant rehearsal director for he says. Fagan Dance. Natalie Rogers-Cropper the company. That was 1989. Ferguson married joined Garth Fagan Dance in 1989 after “Garth encouraged me to be Nicolette Depass, the lead woman November / December 2011 - 55 PLUS 27 55+ cover

people in the same way an actor opinion,” Fagan says, admitting the would, without words, just with practice harkens back to his own movement.” upbringing. “Just last night we read Fagan’s style has been described an article in The New York Times as having the weightiness and the and we ranked it, and you’ve got to floor work of modern dance, the back it up.” torso centered movement of African/ By seeing things from all Caribbean dance, the speed and perspectives, Fagan says, you can precision of , and the rule share ideas with people and prevent breaking experimentation of post- yourself from becoming insular and moderns. The company’s “fearless” removed. For a Fagan dancer, the dancers are “able to sustain long skills they acquire in the studio are just adagio balances, to change direction as important as their understanding in mid-air, to vary the dynamic of a of their world. turn, to stop on a dime,” writes David “As we tour the world, I always Vaughan in “Ballet Review.” have it in my contract that we have a But Fagan’s approach extends far day off to explore the art and culture beyond mastering dance techniques. of the county,” he says. He believes in nurturing the whole In Australia, company members dancer. His father being a professor, danced with the Aborigines, in New Fagan says he reveres education, and Zealand, the Maoris. In Africa, dancers it shows in the way he runs his dance tried different foods and learned company. different rhythms performing side by “My dancers are the brightest side with other dance companies. Receiving the Tony Award for Best dancers on the planet because besides “My dancers always meet with Choreography for his work on Walt the work they do in the studio, I take the audience after the show out in them to jazz concerts, poetry readings, the lobby; that way you hear from the Disney’s “The Lion King” in 1998. art galleries, and they have to discuss people who buy the tickets to your and rank how they liked whatever show; you experience the different dancer with the company. He says it is they just saw and back up their walks of life.” Fagan’s vision of what concert dance should be is very unique. “The quality and depth of our artistic product, not only is unique to Garth…but the ability of Garth’s An award-winning 40 years work to show us our humanity and • In 1998, Fagan received the for communicating clearly is one of those Jamaica’s Special Gold Musgrave “outstanding achievement and things that helps keep the integrity Medal for his Contribution to the dedicated service.” of the company and the quality of World of Dance and Dance Theater • Garth Fagan Dance’s Mudan their work so deep and successful,” and the Prime Minister’s Award. 175/39 was named third of the top he says. In 2001, he was presented with the six dance watching moments in 2009 Order of Distinction in the rank by The New York Times. of Commander by the Jamaican • Named Fulbright 50th Act IV – The Fagan government. Anniversary Distinguished Fellow. • Awarded the Tony Award for • O t h e r a w a rd s i n c l u d e Technique Best Choreography, the Drama Desk the 2001 Samuel H. Scripps Award, Outer Critics Circle Award, American Dance Festival Award; Rogers-Cropper says she was Astaire Award in 1998, as well as a Guggenheim Fellowship; Dance drawn to the “humanness” of Fagan’s the 2000 Laurence Olivier Award, Magazine’s Award for “significant technique. 2001 Ovation Award, and 2004 contributions to dance during a “This was a means of expression Helpmann Award for his work on distinguished career” in 1990; the that’s very rare to see in the dance Walt Disney’s The Lion King. Monarch award from the National world, where the movement is • Fagan received the Golden Council for Culture and Art; the contributing to a statement about Plate Award and was inducted Arts Achievement Award from his humanity…that’s what I wanted to into the American Academy of alma mater Wayne State University; do. It was a very powerful moment Achievement in 2001. and the Bessie Award (New York for me to recognize that without • In 2003, Fagan received Dance and Performance Award) for acting, through movement, you can the George Eastman Medal from Sustained Achievement. do exactly the same thing and affect 28 55 PLUS - November / December 2011 55+ cover

Fagan says his technique finally faces up to his responsibilities for them to understand how rich and is designed to keep his dancers as the King of the Beasts.” varied the world really is outside of performing well into their adult “I hadn’t seen ““The Lion King”” what we know, and this is one of the years. and what I knew of Disney musicals blessings that traveling all over the “Garth really does take care of was Snow White and the Seven world has given me, different tastes his dancers,” Fagan’s principal male Dwarfs and Sleeping Beauty,” Fagan in food, drink, attitude. I mean, it’s soloist Norwood Pennewell says in an recalls. such a rich, rich, rich smorgasbord the article in “The Wall Street Journal” by He wasn’t sure why Disney creator has given us.” Pia Catton. Fagan’s technique puts as would be interested in him. One of his “The Lion King” premiered on much focus on the mind as it does the more recent hits was Griot, performed 42nd Street in November 1997, and dancers’ bodies. with the Brooklyn Academy of Music is still on Broadway, in London, “Fagan makes sure that we are with Wynton Marsalis composing Hamburg, Germany and Tokyo. It was educated in general — in every aspect the music and Martin Puryear doing also presented in Syracuse for nearly of life. He keeps your mind, spirit, sculpting. a month until early October. There emotions and body always focused on “It was a big hit and one of the are still eight shows a week being getting better. You could spend 10, 11 pieces that stopped the show was a performed around the world. years just learning movement or how duet for a topless man and woman Rogers-Cropper said Fagan has to phrase your movement.” called Spring Yaounde,” Fagan says, definitely left his mark on “The Lion Anthony Bannon, director of the wondering how Disney could be King”. George Eastman House, was a dance interested in the choreographer of “That’s what you want to do as critic and filmmaker back when Garth such a sensual hit. a choreographer,” she says. “You Fagan Dance was billed as Bottom of Nevertheless, when the Garth want people to be able to tell without the Bucket…But Dance Theater. Fagan Dance Company performed looking at the program. I think that “He was a delight to be around, in London, people from Disney were was just genius.” just a kaleidoscope of realizing what’s there. And in Long Beach, Disney was The experience is a reflection possible; greedy about knowledge, there. When Fagan got word he was on the values which Fagan’s father and about making the most delightful one of the final three choreographers instilled in him. hypothesis.” says Bannon. “What if being considered, he called his friend “If you want quality, you’ve got to someone’s arm was to go to the left Janet Lomax who had young kids stick your neck out,” he says. “Quality and their big toe to the right, while and asked to borrow her copy of “The is not going to come easy.” upside down and twirling the right Lion King”. foot, and drawing I-shapes with the “I saw it and fell madly in love left arm? What if we were to create with it, and I said, ‘Oh, I really could The Final Act? this seemingly impossible scenario, do this,’” Fagan says. “I’d been to might it be possible? And if so, what Africa several times, had been all Since coming to Rochester in would it look like? And if it seemed over Africa. So then I got all excited 1970, Fagan has taught for over three of interest, what in the world would and inspired, and I went to meet Julie decades at Brockport. He holds nine you do next. And he hasn’t changed [Tamor, director of “The Lion King”] honorary doctorates, including ones one bit.” and we hit it off. In Chinese astrology, from the Julliard School, the University both Julie and I are dragons. We’re of Rochester, Nazareth College, and demanding, we work hard, and we Hobart and William Smith Colleges. Act V – “The Lion go for what it is, so she and I hit it off Fagan has choreographed for the immediately.” New York City Ballet, Dance Theater King” Fagan was selected to choreograph of Harlem, Alvin Ailey Company, Disney’s “The Lion King” in the and the Limon Company, among his Walt Disney came calling in the winter of 1996 and he immediately many accomplishments. The company mid-1990s, expressing an interest set to work on the movements with boasts five Bessie Award Winners, one in seeing some of Fagan’s work for his lead dancers Rogers-Cropper and of which belongs to Fagan himself. “The Lion King”. According to an Pennewell. That’s the highest award in dance. article by Louise Levene in “The “I wanted the broadest range of Fagan has turned over the reins Sunday Telegraph,” “the show came dance a Broadway show has ever seen. of the Garth Fagan School of Dance to life in 1994 when Walt Disney I wanted hip hop, because that was to Rogers-Cropper, Ferguson and Theatrical Productions, flushed with current at the time, African Caribbean Pennewell. The school provides weekly the success of Beauty and the Beast Dance, modern dance, ballet,” Fagan classes for children, teenagers and began the search for a new stage hit. says. “It’s all in there because I wanted adults, taught by current and former They settled on the monster-grossing the kids who saw “The Lion King” members of Garth Fagan Dance, as cartoon feature “The Lion King”, the to see the dances that they knew and well as additional instructors trained heart-warming tale of a baby lion who some other dances they didn’t know, in the “Fagan Technique.” It also November / December 2011 - 55 PLUS 29 55+ cover hosts a Summer Movement Institute bookings are down, not just with us, a bigger city, but he says he stayed in every year for three weeks in July and with everybody, because people need Rochester for his sanity. August. About 42 dancers participated money for food, gas and Pampers, so “I like a smaller place when I’m in this summer’s session. to go to the theater, they don’t really choreographing a dance,” he says. “I Fagan lives in Rochester’s Park have discretionary funds. So we have like solitude so I can focus on what it Avenue neighborhood and his studio really felt it, and the arts were always is I’m doing and saying and it’s hard is located on Chestnut Street. He very marginal in America anyway to find solitude in New York City. I has a daughter who died at age 3, a from the economic standpoint.” like all the green fields, corn fields son with two children, and a great Fagan says another problem is and old farm houses that I can drive grandson. While “The Lion King” society’s obsession with shows like 15 minutes outside of Rochester. That has catapulted Fagan’s reputation for “So You Think You Can Dance” and calms me down and soothes me…but concert dance and acquainted it with “America’s Got Talent. “ if I am out of New York City for more more mainstream audiences, Fagan “Major papers don’t have dance than two months I feel completely admits he’s still the largest financial sections or dance critics anymore,” he uncivilized. Three months away contributor to the company after 40 says. “It’s changed. We’re a lot more from Manhattan is all I can survive. years. interested in amateurs than we are I need the fix every so often, the “The ups and downs of the professionals.” sophistication and clothing.” economy have really screwed us,” Fagan admits, running a dance Rogers-Cropper says Fagan is a he says. “Earned income is down, company would have been easier in visionary and a genius who is “way ahead of his time.” “The thing about Garth is he’s so focused on people and relationships, The critics and he’s passed that onto us,” she “Once in a while there comes a if to invite a fight and laugh it off says. “He’s a father and a mentor true dance original – a choreographer simultaneously.” and he can’t help it. He always has who breaks all, or at least most, of the Claudia La Rocco on Thanks to make sure that we’re being taught. rules, and creates a style, or rarer, Forty for The New York Times. That’s his thing. This is unique. In the even a technique, all of his or her dance world, the choreographer gives own. Just such an original is Garth “Mudan moves like wind chimes you the movement and direction, but Fagan.” on a mercurial day. Pennewell in terms of that kind of nourishment, Clive Barnes, New York Post. and Benton merely anchor that Garth has passed it onto us and now blustery, then tranquil, spirit to I’m passing that onto the young “It’s a tribute to Fagan’s human experience so it stays with people.” thoughtful, disciplined teaching us after the curtain falls.” Fagan’s advice for dancers is that his dancers have long careers Appollinaire Scherr on “Mudan “work hard and be vulnerable.” and that even the newest recruits 175/39” for Financial Times. “When you’re stuck in your ways, to the 14-member company…look you keep repeating the same old, as if they’d been born into Fagan’s “Over the years — 37 and same old,” he says. “When you’re unique style of modern dance counting — Garth Fagan’s Garth vulnerable, choreographers can get with a slight, but pungent, Afro- Fagan Dance has developed a you to do things you had no idea you Caribbean accent. Which means unique dialect of dance based on could do, and that the dance you’re that none of them gives signs of rhythmic runs, off-center balances, working on needs, not your good old having ever studied ballet – and I wild curveting spins and explosive, tricks that have been done already.” intend that as a compliment.” asymmetric leaps. And, oh yes, Fagan shows no signs or desire to Deborah Jowitt on Fagan’s stillness.” slow down, pointing out that Merce 40th anniversary piece “Thanks Clive Barnes on “Mudan Cunningham worked until he was Forty” for The Village Voice. 175/39” for the New York Post. 91. “No retiring,” he says. “That’s “The dancers face off across “He doesn’t just supply steps nonsense, because all that you learn the stage in columns. Like chess that marshal the huge cast in and in life, you put back into your work, pieces come to aggressive, silky out of action, he has also created and stuff that you didn’t know when life, they crouch low, legs stamping distinct physical languages for all you were 20, now that you are 30 you as their torsos slowly churn. There the performers who stalk, prowl and know, and stuff I didn’t know at 50, is a precision to their movements scamper about the stage until it pulses now that I’m 71, I know. That’s how but also an almost tossed-off with the life of the savannah.” life works, and since this is an art quality; shoulders shrug at the Louise Levene on “The Lion form, great artists always put their life end of confrontational phrases as King” for The Sunday Telegraph. experiences into their work. I don’t want to stop.”

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