Ratmansky demonstrating a step to Luciana Paris, of ABT. Photo by Andrea Mohin.
Ratmansky demonstrating a step to Luciana Paris, of ABT. Photo by Andrea Mohin.

This q&a, for DanceTabs, is a composite of various interviews I’ve done with the choreographer Alexei Ratmansky since 2009, when I wrote my first profile of him for The Nation, “Ratmansky Takes Manhattan” (2009). Through his straightforward, thoughtful answers, I think one gets a tiny glimpse into the way he thinks about dance, music, and the creative process. Here’s a short excerpt:

“I sense a big support from history. You can’t really go to the university and learn choreography. I guess you can be an apprentice, but I never had that luck. So for me it’s the only way to learn the craft. Staging another choreographers’ ballets is a great, great school. I discovered that when we did Le Corsaire at the Bolshoi. We had about sixty minutes of original Petipa steps. My co-choreographer Yuri Burlak and I really wanted Petipa’s part of it to lead us. So everything that we knew had come later we got rid of…I’ve also re-staged ballets by Massine with new choreography, like Scuola di Ballo [for the Australian Ballet], as well as Lopukhov’s Bolt and The Bright Stream, and Fokine’s Golden Cockerel [for the Royal Danish Ballet].”

Here’s my recent piece on the Shostakovich Trilogy, “Running Like Shadows”.


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