American Ballet Theatre is bringing back Twyla Tharp’s “Bach Partita,” this week, at Lincoln Center. For this advance piece, I spoke with Susan Jones (the ballet mistress who is doing the staging), a couple of dancers, and Charles Yang (the violinist) about the revival of what Arlene Croce described as an “enormous, whirling, weightless ballet”
Here’s my interview with Susan Jones, a ballet mistress at American Ballet Theatre in charge of the corps de ballet. Jones joined ABT in 1970 and stayed for nine years. In that time, she danced every corps role in the rep, plus Lizzie in Fall River Legend, Cowgirl in Rodeo, and a few other choice parts that suited her dramatic side. She quickly showed a skill for remembering steps, which became handy when working with Twyla Tharp on Push Comes to Shove. Baryshnikov made her a ballet mistress, and she never left. This fall, she is re-staging Tharp’s Bach Partita, which hasn’t been done for almost thirty years.
Edward Villella is back in town, unbowed by his Miami City Ballet experience and ready to begin the next chapter of his life. I sat down with him recently at a café around the corner from his Hamilton Heights brownstone to talk about his life in dance, Balanchine, his experiences in Miami, and his plans for the future. You can read the interview here, in DanceTabs.
After my interview with Herman Cornejo appeared in DanceTabs, the photographer Lucas Chilczuk contacted me. Turns out he took a series of photographs of Cornejo and Luciana Paris during rehearsals of Twyla Tharp’s “Sinatra Suite,” for Fall For Dance. When I spoke to the dancer he told me: “I talked to…Twyla about it, and I told [her] that in order for it to work for me I had to make it my own, I had to express something about myself. With Baryshnikov, the ballet was really about him, but to me, it’s about the man and the woman, the relationship between them….That last pas de deux with Luciana [My Way], for me, it’s about having to part with someone you love, even though the passion is still there, and that’s something I can understand. When I do that final solo I have a lot of memories, not precise images, but moments and sensations of things I’ve experienced. It leaves me feeling very empty.” I think these photos by Lucas Chilczuk capture that feeling well. (You can see more of Chilczuk’s dance photographs at http://www.lucasch.com. )
Cornejo and Paris are old friends, a fact which I think shines through their performance…
Chilczuk also took this nice cover shot of Luciana Paris, for the Argentine magazine Balletin:
I recently sat down with Herman Cornejo at a café downtown. We discussed everything from the cruelty of the artform, to the excitement of working with Alexei Ratmansky, to his love of drawing. Here is a link to the interview.
And a short excerpt:
“Well you know, it took a long time for Kevin [McKenzie, artistic director of ABT] to give me the principal roles in the classical ballets, even when I was already a principal. And yes, sometimes it was frustrating, but you know, now that I think about it, I feel like things happen when they are supposed to happen. I’m ready, I feel different about them now. Also, coming back to the Met after having been injured for almost four months I felt very different. Maybe it was because I was so happy to be back there, but I had rested, I’d had time to think about things.”