I know Leigh has been waiting for me to reply. He is here in Louisville watching his knew work "Gavotte" being performed at our Choreographers' Showcase. I was happy that he wanted to come here and work with our dancers in this important project. For those of you who haven't had a chance to meet him, he's a very nice, extremely sincere man. But anyway, about "Billy".
I was the last Billy cast by Loring. He was here in the early '80's, frail but determined. The Louisville Ballet was the first Company to have his work staged after his death.
I first saw Billy at a Ballet West rehearsal shortly after my services were no longer required there. I recognized it's genius early on during the "Rememberance Dance". The period of time that Billy grows to a young outlaw. I was extremly jealous of my ex-fellow dancers that were doing the role and even more so when the late editor of Dance Magazine Bill Como commented on their performance at a regional ballet festival I was attending. It should have been me.
I was new in Louisville but I approached Alun Jones the artistic director and told him to get Billy for the company and that I would kill to do the role. Alun has an amazing appreciation for dance and dance history and recognized the power of the ballet. Nobody had to die and Patrice Whiteside, a long time dancer at Oakland Ballet staged the work.
We performed the work dozens of times in theatres, high school gyms and even at Epcot Center in Florida. It is a role I understand completly and a lot of that is to do with my interpretation of the character.
The first entrance as a child when his mother slaps his hand. When his mother is killed and his reaction to it. (The beginning of the wretch movement) The first posse and the arrogance he displays. "How dare they". The strut around the dead body and yes the wretch. Sick, but at the same time confident and poised as he casually roles a cigarette.
The cardgame with Garrett and the parting of ways. Yes I cheat. What's the big deal? I can't help it and I'll cheat again. After a quick argument and Pat gets on his horse to ride away. the future is set with a quick salute.
The gunbattle. (Yes Victoria, the counts are tricky.) When Billy falls and is surrounded by Garrett and Alias. We took our time at that point. I had a great Alias in Keith Kimmel. As he held his gun on me, he would laugh as he pushed his hat back a bit. I looked at him and said you son of a bitch, (pardon my french Estelle) and blew him away.
This is getting long and Leigh and I have a show to do in a couple of hours. But I continue.
The Jail scene was my favorite. Going from a very angry captive to molding the jailer to your wishes with a series of three identical phrases the last one ending with the toss of a card. When the jailer knew he was going to die, he pleaded saying don't shoot me. Billy of course laughed as to say "you stupid man. You put yourself in this situation and yes you're going to die." But just before Billy draws his pistol in the now familiar pirouette, double tour, I got angry that I was in that situation and was forced to kill again. As soon as the body hit the floor I kicked him hard and then stood quietly looking down on what Billy's life had become. There was a tremendous amount of regret and saddness. After quite a few moments I would draw myself up to the familiar pose and slowly, circle the body, not as a cocky strut as before but as a ritual. The jump, the wretching, the rolling of the cigarette became a reflection of his life but at the end on the contraction, the confident pose. I am still here.
I'm truly sorry but I must run. And I'm sorry if there are typos. Leigh understands.
I will tell you that I did get my fifteen minutes of fame. Bill Como came to our performances celebrating the fiftieth anniversary of Billy in 1988. His editors log in the December 1988 issue of Dance Magazine reflect his thoughts about the Louisville Ballets production.
