Wheeldon to conclude NYCB residency in 2008

[Dale]

According to the New York Times, Christopher Wheeldon will not renew his contract with NYCB:

http://www.nytimes.com/2006/11/02/arts/02a...jK8cniYnYItt9JQ

[Dale]

The official word, from the company:

CHRISTOPHER WHEELDON TO CONCLUDE

HIS RESIDENCY WITH NEW YORK CITY BALLET

FOLLOWING THE 2008 WINTER SEASON

New York City Ballet announced today that Resident Choreographer Christopher Wheeldon will conclude his residency with the Company following the 2008 winter season. He will make two more ballets for NYCB before that time, one during the 2007 spring season, and one during the 2008 winter season.

Mr. Wheeldon was appointed NYCB’s first-ever Resident Choreographer in July 2001. He joined New York City Ballet in 1993 as a member of the corps de ballet, and was promoted to soloist in 1998. He retired from dancing at the conclusion of the 2000 spring season to focus on his choreographic work, at which time he was named NYCB’s first-ever Artist in Residence.

In making the announcement, NYCB’s Ballet Master in Chief Peter Martins said that while he was saddened by Mr. Wheeldon’s decision, he is thrilled with the choreographer’s contributions to the Company’s repertory, for which he has thus far created 13 works.

“From the moment Chris arrived at the Company in 1993, it was clear that he was not only a wonderful dancer, but a very gifted choreographer as well, and I am so pleased that he has made NYCB his home for the past 13 years.”

Mr. Martins added that the door is always open for Mr. Wheeldon to return and make works for the Company, and this does not represent an end to NYCB’s relationship with the choreographer. “Chris will always be a part of the City Ballet family,” Mr. Martins said.

Mr. Wheeldon said his decision to conclude his residency was based on a desire to explore new directions in his own choreography, as well as new connections with dancers, artists, and audiences after more than 20 years of affiliation with two of the world’s major ballet companies. The British-born Mr. Wheeldon enrolled at London’s Royal Ballet School at the age of 11 and danced with The Royal Ballet from 1991 to 1993 before joining NYCB.

“I have been given some incredible opportunities at City Ballet and I am very grateful for Peter’s support. His belief in my talents and dedication to new work continue to be an inspiration,” said Mr. Wheeldon.

“The unique ongoing partnership I was able to create as Resident Choreographer, along with the freedom to work with other major ballet companies, has been invaluable. However, at this point in my career I now feel that it’s time to see what I can create for myself outside of the umbrella of a company with such a rich heritage and tradition as New York City Ballet. Yet it is comforting to know that I will never entirely leave NYCB, as my works will continue to live on in the repertory.” he said.

In addition to his work with New York City Ballet, Mr. Wheeldon has created ballets for such companies as The Royal Ballet, San Francisco Ballet, Pennsylvania Ballet, The Hamburg Ballet, and Colorado Ballet. He also choreographed the 2002 Broadway musical Sweet Smell of Success and created dance sequences for the 2000 feature film Center Stage, both of which were directed by Nicholas Hytner.

Mr. Wheeldon is currently working on a new piece for The Royal Ballet, which will premiere on November 17 in London, and will then create his first work for the Bolshoi Ballet, which will premiere on February 14, 2007, in Moscow.

His next work for New York City Ballet, set to a commissioned score by NYCB’s Resident Composer Bright Sheng, will premiere during the Company’s 2007 spring season.

[richard53dog]

The official word, from the company:

CHRISTOPHER WHEELDON TO CONCLUDE

HIS RESIDENCY WITH NEW YORK CITY BALLET

FOLLOWING THE 2008 WINTER SEASON

New York City Ballet announced today that Resident Choreographer Christopher Wheeldon will conclude his residency with the Company following the 2008 winter season. He will make two more ballets for NYCB before that time, one during the 2007 spring season, and one during the 2008 winter season.

Well, here's hoping his last two pieces as NYCB RC are successes!

[carbro]

I can't say I'm surprised by this. . . .

As a choreographer, he's also gone his own way. The dancers he chooses are, with a couple of exceptions, rarely Martins favorites. And his style doesn't build on Martins' - it goes off in another direction entirely.

You could replace Balanchine for Martins and Robbins for Wheeldon, and that would be a pretty good description of NYCB of 25+ years ago. It's generally considered a good thing to have choreographers of complementary and contrasting styles, with different demands of the dancers, who together can satisfy a wider audience than could one alone. And who could draw from the dancers different sets of skills.

I am not surprised either, Kay, because Wheeldon has been in such high demand all over the globe. Resident choreographer of NYCB is quite a plum job, but Wheeldon has been so busy taking commissions and setting existing works all over the world that he must feel spread rather thin. Little of his recent work for NYCB argues against that.

I hope his full-time freelancing -- if that's what he ends up doing -- gives him the opportunity and freedom to grow as an artist.

[KayDenmark]

I can't say I'm surprised by this. Even when Wheeldon was a dancer, he and Martins never seemed to be close, either personally or stylistically. I can't recall Wheeldon dancing a major role in any Martins ballet.

As a choreographer, he's also gone his own way. The dancers he chooses are, with a couple of exceptions, rarely Martins favorites. And his style doesn't build on Martins' - it goes off in another direction entirely.

What's interesting about his departure is the question of who is now the "heir apparent" at NYCB. Martins has just turned 60 years old, and most 60-year-old CEOs have a succession plan in place. Most of Martins' immediate subordinates - Sean Lavery, Merrill Ashley, et al - are almost as old as he is.

Wheeldon was of the right generation and had choreographic talent, although it's impossible to know if he has adminstrative or fundraising skills.

But who else would be appropriate to lead NYCB five or ten years from now? Damien Woetzel, perhaps? What about Wendy Whelan? Albert Evans has the advantage of also being a talented choreographer.

[Mme. Hermine]

Sean Lavery is about 48 years old.

[whitelight]

I guess I'm not surprised either, though I am disappointed. I fear for a spike in new Martins work as a result of Wheeldon's departure... what do the more seasoned viewers think will happen as a result? More Martins, more guests choreographers, or a new resident choreographer? I can't think of anyone poised for the role. And I was also sort of hoping Wheeldon might succeed Martins, so I'm disappointed to hear that it won't be happening.

Despite my distress, I recognize that this is a very good thing for Mr. Wheeldon, and I have admired him from afar since before he started getting notice for choreography. Congratulations to him, and the best of luck with his future endeavors.

[richard53dog]

I fear for a spike in new Martins work as a result of Wheeldon's departure... what do the more seasoned viewers think will happen as a result? More Martins, more guests choreographers, or a new resident choreographer?

Whitelight, I think your fear for that spike is legit. I can see it being even more difficult to manuever around the programs, trying to avoid the PM stuff.

[Leigh Witchel]

Though I agree generally about their different styles, I'd say there's more kinship between Wheeldon's choreography and Martins than people think, particularly in works like Shambards - or the two men's Swan Lakes.

As to who is positioning themselves on the inside track for succession, I would say Woetzel, especially with his studies in arts administration at Harvard, but also Nilas Martins. I have a feeling that is what his pick-up company is all about.

I'm interested to see what Wheeldon does next. The one thing he's needed to do all along though, was stay put somewhere and dig into his work instead of grinding out guest ballets. I think his move from NYCB is ill-advised unless it is to move to a more intense position at another company that he finds more inspiring.

[carbro]

I was reminded recently that Wheeldon had made known his discomfort with New York. (Yeah, hard to believe, I know. ) No matter one's personal assesment of his ballets, he has reached the enviable point in his career where he has the luxury of choosing a home that feels like home.

[whitelight]

I remember reading that, too, and I also had forgotten it. To echo carbro, how fortunate for Wheeldon to have reached this point. His presence will be missed, though I imagine he'll continue producing work for City Ballet. I am a bit curious as to who stages his existing work on new dancers...

[kfw]

Though I agree generally about their different styles, I'd say there's more kinship between Wheeldon's choreography and Martins than people think, particularly in works like Shambards - or the two men's Swan Lakes.

Leigh, how much of this do you see this in the way they use the classical vocabulary, and how much do you see in tone? How much do you see this kinship as, for example, a reflection of contemporary sexual relations? I realize one can't entirely separate the two, that the second will be reflected in the first. But what Martins seems to lack (admittedly I've spent more time reading about his ballets than watching them) is the chivalry that so infused Balanchine's work. And for my money, that high view of human and erotic relations is one thing that lifts Balanchine's work over Martins' as I think of it.

[ViolinConcerto]

As to who is positioning themselves on the inside track for succession, I would say Woetzel, especially with his studies in arts administration at Harvard, but also Nilas Martins. I have a feeling that is what his pick-up company is all about.

That reminds me of what Peter Boal said the interview/seminar he gave at the State Theater just before he left for PNB. He said that Martins had recommended he start up a small company to get a feel for it, as it would be very helpful (which, in fact, it was). However, Woetzel seems to be taking very active steps towards a post-retirement career with his work at Harvard and Boston. I believe that he's always had an interest in ballet history and styles -- I used to see him at all kinds of talks and lec-dems.

[Leigh Witchel]

Leigh, how much of this do you see this in the way they use the classical vocabulary, and how much do you see in tone? How much do you see this kinship as, for example, a reflection of contemporary sexual relations? I realize one can't entirely separate the two, that the second will be reflected in the first. But what Martins seems to lack (admittedly I've spent more time reading about his ballets than watching them) is the chivalry that so infused Balanchine's work. And for my money, that high view of human and erotic relations is one thing that lifts Balanchine's work over Martins' as I think of it.

To me it's tone more than vocabulary. I'll steal from myself and refer you to the review I did of Shambards when it came out.

http://www.danceviewtimes.com/dvny/reviews...ring/nycb13.htm

I think though it's less a reflection of sexual politics than of them being in the same milieu (both NYCB and New York City itself). Wheeldon in general is less dark than Martins - when Wheeldon does something like Shambards, it's as if he's wearing someone else's coat. Martins' most interesting works have also been some of his most disquieting. I think he's better off as a choreographer being who he is than pretending to the romanticism that Balanchine did so beautifully and naturally.