Photo by Matt Trent

                        by  R. Pikser

Christopher Wheeldon, though trained at the Royal Ballet School, became the first choreographer in residence at New York City Ballet.  Now he has not only choreographed but directed the new Broadway version of An American in Paris.  This interview, conducted by the still and ever charming Rita Moreno, gave the audience members an overview of Mr. Wheeldon’s life, interspersed with gossip about Jerome Robbins and other mentors.

Mr. Wheeldon and Ms. Moreno teased each other and traded war stories of their days working with Mr. Robbins and, of what, in their careers they had enjoyed, what had devastated them, their performance terrors, and what they had found challenging in ways that fostered their growth. 

Besides Ms. Moreno and Mr. Wheeldon, Mr. Robbins seemed almost present.  Ms. Moreno said she was afraid of him, though she said he had never been mean to her personally.  Mr. Wheeldon, who worked with Mr. Robbins late in the latter’s career, said that, yes, he was demanding, but that he seemed mostly pleased to see his works being performed by young dancers.  As for his own growth, Mr. Wheeldon said that whenever he ventures outside of what he called his “comfort zone,” he feels afraid.  However, he seeks out these occasions to expand.  So, when he came to work at the New York City Ballet or when he decided to direct as well as choreograph An American in Paris, he welcomed the challenges.  He spoke of not being at ease partnering yet, in the clips we saw, the partnering was inventive and exciting.  He apparently does turn his challenges to good account.

The program opened with a film pastiche of Ms. Moreno’s film career and her acceptance of the Academy Award for her work in West Side Story (choreographed by Mr. Robbins).  The film clips of Mr. Wheeldon’s career ranged from his graduation performance from the Royal Ballet School at the age of 17 to a duet he choreographed that was performed on top of the World Trade Center at dawn, to a sort of promotional pastiche for An American in Paris.  Mr. Wheeldon’s choreography is inventive and intelligent.  He has thought about what he has learned from his various mentors and what he wants to accomplish, .and it would have been gratifying to see more choreography and fewer rehearsal scenes or interviews with performers. The bits of his version of Alice in Wonderland seemed especially imaginative and cried out for a fuller viewing.

Mr. Wheeldon described himself as controlling, but his presentation during the evening was self-deprecating and full of humor.  The ideas he kept coming back to throughout the two hour interview were about relationships and generosity and patience, and his appreciation for others’ patience with him.  He was also quite willing to talk about fear, and how being afraid, being outside of one’s comfort zone, pushes one’s limits.  He spoke of painting and painters and of the concepts behind any work of art.  He is a man who likes to be growing.  In all, he left an impression that, however demanding he might be in rehearsal, however much he may need to be in control of all aspects of a production, he is someone who would inspire you to do your best because he is someone to whom you could open yourself and who would be there to help you surpass yourself.

Words on Dance
Ballet to Broadway
April 27^th, 2015
Symphony Space
95^th Street and Broadway
Tickets $15
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