Homefield Advantage

Bootleg videos of Atlanta Ballet’s new hit big are circulating on YouTube as if the work was a sold-out rock concert. Actually, it kind of was. Lauri Stallings choreographed the hip-hop ballet, set to live music by Antwan “Big Boi” Patton of OutKast, for its première in April. She saw the project, which brought together 80 dancers, musicians and children onstage, as the perfect culmination of her three years as the company’s resident choreographer.

“This work was such a handful,” says Stallings, a former dancer with Ballet British Columbia and Hubbard Street Dance Chicago. “Could I have done it not being resident choreographer? No. There is absolutely no way. It took too much trust.”

European companies have been appointing resident choreographers for centuries. Nineteenth-century greats Marius Petipa at St. Petersburg’s Imperial Theatre and August Bournonville at Copenhagen’s Royal Danish Theatre are classic examples. Both created works that defined their companies’ styles during more than 40 years of employment. Nowadays, such positions usually last three to five years, but the idea remains to give a choreographer the opportunity to work with a ballet company on a long-term basis, often presenting a world première each season.

While some U.S. companies employ resident choreographers, the practice is more common in Europe. Forming such a partnership with one individual involves major artistic and financial risks for companies, which must make a firm commitment to someone without knowing exactly what will come of the collaboration.

In the U.S., many directors are dancemakers themselves and therefore can be considered their company’s unofficial resident choreographer. But those who have them say the benefits extend to everyone involved—the organization, dancers, choreographer and audiences.

“Having a resident choreographer gives an individual voice for the company,” says Boston Ballet Artistic Director Mikko Nissinen, who appointed former Nederlands Dans Theater dancer Jorma Elo as Boston’s resident choreographer in 2005. “Also, I have found that Jorma creates dancers. His work supports the whole organization’s mission to develop dancers.”

Tulsa Ballet’s artistic director, Marcello Angelini, has found similar advantages. That’s why his company has two resident choreographers: Val Caniparoli and Ma Cong. “They, better than anybody else, know the company and the individual dancers,” says Angelini. “There’s no one better than either of them at tailoring a work meant to stretch the dancers’ technical, stylistic and emotional range. The by-product of this partnership is growth for the company.”

Some artistic directors go for up-and-coming dancemakers, others want more established choreographers. Atlanta Ballet Artistic Director John McFall choreographs for his company on occasion, however he says he is also aware of his own limitations. “I’m always open to learning more,” says McFall, who looks to a resident choreographer to bring fresh ideas. “Most of the creative stuff is on the fringe. I’m so interested in the street and the kids, because that’s where it’s happening in the moment.”

Angelini looks for the boost an in-house choreographer can bring to his company’s repertoire: “I look for a resident choreographer who can create great works. Artists who are hit or miss are not necessarily people I would want to work closely with the company, even though I would take the risk of commissioning a work from them every now and then.”

Resident choreographers say the stability that comes with having a home base opens the door to artistic freedom. “Artistically you can dare to take more risks,” says Elo. “Freelance choreographers go to places and it can be exciting, but your working environment is not always optimal. It’s tough to take a jump into the unknown, but if you know where you are going, you can jump more easily.”

Many also appreciate the value of relationships created over time. “There’s a familiarity with the dancers, and you’re able to communicate better with them,” says Caniparoli, who has also been resident choreographer at San Francisco Ballet and Ballet West.

Similarly, an artistic director gets to know the choreographer and can urge a move outside his or her comfort zone.

“I like working with him because he always pushes me in directions I haven’t explored or am afraid of,” says Elo of Nissinen. “He always asks for things that he thinks are difficult for me or that would activate my mind.”

Sometimes the risks involve innovation, such as Elo’s recent work for Boston Ballet, In on Blue, in which the costumes, floor, backdrop and wings are all blue. But sometimes the risks are stylistic. “The most successful works I’ve done in Tulsa have been abstract neoclassical ones, and I rarely do them anywhere else, which is odd, but he’s pushing me in a different direction,” says Caniparoli of Angelini. “It makes me a stronger choreographer because I’m doing works there that I wouldn’t be able to do anywhere else.”

Of course, the regular paycheck is also a boon for choreographers who are accustomed to working project to project. “You never know in this job if you will get any working opportunities,” says Elo. “Going back to the same company gives you a
little financial calm and the feeling that there will be something after two years.”

Still, such posts are hard to come by, especially in the U.S. “Residencies are so rare, and there are so few of them,” says Stallings. “Directors who commit to them are to be commended highly.” Now, after three years with Atlanta Ballet, Stallings feels prepared to work as a freelancer for other companies, where the creative process can be condensed to a period of just a couple of weeks for creation and rehearsals. “I’m thrilled to get out and see how I can use that accumulated knowledge and put it to the test in a more expedited process,” she says. “It’s going to be interesting to see.”

Along with such liberating perks as scheduled studio space, staff musicians and a choice of dancers, having their work seen by the same audiences from year to year allows choreographers to build their reputations. Most do not actually live in the same town as their company, so they are free to work with other troupes as time permits. If a residency results in successful ballets, choreographers may find they are sought after all over the world. This season alone, Elo has world premières scheduled at the Norwegian National Ballet, Göteborg Opera Ballet and Finnish National Ballet, among others. Nissinen has extended his contract with Boston Ballet through 2014, and this season Elo will try his hand at Le Sacre du Printemps for the company’s celebration of Diaghilev’s Ballets Russes (see page 40). SFB, Milwaukee Ballet and Louisville Ballet are all performing ballets by Caniparoli for the 2008–09 season. He will create a new work for Tulsa Ballet’s “Mediterranea” program in May. And Pittsburgh Ballet Theatre kicks off its season with Stallings’s The Great Gatsby, a co-creation with McFall.

Though talks continue about taking big on a national tour, Stallings’s position at Atlanta Ballet has come to a close, and McFall has started a search for a new resident choreographer. “It’s about a relationship, so I’m in no hurry,” he says. “It’s really trying to identify a process where you are getting connected with what’s going on in the world of dance.”

Jocelyn Anderson is a magazine editor based in New York City.

Latest Posts

The author, Lucy Van Cleef, dancing Balanchine's Serenade at Los Angeles Ballet. Reed Hutchinson, Courtesy Los Angeles Ballet

My 12-Year Journey to a Bachelor’s Degree While Dancing Professionally

If you'd have told me in 2009 that it would take 12 years to earn my bachelor's degree, I never would have believed you. Back then, I was a dancer in my early 20s and in my second year with Los Angeles Ballet. I was used to the straightforward demands of the professional ballet world. I knew that hard work and willpower were the currency you paid in the studio, and that the thrill of live performance made all that investment worth it. What I didn't know then is how life's twists and turns aren't always so straightforward. In hindsight, I can see how my winding road to higher education has strengthened me—and my relationship with the ballet world—more than I ever could have imagined.

Keep reading SHOW LESS

#TBT: Alessandra Ferri and Carlos Acosta in "Manon" (2000)

It seems hard to believe, but the last time that Alessandra Ferri and Carlos Acosta performed together was more than 20 years ago. At the Havana International Ballet Festival in 2000, Ferri, who was then a principal with American Ballet Theatre, and Acosta, a Royal Ballet star, danced the bedroom pas de deux from Manon, but they never got to grace the stage together again.

When Acosta became the director of Birmingham Royal Ballet in 2020, shortly before the pandemic struck the UK, he announced to great excitement that his first season would include a world premiere duet for him and Ferri. While the initial performance was postponed, BRB confirmed last week that Acosta and Ferri's reunion will be part of the company's triple bill in London this October. To celebrate the pair's upcoming return to the stage, we're revisiting this video from 2000 of the duo in Manon.

Keep reading SHOW LESS
Victoria Morgan with Cincinnati Ballet principal dancer Sirui Liu. Jennifer Denham, Courtesy Cincinnati Ballet

After 25 Years, Victoria Morgan to Step Down as Cincinnati Ballet's Artistic Director

Last month, Victoria Morgan announced that she will step down as Cincinnati Ballet's artistic director at the conclusion of the 2021-22 season. The organization's board of trustees has formed a committee to conduct a national search for her replacement.

Prior to coming to Cincinnati Ballet in 1997, the Salt Lake City native was a principal dancer with San Francisco Ballet and Ballet West, as well as resident choreographer for the San Francisco Opera. She graduated magna cum laude from University of Utah, where she also earned her MFA, and has judged several international ballet competitions.

Entering her 25th and final season as director, Morgan has accomplished a lot at Cincinnati Ballet, not the least erasing the $800,000 in company debt she inherited at the outset of her tenure. To right the organization's financial ship she had to make tough choices early on—the first task the company's executive committee gave her was to release a third of the company's dancers. In her continuing effort to overhaul how the organization did business, in 2008 she became both the artistic director and CEO and set about building the company's now $14.5 million endowment. For the 2016–17 season, with the arrival of new company president and CEO Scott Altman, Morgan returned to being full-time artistic director and helped lead the realization of the organization's new $31 million home, the Margaret and Michael Valentine Center for Dance.

A champion of female choreographers, Morgan has also choreographed numerous ballets for the company, including world premieres of King Arthur's Camelot and The Nutcracker. She has also helped orchestrate several company collaborations, including 2013's Frampton and Cincinnati Ballet Live and joint productions with BalletMet.

Pointe caught up with Morgan to talk about her recent announcement.

Victoria Morgan is shown from the side standing on stage right, turning to smile at a line of costumed dancers to her left during bows. She wears a patterned green dress with chunky green high heels and holds a red rose in her hand.

Peter Mueller, Courtesy Cincinnati Ballet

Why leave Cincinnati Ballet now?

It's been an amazing run and I have seen it all. I am not sure where I would go from here. I also feel there is a required stimulus and infusion of new ideas and energy that always needs to be a part of a growing, evolving and exciting arts organization.

What made you happiest at Cincinnati Ballet?

The people, from the devotion of patrons and donors to learning from and feeling the pride in work from the staff. It has also been so satisfying for me to choreograph on and watch so many dancers evolve in their dance careers and lives.

Were there things you wanted to do for the company that you weren't able to?

There were other collaborations I wanted us to explore and choreographers I wanted us to work with. It takes quite an investment to make those happen.

Your legacy includes actively creating opportunities for female choreographers. What motivated that?

I started realizing, in a profound way, the gender inequities in our art form. Because I was in a leadership position, I thought I could do something about this and try to get to a 50-50 balance of male and female choreographers. It took a little time to find women to step forward, but it happened. Now there are many more prominent female choreographers, including our resident choreographer Jennifer Archibald, and I am proud of that.

If you could handpick your successor, what qualities would you look for?

Somebody creative, charged up, and who can be visionary. Someone who has had a high-level experience in our art form. A leader who is demanding but also kind and supportive, and who opens doors to find new ideas while still embracing Cincinnati Ballet's philosophies.

What do you feel will be one of the biggest challenges for the new artistic director?

The important cause of DEIA (diversity, equity, inclusion, accessibility). Whoever steps into that position has to have awareness of the culture of today's conversation.

Do you plan to keep choreographing?

I am not being proactive about it, but if the opportunity presents itself, it would be fun.

What's next?

I feel my next calling is bringing movement to the biggest segment of our population, baby boomers. I want to be part of an initiative that makes moving and wellness enjoyable and enlivens people.

Editors' Picks