BWW Interviews: Michele Wiles Dancing On...

Let's begin with a short history of Michele Wiles. What are the origins of your desire to dance? How did you begin?

It started, for me, in my mom's aerobics class. When I was 2 ½, I would lay in the class quietly with my bottle, but, when I heard a piece of music I loved I would move to the middle of the floor, interrupt the whole class, and start dancing. The teacher told my mother to put me in dance class. I started with Tap and jazz until I was 8. My teacher told my parents to get me into ballet to improve my technique. Once I took a class, I was hooked. By 10, I wanted to be a prima ballerina when I grew up, like Gelsey Kirkland (I used to practice Nutcracker on the floor, in my basement that my Dad, Larry Wiles, built for me, with my hair like Gelsey's) or Darci Bussell ( saw her Swan Lake at the Kennedy center and said I want to be the swan queen). I would participate in local dance competitions, which helped my performance experience. I did several summer schools- the Joffrey Ballet, the Royal Ballet( they offered a full scholarship, but, my parents would have to sign legal guardianship over and they didn't want that). Fortunately, the Kirov Academy opened in 1990 and I boarded there for 6 years under the direction of Oleg Vinogradov. My teachers were Adrienne Dellas, Alla Sizova, Vladimir Djulouhadze (spelling?) I had to skip 6th grade. During this time, I travelled to St. Petersburg twice and filmed a TV show that was aired in Moscow, in 1992..1995. I went to St. Petersburg, Mariinksy Ballet, to learn Carmen from Diana Vishneva. (This was in preparation for the Varna competition, where I won the gold medal; the Japan competition, where I won bronze; and the Paris, finalist Ballet competitions.) In 1996, it was time to join a company. I was barely 17 and auditioned for the Boston Ballet and American Ballet Theatre. Both offered me an apprenticeship; and I chose ABT. I was an apprentice for 1 Metropolitan Opera House season, corps de ballet for 2yrs, soloist for 5yrs., and principal for 6 years. For the past 3 years, I have been devoted to my company, Ballet Next. In 2002, as a soloist with ABT, I won the Eric Bruhn prize; and in 2000, I was given the Princess Grace Award.

Tell us about your training, how you felt about it at the time and how you reflect on it now.

My Vaganova training gave me a strong foundation and prepared me for ABT. While at ABT, I was able to figure out what things worked and what things didn't work. As soloist, I worked with Irina Kolpakova a lot. She helped me immensely with my first principal role (Medora in Le Corsaire. During my principal years, I worked with David Howard, Georgina Parkinson, Susan Jaffe, Amanda Mckerrow. Looking back on this now I am overwhelmed by the all of the great people I worked with. What an education and experience!

You joined American Ballet Theatre at a young age; and you rose through the ranks, from corps de ballet member, to soloist, to principal dancer rather quickly. What was that experience like for you?

No matter what, I kept going and I continued believing in myself, as a ballet dancer. These experiences taught me to believe in my self, gave me discipline, and the understanding that the key is hard work, I am so thankful for all that I learned at ABT. It prepared me for where I am today and where I will go to in my ballet future.

Again, at a rather young age, you listened to your own drummer and left ABT, in pursuit of your own contemporary ballet company. What was it that propelled you to make this daring move?

I asked myself if I wanted to do 7 more Swan Lakes or if I wanted to do something totally new? I wanted to see what I could do. I wanted to take ownership of what happened next. I wanted to feel uncomfortable and leave the safety of a company, to make my own schedule and to be responsible, with the ability to make my own decisions, including mistakes, to open up, to take risks, and to build a platform for other artists. I want this to be bigger than myself.

Once you'd launched your company, Ballet Next, there must have been ups and downs. What were the highs and the lows?

The highs, for me, were always making it to the stage, feeling so appreciative to have this opportunity, and realizing how special it is to dance. It is a joy to see the relationships being built and to see the company work as a team, in the rehearsal room

If there are lows to speak of, they are probably much like those of any new venture. The easy part is the dancing; running a business, with all that entails, can be challenging.

What have you learned? How have you and your company grown?

I am learning which kind of movement and choreography I like, what kind of people I want to work with (positive individuals with spirit), people who are not afraid to take a risk. How to build a business is a new approach, for me. The company has become much more focused. Everyone is working well together, which is very important.

How do you approach the difficult necessity of raising funds to keep your company afloat? How can interested benefactors contribute to Ballet Next?

We receive individual donations. We will be applying for grants this year (applications accepted only if the company has been in existence for 2 years or more)

If people would like to donate go to website: balletnext.com

We also have a kickstarter up for new choreography link:

http://www.kickstarter.com/projects/596593673/balletnext-premiers-new-work-at-new-york-live-arts

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