BWW Reviews: Christopher Wheeldon Speaks with Rita Moreno

Christopher Wheeldon Speaks with Rita Moreno

On April 27th, Words On Dance and Symphony Space presented Ballet to Broadway: Christopher Wheeldon with Rita Moreno, at the Peter J. Sharp Theater, just two weeks after the opening of Wheeldon's An American in Paris, on Broadway. The evening consisted of film clips interspersed with conversation. Oddly, it was the films we saw 1st, followed by words. It was Moreno who was to interview Wheeldon, although he occasionally turned the tables and asked questions of Moreno.

Moreno, who Is Puerto Rican, commented on the first clip, following it, which included her first and subsequent film roles, describing them as general ethnic roles she was given early in her career. Then we saw a clip of her break out role as Anita in West Side Story, dancing at the gym with George Chakiris. She spoke of Chakiris afterwards, saying that he had elegance and hormones, making him sexier than Fred Astaire.

The following clips were of Wheeldon, his first piece for New York City Ballet to music of Dvorak; a film of his graduation performance from the Royal Ballet School, London; and clips of his choreographic works.

During their first conversation, Wheeldon revealed that he began ballet lessons at 8 years old, in his small town in England. Due to the generosity of his first teacher, who told his parents that his talent was too great to remain in her school and to audition for the Royal Ballet School, where his career was launched. Moreno let us know that she had begun dancing for her grandfather at age five. Wheeldon said that his interest in American dance was ignited by Gene Kelly, whose energy and American masculinity was an influence.

When asked why he left the Royal Ballet for NYCB after only two years, Wheeldon told the story that began with a 60 pound (price) vacuum cleaner that had offered a paid trip to New York City with a purchase. He bought one and came to NYC during a week off. He'd contacted New York City Ballet to take class with them, as he had to dance upon his return to London. The day after he arrived, he was in company class at NYCB. After class, he was told that Peter Martins wanted to speak with him, so he made his way to his office. Martins asked this question, "Why do you want to leave the Royal Ballet after only two years?" He replied, "I don't." Martins thought that he was auditioning. Then Martins explained that he was looking for male dancers and invited him to join the company. Wheeldon replied that he wanted to see the company perform before he made his decision. He went to performances every day that week and agreed to join NYCB. He danced with this company for 8 years. He also revealed that he was never a great partner and joked that a girl would fall off pointe when he walked in the room. He loved to dance, but he didn't feel comfortable when partnering. Later, they spoke of Jerome Robbins, who was to choose Wheeldon to dance his first solo. Moreno described Robbins as a "mean bastard and a self loathing Jew," and then added that she adored him. Wheeldon said that Robbins had mellowed by the time they worked together.

We were treated to a clip of his pas de deux, After the Rain, with Maria Kowrosky and Ask LaCour, on the roof of World Trade Center 4. This was delicious.

We saw a clip of Fool's Paradise, music by Joby Talbot, performed by Morphoses/The Wheeldon Company. When asked why he'd formed his own company, he said it was for the luxury of knowing his dancers and to cultivate positive experience for dancers. The clips from Alice's Adventures in Wonderland, music by Joby Talbot, were of the Mad Hatter and another of the Red Queen, both extraordinarily inspired and innovative. His Swan Lake showed that he was intrigued by a top hatted figure, an image of Von Rothbart (the sorcerer).

Last shown were clips from An American in Paris, currently on Broadway. Moreno suggested that this is a hybrid style of dance. The story of how Wheeldon had plucked Leanne Cope from the corps de ballet of the Royal Ballet was touching. Wheeldon described Robert Fairchild as having similar qualities to Kelly, Jacques D'Amboise, and Edward Villella. Both the promo reel and a clip from the show left me hungry to see this show. It's exciting to see this level of dancing on Broadway.

Photo credit: Matt Trent

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