It’s been two and a half weeks since The Great Gatsby, and I’m still exhausted.
Letters and emails keep coming in from friends, family members and strangers alike, expressing much they liked the production. Many have ideas on how we might produce Gatsby for tour, in New York City or just again here in DC. The production was a “perfect storm,” created by a compelling story that was both challenging and accessible, Billy Novick’s knockout score, and our highly charged company of artists. From the performers on the stage to the musicians in the hydrolic pit including crooners Will Gartshore and E. Faye Butler, the electricity throughout The Great Gatsby was intense.
In making this ballet, I acknowledged something about myself that, in truth, I already knew: I am a storyteller. Ballet has its roots in storytelling, but after almost a century of modernism, for which the ballet vocabulary was in service of abstract work, it seemed appropriate to return to storytelling. The result was something interesting and surprisingly fresh.
This spring, however, we’ll present two modern programs, Bolero(+) and Genius3. As George Balanchine once quipped, “Sometimes the audience wants roast beef, and sometimes it wants pancakes.” Diversity in repertoire mirrors the surprise and serendipity we find in life, and makes us see the world differently. It seems that great things happen in threes – We found great success this season with Don Quixote, The Nutcracker and The Great Gatsby. Now it’s time to strip down the theatrical concerns, and present passionate, athletic and heart-stopping dance. We look forward to sharing it with you!