The Morphoses London Season opens tonight at Sadler’s Wells with a programme dedicated to 100 years of Ballets Russes, an appropriate choice for a company structured in the same way and whose mission to “broaden the scope of classical ballet through the creation of innovative productions and collaboration with the seminal artists of its time” ties in with the feats of Diaghilev‘s own legendary troupe.
Three years and many accolades on, Christopher Wheeldon‘s company continues to match some of ballet’s brightest stars to new work by the best choreographers and designers around.Â By nurturing these quasi pro bono collaborations, Morphoses projects the image of a fresh and accessible company whose main objectives are to target the 25-34Â year old public not familiar with ballet and to challenge some of the preconceptions associated with the art form.
As part of Wheeldon’s target demographic, we think the existence of a company like Morphoses sends a very positive message, a promise for the future of ballet.Â Its mission strongly resonates with us as we also believe ballet can and should be made accessible to younger generations while staying true to its traditions, with no dumbing down of the art form. We only wish their seasons were longer (only 4 days in London) and that we could see more of Wheeldon’s work this side of the Atlantic.
Morphoses in a Nutshell
Morphoses/The Wheeldon Company was founded in 2007 by Christopher Wheeldon, previously NYCB’s resident choreographer, together with Lourdes Lopez, ex-NYCB Principal and Former Executive Director of The George Balanchine Foundation. The troupe attracts dancers from major companies in the world who appear at reduced fees. The repertory is a mix of modern classics and new pieces created by Wheeldon or by guest choreographers, in collaboration with innovative designers and composers, very much in the spirit of Diaghilev’s Ballets Russes.
Originally Morphoses would function as a pickup company, hiring dancers on a season basis until Wheeldon had secured enough financial backup (around US$5 million) to have dancers on a fixed payroll, but the credit crunchÂ has forced the company to carry on with a small administrative staff of three and to remain at its donated Manhattan base for the present. Dancers continue to be recruited on a season-by-season basis while Wheeldon has kept working as a choreographer outside Morphoses, which allows him not only to continue staging big budget works for the major ballet companies, but also to bring in extra funds for his own Morphoses projects. His long term plan is toÂ be able to support a permanent troupe of 12 dancers alongside the regular guests.
Morphoses’s inaugural performance took place at the 2007 Vail International Dance Festival. After a heavy media build-up, this first appearance received mixed reviews from the American press. Some critics thought the ballets in the programmes looked too similar, with too many abstract ballets (including pieces by Forsythe and Edwaard Liang) and prominently featuring too many pas de deux, but they generally praised Wheeldon for elevating the artistry in his dancers (NYCB‘s Wendy Whelan, often regarded as Wheeldon’s muse, was nominated for an Olivier Award) and for creating a rapport with the audience by coming onstage to introduce each piece with insightful commentary.
That same year Morphoses became a Guest Resident Company at New York City Center and at London’s Sadler’s Wells. Wheeldon was appointed as Associated Artist for Sadler’s Wells and the London season won a South Bank Show Award. Since then, Morphoses has also appeared at the Sydney Festival.
The Many Faces of Morphoses
Tyler Angle, Alexandra Ansanelli, Leanne Benjamin, HÃ©lÃ¨ne Bouchet, Ashley Bouder, Darcey Bussell, Batkhurel Bold, Thiago Bordin, Alina Cojocaru, Jonathan Cope, Ãngel Corella, Adrian Danchig-Waring, Jason Fowler, Gonzalo GarcÃa, Marcelo Gomes, Craig Hall, Drew Jacoby, Johan Kobborg, Nehemiah Kish, Carla KÃ¶rbes, Maria Kowroski, Edwaard Liang, Tiler Peck, Rubinald Pronk, Teresa Reichlen, Danielle Rowe, Beatriz Stix-Brunell, Michael Nunn, William Trevitt, Edward Watson, Miranda Weese, Wendy Whelan
Composers James MacMillan, Michael Nyman, Steve Reich and Bright Sheng; Artists/Set Designers James Buckhouse and Jean-Marc Puissant, Adrianne Lobel; Designers Francisco Costa, Narciso Rodriguez,Â Isabel & Ruben Toledo; Director Nicholas Hytner
The inaugural programme presented in 2007 featured two new Wheeldon pieces – “Fool’s Paradise” and “Prokofiev Pas de Deux” – alongside his exisiting works “Mesmerics”, “After the Rain” and “Morphoses”. It also included William Forsytheâ€™s “Slingerland”, Michael Clarkâ€™s “Satie Stud”, Liv Lorentâ€™s “Propeller”, and Edwaard Liangâ€™s “Vicissitude”.
The following year brought a mix of premieres led by Wheeldon’s “Commedia” (to Stravinsky’s Pulcinella Suite), Lightfoot LeÃ³nâ€™s “Shutters Shut” (at City Center) and Emily Molnar’s “Six Fold Illuminate” presented together with classic works by Sir Frederick Ashton – The Dream Pas de Deux (in Vail) and Monotones II – Robbins’s “Other Dances” and Wheeldon pieces “Polyphonia” and Fool’s Paradise”.
This year Morphoses brings a host of new works to both its transatlantic headquarters. It also continues to collaborate with influential fashion designersÂ Francisco Costa (Creative Director of Calvin Klein), Isabel and Ruben Toledo. Commemorating the Ballets Russes’ centenary, the first programme willÂ include Wheeldon’s “Commedia”, Ratmansky’s “BolÃ©ro” (to the eponymous Ravel piece) and a new work by Tim Harbour.Â Two days later, a second programme brings “Softly as I Leave You”, originally choreographed by Paul Lightfoot and Sol LeÃ³n (resident choreographers of Nederlands Dans Theatre) for dancers Drew Jacoby and Rubinald Pronk, in addition to old and new Wheeldon: “Continuum” andÂ “Rhapsody Fantaisie”Â (a world premiere set to Rachmaninoff’s suites for two pianos).
Extracts of Reviews and Selected Praise:
One of the wonderful things about Mr. Wheeldonâ€™s work is that there are new discoveries to be made each time you watch it. Roslyn Sulcas at the NYTimes [link]
Morphoses does have a provisional air. For the moment it remains an assembly of dancers, albeit extraordinary ones, from other troupes, and Mr. Wheeldon hasnâ€™t yet had the opportunity to develop a group of performers to his own ends. But he is a choreographer with an instinctive grasp of dancers and their abilities…To see major ballerinas like Ms. Benjamin and Wendy Whelan on the same program is reason enough to watch Morphoses. Roslyn Sulcas at the NYTimes [link]
Trained on Balanchine, most New York ballet critics absorb meaning and sense syntactically, because with Balanchine it’s the action between the notes–the syncopated rhythms–that shape the steps and their portent. With Wheeldon, the ballet’s color and emotion may be rooted in the score, but the organizing principle is visual. Apollinaire Scherr at Foot in Mouth / ArtsJournal [link]
Wheeldon has set his standards about as high as a new company could aim for. We can really look forward to what follows. Judith Mackrell at The Guardian [link]
It is an absolute pleasure to watch this group of top-rate dancers running through their paces in this way. With ages from the teens to the over-forties, in all shapes and heights, they are so full of personality and presence that they make this a most uplifting evening. Sarah Crompton at The Telegraph [link]
Sources and Further Information
- Morphoses Website [link]
- The Newcomer by Joan Acocella. The New Yorker [link]
- Metamorphoses by Astrida Woods. Dance Magazine, October 2008.
- Ballet without Borders by Peter Aspden. Financial Times, September 2008. [link]
- The dancers are Young, Beautiful, Sexy and Smart by Valerie Lawson. The Sydney Morning Herald, November 2008. [link]
- How to watch a Wheeldon ballet by Apollinaire Scherr. Foot in Mouth at ArtsJournal, October 2008. [link]
- Risky Business by Gia Kourlas. Time Out New York, October 2007 [link]