A brief education in the history of prohibition, a peek inside the creative mind of Ron Cunningham, the Sacramento Ballet’s choreographer and artistic director, and fantastic dancing were the happenings at the “Inside the Director’s Studio Event” Jan. 25.
Cunningham loosened up the audience of the sold out event immediately. With only 10 days remaining before the World Premiere, Cunningham said, “Well, I think I have all the choreography done!”
The leader of the Sacramento Ballet for the past 25 years then explained that prohibition, brought on by the Volstead Act, was strictly American and that some of his dancers from abroad, had never heard of prohibition. He said that during prohibition,which was designed to stop people from drinking, did just the opposite. “People drank more, and sex was the obsession,” Cunningham said.
Cunningham talked briefly about F. Scott Fitzgerald, author of “The Great Gatsby” and of the challenges of creating ballet based on a narrative, and when asked by an audience member if he ever used ideas from other creators, he responded, “I’ve tried to steal ideas of others, but it never works, because somehow I see things differently."
Cunningham also praised his wife and co-director, Carinne Binda, for her work; he jokingly added “and editing.”
Anyone familiar with the American novel “The Great Gatsby” could see through the craft involved in shaping this great literary work into the beautiful art-form of ballet - evidenced by the form and movement of the dancers, Cunningham’s “medium.”
The dancers performed a handful of excerpts from the full ballet; prior to each piece, Cunningham explained how he designed the dance to tell the story.
Afterwards, questions were taken from the audience.
Alexandra Cunningham (the character Daisy) responded to a question about acting lessons. “We do have to act, but all my acting has come about through my experiences, not only in ballet, but all aspects of life. I have never taken an acting lesson,” she said.
Expounding on the question, Chris Nachtrab (the character Buchanan) said, “Working with “Gatsby” is very different than the fairy tale ballets. The people are real people. There fictional characters, but they are real.”
The final question of the eve was regarding the new film. “The Great Gatsby” in 3D starring Leonardo de Caprio. Cunningham with a hand sweep towards his dancers cleverly remarked, “You don’t have to wait until May to see it in 3D.”
Sacramento Ballet's "The Great Gatsby' premieres Feb. 7 at 7:30 P.M. at the Sacramento Community Center Theater. The show will run through Feb. 10, 2013.
Attendees will be treated to a second performance following "The Great Gatsby" - George Balanchine’s "Who Cares?"
Sitting in the common area of the Sacramento Ballet Studio in midtown waiting to interview Ron Cunningham, I could not help but notice a distinct dichotomy existed on that corner of 17th and K streets. It was the morning of Jan. 17, 2013; people were still waking up around town.
I looked to my left and through the plate glass windows that separate the studio from the common area, I saw perfectly toned bodies moving in synchronicity, smiling, reaching upward to melodic sounds.
Then, straight ahead, from the same seat, I watched as a myriad of people walked past the plate glass doors that separated the studio from the outside world. Some strolled by with their lattes on their way to work, but most were bundled up in layers of tattered clothes, pushing a shopping cart or carrying a worn dirty backpack with all their worldly belongings in tow.
I looked back at the happy faces in the studio and then to the street as a woman with matted hair and oversize boots stopped in front of the doors and peered in. Her weathered face looked grim. It was unsettling.
Cunningham appeared and sat down beside me. Cunningham is the artistic director for the Sacramento Ballet and the upcoming world premiere of “The Great Gatsby.” As I began the interview, the white-haired, vibrant man's wisdom led me to the realization of a different dichotomy - one not limited to that little locale or any other corner in our world.
The brilliant choreographer brought to my attention the separation that exists between ballet lovers and those who have never given ballet a chance.
In light of the story “The Great Gatsby” and our nation having undergone a similar boom then bust, I asked Cunningham how we as a nation could use the artsto bring the great divide closer together.
He said, “A lot of people have the idea about ballet in particular, that it doesn’t relate to them. It’s old fashioned, it’s white, it’s European, it’s dusty, museum type stuff. When you say ballet to a person who has never seen ballet, immediately, in their mind, the connection is like Swan Lake or Sleeping Beauty. And those ballets are great and relevant and we need to continue to do them. But there is nothing more relevant than contemporary ballet or dance, because it does so relate to our modern society.”
The 73 year old Cunningham’s age is well disguised in a remarkably fit body from his years of dancing and dance instruction.
He spoke softly; his blue eyes seemed to dance to the music emanating from the studio as he told me about his first experience with ballet. “I saw my first ballet at age 23. It was the first thing that ever made total sense to me,” he said.
New Year’s Eve, without a date, Cunningham bought a ticket to the ballet. At the time, he was just about to begin his last semester of college; he was majoring in business.
Cunningham continued, “When I saw ballet for the first time, it was almost like a religious conversion to me. It made total sense to me. I am perplexed by how people say they don’t understand ballet.”
He quit school, looked in the yellow pages and found a ballet school. He had second thoughts, but they were short-lived.
His dance career has spanned more than four decades. Cunningham and his wife and co-director of the Ballet, Carrine Binda, met while working at the Boston Ballet. They were the first American Ballet troupe invited to the People’s Republic of China.
Cunningham credits his wife’s vision and “good sense” for helping them make it through the difficult times that all of the arts seemed to suffer four or five years ago.
And that brought us back to our discussion of using the arts to close the divide – how to bring ballet to the people or the people to the ballet.
"We have programs at Sheldon High and McClatchy High where we bring the ballet to schools," he said. And we also open up our studios for people to just come in and watch us rehearse."
Cunningham said, “Audience development is very important to us in making dance accessible. As a choreographer, I never want to lose the feeling I had as an audience member seeing my very first ballet. So that wife that’s dragging that husband along who’s saying, ‘I don’t think I like ballet!’ – He’s the one that goes, ‘Oh my gosh! I didn’t realize what this was.’ That’s the person I choreograph to. I want them to have the immediacy of understanding ballet the first time they see it. And hopefully become a fan of the art form.”
Cunningham said that is always in his mind when he creates a new work.
His latest work and his first new piece in five years, ‘The Great Gatsby’ will premiere on Feb. 1, and will run through Feb. 10, 2013.
I had the opportunity to watch Cunningham at work directing dancers as they rehearsed the period piece based on the classic American novel by F. Scott Fitzgerald.
Cunningham works so well with the artists he employs. The dancers seem to follow his direction with ease and enjoy being a part of his beautiful works.
This ability to lead may be rooted in one of the marketing classes he had prior to leaving the more stable business path on his venture down the risky arts road.
He said, “The professor walked into the room (there were only men, no women) and said ‘Gentlemen, we are here to study the world’s oldest profession.’ We all kind of giggled and then he said, ‘First, you have to sell it.’ And we all thought – oh yeah. That stuck in my head.”
So Cunningham said, "With that, not as a hired artist, but rather a creator, I know the idea must be saleable."
Then the master storyteller and choreographer said something very profound. He said, “The materials I works with are live, living people. They are not inanimate objects like paints or a piano or a score. These people, my medium, have opinions about my work. I can make a right stroke with a brush and it’s done. I ask a dancer to do something and they might say, ‘You want me to do what?’ They have an opinion about it.”
He said that in order to engage them he has to gain their trust – he has to "sell them so they feel they are vested. So I consider them collaborators."
There is no question that Cunningham has "sold" his dancers on the upcoming production. You could feel the enthusiasm in the air as the dancers rushed from one studio to the other to rehearse various stages of “The Great Gatsby” gulping water and eating ”carbs” as they hurried past me. I was able to stop a couple of dancers to ask their thoughts about the production.
Sarah Britton Hicks, one of the “flapper girls,” has been a professional dancer for three years; this is her first season with the Sacramento Ballet. She said, “I have never loved being anywhere as much as here at rehearsal. We are having so much fun doing 'Gatsby.'”
“I’ve always been a fan of jazz music,” Isha Lloyd said. Llyod, a six year veteran of the Sacramento Ballet and the character Jordan in the upcoming show continued, “The music is incredible and having a live orchestra it’s going to be an great experience!”
And that is the same enthusiasm the exuberant Cunningham brought to Sacramento 25 years ago along with his creativity and passion for the arts.
That same man at age 30, only seven short years after making a dramatic career change, told the founder of the Boston Ballet that he would come to work for her, not as an artist, but as a choreographer. Cunningham with confidence told her, “I am a genius.”
Now, four decades later, he demonstrates that same “genius” he employed with the Boston Ballet and has continued to demonstrate season after season with the Sacramento Ballet.
Two events lead up to this World Premiere of the Sacramento Ballet’s “The Great Gatsby” by the master of storytelling, Ron Cunningham.
On Jan. 25, 2013, you can meet Cunningham as he puts dancers through their paces in preparation of the upcoming show. Tickets for this special Inside the Director’s Studio event are only $15 and can be purchased here.
And then on Feb. 1, 2013, you will not want to miss “A Night in the Roaring 20’s” also at the Sacramento Ballet Studios. Tickets for that event are $25 and available here.
You certainly will want to mark your calendars and get your tickets now for the World Premiere of Ron Cunningham’s "The Great Gatsby" (with George Balanchine’s "Who Cares?") at the Community Center Theater. Individual Tickets: $17-$70.
This is bound to be one of Sacramento's best events of 2013 - a great party - Roaring 20's style!
Art can take on many forms and one artist’s masterpiece can be interpreted in many ways limited only by another artist’s creative vision.
Such is the case with master storyteller and choreographer Ron Cunningham’s vision for the Sacramento Ballet and the upcoming world premiere of The Great Gatsby told through the beauty of dance.
The Great Gatsby is a novel by American author F. Scott Fitzgerald. The story takes place in 1922, during the Roaring Twenties, The book is widely regarded as a literary classic.
The classic has been adapted to radio, theater, television, and film. The Great Gatsby has even had an operatic interpretation and in 2010 a video game titled Classic Adventures: The Great Gatsby became available.
The great literary work has been filmed five times, and a sixth Great Gatsby film, directed by Baz Luhrmann and starring Leonardo DiCaprio, Carey Mulligan, and Tobey Maguire. It is set to be released on May 10, 2013.
But this is the first time the Fitzgerald masterpiece will be set to dance.
Master storyteller and artistic director of the Sacramento Ballet Cunningham wrote this on the Sacramento Ballet blogabout this exciting and creative project: “I’ve created a patchwork of prohibition style dances waiting to be sewn together into a cohesive whole. In a way, the making of dances is the easy part, telling the story is the challenge.”
There is no doubt that Cunningham is up to that challenge.
Cunningham, with his wife and co-director, their vision and leadership, has added 15 full-length ballets, 18 Balanchine masterworks, 40 Sacramento premieres, and 38 world premieres, all in 20 seasons with the Sacramento Ballet.
The Ballet will have have a world premiere of The Great Gatsby February 7, 2013 at the Sacramento Community Center Theater, and additional performances will occur through February 10th.
Curious as to how one brings famous literature to life in dance?
You can ask Ron Cunningham on January 25, 2013 as he puts dancers through their paces in preparation of the upcoming show.
Tickets for this special Inside the Director’s Studio event are only $15 and can be purchased here.