Despite his momentary title of Acting Artistic Director because the starting of this 12 months, and his earlier function as Rehearsal Director in the course of the pandemic, Ryan Jolicoeur-Nye has now formally been named Artistic Director of Oklahoma City Ballet. He took time to share with us his imaginative and prescient for the corporate, in addition to what being an inventive director actually entails.
Will there be new obligations with the official title, or any adjustments you’d now wish to implement?
“When I first started in the role of Acting Artistic Director, I was down two Rehearsal Directors. I had to put on a full-length Sleeping Beauty myself. So, I guess the big difference is I was able to hire staff; having a team makes it a lot easier. And I find now with the official appointment, I can – rather than just keeping the ship afloat – make some long- and short-term goals and work toward a larger vision.”
What is that bigger imaginative and prescient?
“I think in our case (because we’re in Oklahoma City), while there is a huge appreciation for dance and the company has a tremendous amount of support, there’s not an ecosystem of dance that exists outside of Oklahoma City Ballet. Whereas one might find that in New York and Chicago, which would allow for various niche companies – you would have Luna Negra and Hubbard Street and Joffrey Ballet and all these with their own repertoire and identity. In Oklahoma City, because we are largely the authority on professional dance, we have to represent a larger repertoire. We have to be the company that can do full-length ballets, and also do more contemporary, innovative work. That’s exciting for our artists; it keeps them engaged and fed. It also attracts a diversity of artists with versatility in their skillsets.”
As a touchstone for the neighborhood as to what dance is, you need to signify as a lot of it as potential.
“Yes, exactly, and I think for a long-term vision, that’s the direction I want to continue to explore. I also would really like to explore the idea of various stages. I want to present dance not just in a proscenium theater. When we look at the education aspect, we can present dance in public libraries and schools, for youth. In smaller black box venues. We utilize our studios for in-house performances. And then, of course, on the street; I’m a big advocate for site-specific works. I think meeting the community where they’re at helps us attract a broader audience, and meet parts of our community that otherwise wouldn’t get to see dance, or even know that they like it.”
You your self are an awarded choreographer. Speaking of versatility in dance, what types of choreographers are you seeking to fee for the corporate?
“I think my job as an Artistic Director here isn’t necessarily to be the resident choreographer, more as to be a supplemental choreographer. Rather than thinking about it as feeding my own artistic creativity and using the company as an outlet for that, I think of it more as giving the community what they need to see. I will continue to bring in choreographers to get that versatility. Balanchine and Robbins and Nacho Duato and Killian. I see myself as the one who fills in the gaps. I’m not foolish enough to think I could stage every classical ballet there is. I would prefer to set the ones I danced myself, rather than one I learned from a video. That way, the dancers are getting firsthand information.”
It’s improbable to have the ability to herald well-known rep items from famend choreographers like Balanchine and Nacho Duato. In the curiosity of versatility, will you herald early profession choreographers?
“We beforehand had a program referred to as Future Voices. They would herald an rising choreographer to do a bit on that program. It was primarily curated by our dancers; they had been those choreographing the work. I’ve veered away from that. Instead of spending the cash for a choreographer to create a brief work that doesn’t have a lot manufacturing worth, we’ve determined to make use of that cash to herald a longtime choreographer as a choreographic mentor, to work with our dancers eager about choreography, and to assist them develop that skillset.
I do additionally, on a blended rep program (other than structuring it from an inventive standpoint) guarantee alternatives for rising choreographers that I feel will actually do one thing massive at some point, and supply them the platform to get began. I’d usually pair that with a bigger, extra well-known work.
I really like to herald younger expertise, and to have the ability to say that a few of their first work was set on us. But I’m additionally cognizant that, I feel, each dancer has a bucket record of well-known works that they need to carry out, iconic roles that everybody desires to test off their lists. I attempt to discover a steadiness of advantages for our artists, our neighborhood and for dance at massive.”
After just a few years now with Oklahoma City Ballet, would you say you perceive the talents of the dancers effectively, and know the way greatest to make use of their skills? Or is there extra discovery there to be carried out?
“I definitely have a good understanding of our dancers. I worked with them most closely during the pandemic, and our changeover last year was virtually nothing; it’s all the same artists. In terms of exploration with them, I believe strongly in investing in the dancers that you have. If you have a dancer who’s strong in classical work but not so strong in contemporary, some artistic directors may pull that dancer out and find a different dancer who can do both. And I always try to approach it with some effort on my part in attempting to help them explore the areas where they aren’t comfortable, and facilitate growth.”
This dedication to firm is a reassuring method after the latest backlash within the ballet neighborhood in response to Staatsballett Berlin’s Principal dancer audition posting. It occurred following the appointment of their new Artistic Director, Christian Spuck. The ballet world has made it clear that they worth funding in and a level of loyalty to firm members.
Clearly, Jolicoeur-Nye intends to steer Oklahoma City Ballet by prioritizing the pursuits and development of its dancers, in addition to a flexible illustration of dance that fosters a better dance ecosystem in Oklahoma.
By Holly LaRoche of Dance Informa.
