Joffrey Ballet comes to Cleveland
Interview & preview

Robert Joffrey founded the Joffrey Ballet in 1956 and shaped it over the years into a different American ballet company with interesting individual dancers and bold, visionary choices of repertory. Some of those repertory choices were very contemporary. The Joffrey was the first ballet company to commission a rock and roll ballet, Astarte (1967). It was the Joffrey that gave Twyla Tharp her first commission for a ballet, the first crossover ballet (Deuce Coupe (1973) to music by the Beach Boys). Prince donated his music to the Joffrey, making Billboards (1993) possible. The Joffrey also created notable and wonderful revivals of dance masterpieces that otherwise might have been lost – Nijinsky’s Afternoon of a Faun and Rite of Spring and Massine’s Le Beau Danube, Le Tricorne, and Parade.

The Joffrey carries special significance. It was one of the few American companies that didn’t attempt that dubious goal of trying to out do the Russian ballet companies on their own terms.

Gerald Arpino began teaching at the Joffrey’s school and dancing with the Joffrey Ballet in its earliest years. He quickly became the company’s resident choreographer and Robert Joffrey’s life-long professional and personal associate. Arpino’s work included Trinity (1970) and Light Rain (1981), contemporary trendsetters, but arguably his best works are characterized by neoclassical style (e.g. Kettentanz (1971)) and confident address of emotionally sensitive issues (e.g. Round of Angels (1983)).

Arpino died on October 29, 2008 but not before leading the Joffrey from financial ruin in New York City to survival in Chicago in 1995. We can remember 2 times he brought the Joffrey to Cleveland, showing off his company, his legendary taste in toupees, his personal warmth, and his love for the art of dance. When we learned that the Joffrey would be bringing a terrific program to Blossom, with live music by one of the world’s great orchestras, we arranged an interview with Gary Ginstling, General Manager of the Cleveland Orchestra.

Cool Cleveland: So - Cleveland Orchestra and Joffrey Ballet at Blossom. I take it this reflects the wide-ranging interests of the Cleveland Orchestra?

Gary Ginstling: (pictured): Absolutely. The Orchestra prides itself on an incredibly wide range of activities. We brought back fully staged opera to Severance this past season, and we’ve begun a number of collaborations with ballet companies. We had a gala concert in Miami recently as part of our residency there with Miami City Ballet, and now we’re bringing Joffrey Ballet to Blossom. And Blossom itself has an incredibly wide range of offerings from classical music to Broadway shows to lighter music and now ballet as well, so this concert with the Joffrey fits in great with the wide range of everything that we do.

CC: This is the first presentation of ballet at Blossom since 1988. What moved you at Cleveland Orchestra to pick up the torch?

GG: It was a combination of 2 things. First, the orchestra continues to broaden our offerings with fully staged opera and a wide range of different kinds of music that made it feel like ballet fit in. And second, the fact that ballet is really in the DNA of Blossom. The Cleveland Orchestra presented the great ballet companies of the world ever since Blossom opened in 1968 through 1988 and then, for reasons unbeknownst to me, ballet stopped being a regular part of Blossom offerings. We are really excited to bring that tradition back.

CC: Conducting for ballet is a special skill. Who’s conducting for the Joffrey?
'''GG: The conductor will be Tito Munoz, our Assistant Conductor. Early next week Tito will be on his way to Chicago to spend a number of intense rehearsal days with the company. That’s the best way for him to get used to working with the company.

CC: That’s a good segue into program - quite an eclectic program in terms of dance - but musically it’s all right down Cleveland Orchestra’s alley, right? For instance, the program begins with Kettentanz, ‘chain dance,’ and it’s choreographed to a bunch of musical bon bons from Vienna. GG: Exactly. We worked jointly with Joffrey to come up with a program that we think will showcase them to best effect – works that are near and dear to them -- as well as works that would give Cleveland Orchestra a chance to really shine in the pit. A great mix of Viennese music in Kettentanz; then the Khachaturian where the orchestra can really be on fire…

CC: Ah, the Adagio from Aram Khachaturian’s Gayne Ballet Suite, which is the music for Mobile (World Premiere Ballet West, 1969, Joffrey Premiere 2009), a ballet for 2 women and one man choreographed by Tom Rudd, inspired by the mobiles of Alexander Calder. What little we’ve seen of it reminds us of Pilobolus, a modern dance company that didn’t get started until 1971.
GG: Yes. Then music by Arcangelo Corelli, Henry Cowell, and Malloy Miller for Cloven Kingdom (premiere w PTDC 1976, w Joffrey, 1983).

CC: Yes. Ironically the choreographer of Cloven Kingdom, Paul Taylor, is famous for wanting live music for his own company’s performances but often can’t afford it. Paul Taylor Dance Company performed Cloven Kingdom (a reminder that men, and women, are beasts) here last summer with taped music.
GG: Then (comes) the second half of the program, which has the fantastic contrast of 2 stunning ballets. First, Round of Angels (1983), to the Adagietto from Gustav Mahler’s 5th Symphony. Of course, the Cleveland Orchestra is steeped in Mahler. They just played Mahler’s 5th on our final subscription concert of the year back in May.

CC: Please characterize the Mahler Adagietto.
GG: The Adagietto is one of the most poignant pieces that Mahler wrote. It stands alone, often played by orchestras to note the passing of important musical figures and political leaders. Twelve minutes long, it often serves as a memorial piece.

CC: As it does in Round of Angels, an AIDS memorial piece for James Howell, Arpino’s longtime choreographic assistant and friend.

GG: I had the chance to see the Joffrey perform Round of Angels in Chicago a few months ago. I found it breath taking and thought it would be so ideal for the Orchestra at Blossom.

CC: We’re looking forward to it.

GG: Then ending the show with Carousel, which is an amazing contrast to the Mahler.

CC: Characterize Carousel (A Dance). We understand this is not the whole musical.

GG: No, this is a group of selections of waltzes and other music from Carousel, the music of Richard Rodgers arranged and orchestrated by William David Brohn. And I don’t know – have you had a chance to see the video that the company has produced?

CC: Yes! Thanks for reminding us. This 2-minute and something segment is worth a thousand words. (Go to You Tube and search for Cleveland Orchestra Joffrey Ballet Carousel or use this link, http://www.clevelandorchestrablog.com/2009/07/sneak-peek-at-joffrey-ballets.html.) See how choreographer Christopher Wheeldon, distils the perfume of this much-loved American musical.

GG: Ashley Wheater, Artistic Director of the Joffrey, calls this “dessert” on the program, just a great, fun, buoyant way to end the whole program.

CC: I see that you’re offering a special kids’ lawn pass, so I gather we can anticipate all the little girl ballerinas holding their mosh pit on the lawn?
GG: Absolutely. This is something we’ve started this year for all our performances at Blossom. Children 12 and under are admitted FREE to the lawn. We’re trying to be family friendly and encourage families to come. It’s a great way to experience Blossom.

Joffrey Ballet joins Cleveland Orchestra for 2 performances at Blossom Music Center, 1145 W Steels Corners Rd, Cuyahoga Falls, Ohio 44223, on Sat 8/22 at 8PM and Sun 8/23 at 7PM. All 5 ballets will be performed both nights. Tickets $92 for Box, $52 for Pavilion, and $23 for Lawn/General Admission. Lawn seating for children 12 and under FREE.'

Tickets on sale through Severance Hall Ticket Office, Blossom Music Center Box Office, and online at clevelandorchestra.com and at all Ticketmaster outlets. To charge tickets by phone, call Cleveland Orchestra Ticket Services at (216) 231-1111 or (800) 686-1141 during the regular Severance Hall Ticket Office hours.

Concert is sponsored by Eaton Corporation, GAR Foundation. This concert is an optional add-on for Dance Cleveland subscribers.

Interview by Cool Cleveland contributors Elsa Johnson and Victor Lucas

To view Program Notes for this concert courtesy of The Joffrey Ballet, please click here

 (:divend:)