As The Sleeping Beauty begins, the new artistic director of the RNZB discusses his move from New York to Wellington.
Ethan Stiefel, photo/Getty Images
The announcement that celebrated American ballet star Ethan Stiefel was to be the new artistic director of the Royal New Zealand Ballet (RNZB) was received with disbelief by overseas media. Why would a “giant of US ballet join four million people and 70 million sheep?” the Guardian asked in amazement. The New York Times, no less surprised but more restrained, painted him as an adventurer, unnaturally displaced from his urbane environs to far-flung Wellington, with nothing between him and the Antarctic.
Three weeks into his three-year contract with the RNZB, the former American Ballet Theatre (ABT) principal dancer is composed and elegant, despite the Wellington wind straining at his office windows. Blond, 38 and with cool blue eyes, he agrees it is an adventure. “I have to be honest and say there is a realisation that I have travelled a great distance and am far, far away from home.”
Happily he is not alone. Also making the transition from New York is his fiancée, international ballet star Gillian Murphy, a fellow member of the ABT. Her arrival is serendipitous for the RNZB; although Murphy will continue to perform with the ABT, she will take principal guest roles with our company.
There has been little time for Stiefel to settle in as rehearsals for the RNZB’s new production, The Sleeping Beauty, are in full swing. “I’m not involved in the creation but am coaching the principal dancers,” he says. Choreography by Greg Horsman and design by former artistic director Gary Harris promise a spectacular production. “This will be a story-book rendering, with all the iconic set pieces, including the variations and the Rose Adagio.”
His New York influence is already evident as he has commissioned ABT star Stella Abrera, to perform in the lead role of Aurora. “We are lucky to have her; Aurora is a quintessential role in the repertoire and Stella is a wonderful, accomplished artist. She is thrilled about it as she has never been here.”
Stiefel began ballet training in Wisconsin at age eight after observing his elder sister’s class. He credits his parents’ commitment to his ballet training as a large part of his success, together with hard work. “I worked my butt off.” He joined New York City Ballet at 16 and has been principal dancer at ABT since 1997. In his prime he was considered one of the world’s greatest male dancers, and his performances are still acclaimed.
His pull to dance was “very instinctual and very basic. I was an active boy and always attracted to physicality. That’s why I love to dance; the athleticism, the energy involved speaks to me on a very powerful level. I love to perform and create characters, so getting out onstage was very attractive. It feels good.” Before his appointment to the RNZB, Stiefel was dean of the prestigious School of Dance at the University of North Carolina School of the Arts. Even though he managed to squeeze in performances with the ABT, after four years of academia he found he missed the ballet studio. The opportunity to shape a company and the freedom to develop his ideas were compelling factors.
“The company has a good platform. It is standing on solid ground already. My job is to build on what has been successful, and to bring in new things so that we are attractive not only to local audiences but also internationally.” Already Stiefel has a warm collegial regard for his dancers, speaking of “us” or “we” and his desire to develop and nurture them. The youth of the company has surprised him. “There isn’t a dancer over the age of 30, and the median age is around 25,” he says incredulously. “This is not the norm. I believe you still have another 10, in some cases 12, years of dancing once you hit 30.” He regards Murphy, who at 32 is at the height of her career, as a powerful example of a post-20s dance-life. “Her maturity will hugely benefit our dancers and provide them with a valuable education along the way. “
The quick turnaround of dancers in the company is a slight concern. “It is important to build a long term environment for dancers, somewhere that dancers will be attracted to and will want to stay longer than two or three years. If you have constant turnover it is difficult to build something that is consistent, that continues to grow. A company needs to be thoughtfully proactive rather than just reacting. “
New Zealand audiences can expect an injection of New York pizzazz for his first season in February 2012, NYC New Young Classic. Stiefel is bringing French choreographer Benjamin Millepied (of the movie Black Swan) to present his 28 Variations on a Theme by Paganini and New York contemporary ballet choreographer Larry Keigwin to create a new work for the company. Also in the programme will be George Balanchine’s iconic Who Cares?, starring Murphy. There are plans for a new production of Giselle, which Stiefel will co-choreograph with Danish dancer Johan Kobberg and will feature Murphy in the lead role.
Although relatively new to choreography, Stiefel says he has been storing up ideas for years. RNZB dancers, who have the reputation for relishing new challenges, will provide the perfect creative environment for him, well away from the scrutiny of New York critics. In turn the RNZB will gain prestige premiering new ballets.
The theatre is his natural home, the place where he finds fulfilment, regardless of place. Always setting high goals, Stiefel says he has measured his success against these welcoming new challenges. “Gillian and I are ready to embrace change and new things. If I am happy, which I hope to be as artistic director, and can see that the company is energised and happy and that the audiences are engaged by what we are doing, that will be good.”
THE SLEEPING BEAUTY, Royal New Zealand Ballet, touring, October 28-December 8.