When a Choreographer Finds a Musical Soul Mate
When a choreographer finds a composer whose music truly inspires her, it can feel like a match made in dance heaven. Some choreographers work with the same composers so frequently that they become known for their partnerships. New York City Ballet soloist and resident choreographer Justin Peck, for example, has tapped composer Sufjan Stevens numerous times (last spring, the two premiered The Decalogue at NYCB, to rave reviews); L.A. Dance Project’s Benjamin Millepied’s working relationship with composer Nico Muhly has spanned a decade and two continents; and when tap dancer Michelle Dorrance premiered the first-ever Works & Process Rotunda Project, a site-specific work for New York City’s Guggenheim Museum, last year, percussionist Nicholas Van Young was by her side as an equal partner. Successful collaborations require compatibility between artists, direct and honest communication, and flexible, open minds. But when the stars align, working with a composer can be extremely rewarding.
Composed to Order
What makes working directly with a composer so wonderful? In a word, flexibility. “With recorded music you’re limited to what already exists,” says Tommy Neblett, interim dean of dance at The Boston Conservatory at Berklee. “But when you work with a composer, anything is possible. And as a choreographer, there’s not much else that’s nearly as satisfying.”
(From left)Travis Wall, Ryan Lott, and Jennifer McQuiston Lott (courtesy Travis Wall)
Emmy Award–winner Travis Wall agrees. “It adds so much to the work, especially in terms of continuity,” says Wall, who teamed up with Son Lux’s Ryan Lott when creating After the Curtain for his company Shaping Sound. “You can really make your biggest heart’s desires a reality. You can say, ‘I love this song, but it’s missing this.’ Getting to participate in the process is amazing.”
Getting the Chemistry Right
When Hamilton choreographer Andy Blankenbuehler first met his longtime collaborators, composer Lin-Manuel Miranda and arranger Alex Lacamoire, he felt an immediate connection. “I attended an interview set up by my agent to meet Lin and Alex for In the Heights to see if our personalities clicked,” he recalls. “Then I invited the team to watch my class at Broadway Dance Center to get a feel for my movement. My style, tastes, and sense of syncopation were a match with Lin and Alex.” Blankenbuehler was especially attracted to the two musicians’ musicality. “Alex creates a lot of cool bass lines and pizzicato, tight sounds, which I like. And Lin’s ace card is his sense of rhythm.”
Gaby Diaz and Travis Wall in “After the Curtain” (photo by Kaitlin Chow, courtesy Travis Wall)
Neblett puts it this way: “Friendship is an added bonus. What you need is a strong working relationship that feeds a creative atmosphere. Because even if you don’t become buddies, you have to respect and trust the other person.”
A version of this story appeared in the November 2017 issue of
Dance Spirit with the title “The Choreographer-Composer Connection.”
