2 minute read
SOMETIMES, ALWAYS
Richard Dickinson, MFA is well known for his long career with Ohio Ballet. His connection with Verb Ballets began over 10 years ago. As the Associate Artistic Director, he molds the company dancers but the other hat he wears is as a regular company choreographer. He is known for his eclectic style, combining ballet technique with modern angles and intricate partnering. We sat down with him to talk about his newest ballet featuring the men of the company.
Why did you choreograph an all-male piece? I was asked to choreograph a new work for the men of Verb Ballets while the women were learning the Limon solos.
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What inspired your new work? I went into the process unclear where to start or how to approach this undertaking. I began to think of other choreographers that have famously choreographed for men: Ted Shawn, Mark Morris, and Lar Lubovitch. I began to look at videos and photos of their work as inspiration. I wanted to make something unsentimental, about guys. That was the beginning, and it has taken off from there. What is the new piece about? The work is about being strong and vulnerable at the same time. Being open to the many possibilities of the universe, and not being afraid of who you are or what you can be. We are expected to have a hard shell around us, like a cocoon. However, I think we should let the world in and experience it. Its joy and pain. Full of energy and life. Don't be afraid- just be your best!
What is the meaning behind the title? Sometimes we meet someone that we will always remember.
What music did you use? The piece is choreographed to the well-known score by American composer Samuel Barber. His String Quartet in B minor, Op. 11. mirrors the four men in the piece. There are three sections but most people will recognize the middle section which I have choreographed as a duet. The composer’s style is distinctive and modern, making it a perfect match for contemporary ballet. In the end I went to an intimate place but carefully and thoughtfully.
What opportunities or challenges arose from working with a cast of men? I originally started a full company piece last summer to premiere at Lakeside but it was cancelled due to the pandemic. The ballet stayed in my head manifesting itself. In the studio, I felt like I was watching myself choreograph. I began to ask myself questions about intimacy and structure- content, meaning and musicality. It was a very complicated process that I thoroughly enjoyed. Honestly, I felt like this ballet choreographed itself.
What do you hope people will take away when seeing the work? I hope they have a cathartic experience... that they see a part of themselves in the physical expression of this dance, and that they experience some psychological relief by expressing strong personal emotions. Is that asking for too much? I can always hope! Enjoy!
