Tag: Arthur Mitchell

R.I.P. Dance Legend Arthur Mitchell, 84, Founder of the Dance Theater of Harlem

Arthur Mitchell in 1963. (Credit: Jack Mitchell/Getty Images)

by Jennifer Dunning via nytimes.com

Arthur Mitchell, a charismatic dancer with New York City Ballet in the 1950s and ’60s and the founding director of the groundbreaking Dance Theater of Harlem, died on Wednesday in Manhattan. He was 84. His death, at a hospital, was caused by complications of heart failure, said Juli Mills-Ross, a niece. He lived in Manhattan.

Mr. Mitchell, the first black ballet dancer to achieve international stardom, was one of the most popular dancers with New York City Ballet, where he danced from 1956 to 1968 and displayed a dazzling presence, superlative artistry and powerful sense of self.

That charisma served him well as the director of Dance Theater of Harlem, the nation’s first major black classical company, as it navigated its way through severe financial problems in recent decades and complex aesthetic questions about the relationship of black contemporary dancers to an 18th-century European art form.

Born in Harlem on March 27, 1934, Arthur Adam Mitchell Jr. was one of five children. His father was a building superintendent, and his mother, Willie Mae (Hearns) Mitchell, was a homemaker.

An avid social dancer all his life, Mr. Mitchell had his first exposure to formal training when a junior high school guidance counselor saw him dancing at a class party and suggested that he audition for the High School of Performing Arts in Manhattan.

Mr. Mitchell worked so hard there that in stretching he tore his stomach muscles and was hospitalized. But he was soon performing with the school’s modern-dance ensemble and experimenting with his own choreography. He also performed in Europe and the United States with Donald McKayle (who died in April), Louis Johnson, Sophie Maslow and Anna Sokolow, and he played an angel in a 1952 revival of the Virgil Thomson-Gertrude Stein opera “Four Saints in Three Acts” in New York and Paris.

Mr. Mitchell was 18 when he began studying with Mr. Shook, a demanding ballet teacher who encouraged black dancers to train in classical dance. On his graduation from the High School of Performing Arts he was offered a modern-dance scholarship at Bennington College in Vermont and a ballet scholarship at the School of American Ballet in New York. He chose to study ballet, although there were almost no performing outlets for black dancers in the field.

Beneath Mr. Mitchell’s gleaming smile and sunny charm was a tenacity of belief and purpose that could be almost frightening. In Lincoln Kirstein, a founder with Balanchine of the City Ballet school and company, Mr. Mitchell found a similarly stubborn friend. To get into the company’s corps de ballet, Mr. Kirstein told him, he must dance like a principal.

During his student years, Mr. Mitchell performed in modern dance and on Broadway in “House of Flowers,” and he was on tour in Europe with the John Butler Dance Theater when the invitation came to join City Ballet for the 1955-56 season.

When asked in an interview with The New York Times in January what he considered his greatest achievement, he said, “That I actually bucked society, and an art form that was three, four hundred years old, and brought black people into it.”

His dancing in just two roles created for him by New York City Ballet founder and choreographer George Balanchine ensured him a place in American ballet history.

In the first, in “Agon,” a trailblazing masterwork of 20th-century ballet that had its premiere in 1957, Mr. Mitchell embodied the edgy energy of the piece in a difficult, central pas de deux that Balanchine choreographed for him and Diana Adams. In this duet, “Balanchine explored most fully the possibilities of linear design in two extraordinary supple and beautifully trained human bodies,” the dance historian and critic Lillian Moore wrote.

“Can you imagine the audacity to take an African-American and Diana Adams, the essence and purity of Caucasian dance, and to put them together on the stage?” he said. “Everybody was against him. He knew what he was going against, and he said, ‘You know my dear, this has got to be perfect.’ ”

Five years after “Agon,” Balanchine created the role of a lifetime for Mr. Mitchell as the high-flying, hard-dancing, naughty Puck in “A Midsummer Night’s Dream.” He danced the part, Walter Terry wrote, “as if he were Mercury subjected to a hotfoot.”

Mr. Mitchell would forever be identified with the role.

One of the last ballets Mr. Mitchell performed with City Ballet was Balanchine’s “Requiem Canticles,” a tribute to the Rev. Dr. Martin Luther King Jr. created shortly after he was killed in 1968. Profoundly affected by the King assassination, Mr. Mitchell began to work toward establishing a school that would provide the children of Harlem with the kinds of opportunities he had had.

Mr. Mitchell, center, working with members of the Dance Theater of Harlem in 1997. He founded the company in 1969 with the dance teacher Karel Shook, a friend and longtime mentor. (Sara Krulwich/The New York Times)

He founded the Dance Theater of Harlem the next year with Karel Shook, a friend and longtime mentor. In the early 2000s, the company, along with its dance school, faced mounting debt, and it was forced to go on hiatus in 2004. But it returned to performance in reduced form in 2012 and now tours regularly and performs at City Center. The school today has more than 300 students.

Mr. Mitchell became artistic director emeritus of Dance Theater in 2011.

He returned to the company in August to oversee a production of “Tones II,” a restaging of one of his older ballets. It is to be performed in April, to commemorate Dance Theater’s 50th anniversary.

R.I.P. Albert Evans, Former New York City Ballet Principal Dancer

In this June 20, 2010 photo released by the New York City Ballet, Albert Evans appears during his farewell performance in "The Four Temperaments," in New York. Evans, who was in his late 40s, died at New York’s Mount Sinai Hospital on Monday, June 22, 2015, said Rob Daniels, a spokesman for the ballet company. (Paul Kolnik/New York City Ballet via AP)
In this June 20, 2010 photo released by the New York City Ballet, Albert Evans appears during his farewell.

NEW YORK (AP) — Albert Evans, a former New York City Ballet principal dancer and one of the most prominent African-Americans in classical dance, has died at age 46.

Evans died at New York’s Mount Sinai Hospital on Monday night “following a short illness,” said Rob Daniels, a spokesman for the ballet company. He did not have further details.

Evans was one of only two African-American principal dancers in New York City Ballet’s 67-year history. The first was Arthur Mitchell, who is now 81.

As a principal, Evans danced a huge variety of roles in the City Ballet repertoire, from classical to modern, from George Balanchine to Jerome Robbins to Christopher Wheeldon. He joined the company in 1988 and quickly rose through the ranks, becoming a soloist in 1991 and a principal in 1995. Evans retired during the spring 2010 season with an emotional farewell performance, and had been serving since then as a ballet master at the company.

“The entire New York City Ballet family is heartbroken by the loss of our beloved friend and colleague Albert Evans,” said Peter Martins, the company’s ballet master in chief, in a statement. “Kind, warm, generous, and always a joy to be with, Albert is quite simply irreplaceable.”

Evans was born in Atlanta, Georgia, and trained there as a youngster. In 1986, he was awarded a full scholarship to the School of American Ballet, NYCB’s official school.

His more prominent roles in Balanchine ballets included the Cavalier in “The Nutcracker” and Puck in “A Midsummer Night’s Dream,” among many others. He had featured roles in Wheeldon’s “Polyphonia” and “Liturgy.” And he originated roles in a number of works by Martins, including his 1991 “Sleeping Beauty,” in which Evans danced Puss in Boots, and “Romeo + Juliet,” in which he played a commanding Prince of Verona.

Friends and colleagues in the dance world took to social media on Tuesday to praise Evans.  “Goodbye dear Albert, a beautiful soul,” wrote choreographer Alexei Ratmansky on Facebook.

“He gave us all the strength, beauty, joy, laughter, smiles, passion, and inspiration to keep going, to keep pushing onward, to be the best we could be,” wrote principal dancer Sara Mearns on Instagram.

Dancer and rising choreographer Justin Peck, also on Instagram, called Evans “such an incredible, luminous person. Albert always brought warmth, hospitality, enthusiasm, humor to any situation.”

In addition to his dance roles, Evans choreographed several works, including “Haiku,” to music by John Cage, for New York City Ballet’s 2002 Diamond Project, as well as a solo for NYCB principal Peter Boal in 2003, performed at the Joyce Theater.

Evans also appeared in the 2002 “Live From Lincoln Center” broadcast of “New York City Ballet’s Diamond Project: Ten Years of New Choreography.”

article by Jocelyn Noveck via news.yahoo.com

Dance Theater of Harlem Reopens after Nine Years

Virginia Johnson, the artistic director of Dance Theater of Harlem, with her dancers, at an open rehearsal. (Andrea Mohin/The New York Times)

In the early days of Dance Theater of Harlem its members, charged with proving to the world that black dancers could master ballet, needed a certain pluck. “It was a group of young dancers that went out and carried their own lights and did lecture-demonstrations and started performing,” said Laveen Naidu, 45, the organization’s executive director.

Dance Theater of Harlem performers rehearsing Robert Garland’s new “Gloria.”

That scrappy image has served Virginia Johnson well. The elegant artistic director of Dance Theater of Harlem — and its star ballerina for 28 years — Ms. Johnson, 63, was reminded of such humble beginnings last spring, when she held auditions for the rebirth of the company. (It had been forced to go on hiatus in 2004 when it announced its $2.3 million debt.) As Ms. Johnson put it, she had stars in her eyes. But she was in for a surprise.

“I was really shocked at how few African-Americans auditioned,” she said. “And that was the moment when we were looking in this room, and it was like, ‘No, but where are the black people?’ ”

She laughed, as she often does when describing a seemingly hopeless situation. “I thought about Arthur Mitchell with all the hodgepodge of dancers that came to him back in 1969 that he had to make into a company. I said, ‘O.K., it’s the same thing again, and this is great.’ It was actually more exciting than taking top-level dancers and making them into a company. It meant that we had to have that inner-grit thing going again.”

Dance Theater, formed by Mr. Mitchell and Karel Shook, took on the barrier-breaking mission of training and presenting black classical ballet dancers to the world. For years the company was more than a thriving, internationally touring troupe. It showed that ballet was no longer just a white domain. But then the company disappeared, leaving a gaping hole.  One year off turned into nine; disillusionment set in. Now Dance Theater is making a comeback. Beginning Wednesday the company, lean at just 18 members from 44 in 2004, will perform at the Rose Theater at Jazz at Lincoln Center.

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