More Conversations With Dancers

Urban Ballet Theater principal dancers  Natalia Johnson and Nicholas Wright III and Artistic Director Daniel Catanach spoke with me last week from their New York City studio after a rehearsal run-through. I wanted to find out more about the unique works the dancers are bringing to the Gala of International Ballet Stars this weekend at the Aronoff Center: Catanach’s The Final Pas de Deux of El Hambre and The Grand Pas de Deux of Nutcracker in the Lower.

Catanach, a native of Santa Fe, N.M., has created a style for Urban Ballet Theater that integrates ballet, black and Hispanic urban gesture and urban social dance. It’s been called “ballet of the streets” and aims to broaden the idea of who does ballet and who should watch it.

“I think for such a long time (ballet) was a privilege, and it shouldn’t be, Catanach has said. “The arts should be exposed and we should be able to utilize them to tell our stories.”

Having danced professionally for 20 years,Catanach has a unique background. One of his brothers was a bull rider and another roped steers. He started dance at 19 years old, after receiving a scholarship in California, and soon moved to New York.

“I think I was the only person who took classes at American Ballet Theater and Alvin Ailey at the same time,” he told me. “Balanchine also affected me quite a lot. But in the dance world, ballet was my first love and remains so at many levels.”

Today, he directs his Urban Ballet Theater and Henry Street’s Abrons Arts Center Dance Department, where his major accomplishments include training terrific male dancers. Asked what it is about classical dance that attracts him, he says, “I think it is ‘never-ending’ and that it is time classical dance goes further and to places it has never been before. I absolutely love those companies that keep it pure, but there are those of us who want to develop it further.”

CityBeat: Daniel, what is it about Natalia and Nicolas’s dancing that attracted you?

Daniel Catanach: They are brilliant — both very intelligent. They can interpret music. They take chances. In my dance stories they aren’t afraid to bring in their own ideas of expression. With them the creative process for me is more collaborative. I trust them. I can actually turn my back and walk away from a performance knowing that the decisions they will make onstage are really great.

 

CB: Natalia, can you talk a little about why Daniel’s choreography is good for a ballet gala?

Natalia Johnson: Well, the first one, El Hambre [“the hunger”], has a very interesting story. A lot of people can relate to it once you see it. It has to do with relationships and people trying to invite you into their world. You might not be comfortable with it, but on the other hand it’s a person who wants you to be a part of somebody else’s life, and they are just afraid from everything else that happened within their life before that, that they don’t know how to trust somebody. So it’s about trust and a relationship when things like that occur in the relationship. It’s like trying to fill the void within your heart and your life. There is a resolution, but it’s not going to be the one you think. It’s not a fairy tale.

CB: And the Grand Pas de deux from The Nutcracker?

Johnson: This is from Urban Ballet Theater’s Nutcracker. And it’s very popular within the urban community here in New York City because they can actually relate to it more than the really classical version. When it’s performed, a lot of the students and the dancers are of ethnic background, so the audience can relate because they see people like themselves. The storyline correlates with life in New York City (and the Lower East Side), and we use things that people will understand in an urban environment.

CB: Are there urban moves in there? Not strictly classical choreography and steps?

Johnson: It is based on the classical idea and at some point it’s still ballet, but it’s not as classical as a typical pas de deux. It’s more romantic, actually!

CB: How does the urban emphasis in Daniel’s choreography work for you as a ballerina?

Johnson: Actually, we take ballet class every day. We do have a lot of classical (repertory). It’s not so much that we do “urban” — it’s not like we are going to be doing Hip Hop en pointe or anything. It’s based on classical ballet, with a twist on it. We use our bodies more, you know, the way that an ethnic person and an African-American ballerina such as myself is built. We use that to our advantage.

CB: How do you prepare to perform for a gala?

Johnson: Well, first of all we are so excited to be part of the gala (in Cincinnati). We’ve heard about it for so many years. That alone, the adrenalin is already going to be there.

CB: What do you think your greatest strength as a performer is, and how does Daniel work with your strengths to showcase you on stage?

Johnson: I feel like I can interpret emotions through my body very well, and Danny is always pushing me to do that. He tells me to use my body as my emotion. I’ve always had the acting aspect of it, and it was hard for me at first to put acting and dancing together. Since I’ve been dancing with Danny it’s a lot easier. He’s helped me a lot.

CB: Nicholas, why do you think the choreography you and Natalia are doing is good for a gala production, where each piece is like a different dessert from a fancy restaurant?

Nicholas Wright III: They should fit in nicely. I don’t know if they are crème brulée or apple pie, but they are good desserts, not ones people are used to having.

CB: How would you describe El Hambre?

Wright: It’s the struggle of a relationship, basically. Danny always leaves the interpretation open to the audience, but it is a struggle that you go through in a relationship, whether it works out or not.

CB: What are your greatest strengths as a performer, and how do you think dancing Danny’s works showcases your particular strengths?

Wright: I’ve danced with a few different people, and Danny, you probably have the most freedom with him. To express how you are feeling, what you want to do. If it looks good, he’ll let you do it! If not, you’ll go a different route. It’s just fun. I’m not really a talkative person, but dancing is a good way for me to express what I’m feeling.

CB: What do you as an artist gain from performing in a gala like the Gala of International Ballet Stars?

Wright: Personally, there’s always an extra bit of excitement at a gala. It’s kind of up to you to “give it to them,” you know? I like the challenge.

— Kathy Valin