Following in big footsteps

Alex Coolman

When the Stuttgart Ballet first rose to international prominence in the

1960s under the British artistic director John Cranko, it was Reid

Anderson who danced in some of the company’s most prominent roles.

In ballets such as “The Taming of the Shrew,” “Romeo and Juliet” and

“Onegin” -- works Cranko developed specifically for his company --

Anderson was always the lead.

Today, Anderson, 50, is the artistic director for the Stuttgart Ballet,

which will perform “Onegin” and several shorter pieces Tuesday through

Feb. 6 at the Orange County Performing Art Center.

Having stepped into the shoes of Cranko, who died in 1973, Anderson said

he finds the former director’s example both inspirational and

challenging.

“He was a very great choreographer,” Anderson said. “He was always there

for us.”

Cranko also was restless in his desire to create material for his

company, feeling that relying on a preexisting repertoire amounted to

artistic stagnation.

This approach is “very important” to Anderson as well. In his view, it’s

a use of resources that benefits both the reputation of the company and

the skills of its dancers.

“One has to put emphasis on [creating new material] because it’s part of

where we’re going to take this art form in the future,” Anderson said.

“Where are we going, and what are we going to do with it?”

Anderson came to direct the Stuttgart Ballet 1996 after a stint as the

head of the National Ballet of Canada.

Since beginning with the company, he has commissioned works from more

than a dozen choreographers and overseen the development of a two-week

dance festival.

Keeping the Cranko legacy alive also is a major part of Anderson’s work.

“It’s very important to the public and to the dancers,” he said.

Anderson said “Onegin” is particularly effective in achieving that

mission because the story -- based on Alexander Pushkin’s famous tale

“Eugene Onegin” -- has the power to appeal to a wide audience.

“Many people consider it to be one of the greatest narrative ballets

created in this century,” Anderson said.

“It’s the kind of thing that people nowadays still love and want to see.

It’s the kind of ballet where people that don’t go to the ballet say to

me, ‘If this is ballet, I love it.’ ”

Anderson said he feels sentimentally tied to the piece just because it

was a strong role for him when he danced under Cranko.

“That character was probably one of the best things I did, actually,” he

said. “It was a character that taught me the way I look and the way I

act. It was just perfect for me.”

In approaching the role today and working with Ivan Cavallari, who dances

the role of Eugene Onegin in the current production, Anderson said he

works carefully to accentuate the strengths in Cavallari’s instinctive

technique.

“You’re always drawing out of the person what is in there anyway and what

has to be brought out to nail the role,” Anderson said.

“Each dancer will bring something different. The dancing always stays the

same, but the interpretation can change a lot.”

“Onegin” is only part of the show the ballet will be performing at The

Center. In addition to the full-length work, which will be featured Feb.

4 to 6, the ballet will present several contemporary pieces Tuesday

through Thursday.

The program of shorter works includes Mauro Bigonzetti’s “Kazimir’s

Colours,” Christian Spuck’s “Dos Amores” and a piece by John Cranko,

“Initials R.B.M.E.”

The latter piece, which Cranko created in 1972, is a work in a

contemporary style. The title refers to the names of the dancers who

first performed the work: Richard Cragun, Birgit Keil, Marcia Haydee and

Egon Madsen.

Tellingly, Haydee went on from her role as a dancer in the piece to

become the director of the Stuttgart Ballet in 1976.

Her career path, moving from the incubating womb of the company to a

position of artistic control and creativity, is one that many members of

the company have pursued, Anderson said.

He said some of the more prominent figures in European choreography, such

as Jiri Kylian, John Neumeier and William Forsythe, developed along the

same route from their beginnings with the ballet.

Ultimately, the Stuttgart Ballet’s reputation for cultivating talent -- a

reputation that dates back to Cranko -- is as good for the company as it

is for the dancers, Anderson said.

“In John’s idea of a company, it has to be a warm kind of relationship so

that they can make art together,” he said. “If the process has been a

positive one and if the dancers have been able to work together, that

shows up on the stage.”

FYI

* WHAT: The Stuttgart Ballet, performing contemporary works and “Onegin”

* WHERE: The Orange County Performing Arts Center, 600 Town Center Drive,

Costa Mesa

* WHEN: Contemporary works at 8 p.m. Tuesday through Thursday. “Onegin”

at 8 p.m. Feb. 4 and 5 and at 2 p.m. Feb. 5 and 6

* HOW MUCH: $12 to $68

* PHONE: (714) 740-7878