Wednesday, 3 October 2018


In an obit for Arthur Mitchell, whom I'd not heard of (he'd formed the Dance Theatre of Harlem, the first Afro-American classical ballet company), a story caught me eye. I paraphrase it here:
The New York City Ballet choreographer and director George Balanchine created a pas de deux for Mitchell and white southern ballerina Diana Adams. This was 1960 or so. Everyone was against Balanchine for putting together on a stage this Afro-American dancer and "the essence and purity of Caucasian dance." Balanchine knew what he was up against. "You know, my dear," he said, "this has got to be perfect."
I feel the same way about my musical, if I may say so, when so many reasons for failure lurk.
Something else along these lines. The other day I ran into a writer friend I hadn't seen for a while. "Should I know what you're working on?" she asked. "No," said I, adding, unnecessarily, "No one should know, no one wants to know, no one cares, etc., etc. Except the one person who matters. Me." (And you, dear Reader.)

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