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NYC's Visiting Prince Charming
While weekend class at Steps on Broadway is a pretty normal event here in NYC, meeting a true Prince is not. Where are the Mannered Gents hiding these days? Turns out, sometimes they are pirouetting right beside you!
Such was the case when I fumbled into the ever so regal Remi Wortmeyer - a second soloist with Dutch National Ballet. Showcasing blond hair, sparkling eyes and a genuine warmth rarely experienced in New York, I was even more delighted to discover the depth of this upcoming artist, who not only renews my faith in Prince Charming, but is also creating quite a stir in the dance world, creating work far beyond his years.
Named as one of the Top 100 Dance Artists in the world, this small glance upon the life and dreams of Remi Wortmeyer proves only a teaser; I'm sure we will be hearing a lot more about this Gentleman for years to come!
A PROUSTIAN PRY
Name: Remi Joel Wortmeyer
Birthplace: Adelaide, Australia
Occupation: Second Soloist Het National Ballet (Dutch National Ballet)
What do you most value in your friends? Honesty
What is your principle defect? Not always being able to see the forest for the trees.
What would you like to be, other than a dancer? I love the art world and I hope to always be involved in creating -- either choreography, direction, etc. Lately I have been romancing the idea of having an atelier in Paris to paint and be inspired.
What is the Color of Love? The entire spectrum. Love isn't only found in the red of a valentines heart or the rose coloured glasses of first encounters; it's in the brown of a fresh cup of coffee delivered to you in bed by that same valentine six years on.
What quality in a person moves you? Passion
Dinner for 2, or 3? Dinner for all! We've all got to eat.
Who do you most admire? My family. My mum has spent fifteen years ill with emphysema and has just been given a new lease on life with a double lung transplant. She inspires me to live life to my fullest capacity with courage. My dad is a Saint, an example of unyielding devotion and strength at all times.
A book to treasure? I like many authors: Italo Calvino, Ovid, Muriel Spark, Stephen Fry, Malcolm Rock. But I have just finished reading Extremely Loud and Incredibly Close by Jonathan Safran Foer. It was a toi, toi present from Paul Lightfoot and Sol Leon for the premiere of the piece they created on me 'Short Time Together'.
What is a favorite way to waste time? Getting lost in new cities when traveling and stumbling upon interesting cafes and cultural hot spots.
Do nice guys always finish last? We'll see... ;)
What natural gift would you most like to possess? Patience
What is your Motto? I'm often know for a joke my friends and I would tell each other to break the nerves before going on stage "Live the dream", but my life motto would be to Live and love passionately.
Substance or Style? One without the other? No excuse, style with substance always.
Cat or Dog? Dog
Marital Bliss or Bondage? Depending on the spouse, but I'd say bliss.
What sort of Animal would you be? I would like to say a Panther but I'd probably be a frog... although it took just one kiss to turn the frog into a Prince, fingers crossed!
With what could you not do without? The support of my family.
ENTRÉE VOUS!
Let’s start at the beginning: I’ve read that you “live for ballet” – that you have always lived for ballet. Describe for us your first memories of this world.
I was not yet three years old when I started ballet, my teacher lied about my age to make me appear older so I could take my RAD (Royal Academy of Dance) exams. From the outside looking in, it could be perceived that I knew no other life starting so young, but I didn't miss out on a childhood. I rode horses with family (I come from a family of horse trainers/owners and acclaimed jockeys), went BMX biking with friends and was on the swimming, running and shot-put teams at academic school, but ballet was the thing that stuck.
How does your family feel about your career choice? Are they supportive?
Yes, they are supportive! I can not hold higher esteem for my family and the sacrifices they have made to support my balletic endeavors!
Recently you were named by Dance Europe to be one of the top 100 dancers IN! THE! WORLD!
I think you ranked at #15! WHOA! Were you shocked?
Yes very! It is an accolade I never expected to receive, but am so thankful for the recognition.
Ballet technique is just so very detailed – and we all know, very difficult. Watching you in class, I remember looking at you the first moment and thinking “My God! A REAL PRINCE!” What do you feel is at the heart of your work? Is it simply, your talent…? Your work ethic? What do you think is the key to developing such a polished and breezy technique?
The joy must come first! As you said ballet is difficult and technique is a never ending battle. I don't like to separate technique from artistry. Artistry facilitates technique by guiding the bodies ability through space with a purpose of intent.
Did you create that body… or was it a gift, from the gods?
It's the only one I have, so I do my best to take care of it.
The technical level of ballet in the past 10 years has soared… particularly for the men...it’s reaching super hero abilities. What are some of the measures in your training that you have taken to meet the ever increasing demand on the male technique? Are you very measured in your training and recovery routine?
Yes, coming from Australia where there is a huge importance on research and development for sports medicine I have learnt the need to strengthen and recover outside of ballet training. I do Pilates and high repetition, low weight training for endurance and lean strong muscles. I also swear by alternated hot, cold showers after the show to flush out lactic acid for faster recovery.
Of course there must be so many, but name one of your favorite coaching or mentoring sessions. Share with us some pearls this particular session gave you and why it stands out in your mind.
A fond memory was being coached by John Neumeier for the Dutch premiere of his Sylvia. We discussed the character, Aminta, and how every step was telling the story, this rang true to me, I mean this was an entire ballet where my philosophy of artistry facilitating and determining technique was completely realised in the choreography.
Let’s talk choreography… it is not often that someone dancing as much as you do is also choreographing as seriously – and well you seem to be serious. Let’s talk about how working as a choreographer developed… when did you first begin? Is it nerve racking? Do you work with the dancers to come up with movement phrases through improv or do you have a strong idea of movement phrases already? What do you look for in a dancer?
I have always had an interest in choreography, I first choreographed a piece around the age of 12, (and) it makes me laugh now - it was called Fire and Ice, for the South Australian Children's Ballet Company. Since then I have created on the Australian Ballet, Melbourne Ballet and four ballets on Dutch National Ballet. The latest piece 'Bijou' premiered last month. It is stressful to hand over the piece to the dancers. Unlike a dancer, the choreographer has no control over the product once the curtain raises. I have been fortunate to create on very talented and devoted dancers, so this stress has been lessened a great deal. I think it's very important to listen to the ideas of your dancers during the creative process and to allow them to explore there interpretations of the vocabulary, but it is also necessary to have a clear vision, vocabulary and direction of your own.
Let’s speak of Magdalene (In Defence of Beauty), a Dance-Opera you choreographed for Dutch National last year. How did this come about, and what did this project mean for you?
Both Magdalene for Dutch National and Fade Not for the Australian Ballet, were experiments in combining ballet and opera on equal terms. Rather than putting a ballet treatment on a pre existing opera I wanted to work with writer Malcolm Rock and composer Chloe Charody on a new opera score written for dance. I also wanted to create a work where the singer is completely integrated with the dancers and pivotal in the choreography.
Women in ballet are seemingly bombarded with constant chatter regarding the aesthetic of their body, with what can be perceived as a secondary interest in their ability. Conversely, it seems for men, while there are comments on a man's form (“he’s so elegant --- look at his legs”) it seems that most conversations are centered on a man's actually ability to perform the skills. Having a body that rivals Adonis sure can’t hurt things, but how do you feel in terms of pressure to maintain your physique and to perform? Do you diet or watch calorie intake?
Personally I've been lucky in this regard. I have studied nutrition and understand the bodies need for food and the right kinds of food. Although I love desserts and fast food, I know that gaining weight is only the external affect of this kind of diet and (so,) you must eat nutritionally to maintain good health and well being. (This said,) I eat for function with a keen weakness for indulgence.
Coming to Dutch National from Australia – How does it feel ? Do you miss Australia?
I do miss my family and the Australian sun, but I am very happy to be exploring the history and artistic climate Europe has on offer.
Do you have any interest in teaching?
I enjoy coaching repertoire and assisting dancers in the development of the role.
Your list of repertoire reads like a novel… you claim a diverse repertoire and that’s exciting! Contemporary ballet is becoming more of a draw for audiences and is slowly making its way to the larger, proscenium stages. With its sexiness, bold, extreme lines and daring vocabulary one can hardly doubt why it is a favorite among the younger set. As such, more and more choreographers are choosing a contemporary or neo-classical vocabulary versus a purely classical vocabulary. They are dancing feelings, and ideas, not necessarily narrative stories. How do you feel about this – as a choreographer and as a dancer?
I feel there is definitely space for both and I am thankful that I have the opportunity to dance and choreograph in both disciplines. I feel that the more you are exposed to, the more you understand art and the intent behind it.
How do you feel about the Classics ? Do you feel they are simply for historical value, or do you feel that they have an important value to our culture of today?
I think it is very important to not see the classics as only museum pieces, and new classics should be constantly invented. (We see this with) Kenneth MacMillan's Manon and Neumeier's Lady of the Camellias -- these are works that are living on and will become Classics to future generations. Classical technique is evolving and new ballets should utilize this.
Seeing that contemporary technique demands such a high level of athleticism, do you feel that the need to “do everything” weakens the classical technique or dramatic polish in today’s dancers? How can one do everything well? Do you feel that Ballet training needs to alter to meet these needs? How have you prepared ?
I feel that the demand to be able to "do everything" is very strong, but I don't see it as weakening the classical form. It allows you to explore past your prior limitations. The more extremely opposite from Classical Ballet I stray, the more I understand the importance of (the Classical Ballet) training.
Is there a piece of advice you would give to an aspiring dancer in terms of how they approach their work?
Love it or leave it, there is no grey area, the audience will always know if you're not sincere.
Excerpt from "Bijou"
From "Magdelene", "In Defence of Beauty"
MORE ON REMI:
Upcoming Performances: 4 Last Songs with Maia Makhateli, Albrecht in Giselle, Forsythe's 2nd Detail and Steptext
