Why Peter Martins?

[miltinlv]

Why did Peter Martins get the City Ballet gig in the first place. I know he was a principal under Balanchine, which means he had to have some serious dancing ability, but what made him look like someone who could run the company? When I've seen him interviewed he always strikes as being stuffy in personality. The documentary Accent on the Offbeat (Upbeat?) about his collaboration with Wynton Marsalis reinforces my opinion. The freedom of jazz really seems to have been upsetting to him. At one point he even asked Marsalis "Why can't they play it the same way each time?" *I* would think that kind of narrow thinking would limit his effectiveness as a choreographer and as a company director. The reviews I've read about their London performances are - to me any way - move evidence of those limitations. The company is going to perform in Copenhagen and Paris this fall. I'll be curious to hear how they're received in those venues.

[miltinlv]

I can partially answer my own question: From what I've read, Balanchine picked him. I don't know why. I don't know what he saw that made him think Martins could run the company.

[Flash]

Hi Milt, there are a couple of great biographies of Balanchine that talk about the passing of leadership to Martins. Balanchine specifically did NOT pick Martins, or give him his 'blessing', which Martins was seeking. IMO Balanchine thought Martins had a long way to go to as a teacher or leader. There are also a couple of places Martin says that he was frustrated by Balanchine's refusal to 'pick' him as the next ballet master of NYCB. Martins eventually became AD by default. Most of Balanchine's choreography was willed to dancers and the great bulk of it to Barbara Horgan, who was Balanchine's administrative assistant. It was she who set up the Balanchine Foundation.

[miltinlv]

Whoever wrote the Peter Martins entry on Wikipedia believes that Balanchine chose Martins as his succesor. I haven't read any of the Balanchine biographies. I'm definitely curious now.

[Flash]

There is supposed to be a way to find out who wrote wiki articles and that could tell you a lot.

I just looked up the Martins piece and the Balanchine bio. There isn't any indication of who made Martins Balletmaster in 1981, although it could have been the NYCB board due to Balanchine's failing health. Martins called himself Balletmaster-in-chief.

During Balanchine's tenure there were three ballet masters at NYCB. Besides GB, the others were Jerome Robbins and John Taras. The big question mark was Taras.

Martins was certainly chosen by GB as a dancer with perhaps the hope that he could come to fill the AD shoes. It's possible Balanchine just didn't think PM ever lived up to his potential as a choreographer or teacher, but he certainly is a fantastic fund raiser.

The Balanchine wiki piece has some of the biographical references at the bottom.

[snowbak]

When I was in school there, I had heard that Balanchine didn't choose him or even believe he could do the job. I can't remember specific reasons but it was a big "thing" that everyone always talked about.

I find it interesting that you point out his personality and his influence on the company. I think you really hit a point there. I think the fact that he is so reserved (stuffy, narrow minded, call it what you like) is one of the big reasons the company is stuck. The momentum of the company comes from the director. If he is stuck in a certain path or mind set the company falls behind as other companies expand and grow and develop their dancers and in turn recruit a broader audience. He has talent but no one is ever pushed and the "Balanchine" technique has become an over exaggeraated, over analyzed mess. He needs to step up take the reigns and start moving in a new direction or the company will soon look dated and nostalgic instead of innovative and cutting edge as it was under Mr. B.

[miltinlv]

I ordered one of the Balanchine biographies list in the Wikipedia article and I'm reaching out to some of my web contacts to see if any of them will see the NYCB while they're in Copenhagen and/or Paris. I'll also be curious to see what kind of press they get while there. I think performing in Paris for 2 weeks at the beginning of their season is pushing their limits.

[Flash]

I suspect that if it weren't for the Suki Schorer book and dancers like Suzanne Farrell, Mr. B's technique, style and most importantly, spirit of dance would be lost. There are other companies that when given the opportunity, do Balanchine better than NYCB and that is kind of sad. No matter what his motivation, it means Martins isn't even a good dance librarian.

I hope everyone is having a great summer!