Under the Watchful Eye of Lawrence Rhodes, the Juilliard Dancers Thrive!
As the audience filed into the sleek theater in the impressive Juilliard School building at Lincoln Center the majesty of the huge pine plywood ramp on the stage immediately grabbed the attention. The wood honed to a fine veneer created an imposing image - a grand and elegant set piece for last September's premiere of "Sir Isaac's Apples," another collaboration between choreographer Eliot Feld and composer Steve Reich performed by the dancers of the Juilliard Dance Division.
And what dancers they are; technically able to travel up and down the perilous ramp on their feet, on their backs, rolling, tumbling, stretching their strong bodies into impossibly demanding choreography, propelling themselves with ease through a movement dictionary of "Feldisms." The whole prospect looked nearly impossible, and yet as these dancers hurried from one descent to another there was nary a turned ankle. They had been fully prepared, armed with a sturdy technique, stamina, and thoroughly at ease with the daunting choreography.
Lawrence Rhodes, who is remembered as an elegant dancer with commanding presence, has been the director of the Dance Division at Juilliard for the past four years and is, in no small way, responsible for the surging performances of this cast of over fifty students. Rhodes spoke with pride as he began to talk about his flock who have become among the finest modern dancers not only in New York, but also all over the world.
"Last year 450 students applied to Julliard Dance," Rhodes said. "Members of our staff traveled to Chicago, San Francisco, Dallas, Miami, and New York to see them before making our final selection of twelve men and twelve women for the freshman class." We give an arduous dance audition, beginning at 9:00 in the morning with a ballet and modern class, (then a cut,) solos, (then a cut,) excerpts from repertory, (then a cut) and into the final interview. Everyone on the faculty sees the dancers and makes their opinions known, and a lot of time is invested to guarantee the proper choices. We need our dancers to be fit, have a degree of sophistication, and of course, technical strength," Rhodes continued. "But above all we must find people who like to move, who respond with a musicality that is intuitive, and have a special relationship with the space around them. We give a simple class for the audition so that everyone is on equal footing, but when they break up into smaller groups we begin to see how they attack the combination, and bring something extra to the party."
"We have the opportunity to choose the best," Rhodes explained. "If they want to come, here, then Juilliard helps them to afford it. The scholarship program is in place for anyone in need. If the need is large, funding is here. If a student only needs a small amount, it is here. This is why we do not lose any talent."
After the dancers are admitted to Juilliard the faculty, advisers, and mentors close ranks with only one goal in mind; to develop their students to their ultimate capacity, guide them to their rightful place, and when the four years are finished, advise them on making a choice of a company for their next home. Last year, one girl, Bobbi Smith, left for Israel on the day after graduation to work with Ohad Naharim who had come to Juilliard to set a piece and was so impressed with her work that he decided to hire her. "Of the sixteen that graduated last year, fourteen had work before they left," Rhodes announced with pride. 'We have dancers with Pascal Rioult, Les Ballets Jazz in Montreal, Munich Ballet Theater, and many other companies here and abroad. Occasionally students will be unhappy with their choice. Then we reopen the case and look further for them. They remain part of our community."
Many well-known choreographers are regularly invited to set pieces on the Juilliard dancers, and most come willingly because of the beautiful facility, the investment the school makes in rehearsal time, (six weeks are set aside to rehearse each piece) and, most importantly, the dancers, as members of the school, do not have to be paid for rehearsal time. It is a remarkable opportunity for both the choreographer who will have carte blanche studio space, and for the students who are exposed to a wide range of established choreographers.
Most Juilliard students are thrilled to be in a place where their talents are nurtured and at the same time can earn a BFA. However, Rhodes's expression turned serious when the subject of a student who, for some reason, does not take advantage of all the creative amenities the school offers. He cited one student who left unexpectedly six months before earning his degree. "We all tried unsuccessfully to get him to stay," Rhodes recalled, "but the lure of money and a job won out. He left six months before earning his degree, and we were greatly disappointed."
This year the Juilliard School celebrates its 100th birthday with a season long array of music, dance, and drama - works commissioned from important artists especially for the occasion. Though the dance division founded by Martha Hill, is only 51 years old, it's students will be prominently displayed in the festivities with a February program called "New Dances, New Music." offering commissions for new ballets from two alumni and one for guest choreographer Alan Hineline.
Rhodes recalled his trepidation when he first decided to make application for the vacancy created by the death of Benjamin Harkarvy, the previous director. "I wasn't at all sure this would be the place for me," he said. He had left his post in Montreal as director of Les Grandes Ballets and had come to Juilliard to observe. "It was the students who convinced me," he recalled, smiling. "I watched them in class, chatted with them, and immediately spotted a distinct integrity. They had a different way of focusing their daily lives. I was won over."
In his administrative position at Juilliard, Rhodes has discovered a unique workplace. "In Montreal, as with most companies, when I requested a new piece or a choreographer in residence, the answer was always the same - too expensive. Here if I mention my desire to invite someone new and suggest it will be expensive the response is 'well, what do you think we hired you for?'" His voice still held a note of disbelief. "Coming here was the best decision I ever made."