On my first visit to New York City Ballet after moving here in 1998, Edwaard Liang danced the pas de sept in Balanchine's BOURNONVILLE DIVERTISSEMENTS. I was already accustomed to Liang's talents as a dancer but on this particular night he really appeared to be dancing on air. What I loved about watching him was the way everything seemed so perfectly placed: head, shoulders, arms, hands, legs, feet. As he swept through the combinations he seemed to have the uncanny ability to show us one gorgeous snapshot after another while maintaining his swift trajectory across the stage. The audience clearly agreed with me: their applause was liberally showered on him as the segment progressed. I've never forgotten his performance that night.
Edwaard Liang was born in Taipei and grew up in California. He began studying ballet at age 5 at Marin Ballet, entered the School of American Ballet in 1989 and joined New York City Ballet in 1993. He was promoted to the soloist rank in 1998.
It sounds like a dream-come-true, of which many a young dancer would be envious. But Edwaard's career then took some detours. In 2001 he left City Ballet to dance in FOSSE on Broadway and after that he did some guesting here and abroad, notably with Complexions and Nederlands Dans Theatre. I was so excited to see his name reappear on the NYCB roster again in 2004 only to have him leave again in 2007 shortly after he had delivered his thrilling performances in Bigonzetti's IN VENTO and Elo's SLICE TO SHARP.
Around 2003, Edwaard began choreographing; he created FLIGHT OF ANGELS for Nederlands Dans Theater and in 2005 his mysterious pas de deux DISTANT CRIES to the music of Albinoni (photo left) was danced at the Joyce by Wendy Whelan and Peter Boal; it was later performed at NYC Ballet. In 2006 his ballets FUR ALINA and SOFTLY AS I SPEAK were offered at the Miller Theatre.
Which brings us to 2007 and the premiere season of Christopher Wheeldon's MORPHOSES at City Center. Edwaard Liang is participating both as a dancer and choreographer. As the excitement surrounding this new venture continues to mount, I wanted so much to have something special for my blog. Overcoming my eternal shyness, I asked Lourdes Lopez {ballerina de luxe and now Executive Director of MORPHOSES} if she could arrange for me to ask Edwaard some questions. She graciously contacted him and within minutes he contacted me. So here is the second Oberon's Grove interview - with my deepest gratitude to Ms. Lopez, to Edwaard, and to Helene Davis for providing me with the phenomenal Lois Greenfield photographs of Edwaard and Maria Kowroski.
Q: Did you really start taking ballet class at age 5? How did you become interested in it at such a young age? Was it something you wanted to do or did your parents sort of drag you to class?
A: Yes, I started when I was 5. I started taking ballet because my sister was taking at the time. I wasn't so into it until I was 9 or 10.
Q: Your technique is so fluent. Did you find that dancing came easily to you - that you had a natural affinity for it - or did you really have to work at it? What was the hardest thing for you to master?
A: I think dancing and moving always came easily for me. But...some things in ballet didn't come so easily. Like turnout or flexibility. I had to work really hard, but that's also why it appealed to me: the challenge and the focus.
Q: Who were/are some of the biggest influences on you as a dancer?
A: I was always really into ballet when I was young. I would watch every video out there. I was so into watching and seeing how people moved and expressed themselves. I loved watching Misha, Gelsey Kirkland, Makarova, Sylvie Guillem, Fernando Bujones. When I was young I didn't get to see much of New York City Ballet. Peter Martins: for accepting me into the Company and giving me my first shot. Chris Wheeldon: he always gave me great ballets to dance while I was with NYCB and now with MORPHOSES. I would also say Paul Lightfoot and Sol Leon of Nederlands Dans Theatre; they helped me find different ways of moving. They really took me under their wing while I was in Holland. I think in general that is the great thing about what we do: we are influenced by everyone we encounter and work with.
Q: What were some of the ballets in the NYCB repertoire that you really enjoyed dancing? Was there a ballet that you always wanted to do but were never asked?
A: I loved dancing lots of ballets at NYCB...well, let's see: I loved doing FOUR TEMPERAMENTS, ASH, Oberon in MIDSUMMER NIGHT'S DREAM, Spring in FOUR SEASONS, GLASS PIECES, POLYPHONIA. It's hard to list...there were so many. I always wanted to do the Cavalier in NUTCRACKER; I learned it for many years but never did it. I most wanted to do SQUARE DANCE; I got to learn it...the solo is to die for.
Q: You upset the fan base at NYCB when you left in 2001 to dance in FOSSE on Broadway. What prompted that decision and, looking back, how do you feel about it?
A: It's so nice to hear that I was missed. At that moment I felt I had hit a glass ceiling with my career at NYCB. I was offered an amazing job by Ann Reinking and I wanted to explore that. When else would I get a chance to dance a lead in a Broadway show? It was an amazing experience. As a dancer - you can only dance for so long - I wanted to make sure there would be no "what ifs" when I am done. I was very happy when I made the jump. It gave me so many different experiences and I learned a lot.
Q: When did you first start to think about working as a choreographer?
A: I never thought of myself as a choreographer but I was motivated to try it while I as dancing with Nederlands Dans Theatre. Everyone there was so creative and exploring movement. I choreographed a pas de deux and I loved the work and the experience. It just stuck: I love the process in the studio.
Q: In 2004 you returned to NYC Ballet. In the meantime you had started choreographing. In the most recent Diamond Project season you had wonderful roles in wonderful ballets by Bigonzetti (IN VENTO) and Elo (SLICE TO SHARP). How does it feel, as a choreographer, to be choreographed on by someone else?
A: It was great...I think I understand being a dancer better now that I am on the other side too. I see things from the outside and understand better what a choreographer wants. Plus, it is fun to see how other choreographers tackle the music and the dancers.
Q: How fluid is the relationship between choreographer and dancer as a work evolves? In SLICE TO SHARP, Jorma Elo created what appeared to be some pretty wild combinations and hair-raising partnering sequences as well as a florid gestural language. Did you ever feel you were being asked to do "the impossible"?
A: No, working with Jorma is very collaborative. He gives me some steps and I make some steps and he finds what is the best mixture. I danced with him at Nederlands Dans Theatre and I was happy to be a part of his ballet. I just wanted to do the best job for him.
Q: Some people think the 'classical' ballet vocabulary has been pushed to its limits. As a choreographer, how do you find new modes of expression?
A: I agree in some ways...a human body can only move in so many ways. The range of motion and steps are limited. But I don't believe that's what choreography is - to find new steps. I think it's finding different ways to move to music to get the end result: some sort of visual and emotional reaction, both for the dancers and the audience.
Q: What is it about a particular piece of music that makes you want to create a dance to it? Do you choose music first and go from there or do you have an idea you want to express and then find music which allows you to build on it?
A: I can usually tell if I'm interested in a piece of music...if I get an emotional reaction or feeling. It depends. Sometimes it's the music and sometimes it's a thought or feeling I want to express and I find the music to match.
Q: How much of your inspiration is drawn from the individual dancers you work with? When I saw your ballet SOFTLY AS I SPEAK at the Miller Theater I thought I'd never seen any piece that showed off Maria Kowroski so perfectly.
A: Thank you very much...that is very nice to hear. I always try my best to tailor the ballet to the dancers I am working with at the time.
Q: I read that you have done some work as a stager for some of Christopher's ballets. What is it like to stage someone else's work?
A: I loved it. It was so nice to teach and coach dancers. The piece is already set and I go in with a different mind frame. I love being able to give back to dancers and guide them in a positive way.
Q: Can you tell us something about VICISSITUDE which is being performed at City Center as part of the MORPHOSES premiere season?
A: It's to Schubert's 'Death and the Maiden'. I've been wanting to use this piece of music for a while now. The ballet is for Maria Kowroski and Tyler Angle. I had an amazing time working on this piece. I started working on it a little before we started working together and the piece just sort of spit out. We choreographed it in three or four days; I was very surprised. I don't really like to tell the story...what I have in my head. I like the viewers to create that for themselves.
Q: Can you tell us about other choreographic creations you are working on?
A: My next ballet is for Aspen Santa Fe Ballet, and I'll have a new one in Russia.
Q: In one sentence, describe working with Wendy Whelan.
A: I can describe it in one word: HEAVEN!
Q: What would you be doing if you weren't a dancer/choreographer?
A: I'm not sure...I love what I do. I feel so fortunate that I can do it and get paid for it. It's such a special thing to be part of the arts. I would have loved to be a film director, but that is a dream job! Oh, yeah: food critic! Ahhhh, you get to eat amazing food all the time...yummo!
Q: When you're not working, how do you spend your time?
A: I like nice dinners with friends, either cooking or eating out. Movies...bowling...travel...shopping...reading. But usually it involves food! LOL...
Q: Is there a quote that has special meaning for you?
A: "You are what you think about."
Great interview, Philip - thank you!
Posted by: Bob | October 16, 2007 at 12:19 AM
I was lucky to have a great subject...
Posted by: Philip | October 16, 2007 at 07:31 AM
Phillip I do believe you could make a second career out of interviewing dancers! Wonderful questions! I love Edwaard with the longer hair! Hope he keeps it.
Posted by: perky | October 16, 2007 at 09:12 AM
Hi Perky, I wish you were here for the MORPHOSES season!
Edwaard's hair is fantastic and I still can't get over how beautiful these photographs are.
Posted by: Philip | October 16, 2007 at 09:38 AM
Bravo Philip. Well interviewed. As you know, I LOVED his piece at Miller Theatre so I am glad to see it mentioned.
Can't wait for Thursday night!!!
Posted by: Sarah | October 16, 2007 at 11:53 AM
Hi Sarah, hope to see you there on Thursday!
Posted by: Philip | October 16, 2007 at 12:16 PM
Yay...it's finally up! What an insightful and all around fabulous interview! Thanks for sharing this with all of us. You ask some very difficult, but EXCELLENT, questions. Here's to future "Oberon's Grove" exclusives! Congrats.
Posted by: M | October 16, 2007 at 03:40 PM
Thanks for the lovely interview! Can't wait to see him along with the rest of Morphoses!
Posted by: Sophie B | October 16, 2007 at 06:56 PM
Thank you, M and Sophie...the only problem I had with it was discarding several questions that I really wanted to ask.
Posted by: Philip | October 16, 2007 at 10:06 PM
I forgot to add yesterday that I am sooo pea-green with envy that you got to talk to Lourdes Lopez. When she was still dancing at NYCB she was one of my favorites. She had the look onstage of a glamours exotic 40's movie star. She could be dramatic yet feminine. Her Firebird remains the best most vibrant one I've seen. Much good luck and wishes to her Chris
Wheeldon and Morphoses.
Posted by: perky | October 17, 2007 at 08:40 AM
Lourdes Lopez is such a nice lady, and I was lucky to have seen her in several of her roles at NYC Ballet including Sugar Plum Fairy in NUTCRACKER, STRAVINSKY VIOLIN CONCERTO, WHO CARES? and GLASS PIECES. She was especially glamourous as the Merry Widow in VIENNA WALTZES and as Carabosse in Peter's SLEEPING BEAUTY. I wish I'd seen her FIREBIRD!
Posted by: Philip | October 17, 2007 at 12:49 PM
Yes, Philip - thanks for the insightful interview. Liang looks great with long hair & I'm very excited to see him & his work again. There is also a long feature on Wheeldon & the new company in NY magazine. It has some absolutely beautiful shots of Christopher. I can't believe tonight has finally arrived - is it curtain time yet?
Posted by: Susan | October 17, 2007 at 12:50 PM
Hi Susan,
The wait is almost over! I feel a bit strange not going tonight but will hold out for the gala tomorrow. I hope everyone noted the updated rep & casting.
The New York Magazine article is wonderful and the pictures of Chris are unique. I put a link to it in the "Christopher Wheeldon: MORPHOSES" story below this one on the blog.
See you Sunday!
Posted by: Philip | October 17, 2007 at 01:08 PM
Fantastic interview! I too loved Edwaard's pieces at the Miller last year. I am so looking forward to tomorrow night!! I'll come say hi if I see you!
Posted by: Sandi | October 17, 2007 at 07:03 PM
Great, Sandi! Let's all be on the lookout for each other at the gala. I'll be wearing a TIE!
Posted by: Philip | October 17, 2007 at 07:52 PM
Are there any DVD/videos of Edwaard Liang dancing - I have the one on Fosse but I am particular interested in any ballet DVD/videos
Thank you J
Posted by: John | April 25, 2008 at 02:52 AM
Hi John,
Aside from FOSSE the only commercially available video in which Edwaard appears is the original New York City Ballet Workout which is not really dance but does include a short segment about Edwaard's love of food. It looks like Amazon has this DVD available.
At the New York Choreographic Institute's website, there's a link to a video of Edwaard choreographing.
Edwaard can also be seen demonstrating ballet steps at Podcast GO. There is a link to these short demos in the right-hand column of my blog under "Dance".
Posted by: Philip | April 25, 2008 at 08:06 AM