Amanda McKerrow

This past spring my husband John Gardner and I had the opportunity to spend an amazing six weeks with Antony Tudor's superlative Dark Elegies. Everyone who is familiar with this ballet knows it is truly a great masterpiece, a perfect example of Mr. Tudor's ability to convey deep and specific emotions through movement. 

Before we began with the dancers, we immersed ourselves in the hauntingly beautiful Gustav Mahler music, and let the memories of the many rehearsals with Mr. Tudor, Sallie Wilson, and later Hugh Laing wash over us. Mr. Tudor was always so specific with "Elegies" that it is impossible to not see his imposing form when thinking of certain steps and music, or hear the sharp crack of his voice as he made a correction or comment. The entire process was always filled with an atmosphere of great reverence. It was essential to us that we would create a similar atmosphere for our own working process.

"Dark Elegies" - Ballet Tucson

The company we were working with was Ballet Tucson of Tucson, Arizona, a small company of about twenty dancers that began six years ago under the direction of MaryBeth Cabana. We really enjoy working there, and felt it was the right time for them to tackle "Dark Elegies" for a variety of reasons. We had been involved with them from the very beginning and know most of the dancers quite well. The way their season is scheduled allows us to have the consistent, intense and uninterrupted rehearsal time that is best for Tudor ballets. Lastly, we had been familiarizing them with Tudor over the past seasons by setting some of his smaller dance arrangements on them. They have done wonderful performances with multiple casts of "Continuo", "Little Improvisations", and most recently a very successful restaging of the delightful "Fandango".

I am very pleased to say the dancers rose to the challenge every step of the way, from the rehearsal process to the performances, which touched the audience in the way that only "Elegies" can. From the very first rehearsal they responded to the movement with complete focus and concentration. As we gave them our memories of the imagery that Mr. Tudor had given us, their approach deepened. Even when they grew frustrated as they realized how difficult these deceptively simple looking steps actually were, they persevered. It was beautiful to watch the sense of community develop as all the dancers worked together to overcome their difficulties and move as one to the subtle musicality.  It is always truly fascinating to me to observe the response to Mr. Tudor's genius. He is still completely present in his works now, just as he was when he was alive. They are truly timeless.