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Stiefel spoke about the ups and downs of being in charge. You know, it’s obviously a different role and capacity than audiences there have seen me functioning in, but I think what’s nice about it is I can still be with the home crowd and the home audiences in a different way. Everyone on this end seems pretty revved up and working hard—kind of gone off the deep end after the holidays, but it’s all happening.
How does it feel to be coming back to New York as an artistic director? So I’m pretty excited, I have to say, and I’m excited for the company as much as for myself because it’s really the first tour of this kind of size and quality as far as coming to New York and the Dorothy Chandler in L. When was the last time the company performed in New York? And I think it’s seriously been decades since they did a tour. The Joyce is a little bit limited in what they can do.
“Dance on film is not an easy thing to capture,” Stiefel tells .
STORY: Theater Review: Totem“Ballet does have a lot of rules.
And I think it’s quite different than what people have seen him creating as of late. Also musically with the Brahms, and then to go into Andrew Simmons’s I thought it was important to have a New Zealand choreographer on the program.
He’s great and really talented and up-and-coming, and that’s more in the contemporary ballet realm.
I think the last time was when Gillian saw the company, oddly enough, in either South or North Carolina when she was 12. [Bier Halle has] a full set, but Minneapolis did ask for it and the cost to bring everything for one show and so on.… Definitely, at the Joyce you have to consider the theater, which is great, but you’re not able to fly things in and out.
In anticipation of the troupe's first tour in years (they'll be at the Joyce Theater February 12 through 16), Stiefel talks about his goals for the company, the struggles of directing and getting some tough love from fiancée Gillian Murphy.It’s having that essence of human relationships and connections and that type of flavor.I really like it and obviously it goes back to my time and work with Robbins and City Ballet.So basically seeing those two pieces that people wouldn’t have seen before with any other company.How is Benjamin’s piece different than what he’s made recently?