Among the most distinguished and honored choreographers and directors still active on the international scene, the towering John Butler remains as "in demand" as any artist in his field. With major works in the current repertory of many of the world's leading dance companies - the American Ballet Theatre, New York City Ballet, Alvin Ailey American Dance Theatre, Joffrey Ballet, Les Grands Ballets Canadiens, Royal Winnipeg Ballet, San Francisco Ballet, Pennsylvania Ballet, Teatro Alla Scala Ballet, Paris Opera Ballet, Royal Ballet of Flanders, Nederlands Danz Theatre, and Dance Theatre of Harlem - he has achieved a level of success and recognition rivaled by few in this century.
For years a close collaborator with the composer Gian Carlo Menotti, John Butler has choreographed many of the world premieres of that impresario's operas, such as The Consul (on Broadway), The Unicorn, the Gorgon, and the Manticore (at the Spoleto Festival), and Amahl and the Night Visitors (for televised broadcast). His interest in and knowledge of design has led him into professional associations with a number of the most prominent avant-garde painters and sculptors of the era, like Alexander Calder and Andy Warhol, and his inventive and imaginative approach to his craft has resulted in dances created for such stars as Mikhail Baryshnikov, Natalia Makarova, Carla Fracci, Judith Jamison, Martine van Hamel, and Clark Tippet.
With a style described by dance critic Clive Barnes as "kinetic dynamism" resulting in "seamless choreography," Butler is almost constantly on the move, designing new works for presentation in Athens, at the prestigious Theatre of Herod Atticus, and, most recently, Milan, where he has just staged a new version of Alban Berg's Lulu for Carla Fracci, his close friend, who heads up the Teatro Alla Scala Ballet.
Gregory Speck: There are about a dozen major companies here in New York today that rely exclusively upon the charisma, creative style, and fund-raising ability of their founders for their very existence. What do you think might happen to the companies founded by people like Martha Graham, Paul Taylor, Alwin Nikolais, Murray Louis, and Alvin Ailey after each of those leaders dies?
John Butler: In the case of the first four, yes, it will be difficult for the troupes to continue, since the whole purpose is to present the works choreographed by the founder. Alvin Ailey is different because his company does lots of repertory. I think that Alvin is trying to do in modern dance what the Joffrey has done in ballet - to give you a wide range of work from the entire dance field. I find that a very beautiful way to go. Of all the companies I've worked with, Alvin's is the least competitive. When the director is a choreographer, there is bound to be some innate rivalry, some feeling of competition. In Alvin Ailey's company, there is none of that. Alvin has given me a home for all of my works, such as Carmina Burana, After Eden, Portait of Billie, and my other important works. My entire American repertoire is in Alvin's company. He has seven of them at this point. When I went to the Nederlands Danz Theatre I did twelve ballets for them, in their early, wonderful days. It became like my home. Then Glen Tetley came to dance Carmina for me, before he emerged as a choreographer.
In fact, Glen had been in my own company for many years, in the mid-to late 1950s. Yes, the John Butler Dance Company which traveled to Europe. I
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