Interview with James Clark
Canadian dancer James Clark joined the Royal Danish Ballet in 2008 when Nikolaj Hübbe first took over the company. During the following seasons, he has had the opportunity to develop into a multifaceted dancer who can handle challenges from modern dance pieces over mime roles to the dramatic and the technical tour de force of Von Rothbart in the new production of Swan Lake.
“I had read that Nikolaj Hübbe was taking over the directorship in Copenhagen, and thought that it could be an interesting company to join. I also thought that it might prove good timing to come in the new director’s first year”, says James Clark. Over the years, he took on many corps assignments and steadily started carving a niche for himself as an expressive dancer in dramatic roles:
“My sister used to say that I’d turn out to be an actor, but I have never seen myself as an actor. I have always defined myself as a dancer”.
Therefore, James early on dismissed the idea of an acting career and focused on his quest for ballet. As a pupil at The HARID Conservatory and Canada’s National Ballet School, he was trained in the Vaganova style and in the international repertoire. As an apprentice and young dancer, he learned several Balanchine roles and had the privilege to be coached for the role of the Angel of Death in Rudi van Dantzig´s “Vier Letzte Lieder” by the choreographer himself.
In fact, the Royal Danish Ballet performed the ballet in 1981. It is a work for four couples and one male dancer, who may be the figure of death. Lars Damsgaard and Erling Eliasson, the tallest dancers in RDB at that time, then shared the role. It is no stretch to imagine James Clark in the role with his quality of otherworldliness as a strong point. It could be called an early hint of his suitability for the Royal Danish Ballet.
Working Hard
As Clark had predicted, joining RDB in Hübbe´s first season was a clever move, but also a demanding task.
“Nikolaj Hübbe had a very clear vision of how he wanted the company to develop. And he wanted the results fast. He drilled us as hard as he drove himself. However, it was worth it, because the RDB corps reached a very high level within two seasons. We all became better dancers and that allowed the company to take on some of the most demanding ballets available, like “La Bayadere” where I was cast as the slave partner for Nikiya”.
Although Nikolaj Hübbe is very clear on his wish to see RDB as a primarily classic company, several modern works were added to the repertoire. For a two evening program with split gender ballets, James Clark found himself cast in José Limón’s “The Unsung” a tribute to famed Indian chiefs:
“For the first run I was in the ensemble, but for the second run I got one of the solos. It was a big challenge to be alone on stage for five minutes without any kind of music. But somehow I found the gravity and the recipe to suit the choreography and it became an amazing experience.”
Following this experience the dancer, who did not want to be an actor, started getting roles normally reserved for the company’s famed mime artists. He was casted by Ib Andersen as the baddie von Hoeck in the successful “Kermes in Bruges” and as the Astrologer in Alexey Ratmansky’s creation for RDB “The Golden Cockerel.”
“I enjoyed these roles, and realized that I might have a flair for the dramatic and comedy employ.”
The RDB is respected and loved worldwide, not only for the famed Bournonville tradition, but also for the ability to create and communicate the underlying stories and dramatic content. In 1974, the company first presented John Neumeier’s “Romeo & Juliet” which became a major hit and a mainstay in the repertoire. James Clark can testify that it is not only the audience who ends up in tears:
“The finale of the second act where everything comes rambling down is so emotional to be a part of that once, while dancing the part of one of the servants I actually discovered that I was crying on stage. We are all so involved in creating the drama and that is was is so special about the company.”
James Clark was also in the cast of Neumeier’s “Lady of the Camellias” and when he recently visited Amsterdam, he naturally went to see Dutch National Ballet’s production.
“I was curious to see what they could do with the ballet. I was very impressed with the leading couple, but the supporting roles and cast did not look like they understood their part in creating the fuller picture. It is one of the ballets that really shows the uniqueness of RDB.”
Going Russian
Arlene Croce, the famed American reviewer, once stated that every country respects only two ballet traditions, their own and Russia. That is also probably the case in Denmark, save for the fact that the Russian school has been a comparatively late addition, dating from when Vera Volkova started teaching at RDB in the 50’s.
James Clark and fellow Vaganova trained dancer, Brazilian Eliabe D´Abadia often found themselves adding Vagonova details if for instance the pianist played certain pieces of music in morning training. The duo therefore volunteered to create a Pop Up (a short workshop programme performed for a small audience) focusing on Russian ballets and miniatures, which were little known in Denmark.
It turned out to be an interesting and rewarding experience, both for the dancers and the audience. Clark and D´Abadia selected four pieces that all had certain likenesses and relevance to the Danish tradition. “La Vivandiere” has a feel of Bournonville. “The Fairy Doll” has similarities with Massine’s “La Boutique Fantasque” which was danced by RDB in 1930 and staged by Balanchine.
The Danish audience learned that there was more to the Russian tradition than the well-known standards and the Pop Up also became the venue to show what the 10 plus foreign dancers hired this season could offer.
“Contrary to when I joined the company, the new dancers had to wait a significant time before they really became involved in performances. The season started with two reruns, where “Come Fly Away” used a very small cast so there was not much opportunity for them to show their skills. Therefore, our Pop Up helped the new dancers to establish themselves. Liam Redhead who danced “The Talisman” impressed the audience and he has since been casted as the jester in “Swan Lake”, says James Clark.
However, not only Clark’s protégés benefited from Nikolaj Hübbe and Silja Schandorff “Swan Lake”. James Clark got his biggest role ever.
“Nikolaj Hübbe and Silja Schandorff have changed the role of Von Rothbart to a leading role, where Von Rothbart is somewhat of a Shakespearian villain plotting to take over the power at court. The role has also been awarded with serious bravura dancing. I asked to be the understudy.”
As an understudy, there is no guaranty that you will get a performance and there is very limited rehearsal time allotted. As James Clark is in the first act corps dances, his opportunities to learn the dance sequence were limited. However, when one of the three dancers sharing the role became injured, Clark got the chance as early as the third performance and presented a full-fledged character and a performance that definitely showed directors and audience his full potential.
Losing the Safety Net
However, James Clark may not be able to cash in on the opportunities that his Von Rothbart opens. He has decided to take a four-month long exchange with English National Ballet next season:
“I felt I was becoming a bit too safe in my regular corner. I needed to test myself in a new environment. I am an admirer of Tamara Rojo, both as a dancer and as a director of the company. I will miss being part of some very interesting projects next year, but hopefully I will return from London with new experiences and inspiration,” concludes James Clark.
James Clark's London season has been made possible by Annie & Otto Johs. Detlefs' Exchange grant.
Industrialists Annie & Otto Johs. Detlefs are generous supporters of The Royal Danish Ballet. In addition to the exchange grant, they have also made it possible for the RDB to mount big scale productions like "La Sylphide", "Lady of the Camellias" and three more upcoming big productions.
James Clark received the main award. Supplementary grants were presented to ballet mistress Anne Peyk-Jensen and corps de ballet member Astrid Elbo .
Photo Copyright:
1.Portrait by Henrik Stenberg (Copyright (c) Royal Danish Ballet)
2.Photo (Copyright (c) Karolina Kuras
3.James Clark (right) with Charles Andersen and Louise Østergaard in " Kermesse in Brüges" by Costin Radu (Copyright (c) Royal Danish Ballet)
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