An afternoon with Scott McKenzie (Demi-Soloist Vienna State Ballet, on his way to The National Ballet of Canada): July 2nd, 2020.

„Don't judge a book by its cover“, as the saying goes, is a much-used expression. Seldom, it fits someone's character so perfectly as it does Mr McKenzie's. Blessed with the kind of boyish looks that will make him look very young when he is much older (Think of the Kennedys, especially John and Bob, think of the actor DiCaprio if you do not know what I am referring to. All of them had/have the kind of looks that made them „eternally young“ as they were/are well into their forties), he can and will surprise you with his thoughts, capacity to make decisions based on very analytical interpretations and maturity – which are quite uncommon for someone who does not only look very young but still is very young. I wonder if I am right when I say that I think that I know why this is a normal reaction to him. We will come to that later.

A native of Scotland, he graduated from the Royal Ballet School and started working at the Vienna State Opera, where he has spent four Seasons altogether – and, thinking of Vivaldi and his capacity of always being able to surprise us, I must say that those were FOUR SEASONS.

I can well remember when after the Nureyev Gala in June 2018 (This was the end of the Season 2017/18), he was promoted to a Demi-Solo position. This is more than two years ago and, to be very commonplace, it seems like yesterday.

We met by an Underground Station and walked together to a cosy, quiet inner courtyard. This was, in fact, the first time I was going out after such a long period of Lockdown. It felt strange to greet each other with a mask and not be able neither to embrace nor to shake hands. A funny thought occurred to me that day: if people meet on a „blind date“, do they say „I shall be wearing a red mask“? Just a thought that has nothing to do with our interview.

After ordering some tea and coffee, we made a quick update to our health and then to his plans at the moment and started to talk quite naturally about „everything“.

„Scott, I guess you will be leaving Vienna soon to start work with „The National Ballet of Canada“ - by the way, a company I much admire. Right?“, I asked.

„Yes, but I am flying to Scotland before that, to visit my family and if everything goes according to plan, I shall begin work in September in Toronto“

„Am I correct in saying you have auditioned personally before this Pandemic... Oh, I love the company. Such a beautiful repertoire, intelligent direction – One of my favourite dancers at the moment is a principal there: Evan McKie, such a great artist!„

„Yes, I auditioned personally and took the chance to meet him. Like you, Evan and I have been connected on Social Media for a while. We met to chat and have coffee together!“

„This is a very nice and interesting step that you're taking – Having started your career as a dancer with Manuel Legris, surely prepared you perfectly to continue to work fast, as it is common „in the Americas“. A huge repertoire and partly very different from the one you have danced during the last years – but that is fascinating... how does your creative process begin while learning a new part?“

He thinks for a second as if reviewing his past achievements „ For me, besides the steps and the artistic materialization of the role, Musicality is extremely important. It has „to make sense“ for me with the music. It is possible to dance beautifully but never if it is not with the music. It is extremely important. This is somehow a heritage from my times at the Royal Ballet School, which I have taken with me. For the Royal dancers one thing can be said for sure: The importance of the musicality, the understanding of when and how to give the right dynamic to the part you are dancing, is everything!

After „understanding“ the music, comes the question“Why is this character doing these steps? What is his motivation, not only to do the steps but to behave this way to this special kind of movements? Why?“ and then the connection to your partner to be able to grow together on stage. Yes, together“

„Which would be the three roles that you would like to dance now? Choose anything you really would enjoy dancing“He does not have to think much about that. His answers come quite naturally „Well, surely „Lenski“ in Cranko's „Onegin“, the first Movement in McMillan's „Concerto“ (I almost got the chance to jump in for a dancer on the day he was supposed to perform. I was so close and yet so far as he showed up to do the show later that day), „Chroma“ by Wayne McGregor – or The prince Florizel in Christopher Wheeldon's „The Winter's Tale“?“

„OK, I would give you all four“, I add laughingly, but particularly admiring his exquisite taste and choice.

„Let's go back to a very complex theme from nowadays, that I never stop questioning, even criticizing... How do you see the issue of „Technique vs. Artistry“?“

„It has all started with Sylvie Guillem, hasn't it? But she knew when and how to use it. Of course, it is OK to „have high legs“ but you must know WHERE and WHEN to use them, otherwise they have no effect. In „Eden/Eden“ it is alright but definitely not in „Giselle“, I say“ he jokes, resuming this most annoying issue into just three sentences but describing it perfectly!

„Let me ask you a question that I have been wanting to ask for ages... You see, I was at the West-End and saw you in Billy Elliot (For the ones who do not know: before he started his education as a dancer, Scott McKenzie was one of the many Billy Elliots in a long succession of talents, that carried this show in London!) and how do you see it? Is it a blessing or a curse, that people always ask about it?“

He laughs wholeheartedly and, as it is typical on him, answers quite uncomplicatedly „Funny that you have asked. Actually, not many people ask me about that. I don't use it in my résumé, it wouldn't bring anything to my career at this point in time. I did not realize it at the time, I was too young for that, but to carry a show, to play the lead, to be at a West End production... I could not comprehend it. That I, Scott was carrying a show“

That is exactly what I meant at the beginning of this article. I guess that this seriousness, this way of analysing things and most of all, his maturity do go back to those times when he was still a child and had the immense responsibility of carrying this show. Perhaps he was not conscious of this but unconsciously I dare say that it has given him this „step ahead“ of others from the same generation.

„Style, Scott... How do you see that? Especially because there is always less and less time to work on it... „ I ask, changing completely the subject.

„If you don't invest time in learning it and if you don't get the specific style of whatever you are doing then it is worthless...“. Yes. Sad but true.

„Let's be quite spontaneous“, I say „Just tell quite quickly the three roles you have mostly enjoyed up to now!“

„Quickly? One of the five boys in Neumeier's „Verklungene Feste“, „Artifact Suite“ and „Solo“ which I have danced with Dumitru Taran and Arne Vandervelde. In terms of „Artifact“ I must say that even though it is an incredibly taxing piece, the coaching by the Forsythe team e.g. Kathryn Bennets, Noah Gelber, Maurice Causey was phenomenal. They made the rehearsals quite unforgettable: the way they carefully treated us, the professional respect they gave us... Beautiful!“

I was very happy to hear that. Also to realise that for all his seriousness, for all his determination and discipline, Mr McKenzie's world is filled with emotion. Yes, feelings and emotion that keep him in motion. But that is the stuff of what Artists are made of. Not only technique and precision but also questions, interpretations, subjectiveness. Yes.

I thought that by the time this interview would appear, Scott McKenzie would be already in Canada, working. Unfortunately, due to the Coronavirus, the plans of The National Ballet of Canada for the Season 2020/21 have been slightly altered, as have many companies around the world. At this present moment, many European Companies are again either working or preparing to do so.

I do hope that this decision in Europe is the right one.

To „eternalise“ Mr McKenzie's positive words at the end of this interview:

„This was my first company. And I have done much more than I had ever expected. But it is time to move on. I am looking forward to that“

Thank you, Scott. We wish you just the best for your future!

Ricardo Leitner

attitude – it is all about looking at things differently.