An afternoon with James Stephens (Vienna State Ballet on his way to The Royal Danish Theatre – DET KGL. TEATER): July 16th, 2020

Once more during the pandemic another interview with another dancer that is leaving the company. It is always a pleasure to meet James Stephens and exchange ideas. This time I was looking forward to this meeting with mixed feelings: It was going to be nice to meet him and talk for a long time but on the other hand, I felt kind of sad because this was our last meeting before his departure to Kopenhagen where he'll start a new chapter of his life and career.

Unfortunately, the weather was not nice and we had to find a place to sit in the inside – The Café at Parkhotel Schönbrunn was quite full but we were lucky to find a nice table in a quiet corner. Now we could start chatting.

After talking about generalities I could not refrain from asking something I was very curious about.

„Why have you decided to leave Vienna, James?“

Somehow he made it quite clear that he knew that I was going to ask that and said „I am happy that you have asked me this, Ricardo. I want to make it quite clear that I have nothing against Martin Schläpfer. He was extremely nice and correct with me. But you see, after an audition here in Vienna it was Manuel that chose me to come to the company. He was the one that talked with me about wanting to work with me. It was a very personal connection that cannot be repeated. On the other hand, after my injury, I became much more aware not only of my body but also of my surroundings. I was not very happy with the way things were happening to me here in Austria – The physiotherapy, for example. So I decided to leave for a place where I can find more supportive and modern surroundings and infrastructure in case of injury etc.“ While he was saying this, I kept remembering another dancer – who was in fact at the same time at the School of the Royal Ballet with James – that after her injury, flew back to England to be not only to be treated but also operated there.
„But I must say“ he continued „that my decision has nothing to do with the future direction and that I am leaving by my own choice“

„Up to now, James, which are the three favourite ballets you have danced in?“
Without hesitating for a second he said while smiling that large, contagious smile of his „ Oh, „Artifact Suite“! You „die“ on stage but it is SO rewarding, so much fun! And also Kylián's „Symphony of Psalms“ and Edwaard Liang's „Murmuration“. Wonderful experiences!“

„And what about telling me about experiences that were not wonderful at all? Everybody has had them at some point in their lives but people usually shut up about them... would you tell me something?“ I ask teasingly.
„I felt so terrible during the variation & coda from „La fille mal gardée“ with Nina Tonoli that I won't even look at the video. I really did not feel at ease doing that... Oh, and „Pas de Cinq“ in „Swan Lake“ - I nearly forgot that one... „ he laughs.

Watching Mr Stephens's work carefully during recent years, I could always see that he is a dedicated, good, and extremely reliable partner – an opinion that along the years was reconfirmed to me by many ballerinas who have shared the stage with him. This is a quality that is becoming quite rare nowadays. I remember when a gifted dancer was hurried to the hospital because of a broken rib because her partner had paid more attention to the way he was beautifully standing on stage in a dégagé than to the way he was holding her. This would not happen with him – I dare say that he'd even hurt himself than let his partner be hurt. Apart from beautiful lines and the technique, always in a kind of an understatement, that represents the solid Royal Ballet School – which is shared by several dancers and ex-dancers from the company such as Nikisha Fogo, Suzann Opermann, Scott McKenzie, Greig Matthews, Ashley Taylor, Alaia Rogers, Tristan Ridel and Nina Tonoli (all of whom were at the same time at the school with James but not necessarily in the same grade), James possesses this (as already mentioned before) rare quality – he is a dedicated partner.

„Please describe to me shortly your creative process while rehearsing a new role, “ I ask, changing the subject completely.
„I search not only for a strong connection either with the choreographer or coach but also most definitely to my partner – to create something together. That is why I love working with Kety Papava (editorial note: Ketevan Papava, Principal, Vienna State Ballet). With her, this opportunity, to create something together, presents itself naturally. Yes, I love working with people, sharing this process with them – It is all about Teamwork!“

„During my interviews, I always play one part, a sort of genie of the lamp, “ I say laughingly „but if I could give you three wishes, three roles or parts which you would like to play... which would you choose?“
„Anyone?“ he asks
„Anyone!!!“
„ Onegin, definitely! During our last production – the one to which Reid Anderson came to Vienna to coach us, supervise the production and to, at last, make cast changes – I was Onegin's understudy. I was not „the second cast“, I was the understudy“ he answers proudly and I cannot help but think „It's getting nearer!“. He continued quickly because he really knows what he wants „and then Des Grieux in „Manon“ and Romeo „
I must say that I have forgotten to ask him if he meant Cranko's or McMillan's version (I wouldn't but bother to ask about Béjart's version with Berlioz's music). Even though I prefer Cranko's version, I „see“ more of Mr Stephens in McMillan's movement vocabulary – what is YOUR opinion?
„Quite an interesting and very logical trio, I say. I would not have expected anything less than these three wonderful roles in those three wonderful ballets“ I add.
„I love classical, historical ballets. I feel more at „home“ doing them!“
(And just like that he answered my next question without letting me at least mentioning it! What is this? Telepathy?)
„I see... „
But he is so much excited with his own idea – I like that! Emotion while talking about one's profession – that he goes on: „May I ask for one extra wish?“. He does not wait for me to answer „Nina Poláková would be my perfect Juliet! I would surely love the rehearsal's process with her in „Romeo and Juliet“!“

We sip our cups of tea and coffee – which are getting cold – and relax for some time, enjoying the tastes of a Viennese „Kaffeehaus“ and silently thinking of what we have just asked and said. And of the conclusions, we have reached in this meeting up to now. I love such afternoons!

I ventured a question that I had thought of for a long time but was not quite sure if I should ask it or not „Quite openly – and you can answer this or not, OK? - Have you ever badly treated, in the dance environment in London and Vienna, because of your Indian heritage? Even though there is so much care about being „politically correct“ (personally I do not like this expression because it has been used lately as real „Fascism with good manners“) one realizes more and more that there is too much prejudice going around“
His answer could not have been more refreshing and reassuring „No, Ricardo, I have never had any bad experiences concerning my heritage“. „That's good. Very good! “ I said. And I meant it!

„There is a certain issue that has been preoccupying me a lot during the last years. Artistry vs. „Over-technique“. How do you see that? „ I ask.
„Well, if people think we are athletes they may not forget that our physical routine is much more demanding than a footballer's and that on top of that we also manage to add Artistry to it“ he smiles
„There is no question about that for me. I „grew“ with the British Ballet and on the very top of the list of things that are connected to it, there is this infinite appreciation for Art and Artistry – Technique is just one of the „tools“ to achieve it“

„One last thing for today – I guess we will have to continue chatting someday in Denmark – but before I say what it is, I just want to give you a hint of what I was thinking of, OK? Alright, I was thinking particularly of „La fille mal gardée“ here in Vienna and my question is: What about style nowadays? What is your opinion on what should be done?“
„I dare say that you meant the way the company (mis)interpreted Ashton's choreography?“ he asks.
„Yes, James, also... I was quite disappointed with Malin Thoor's coaching. The company did not understand the precise English Ashton Style... but it is not the company's fault – we all saw how the company danced „Onegin“ perfectly in style after Reid Anderson's work„
He reflects for a while and then says „We dance so many different ballets during one Season and this with a very much limited amount of time for rehearsals and work on the particular styles. „Style“can be neither repeated automatically nor copied. It has to be refreshed all over again!“

I'll leave you with these thoughts today...

We could have gone on for Hours talking... At this present moment, Mr Stephens is already in Denmark, working since August 4th with the company (although he has started voluntary classes on July 23rd – just a week after our last meeting!).

We wish you lots of success, James!