Fledgling ballet troupe gains from veteran's input

By Wayne Harada
Advertiser Entertainment Editor

The mission of Project Ballet Theatre is to "provide an environment where new classical dance works can develop," and to "bring classical dance to a higher artistic level, with a coherent artistic vision," says Madeline Eckett Oden, the company's executive director. Project Ballet Theatre A presentation by Ballet Hawai'i, part of its 25th anniversary season 7:30 p.m. Wednesday Blaisdell Concert Hall $25-$55 526-4400 (Ticket Plus), 591-2211 (box office) Also: 7:30 p.m. Thursday, Castle Theatre, Maui Arts & Cultural Center, Kahului; $10-$40; (808) 242-7469

As in Project Ballet Theatre, a young company already making waves. Hill is its choreographer and artistic director.

Hill, who embraces ballet at all levels — from teacher to performer, from guest artist to soloist — is the backbone and core of Project Ballet Theatre, which gives two performances next week, in Honolulu and on Maui.

The New York Times has hailed the "stylishness, simplicity and witty invention" of his choreography, and has enthusiastically proclaimed that "there are choreographers who know how to work with the special gifts of the dancers at hand and Robert Hill ... is clearly one of those creative spirits."

Hill is modest about his achievements.

He also presides over Project Ballet Theatre with a nurturing hand.

"The company is basically what the three words (in its name) indicates," Hill said. "The project aspect is to create new works that reflect a theatrical sense, being inspired by the classical ballet tradition and vocabulary."

Its mission, said company executive director Madeline Eckett Oden, is two-fold: "One is to provide an environment where new classical dance works can develop, and to do that with innovative funding strategies. The second is to bring classical dance to a higher artistic level, with a coherent artistic vision. And that coherent vision is Robert's."

Project Ballet Theatre made its debut last July at the Kaatsbaan International Dance Center in New York. It is in a building phase, with two-thirds of its repertoire choreographed by Hill.

Praise of his work has been generous. The New Republic last month said Hill "is a distinguished classical dancer who understands ballet from the inside. In this sense, he belongs with other classically trained choreographers, such as William Forsythe or Alonzo King, who are interested in using the dictates of ballet technique in new ways. It is crucial for a classical company to have such people ... (who) look for new content within the old forms."

"It's nice to read the positives, the praises about the company, but it's what I do," said Hill, matter-of-factly. "But I enjoy all the aspects of my work, though it's different being a choreographer as compared to a dancer. I've been a dancer for many years, so I'm mostly in a dancer mode. But I click on all the experiences I've had, and as a choreographer, try to piece the elements together."

Hill said his method of operation is "to bring a contemporary edge to my dance, which has a classical essence, whether in vocabulary or in structure. The classics influence my work, my aesthetics."

In Project Ballet, Oden said, classical is defined by steps that are classically based. It's a fine line that only dance purists will appreciate, possibly recognize, but eventually endorse, Hill said.

"If you're very strict, and only use classical steps that are meant to be performed classically, then you have a classical piece, even with a contemporary edge," said Hill, elaborating on the philosophy and practice of Project Ballet. "If you use classical steps but move in a contemporary way, then it's contemporary dance."

Hill was born in West Babylon, N.Y., and started dancing at 16, which is widely considered late, "so I had so much catching up to do," he said. He got his early training in Florida, at the Dussich Dance Studio, then at the School of American Ballet and the Philadelphia College of the Performing Arts.

"As a dancer, I wanted to be a choreographer," Hill said. "But you have to set aside time for choreography, which, for the past four or five years, I have been making time for."

At a time of financial cuts for all arts, Oden said, Project Ballet Theatre has been challenged to search for innovative ways to find backers, and Hill's previous stints, with the New York City Ballet and the Royal Ballet, have been a plus.

Further, the dance scene — always changing, always competitive — has demonstrated enthusiasm for the vision and the plans of the company. Its fluidity — no rigid year-round season, several on-staff directors, a company of ascending ballet stars, a penchant for emerging new projects rather than staid, established repertoire — have become pluses in the marketing and financing of the company.

"We have a foundation of support that has been enormously gratifying. Our backers are a literate ballet audience, recognizing a scarcity of classical work. We've made a good case and met with a lot of good success with our mission. And we don't have a large overhead, so the emphasis in on projects — we're very project-oriented."

Between rehearsals and performances, Hill teaches a company class for ABT, the ABT Studio Company and Alvin Ailey.

"I truly love all aspects of my work. I enjoy the challenges of being a dancer and choreographer; the creation process is gratifying but there are moments on stage you can't re-create, and vice versa. I love it all."

Before his journey to Hawai'i, Hill was preparing a new piece for the Philadelphia Ballet Theatre to a jazz score for a spring debut. His agenda also includes the title role in ABT's "Onegin" in May at the Metropolitan Opera in New York. Of "Onegin," Oden said, "It is an extraordinary role for Robert at this point of his career."

The John Cranko work, considered one of the pillars of story ballet by the late choreographer, has been rarely performed, largely because of the demands on the principal partnerships — the male and female lead dancers also have to act.