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The evolution of Christopher Wheeldon.

Article Excerpt
During an orchestra rehearsal for New York City Ballet, Christopher Wheeldon rushes onto the stage from the audience, nimbly maneuvering over a narrow strip between the proscenium and the orchestra pit. He's on a mission to get his ballet, Morphoses, into proper shape. As Wendy Whelan and Alexandra Ansanelli listen, Wheeldon demonstrates an undulating phrase of movement and precisely counts the difficult score by Gyorgy Ligeti the way he hears it. They grasp it. He moves on, never wasting a nanosecond. Because of his meticulous working process and the unquestionable success of his ballets, it has become clear why Wheeldon, who turned 30 on March 22, has caused such a clamor in the ballet world (see "Christopher Wheeldon: Making the Most Out of Both Ballet Worlds," DANCE MAGAZINE, November 1996, page 50). In fewer than six years, he has choreographed twenty-three works for eight ballet companies, as well as a piece in the movie Center Stage and the Broadway show The Sweet Smell of Success. Now, more than ever, directors are ringing his doorbell. Having moved from his Royal Ballet roots to become an accomplished soloist with New York City Ballet, he gave up dancing two years ago to concentrate on his priority: realizing his singular...

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