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Going platinum: as Miami City Ballet turns 20, Allegra Kent interviews Edward Villella about the company's anniversary season, and being true to the choreographers' visions.

Article Excerpt
Long ago, at the School of American Ballet in 1951, I remember Mr. Oboukhoff stopping our class and asking a young boy with dark eyes to jump. The kid did so with a wild spring upward, lingering aloft; he created an unforgettable image. That was my first glimpse of Eddie Villella at work. In 1957, he became a new member of New York City Ballet. His splendid talent had already inspired Jerome Robbins to make Afternoon of a Faun and now it was Balanchine's turn. A sky-guy had arrived.

In 1963 Balanchine paired us in a newly created work, Bugaku. At first Eddie and I thought it was going to be a Japanese divertimento, but no, it had a sensual side and was gorgeously costumed. Eddie was masterful at the partnering, always spontaneous--every performance possessed the nervous energy of a first-time experience. In a solo section, he flew up in a series of slanting sauts de basque that looked born of samurai power.

Luckily, I also danced with him in Faun--no leaps whatsoever--Scotch Symphony, Brahms-Schoenberg 3rd movement, Apollo, Nutcracker, and many other works. It was always thrilling to dance and interact with him.

Now the Miami City Ballet reflects Eddie's spirit of generosity, tireless energy, and passion for dance. Last fall I interviewed him about its 20th anniversary and his vision of the future.--A.K.

Allegra Kent: So, what is it like to...

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