Photo via Milwaukee Ballet
Casanova
‘Casanova’
The ballet Casanova premiered in 2017 at England’s Northern Ballet, where former Milwaukee Ballet dancer Patrick Howell had danced beside the now much-awarded choreographer Kenneth Tindall.
Casanova was Tindall’s first full-length story ballet, and Howell urged him to send a tape of it to Michael Pink, Milwaukee Ballet’s master story ballet artist. Pink responded with a strong invitation to Tindall to come to Milwaukee and create a dance for the 2019 edition of the company’s Genesis International Choreographic Competition. Tindall came, his dance was the Audience Favorite, and now, at last, Casanova will open Milwaukee Ballet’s current season of “Love & Lust.”
“What’s amazing about Michael and Milwaukee,” Tindall tells me during a rehearsal break, “is that it retains so many of its artists. That’s really rare and speaks so highly of this company. It was wonderful to have this huge group of people I’d had for Genesis greeting me and hugging me.”
Company dancer Josiah Cook was among them. A company apprentice during Genesis 2019, he’s been cast in the enormous title role, in alternation with leading artist Randy Crespo. Prince Charming he’s not; but nor is it the sex-obsessed character Casanova’s name has come to signify.
Philandering Philosopher?
“People think of Casanova as a philanderer,” Cook says, “but he was a philosopher, a musician, an artist; he studied mathematics and medicine. That sex stuff did happen and it’s in the ballet. But there’s so much more to it, so much depth and heart and feeling and emotion, the whole breadth of the human experience, the highest of highs and the lowest of lows. As an artist, it’s infinitely rewarding.”
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When asked to create a full-length story ballet for Northern Ballet, Tindall thought of Casanova, guessing the name itself would be a draw. Moreover, he tells me, “I wanted a new story, something that I’d never seen in ballet.”
In doing his research, he discovered Ian Kelly’s history of Giacomo Casanova, born in Venice in 1725; died in 1798. Kelly, who was also an actor and playwright, had dedicated twelve years to researching Casanova’s 12 volumes of memoirs. Tindall sought him out.
Great Mind, Full Life
“When I met him, I started to realize how little I knew about Casanova,” he admits. “How did I not know that he spoke seven languages and translated The Iliad; that he was a violinist and a priest, that he started the first state lottery, and that he had one of the greatest minds of his time? It makes you think you’re clearly not living enough because if that’s possible in one life—and with a lot less access and no internet—what am I doing?”
“So I asked him write the scenario with me,” he continues. “That’s where this ballet began. Most important for me was that people who really know about the 18th century would see an authentic production. That’s why I started in church. Casanova was deadly serious about that, really devout. But in the 18th century, you’ve got an Inquisition that can arrest you for rooting around in scientific knowledge. Science is starting to evolve and question some of the choices of religion. You’ve got this religious presence following you, watching you, demanding that you only do it their way.
“People think he was arrested for the sex,” Tindall continues, “but actually the reason was that because of his charm and intellect he was able to jump social class. He got a palazzo gifted to him for saving the life of a member of one of the upper ‘founding families.’ He didn’t come from that stock. So he was caught with book of scientific research and imprisoned.”
Along with his sexual conquests, Tindall learned that Casanova helped several women to further their careers. He tells their stories in the ballet. In each case, he sees Casanova’s actions as selfless.
“He's also a guy who got to the point of trying to kill himself,” Tindall tells me. “He was in his 40s and I think he felt like his virility was going, it was over, his life was done.”
Ideas in Motion
When I wondered how such big, potentially relevant ideas are communicated in ballet language, Tindall pointed to the body’s ability to speak truth where words can lie. To that end, he’s drawn from many dance styles, not just classical ballet.
Cook agrees: “Kenny’s choreography feels very organic. We were laughing in the studio last week because we came to the realization that if something doesn’t feel amazingly natural, you’re probably doing it wrong.”
“Once you know the movement, it happens by itself and you can focus on the characterization,” Cook summarizes. “The acting moments have as much detail as the steps. And the music! Oh my God! It’s exceptionally beautiful. And the costumes! You’ll hear something beautiful, see something beautiful, and there’s an incredible story onstage.”
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Performances are Nov. 1-3 at the Marcus Performing Arts Center’s Uihlein Hall with matinees on Saturday and Sunday. The show is rated 16+ for sexual content. Visit milwaukeeballet.org/casanova or call the Milwaukee Box Office at 414-902-2103.
