Jessica Kaminski
Patrick Howell, a Leading Artist with Milwaukee Ballet since 2008, is back this season from a three-year leave with Germany’s Ballet Augsburg where, last season, he danced the title role in the world premiere of The Picture of Dorian Gray by Milwaukee Ballet Artistic Director Michael Pink.
You’re from New Orleans. How did you find your way to Milwaukee?
My first company was BalletMet in Ohio. David Nixon was the artistic director. Then he became director of Northern Ballet Theatre in England and asked me if I wanted to join him there. I worked four years at Northern Ballet as a soloist, doing about 120 shows per year, always onstage. I got burned out and wanted to come back to the States. Some friends said I should contact Michael Pink (who’d been associate director at Northern Ballet). So I sent my résumé and video and I called him. The first thing Michael said was, “Why would you want to leave? It’s a decent life, you work year round, you get per diems.” I’d sent my stuff to other places, too, but I liked Michael on the basis of that conversation.
He kept faith in you. He listed you in every program while you were away.
I have the same feeling toward him. I hold Michael very close to me. I’m so glad he let me experience Germany. I’ve always been a Curious George; I want to try different things. I knew about Ballet Augsburg from choreographers who came to Milwaukee for Genesis [international choreographic competition]. The artistic director, Robert Conn, is one of the few who doesn’t choreograph; he commissions at least two new productions every season. Mauro de Candia, a Genesis winner, recommended me to Robert. Mauro was commissioned to make a new Cinderella and he made the Prince on me.
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How did Dorian Gray happen?
I was always bragging to Robert about Michael’s work. I knew Michael wanted to do Dorian Gray , so I went to Robert and told him. The next thing I knew, Michael was commissioned.
Does it follow Oscar Wilde’s book?
Another thing I like about Michael’s story ballets is that he follows all the details of whatever book he’s adapting. It’s important to him.
How did the portrait turn hideous?
The portrait was just a large frame—so it’s me! When Dorian goes through his internal struggle, I step through the frame and become this horrible creature showing the pain inside me. When I slash it, I’m stabbing myself. That’s Michael for you!
Will you perform it here?
I can only hope.
Will you stay now?
This is my home. My feeling toward this place happened fast with Michael and the dancers, but also the board and the people who support this place. It feels like a family. I like Milwaukee, even in winter. I love that this city is so passionate about the arts. We have a sustainable ballet, opera and repertory theater with loyal audiences and new audiences. I love Michael for his creativity. It’s fantastic, the ideas that come from this man’s head, and this is the place where it all lives and breathes. We dancers are his canvas. He’s such a master storyteller. You are constantly inspired. I wish all dancers could feel what we feel working with him.
