GAYLETTER

Late last summer, Russian minister of culture Vladimir Medinsky told a news outlet that historic composer Peter Tchaikovsky, despite years of documented proof otherwise, was not a homosexual. While Tchaikovsky’s sexuality has little import over his epic oeuvre of music, he has long been understood by historians and Russians alike to be gay, and Medinsky’s claim functions as an attempt among many in recent months to rewrite history in service of Russia’s newly homophobic political agenda. There has been a decent amount of opposition to the controversial disavowal of the composer’s sexuality since, but none have quite as much resonance as Tchaikovsky: None But the Lonely Heart, a new theatrical concert coming to BAM this week.

Presented by Ensemble for the Romantic Century, the concert is a combination of music, theater, and dance that hones in on the composer’s uncanny relationship with his patroness, Madame von Meck, conducted solely through letters spanning an incredible fourteen years. One member of the production, however, holds a personal interest in the story of Tchaikovsky’s life: Daniel Mantei Keene, the openly gay and extraordinarily talented American Ballet Theatre member who serves as dance choreographer as well as dancer in the production. Although Mantei has been dancing for about twenty years, Tchaikovsky: None But the Lonely Heart is truly a reason for him to stand out, providing the audience with some gorgeous choreography (alongside some decent eye candy while he’s at it).

We got in touch with Daniel ahead of the production’s run at BAM’s new Fishman Space to ask a few questions about the concert, how he thinks it functions in conversation with Russia’s current political climate, and what it was like choreographing to one of the most famous gay composers of all time.
Where did you start your dance education? I started at a small ballet studio called Ozsoy School of Ballet in a Southern suburb of Dallas. My teacher, Ceyhun Ozsoy, is Turkish — he danced at Ankara National Ballet Company before moving to the states. When I started, the supercollider was being built nearby so there were lot of kids from all over — my family moved to Texas from Indonesia—my father is a mining engineer.

How did you get involved in this project? A board member at ERC, Susan Winokur, is also a patron at ABT. She contacted ABT in search of a dancer and choreographer for the show. I’ve done pieces on ABT for a choreography workshop and for a kids show at the Metropolitan Opera House — I’m very eager to choreograph more. I’m grateful that artistic staff at ABT directed this project to me.

Was Tchaikovsky: None But the Lonely Heart, produced as a direct response to Russia’s anti-gay legislation?  I believe the show was written before the anti-gay legislation was passed, but the legislation gives Tchaikovsky: None But the Lonely Heart a greater relevance and power. It illustrates that, though some would try to deny it, great Russian heroes were and are homosexuals — challenging the notion that gays are lesser.

Who is your favorite choreographer and why? It’s hard to pick one! I love Jiri Kylian’s and Antony Tudor’s work. I feel like they take dance and make it relevant to everyone. Their work pushes the boundaries of the art form — they give power to dance, and they tell truths — which we all need.

What has been the most challenging role to play on stage? Again it’s hard to pick just one! There are many different kinds of challenges. There are roles that are so physically demanding that you are exhausted and you have that inner dialogue with yourself on stage: “I could just stop now.” You have to push through the pain, push through not being able to even feel your legs anymore. Then there are roles that are challenging because of the acting aspect. Then there are roles that are challenging emotionally. Sometimes the hardest thing is to perform 8 shows a week as townsperson number whatever — you can feel like you are just stage dressing or moving scenery.

Tchaikovsky’s ballets are arguably his most famous works. What was it like creating new choreography for such an eminent composer’s music? Did you ever find yourself drawing from the classic ballets or distancing yourself from them? I definitely want to try my hand at choreographing the full lengths — especially Tchaikovsky’s. There’s a lot of pressure when it comes to reworking these classics because there have been many great versions in the past. Sometimes it’s hard to get away from what one has already seen, but I try to do it in a way that is true to myself. I aim to emphasize awareness — which I feel is the hallmark of classicism. In dance this means an attention to alignment and coordination — aiming to strip away tension and affectation — and using purity and simplicity of line and movement to create a whole that is greater than the sum of each part. I find myself moving away from the trends of ballet today — trends like overwrought, busy movement, affectation, circus acts and the celebration of a freak-of-nature-ness. When I see dance, I want to feel an awareness, a heightened human-ness, a return to naturalism.

What has been the general response from Russian citizens regarding the production? Has there been any so far? I haven’t heard from any Russian citizens so far — I hope they come check out the show!

What do you hope audiences will take away from the story of Tchaikovsky’s life after seeing this production? I hope they gain a better understanding of Tchaikovsky and a greater appreciation for his music. I want the audience to take away the importance of art and its patronage. I would love if they would hear his music in a different way than they’ve heard it before. I think his music is so powerful it affects all of us emotionally — reminds us of our commonality. I hope the audience can feel the pain of being gay in a world that does not accept gays.

Tchaikovsky: None But the Lonely Heart opens March 3 and runs through March 9 at BAM. Buy your tickets here.