Baryshnikov & Co.: 'We Don't Do Ballet'
By Terry Trucco
THE SCENE, IN MANY WAYS, WAS familiar. On a recent blustery afternoon, Mikhail Baryshnikov, the preeminent male dancer of his time, stood in a near-empty Manhattan studio, rehearsing a new dance by Jerome Robbins, the third Mr. Robbins has choreographed for him over the years. In black tights and a blue T-shirt, with his boyish shock of sandy hair, Mr. Baryshnikov cut a lean, sculpted figure. But this is 1994, 20 years since he left Russia's Kirov Ballet to dance in the West, 8 years since he last performed "Giselle," 4 years since he started the White Oak Dance Project, his modern-dance troupe. And like the steps, the patter had changed. "This iswhere I feel so sorry for myself, for my knee, for my age," Mr. Baryshnikov said wryly, holding an arabesque as a cellist played a mournful saraband from Bach's Suites for Solo Cello. The musician switched to a gigue. Mr. Baryshnikov responded, marking the first few bars, then breaking into a jazzy romp. After a somersault, he essayed an immaculate string of turns, a reminder of his greatness in major classical ballet roles. "You've got ballet steps in there," teased Rob Besserer, a charter member of White Oak. Mr. Baryshnikov punched him playfully. "We don't do ballet," he replied.