James Whiteside on Choreographing to FKA twigs for Alabama Ballet
James Whiteside has a track record of choreographing to popular music. The American Ballet Theatre principal’s Young & Beautiful, created for the ABT Studio Company last year, features music by alt-pop star Lana Del Rey, and his Dance You Outta My Head, choreographed on ABT’s Madison Brown and Brady Farrar for the 2024 Dance Against Cancer gala, was set to a song of the same title by dance-pop musician Cat Janice. He’s also made works to music by Tito Puente and Rozzi. Now, he’s taking on FKA twigs’ electronic hyper-pop sound for a new piece for Alabama Ballet.
Running May 16–18 as part of the company’s season closer, Unbound, Whiteside’s TWIGS shares the bill with artistic director Christopher Stuart’s 2014 Under the Lights, a tribute to country legend Johnny Cash that features music by the musician and his wife, June Carter Cash.
As the singer-songwriter–themed program approaches, Pointe connected with Whiteside to learn more about TWIGS, his choreographic preferences, and more.
Why FKA twigs? Is there something about popular music artists that specifically appeals to you as a choreographer?
I’ve chosen FKA twigs because I’m a fan and her music is so different from the other ballet on the program. I like making dances in a wide variety of styles, much like how I was trained: jazz, tap, ballet, acrobatics, etc. I’ve choreographed for Taylor Swift and Mariah Carey, and I’ve also made ballets to Schubert and Debussy for ABT. I’m going for a diverse portfolio of dances.
How have you chosen to structure the piece?
It’s five songs (“Ride the Dragon,” “Two Weeks,” “Glass & Patron,” “Eusexua,” and “Cellophane”) without a narrative—any story you see as a viewer will reflect what you want to see. I chose the songs because they are some of my favorites and lend themselves well to the energy I’m aiming for.
Could you describe your choreographic process?
I start with the music. I map each song, envisioning what I want to make for each verse and chorus. Then I do a visual chart of the music, with time stamps, and label what I envision for each section. I choreograph quickly; I like to have time to change and edit in the final days and weeks leading up to a premiere.
What might we expect the piece to look like, choreographically, and in terms of design and costumes?
The piece will have references to some of my favorite works by Forsythe, Kylián, Balanchine, Ashton, and more. But it will look very much like one of my dances—lots of partner work, quirky arm and hand movements, and, hopefully, very chic lighting. The costumes are by Reid & Harriet. They are fabulous.
All I wanted to do was make a ballet that looked like the music sounded to me. I didn’t constrain myself and I didn’t censor myself. It’s weird because I wanted it to be weird.
How has your voice as a choreographer evolved over the years?
I’ve made a lot of dances in a variety of styles. My approach remains the same: to make an entertaining piece of dance that I can be proud of. I hope the audience either loves it or hates it.
