Talk with Agnes de Mille

Agnes de Mille was an influential American dancer, choreographer, and writer, best known for her work in the field of ballet and musical theater. Born on September 18, 1905, in New York City, she came from a prominent family in the entertainment industry; her father, William C. deMille, and her uncle, Cecil B. DeMille, were both notable filmmakers.

De Mille's most celebrated contributions to the arts were her choreography for musicals such as "Oklahoma!" (1943) and "Carousel" (1945). Her choreography for "Oklahoma!" in particular was groundbreaking, as it integrated dance into the narrative, making it a crucial part of storytelling in musical theatre rather than just an interlude or entertainment. This approach significantly influenced the development of musical theater in the United States.

Her other works include "Brigadoon" (1947) and "Rodeo" (1942), a ballet composed by Aaron Copland. De Mille also wrote several books, including dance histories, memoirs, and a novel. Throughout her career, she received numerous awards and honors, including Tony Awards and an induction into the American Theater Hall of Fame.

Agnes de Mille's contributions to dance and theater arts have had a lasting impact, and she is remembered as a pioneering figure who helped elevate the significance of choreography in American musical theater. She passed away on October 7, 1993.

Agnes de Mille, recognized for her profound impact on the world of dance, particularly in American ballet and musical theatre, pursued higher education at the University of California, Los Angeles (UCLA). She graduated with a degree in English in 1933. Her education, notably in English, complemented her artistic pursuits, enabling her to craft narratives that were rich and expressive in her choreographic works. Her scholarly background helped her in developing dance pieces that were not only technically proficient but also deeply narrative and emotive, enhancing the storytelling aspects of dance.

"Rodeo" is a ballet choreographed by Agnes de Mille, first performed in 1942, and it significantly impacted American ballet by incorporating American themes and folk dance into the classical ballet format. Agnes de Mille’s work in "Rodeo" represented a pioneering effort to create a distinctly American narrative within ballet, a genre often dominated by European stories and aesthetics.

One of the most notable aspects of "Rodeo" is its fusion of classical ballet techniques with folk dance and American themes. The ballet’s storyline centers around a cowgirl competing for the affections of a cowboy against a more traditionally feminine rival. This plot, steeped in Americana, was an innovation in the ballet world which typically leaned towards more ethereal and European themes.

Moreover, "Rodeo" featured a score by American composer Aaron Copland, whose music, including the famous "Hoe-Down," underscored the American setting and mood of the ballet. This collaboration between de Mille and Copland was instrumental in forging a ballet that felt uniquely American both in its dance style and music.

The success of "Rodeo" helped to break down barriers and broaden the scope of ballet in America, inspiring other choreographers to explore stories and styles that reflected American culture and life. It also played a part in making ballet more accessible and relatable to American audiences, who saw their own stories and experiences reflected on stage.

Agnes de Mille’s work paved the way for future American choreographers and works, influencing the development of narrative ballet and promoting a national cultural identity within the ballet world. "Rodeo" remains a celebrated piece in the American ballet repertoire, testament to its enduring appeal and significance.

Agnes de Mille, like many women who pursued demanding careers, especially in times when societal expectations were rigid about women's roles, likely faced considerable challenges balancing her personal life and her professional ambitions. However, specific, detailed accounts of how she managed this balance are not extensively documented in public sources.

What is known is that she was married to Walter Prude, a theater and television agent, and they had one child, Jonathan. Her marriage and motherhood evidently coexisted with her very active and successful career as a choreographer and director, suggesting a supportive family environment that enabled her to continue her professional work.

Moreover, de Mille's passion for dance and storytelling was deeply rooted in her family background—her father was a playwright, and her uncle was the legendary film director Cecil B. DeMille. Growing up in such a creatively driven family might have helped her in integrating her personal interests and professional life.

Navigating the demands of her profession while maintaining her relationships and roles within her family would have required careful management of her time and priorities. Yet, it is reasonable to infer she found a functional balance that work for her, given her vast contributions to American dance and theater.

Agnes de Mille is renowned for her groundbreaking work in American musical theater and ballet, with her most famous productions including:

1. Oklahoma! (1943) - This Rodgers and Hammerstein musical was revolutionary for its time, integrating de Mille's choreography into the narrative to advance the plot and develop characters. Her ballet sequence for the song "Dream Ballet" is particularly acclaimed.

2. Carousel (1945) - Another collaboration with Rodgers and Hammerstein, where de Mille’s choreography in numbers like "June Is Bustin' Out All Over" and the "Carousel Waltz" showcased her ability to blend dance seamlessly with storytelling.

3. Rodeo (1942) - A ballet composed by Aaron Copland and choreographed by de Mille for the Ballet Russe de Monte Carlo. "Rodeo" is notable for its depiction of American Western themes, particularly through its energetic "Hoe-Down" segment.

4. Brigadoon (1947) - A Broadway musical by Lerner and Loewe, for which de Mille's choreographic contribution helped transport audiences to the mythical Scottish village where the story is set. Her use of dance helped underline the magical and romantic elements of the plot.

These productions exemplify de Mille’s innovative approach to dance in theater, marking her as a pivotal figure in the development of musical theatre choreography.

Agnes de Mille was a pioneering choreographer who strongly believed in the power of narrative in dance. Her philosophy centered on the idea that dance should tell a story and express emotions and characters in a clear and compelling way. She rejected the notion of dance as merely an abstract art form, instead championing dance as a theatrical and narrative medium capable of telling complex stories and portraying nuanced characters.

De Mille was particularly innovative in integrating dance with American themes and settings, which was evident in her groundbreaking work for the ballet "Rodeo" and the musical "Oklahoma!" In "Oklahoma!" for instance, her choreography conveyed the personalities of the characters and the dynamics of the plot, making the dance an integral part of the storytelling rather than just an interlude.

Her approach emphasized that every movement by a dancer should feel motivated by the narrative and character emotions, thus forging a deeper connection with the audience. This belief not only enriched the dance performances themselves but also broadened the appeal of ballet and musical theater to wider audiences by making these forms more relatable and emotionally engaging.

Agnes de Mille was a renowned American dancer and choreographer who significantly influenced the world of American theater and ballet. She is best known for her work in musical theatre, particularly for her choreography in the landmark musical "Oklahoma!" (1943). Her choreography in "Oklahoma!" introduced a new era where dance was seamlessly integrated into the narrative, enhancing both the story and emotional depth of the characters. De Mille's work was characterized by its innovative blend of ballet, modern dance, and folk dance.

She also choreographed other famous musicals like "Carousel" (1945) and "Brigadoon" (1947). Beyond her theatrical work, de Mille made substantial contributions to ballet, creating original works for companies such as the American Ballet Theatre.

Beyond her choreographic achievements, Agnes de Mille was also an author, writing several books about dance, her own work, and her experiences in the arts, contributing profoundly to the literary and theoretical aspects of dance.

Sandy Duncan did not win a role from Agnes de Mille, but rather she starred in a revival of "Oklahoma!" in 1998, which was originally choreographed by Agnes de Mille in 1943. Sandy Duncan played the role of Aunt Eller in this revival. The original production's choreography by de Mille was iconic and crucial in shaping the way the musical was perceived and celebrated. However, by the time Duncan was involved in "Oklahoma!", de Mille was not directly involved in the casting decisions.

Yes, Agnes de Mille significantly changed the face of musical narrative, particularly in the realm of American musical theater and ballet. She was pivotal in transforming the use of dance in musicals from merely decorative to a crucial element of storytelling. Her choreography in shows such as "Oklahoma!" (1943) is particularly noteworthy. In this musical, de Mille integrated dance to advance the plot and develop characters, which was a novel approach at the time.

De Mille's work in "Oklahoma!" included the "dream ballet," a sequence that uses ballet to explore the inner thoughts and emotions of the main character, Laurey. This innovative use of ballet was influential and set a new standard for how dance could be used in musicals to tell a deeper story, rather than just serving as an interlude or entertainment piece. Her approach had a lasting impact on the genre, inspiring future productions and shaping the evolution of narrative in musical theater.

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