Carl Coomer on his choreographic transition and new work Clann, part of Texas Ballet Theater’s upcoming program at Dallas City Performance Hall.
Dallas — “Clann,” the Irish word for family, is the inspiration for Principal Dancer Carl Coomer’s new work of the same name, but it could also describe how he views Texas Ballet Theater and especially Artistic Director Ben Stevenson. “Ben found me when I was really young and took me under his wing,” Coomer says.
Originally from Liverpool, England, Coomer began his training at the age of 13 and in 1998 was offered a scholarship to the Royal Ballet School. He performed with both Royal Ballet and Birmingham Royal Ballet before joining Houston Ballet in 2001. Houston Ballet was on tour in London when Stevenson spotted Coomer during an open company class. Coomer was offered a contract on the spot and shortly after that was on a plane headed to Houston.
“Ben has had to put up with a lot,” Coomer jokes. “I owe him.” So, when Stevenson left Houston Ballet to head up Texas Ballet Theater Coomer would soon follow. During his career Coomer has had the opportunity to perform the lead roles in some of Stevenson’s most memorable works, including Giselle, Dracula, Four Last Songs,Three Preludes, Five Poem, Swan Lake and The Sleeping Beauty, just to name a few.
Always up for a challenge, Coomer decided a couple of years ago to take the leap into choreography. His first work, Evolving, received high-praise from critics and audiences during TBT’s 2012 Portraits Ballet Festival at the Wyly Theatre in Dallas. His second work, Clann, will be presented at the Dallas City Performance Hall March 28-30 as part of TBT’s spring program, Balanchine and Beyond. His work will be performed alongside George Balanchine’s Serenade and Stevenson’s L, both recently seen in a similar program in Fort Worth, where they were accompanied by Sir Kenneth MacMillan’s Gloria (which will not be repeated in Dallas).
Seamus Heaney’s poem Punishment serves as Coomer’s main inspiration for the piece. “He writes about the discovery of a young girl’s body who they think was killed for committing adultery. Heaney tries to imagine what could have happened to her and in a couple of stanzas imagines himself being there. That made me want to take on the role of the observer and kind of figure out what happens to this girl.”
But Coomer is quick to point out that the piece doesn’t necessarily follow a storyline. Instead he uses traditional Celtic music composed by Jordi Savall and Andrew Lawrence-King to create different characters and the different relationships between them. “I used the pieces of music and the images from the poem to help me create different emotions and different ways of moving.”
Coomer adds that this time around he wanted to challenge himself in terms of his choreographic process. “With Evolving I definitely set the steps in the studio, but with this piece I didn’t want to go about it the same way. So, I did each section of music completely by itself and then started linking them together to see how it played out. I wanted to push myself to be more spontaneous and create more movement on the spot.”
He has also discovered that switching from the role of dancer to choreographer is not as easy as it sounds. “Because I am working with people that I know, I want them to look really good, but at the same time I want to push them as well. But I also know what it feels like to be dancing and to come back from a week off and be really sore. So, I think it’s hard to be tough on the dancers because I know what that feels like.” And with his friend and colleague, Lucas Priolo, retiring at the end of this season TBT fans have to wondering what Coomer’s plans are for the future. “I definitely see myself dancing a little longer. This is what I know. And even when my stage career ends I still want to continue in this field.”
This feature was originally posted on TheaterJones.com.