It’s understandable why there might be a question: “Is Joseph Gordon Levitt A Dancer?” The actor Joseph Gordon-Levitt is known for his versatile talents, but when it comes to professional ballet, there’s another Joseph Gordon who commands the stage. This Joseph Gordon is not gracing Hollywood screens, but rather captivating audiences as a Principal Dancer with the prestigious New York City Ballet. Recently promoted to this esteemed rank, Gordon is making waves in the dance world, celebrated for his compelling artistry, technical brilliance, and captivating stage presence. This article delves into the world of Joseph Gordon the dancer, exploring his journey, his artistry, and what makes him a standout figure in ballet today.
From Rising Star to Principal: Joseph Gordon’s Ballet Journey
Joseph Gordon’s ascent to Principal Dancer at the New York City Ballet (NYCB) is a testament to years of dedication and innate talent recognized early in his career. Even before his principal promotion, discerning eyes within the dance community had marked him as someone special. The late Harris Green, a respected dance writer known for spotting male ballet talent, highlighted Gordon in Dance Magazine’s “On the Rise” column back in April 2016. Green praised Gordon’s “aristocratic line, unforced assurance, and charming presence,” qualities that have only become more pronounced as his career has blossomed. This early recognition foreshadowed the significant achievements that were to come for this gifted artist.
The official announcement of his promotion to Principal Dancer came as a significant moment in Gordon’s career. He received the news at the end of a demanding season, a culmination of relentless work and performance. The anticipation built when he was called into a meeting with the interim directors on the Saturday following his last matinee performance. That evening, the news broke: Joseph Gordon had been named a Principal Dancer. This promotion not only marked a personal milestone but also solidified his position as a leading figure within the New York City Ballet company.
Stepping into the Spotlight: Preparing for Diamonds
Prior to his principal dancer appointment, Joseph Gordon had already been entrusted with significant roles, including a debut in the challenging and iconic Diamonds ballet. This opportunity arose somewhat unexpectedly at the beginning of the fall season. Initially slated as an understudy, Gordon was thrust into the lead due to vacancies in the male principal ranks. Partnered with the seasoned principal dancer Sara Mearns, Gordon embarked on an intense period of preparation.
Mearns, with a decade of experience performing Diamonds, proved to be a demanding but invaluable partner. As Gordon described it, “She WORKED me.” Her deep understanding of the ballet and high standards pushed him to elevate his performance. The rehearsal process wasn’t without its challenges. Gordon, relatively new to the role and partnering someone of Mearns’ stature, navigated a period of adjustment. He acknowledged the initial “rough” patches, where a necessary give-and-take had to develop between them. Ultimately, through focused work, sometimes behind closed doors and eventually guided by coaches Kathleen Tracey and Jonathan Stafford, they found a synergy. This rigorous preparation proved transformative, pushing Gordon to meet the demands of a principal role and enriching his artistry. He rose to the occasion, delivering a debut performance that further signaled his readiness for principal status.
The Hallmarks of Gordon’s Dancing: Épaulement and Connection
One of the striking aspects of Joseph Gordon’s dancing, as noted in his interview, is his natural and expressive épaulement. Épaulement, in ballet, refers to the nuanced use of the shoulders and head, creating a three-dimensional quality and adding elegance and expressiveness to movement. Gordon’s training at the School of American Ballet (SAB), known for its emphasis on épaulement, has clearly shaped this aspect of his technique. He also credits his diverse early training, which included teachers from the National Ballet of Canada, Paris Opera Ballet, and instructors in RAD, Russian, and Cuban techniques, for contributing to his well-rounded approach to ballet.
Gordon emphasizes the importance of épaulement particularly for male dancers in princely roles. He points out that while dancers often focus intensely on leg and footwork, audiences are equally drawn to the upper body, face, and overall presence. The graceful carriage and expressive use of épaulement enhance the dancer’s ability to present himself and his ballerina, adding layers of artistry to the performance. This focus on upper body expression, instilled in him since his early training, distinguishes his dancing and contributes to his captivating stage persona.
Beyond technical skill, Gordon’s dancing is characterized by a palpable sense of connection with his partners. Whether in the intricate male quartet of Robbins’ Goldberg Variations or the partnering in Diamonds, he displays a genuine care and awareness of those he shares the stage with. He expresses a deep enjoyment in partnering, valuing the shared experience of performance. This collaborative spirit and evident empathy resonate with audiences, adding a layer of humanity to his performances. He attributes this sense of connection partly to growing up within the NYCB company alongside many of his colleagues, fostering a sense of camaraderie and shared journey.
Future Horizons: Roles and Choreographic Aspirations
Looking ahead, Joseph Gordon is eager to embrace new roles and expand his artistic repertoire. One ballet he is currently preparing for and excited about is Apollo, a neoclassical masterpiece by George Balanchine. He admits he never initially envisioned himself performing this iconic role, but the rehearsal process has revealed the depth and artistic growth potential within it. He sees Apollo as an opportunity to further develop as an artist, drawn to the ballet’s beauty and complexity.
In addition to Apollo, Gordon expresses a desire to tackle more of the classical ballet repertoire. Roles in classics like Sleeping Beauty and Theme and Variations, along with Balanchine’s Tchaikovsky Pas de Deux, are on his wish list. He also mentions a specific interest in the “Melancholic” variation in Balanchine’s The Four Temperaments. Furthermore, the works of Jerome Robbins, another cornerstone of NYCB’s repertory, hold a strong appeal. Gordon hopes to perform in Robbins’ Opus 19/The Dreamer and Other Dances, recognizing the unique challenges and rewards these ballets offer.
Beyond stepping into established roles, Gordon is also drawn to the process of new creation. He values the experience of working with choreographers to bring new ballets to life, citing his positive experience with a piece by Matt Neenan. Among contemporary choreographers, Alexei Ratmansky, known for his intricate and musically sensitive works, and William Forsythe, a groundbreaking figure in contemporary ballet, are artists Gordon would be particularly keen to collaborate with. He recognizes the artistic challenges and growth that come from engaging with new choreography and different creative voices.
Beyond Ballet: Interests and Personal Life
Joseph Gordon’s life extends beyond the ballet studio and stage, encompassing a range of artistic and personal interests. He is an admirer of art in general, enjoying visits to museums and immersing himself in visual arts. Music, particularly opera and live music performances, is another passion. He enjoys supporting friends who perform in bands and attending concerts across various genres and venues in New York City. An interest in languages and cultures leads him to take French classes and appreciate travel. He fondly recalls trips to Japan and Italy and values his connections in Paris and London, using travel as an opportunity to explore new places and practice his French.
Gordon’s personality shines through in his online presence, notably his humorous Instagram handle, #notjosephgordonlevitt. This playful acknowledgment of the common Google search confusion reveals his lighthearted nature and ability to find humor in everyday situations. His relationship with fellow NYCB dancer Adrian Danchig-Waring is also a significant part of his life. They have been together for several years and share a close personal and professional bond, navigating the demands of their careers and personal lives in tandem. Gordon also emphasizes the importance of his community of friends, both within and outside the ballet world. These relationships provide crucial support, perspective, and a sense of balance amidst the intense demands of a professional ballet career. His “outside” friends, in particular, offer a grounding influence, reminding him of life beyond ballet and providing a space to vent and gain fresh perspectives.
Dance as a Lifeline and Future Performances
In a poignant reflection, Joseph Gordon shares that dance has been more than just a career; it has been a transformative force in his life. He expresses that dance “saved me from going down some darker paths,” suggesting a profound personal impact and the positive direction dance has provided. This personal connection to dance, he believes, contributes to the genuine quality observers perceive in his performances. Dance, for Gordon, is not just a profession but a deeply personal expression and a source of strength and resilience.
Looking immediately ahead after the interview, Gordon was preparing for a trip to Cape Town to perform the Tchaikovsky Pas de Deux with fellow principal dancer Ashley Bouder. This engagement highlights his active performance schedule and the demand for his artistry both at home and abroad. As Joseph Gordon continues his journey as a Principal Dancer with the New York City Ballet, audiences can anticipate witnessing further artistic growth and captivating performances from this dedicated and talented artist. His story is not just about technical prowess but also about the human element he brings to ballet, connecting with audiences through his artistry and genuine passion for dance.
