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When Cheyenne walked into the business meeting, dead on time Jack noticed, he said, “If you need to see me or Geneviève, it will have to wait. We should be done by noon.”
“Thank you, Jack, but I was invited.”
“Me, dear boy,” Nicholas said after he’d taken a hit from his oxygen tank.
“Then by all means, have a seat.”
She took one beside Crispin Shamblee, looking as if she’d found half a caterpillar in her salad.
“My dear,” Crispin said with his best false smile.
“Monsieur Shamblee.”
Jack said, “We are talking about how to get the proverbial bums in seats next year.”
Cheyenne took out a small notebook with tabs and said, “I have prepared.”
There was a silence then Nicholas said, “We’ve had the ‘I’m ready to retire to Connecticut’ conversation, Jack. My dog is already here, and Cheyenne has helped me decide on decor and the best way to make the property net zero and which disability items I will definitely need.”
Jack looked a little alarmed. “You’re already on everything for next year as the Artistic Director.”
“You know as well as I do that nothing has been printed yet, Jack.” Nicholas took another deep hit of oxygen. “For this season, I will remain Artistic Director. However, I cannot work full time. My doctors have forbidden it. When you thought I’d,” another oxygenated breath, “shuffled off this mortal coil, you offered the role to Cheyenne. She’s an excellent choice, but she needs to be eased into the full madness. And she must continue dancing.”
Geneviève gave her a look of disapproval. But seeing it wash over Cheyenne without notice, she turned it on Jack. “I agree, she must continue dancing. Paris holds her contract for another two years.”
Jack settled in and lifted a finger when he saw Crispin ready to speak. “I would like to ask Cheyenne and Nicholas how they see this happening. Cheyenne, you first.” He glanced at Nicholas and Cheyenne nodded her understanding.
“My contract will be honored, but, Geneviève, perhaps we can work on some ideas.”
“Such as?”
“I give one hundred eighty performances a year, not including if we film one for television. Even now, twenty to thirty of those performances are, at the request of Paris Ballet, galas at other companies around the world. Let us take another fifty of these and give them to New York, with at least five of them being Nutcrackers, yes?”
“I’d prefer ten Nutcrackers, but I’ll take what I can get,” Jack said.
Geneviève leaned back in her chair, her eyes fixed on Cheyenne. “You will be in Paris for the opening gala. You will dance with us on New Year’s Eve and May Day. And your other guest appearances, which we shall limit to ten, will be decided by us.”
Cheyenne said, “Fourteen guest appearances, with four to be decided by Jack. I will stay in Paris for six weeks in September and October and from March 1 through May 5. I will be in New York for the final week in July through their Labor Day and October 15 to December 10. The rest of my dance time we shall negotiate.” Cheyennes stopped and thought before adding, “And you will split the cost of my cellphone. I would not have one, were you both not cluttering up my life.”
Crispin said, “I shall pay for your phone, my dear.”
“I shall put security programs on it.”
He gave one of his smiles, “I would expect nothing less.”
Geneviève said, “I can live with that if we can record at least five ballets over the next two seasons and sell the streaming or blu-ray or whatever using your name.”
“Five total, with one belonging to Jack. In my second year of the contract, you may bill it as my final year as an étoile with the company and record the same number of ballets. I will give my input as to who should be the next person elevated to étoile status.”
Geneviève gave a slightly wobbly nod. “Would it count as a performance if we allowed the public into a choreography afternoon? After the success of Tobias’ choreographing in front of the audience, we have had many requests for other looks at our processes.”
Cheyenne thought. “Half a performance. If I do twenty of those, it would count as ten performances, yes?”
“It won’t be anywhere near twenty, but we’ll keep it to an even number to make the counting simpler.”
Jack said, “So what do we get from this?”
Nicholas grinned. “Two things: Cheyenne for guaranteed lengths of time for me to teach her the Artistic Director side of life, and we have a chance to explore some of Cheyenne’s ideas with fewer consequences. If something works, it belongs to our Associate Artistic Director l’étoile Toussaint. If it fails, well, Leutwylek took a lot of drugs in his youth.”
Cheyenne gave a small chuckle. “I can take my own – what is the word, ah – brickbats. You do not have to be my fall guy, Monsieur Nicholas.”
Jack gave his own chuckle. “For the record, I have never heard an American use brickbats, but it’s a good word. We should use it more.”
Geneviève said, “I would like some time alone with Cheyenne to discuss what repertoire she will dance with us, and to get a lock on certain ballets that she will only perform with us.”
“When do you leave for Paris?” Cheyenne asked. “If it’s tomorrow evening, I will devote the entire day to you.”
“Fair enough.”
“And if I may?” Cheyenne asked, “I think we should do at least a few performances of Nutcracker in Paris next year.”
“Why?” Geneviève asked with narrowed eyes.
“Because it enchants little girls. We should find something just as enchanting for little boys, you understand, to help build the company’s future.”
Jack took a quick note. “Then two things, what does next year look like? Our companies were only supposed to be doing this exchange for one year, but it looks like it may be longer. Tobias wants to stay with Gabin. Mishi has the makings of a prima ballerina. We took her from student to principal, but Paris has definitely pushed her farther forward.”
“Honestly, Tobias is currently popular, but French audiences are fickle and much of the company finds his process difficult,” Geneviève said.
“Much of our company finds his process difficult,” Jack said, “It doesn’t reduce his genius.”
“If I may,” Crispin said, “perhaps at the end of next season we bring home our wayward choreographer and prima?”
Cheyenne said, “I have something to say.”
Jack nodded. “Go ahead.”
“We are talking about my transition over a two year period. Let’s ask Mishi if she wants to stay in Paris. I believe for the moment that the answer is yes. If so, we give her two more years in Paris and an offer of prima here at the end of it. Her choice, not yours, not mine, not Geneviève’s.”
“And Tobias?” Jack asked.
“That comes under something to talk about as Associate Artistic Director before all is shared with everyone here.”
“You, me, and Nicholas at three this afternoon. Geneviève, I’ll call you tonight about any decisions we make regarding Tobias, and we’ll negotiate from there, if that’s acceptable.”
Geneviève said, “Cheyenne, I’ll meet you here in the morning. We’ll talk, have lunch, get everything finalized in our own heads – and written down. Then tomorrow at two we all reconvene and smooth out the next two years.”
“As long as I am not expected to share anything about this company with you,” Cheyenne said.
“Even if I did expect it, you’re too stubborn a bitch to give it to me.”
Cheyenne nodded sharply. “True.”
***
When three rolled around, Jack made certain to have pots of tea and finger sandwiches on the table. He’d found it useful when Cheyenne got on his nerves to take a bite of something rather than lose his temper. The next two years might make him gain weight.
Nicholas said, “Cream cheese and cress. My favorite.”
“It’s the only reason we keep it on the menu.”
“It is better than I thought it would be,” Cheyenne said.
“So, what are these big ideas that you didn’t want to discuss with Geneviève in the room?”
Cheyenne pulled out her little notebook. “I don’t think Tobias would like to move here without Gabin, but he is also most uncomfortable in Paris. If we ask him to create two more ballets in Paris and then offer Gabin a premier danseur – or at the very least a principal contract with guaranteed performances – we might have him back by New Year’s Day.”
“You think he’ll be so anxious to get back to New York that he can create two ballets before the new year?”
“If he doesn’t have to leave Gabin behind, yes. And I know contracts and visas, it may be that Gabin can’t come until next August, in which case Tobias can create more for Ballet de Paris under a separate short term contract or even ballet to ballet. But the key thing is that he is back not for this new season, but the next.”
“With Gabin, who I’ve been told is an insufferable little prick.”
“Perhaps. But I am also, I believe, insufferable. Gabin has the talent and the need to prove himself. Here male dancers are so rare that they almost never live up to the same standards as the ballerinas. In France, that’s not true. Gabin will bring strength to this company. And, like Mishi, if he is away from his childhood, he may bloom into a unique and fiery orchid.”
Jack asked, “Do you think he would be willing to partner with Mishi or that Mishi would want to partner with him?”
“Is that desirable?”
Nicholas said, “I think it would be for the first year they were here together. A firm partnership becomes a draw for the audiences, but it also gives choreographers ideas. That’s all to the good.”
Jack poured himself some more tea and had a smoked salmon sandwich.
“I think it is a good idea for all the reasons Nicholas said.”
“So far, they have not partnered, but it is certainly worth asking Tobias if he could create for them together. He likes Mishi.”
Nicholas took a deep huff from his oxygen mask. “Can we ask Geneviève to partner them in something more classical?”
“If you think it should come from me, I can mention it tomorrow.”
“No, you’ll have enough trouble with Geneviève,” Jack said, “I’ll bring it up in my talk with her tonight.”
“I’ll call Tobias first thing in the morning, if you like, before class.”
“To ask him to put our two potentials together?”
“Of course. It is late to call now.”
Jack said, “I’ll take it. It can be your first official act as Associate Artistic Director.”
“Is this not official?”
Jack chuckled. “It’s official, but it’s within the safe cocoon of the company. If I don’t like an idea, no one will know. If Tobias resists your suggestion, everyone will know. And don’t ask him to keep a secret. It will be all over Paris within an hour. Secrets are difficult for him. But he probably won’t mention it unless someone asks.”
“Understood, I think.” Cheyenne said.
“So, what else are you bringing me, Ms Artistic Director.”
“Americans do not understand history, I mean, not of the dance. When Lully was creating his works, you were still fighting for land. The history of ballet means nothing to you. So why not have a Season of Dialogue.”
“Between whom?”
“On the one hand we invite a small coterie from France to do one of the few Lully ballets that are still being performed. We can explain that we don’t know how accurate the steps still are, but this is what we think we know. Then ask Tobias or another contemporary choreographer to take music by Lully and choreograph a modern ballet around it.”
Nicholas said, “Exciting, isn’t it.”
Jack said, “Okay…”
“Then do the same with a ballet by Sallé, Pygmalion for preference. Let them know that women have been choreographing since the 1730s. But maybe, like Tobias did in Paris, we can have the Paris historians show this company how to approach the older steps in an open rehearsal.”
She glanced between Jack and Nicholas. “Well, then plan out dialogues between 19th century choreographers and the 21st century. Invite the Royal Danish Ballet to teach Bournonville technique while they reside with us for a fortnight. Everyone does Giselle, but represent Perrot with Ondine instead, his steps, not Ashton’s.”
“If we’re talking dialogue, maybe stage both?” Jack said.
“If you like.”
“There’s more?”
Cheyenne said, “We do not only have to exchange abroad. If we were to try to recreate some of Mary Ann Lee’s choreography with Dance Theater of Harlem or Alvin Ailey, it would perhaps be good?”
She hesitated, “And for the second year, we already start planning a major exchange with the Royal Ballet and a 20th century season.”
“And what do we have on tap for that?”
“Checkmate by de Valois? It is not often done. Petit’s Le Jeune Homme et le Mort. I’ve done it. I play death well. Revive another Petit ballet, and select some lesser known Ashton and MacMillan works, but also pull from American choreographers. Ask Alvin Ailey to perform Revelations a few times through the year and share classes and techniques.”
“It will take us at least two years to negotiate that. Revelations is their Nutcracker. It pays the bills.”
“Then we ask them to teach us another of his ballets for our use in that season.”
Nicholas said, “Isn’t she stunning? All of these are good ideas. We should be looking ahead to other companies and styles. Maybe see if we can get traditional African, Indian, or East Asian dance forms into the Fish theater.”
“It’s the Shamblee, now.”
“It will always be Fish to me, my dear.”
Jack gave a half-smile.
“So what is your major contribution for the next two years? If you’re still going to be dancing a full schedule, this is an awful lot of work to leave on Nicholas plate or mine, for that matter.”
“I have already spoken to Monsieur Shamblee. We have come to a detente of sorts. I have an op-ed opposing him and everything he stands for in tomorrow’s New York Times. It felt only fair to warn him, but it is also my Parthian shot where he is concerned. I will continue to speak my mind on environmental issues, but I have promised never again to call out him or his company by name. When asked, we will both say that, while we will never be friends, we respect each other’s devotion to ballet. In return, he has agreed not to take class with the principals. Corps de ballet only.”
“While good to know, that doesn’t answer my question.”
“I have asked Monsieur Shamblee to provide full salary and benefits for a senior administrative assistant to work with the Office of the Artistic Director.”
“Nicholas has a secretary.”
Cheyenne inclined her head. “Who is invaluable to him, but we need someone who can take more duties and sift out the things we do not need to know. Someone who can make the initial approaches to the companies we wish to exchange at a lower level. This administrative assistant or coordinator or whatever title is fair, will help with the transition, so that Nicholas only needs to work 24 hours a week for this coming season and 15 to 20 hours a week for his final season while I take on more of his work. Then he becomes the Artistic Director, emeritus and I cut down my performances by half.”
“Including appearances at other galas or ninety performances here plus the galas.”
“For the first year, it can be ninety plus galas elsewhere. After that, it will be eighty-five, including the galas.”
Jack said, “I can live with that. I’d love to see you have the forty plus years dancing that Fonteyn had, but we can ease you back.”
“I want one new dance a year for myself and perhaps an ensemble, perhaps with my partner. Ah, Gael is one discussion we need to have.”
“Are you sure about that,” Jack asked.
“Yes. The étoile who was my partner has retired. I want Gael to continue to work with me in France. If he likes it enough, perhaps Geneviève will offer him a contract.”
Jack said, “I’ll talk to him. I’m not going to do like I did with Mishi. God, if I’d known of her problems with her mother, I wouldn’t have agreed to let her be part of the exchange.”
“Eh, maman is toughening her. Spoiling her a bit, but toughening her. Her mother is a saloparde with too much ego and not enough talent to go with it. Ultimately, you probably did the right thing by Mishi’s talent if not by her wishes.”
Jack parsed it in his head and decided it was a compliment. “Nicholas, you’re welcome to stay, but Cheyenne, and I need to discuss what ballets she’ll be performing with us.”
“Nonsense, my boy, I’ll call my driver and head home to my dog. Call me if you need me, but I don’t plan to be back before Tuesday.”
“For only six hours a day,” Cheyenne said with fondness.
“Is anyone going to clear that with me,” Jack asked.
Nicholas said, “I don’t think so. Cheyenne is a force of nature. I’ll go by what she says.” He gave her a wink and steered his wheelchair through the doorway.
Jack leaned back. “What do you want out of all this?”
“I want to dance La Sylphide with the Danes. Maybe learn the Tart Adage from the Royal Ballet and see if we can revive some of Petit’s more obscure ballets. Paris still does his Notre Dame de Paris and Marseille has many of his ballets, but how many Americans know that Petit worked with Pink Floyd.”
“I’m not sure that I knew he’d worked with Pink Floyd. Is that ballet available?”
“It has rights with the Ballet de Marseille.”
Jack said, “I can talk to them. I’ll also ask Geneviève if she wants to bring part of her company over for a fortnight or longer to do some French ballets. Americans love Victor Hugo ever since Les Mis hit broadway.”
“As a more serious answer, I want to dance as many of the classical pieces as I can. I will perform Lully, Sallé, or Taglioni just to be able to say that I have.” She thought for a minute. “While you’re negotiating for the Royal Ballet, see if Monsieur Wheeldon will allow us to add his Winter’s Tale to our repertoire.”
“What part do you want in that?”
“No,” Cheyenne said. “If you ask me or he asks me, I will gladly play Emilia and more reluctantly play Hermione or Perdita. But this should be in your repertoire because it shows off the young principals and the corps de ballet. Americans do not have robust corps.”
“You’re really thinking this through.”
“I do not take something on, if I am not willing to work to the top of my ability. Ideally, to the top of anyone’s abilities.”
“Is there any ground you want me to lay with Geneviève, other than pairing Gabin with Mishi.”
“If we are performing the Notre Dame de Paris, and then bringing it here for the following season, could she see me as Esmeralda?”
Jack grinned. “Yes, I can see you playing her. I can convince Geneviève. I think.”
***
“Why here?” Geneviève asked. She took in the empty rooftop area around her and looked out toward Manhattan. They had just about run out of things they needed to hash out, and Cheyenne had invited her to see her apartment building on Roosevelt Island.
“It is quiet. The river changes every day. In Paris, I saw the Seine most days. I found in New York, it is necessary to look for the rivers unless you live very near them. For now, this is good. If my probation as Associate Artistic Director works out, then I will look for a more permanent residence. I may even see if maman cares to join me.”
Geneviève thought for a moment. “I do not think Bruna would do well here. She is the most French person I know, her and her pecheurs.”
“I know. And I would definitely need a place much larger to fit her personality with mine.” There was a pause. “Jack spoke to you last evening.”
“He did. We can bring Notre Dame de Paris back into the repertoire a little earlier than planned, if it means we get you as Esmeralda. I also liked the idea of showing the diversity and history of ballet next season in dialogue. La Peri is the one where we think we have most of the original steps, but Monsieur Lully wrote the music, he did not choreograph it.”
“I am but an ignorant dancer.” Cheyenne shrugged. “But there is also La Ballet de Nuits, yes, and perhaps La Ballet des Muses?”
“The first one we have an idea of the original choreography. The second, perhaps that would be good music to turnover to a contemporary choreographer. Not Tobias, I think. He needs control over his music.”
“It should be a French choreographer,” Cheyenne said.
“I think it should be you. You have ideas. You fight enough with choreographers, so you know what questions the dancers will ask. You can even cast yourself in one of the roles, if you want.”
“Are you trying to find an alternative to my becoming Artistic Director here?”
“No, though I admit that I prefer if you stay with us. I am trying to keep you dancing. At some point, you will no longer feel performance ready, not to your own standards. Choreography can keep you from going quietly crazy from all the paperwork. No announcement about it until after you have finished the work, though the costumers must know your requirements, they are amazingly quiet within all the theater gossip.”
Cheyenne leaned back and looked down the East River toward the United Nations. “I would need to listen to the music, read some of their myths.”
Geneviève let the silence linger. Pushing Cheyenne got no one anywhere.
“I have ideas,” Cheyenne said. “I will not talk about costumes until I am certain I can do it. I think it might need a male corps de ballet.”
Geneviève nodded slowly. “It is an interesting thought. Let them learn how hard it is to dance like little cygnets for a change.”
Cheyenne gave one of her throaty chuckles. “Yes. Just so.”
“Besides the Esmeralda, is there any role you want to reserve for yourself?”
“Give me something pretty. I will do drama, but I’d like at least one sparkly role.”
“Yes, we can find a good sparkly role for you.”
“Do you have the steps reserved for Sallé’s Pygmalion?”
“It’s in our library,” Geneviève said.
“There’s no consideration of copyright after nearly three hundred years, is there?”
“No, but if you want it done by the Metropolitan Ballet, I want acknowledgement every time they dance it that we gave them our record of the steps.”
“More than that, can one of Paris Ballet’s dance historians be part of the exchange next year? And possibly one of our teachers.”
“Yes, to both if we can get a Balanchine teacher for the year.”
“New York City Ballet is Balanchine’s inheritor, but I think at least one of our teachers came out of that company.”
“That will suffice.” Geneviève rose. “I will email Jack with what we have discussed, so that the visas can be started. You and Nicholas will both be on the email chain for this. I will let you know which other roles we have decided for you. Of course, you have right of refusal, but I hope you will not be too harsh with it.”
“I…I have thought of another role that I would like, if it is on the list for next year. Swanhilde from Coppélia.”
“Yes. Like Esmeralda, we may need to switch it from further down the road, but it was always supposed to come back.”
Cheyenne jumped up and kissed Geneviève on both cheeks. “Then my transition begins.”