Simone Orlando

The Schedule

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Stuttgart Ballet’s yearly line-up of activities is very extensive. Looking at the 2009/2010 season, there were 6 new acquisitions, 6 new works created on the company (5 short works and 1 full-length ballet), 3 full-length ballet revivals (Giselle, Onegin, Romeo and Juliet), and 5 ballets pulled from the company repertoire. There was also a co-production with the Opera (Orphee et Euridice), a tour to China and numerous outreach events. Putting everything together is a puzzle made more complicated by the fact that many of the principals are away guesting throughout the year. Reid Anderson supports guesting opportunities as this enhances awareness of the company and keeps the principals busy.

As Production Manager, it is Krzysztof Nowogrodzki’s job to keep on top of the yearly, monthly, and daily schedule. (Up until a few years ago, Reid was doing this himself). It is no surprise that Krzysztof, who also moonlights as a ballet master, is highly organized, efficient and speaks 7 languages. He keeps Reid informed of guesting requests, dancer injuries, shifts in the daily schedule and potential conflicts that lurk in the future.

Just to give an idea of the complexity of an average day at Stuttgart Ballet; on the morning of May 27, the cast of Orlando is doing a work through on the Opera House stage in full costume and make-up with the orchestra, while the principals in Giselle rehearse upstairs in a studio. In another studio, Wayne McGregor is choreographing a new piece while in a third studio some dancers rehearse for the Noverre Society’s upcoming “Young Choreographers” performance. Many of the dancers who are onstage in Orlando are cast in Wayne McGregor’s new piece as well as in other roles in Orlando. Krzysztof tracks each dancer to ensure they slot into the appropriate rehearsal and consults with ballet masters and mistresses to make sure the rehearsals are moving along and multiple casts are up to speed.

It is my observation that within Reid’s inner circle of artistic and administrative staff, roles and responsibilities are clearly defined. Though Reid knows exactly what is happening at all times, he trusts his staff to manage their affairs and does not interfere. Nothing is overlooked and issues are addressed promptly. Each individual’s contribution is critical, and the sum of all parts equates to the success of each performance.

krzysztof nowogrodzki, reid anderson, stuttgart ballet, giselle, orlando, wayne mcgregor