Forever On His Toes

Ben Stevenson has built Houston Ballet into one of the biggest companies in the country. So why does his job often seem in jeopardy?

A A A Comments By Lauren Kern Thursday, Aug 2 2001

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He is clearly enjoying teaching a recent summer class of the academy's upper-level students. He strolls casually through the rows of perfect bodies in maroon leotards, touching them, talking to them, placing them in the correct positions. He tells them to "dazzle," to dance rather than exercise. He breaks into a silly waltz, then a tango, then a campy bit from Sweet Charity. He tells jokes: "Don't go back! You're from the Ukraine -- it's a long way to go back."

The dancers struggle -- their faces hard and their bodies strained -- to please him, the man who will later determine whether they get into the company, the man who might make their careers. There are clearly a few favorites. Some he looks right in the eyes and whispers fast, intense, almost angry words. With others, he takes their hands gingerly, giving them confidence, security, strength, perhaps even love. The attention is carefully, selectively given. It is no doubt inspirational to the insecure students who receive it. How lucky they must feel to have caught the director's attention, how hard they will have to work to live up to his expectations, to be perfect.

Deron Neblett

Ben Stevenson says his greatest accomplishment is having lasted 25 years at the helm of Houston Ballet.

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But Stevenson himself ignores the fourth wall that is a mirror. He ignores the dance teachers from around the country who have come to watch him work. He ignores the archival video cameraman who is following him around the room. He ignores the reporter who is writing down everything he says. He ignores his problems with C.C. Conner. He ignores the power struggles that have nearly pushed him out of the organization.

Here, he knows all the steps. Here, he doesn't worry about whether he is liked or disliked. Here, he is comfortable.