Born in Portsmouth, England, 1936, Ben Stevenson became the beloved face of Houston Ballet for almost three decades. He died in Fort Worth on March 29, a few days shy of his 90th birthday.
A former dancer with London’s Sadler’s Wells and London Festival Ballet, with stints on the West End in musicals such as Half a Six-Pence and The Music Man, Stevenson had a natural instinct for theatrical dance combined with the refinement of British ballet. Before being hired in Houston, he had co-directed NYC’s Harkness Youth Dancers, Washington D.C.’s National Ballet, and Ruth Page’s Chicago Ballet, and had already begun his influential choreographic career with Three Preludes, Sleeping Beauty, Cinderella, and Bartok Concerto, works still in the repertory around the world.
Making dances came easily to him, and he was hired to be artistic director of Houston Ballet for its 1976-77 season. He remained at the helm for 27 years until retirement in 2003, after which he became director of Texas Ballet Theatre until health forced him to step down from everyday duties. He remained the company’s director emeritus until his death.
During his tenure in Houston, he discovered numerous prominent performers such as the phenom Janie Parker (perhaps his muse), the technical wizard Lauren Anderson (one of the first black principal dancers in the U.S.), the lyrical Andrea Vodehnal and Susan Longley, the theatrical Krissy Richmond, the charismatic Matti Tikkanen, the do-it-all-kid Martha Butler, the romantic Li Cunxin, the jaw-dropping Nijinsky-like Carlos Acosta.
Throughout his tenure, Houston Ballet enlarged its repertory, number of dancers, endowment, physical facility, world touring. The company quickly rose in international prominence. Stevenson introduced contemporary choreographers into the rep โ Balanchine, Christopher Bruce, William Forsythe, Paul Taylor, Frederick Ashton, John Cranko, Jiลรญ Kyliรกn โ to stimulate his dancers and lure in new audiences. It worked. The edgy โmixed-repโ programs of more modern work was a profitable draw against the classics Swan Lake, Cinderella, Sleeping Beauty. There was room in the house for all.
A born raconteur, his wicked wit was second only to Oscar Wilde. A fabulous chef and host, his parties at his La Porte house were legendary, his generosity was boundless, and his knowledge of how to train a dancer was all-encompassing. Under Ben’s tutelage, every dancer became complete โ in acting, ballet technique, in deportment, in showbiz know-how.
He was the ultimate teacher, and those who learned under him never forgot the knowledge he imparted with sly wit and soft British demeanor. During one rehearsal of Swan Lake, he stopped the corps mid-step. He wanted the regal Royal Ballet look for the line of cygnets. โKeep your legs down, girls. You’re wearing a tutu, not a thong.โ Their legs stayed down.
His years with the company brought it fame, fortune, technique, and a rep to be envied. Houston Ballet was known to be able to dance anything โ wild and jagged modern works to the ultimate classics. There was nothing the company couldn’t do. His legacy set the standard that current directors Stanton Welch and Julie Kent continue with even greater success.
We miss you, Ben, but we know the angels are dancing better than ever and laughing while they pirouette.
