Two choreographers to celebrate Mikhail Baryshnikov at the Breman on Sunday

It’s always a delight to watch two friends laugh and joke with one another, especially when they are creatives who are thrilled by each other’s talents and successes.

In a rollicking Zoom interview recently, John Welker, director of Terminus Modern Ballet Theatre, and John Heginbotham, artistic director of New York’s Dance Heginbotham, talked about everything from their friendship and their choreographic craft to their formative years and the companies they now lead.

They also discussed their upcoming conversation about ballet great Mikhail Baryshnikov that will take place 2 p.m. Sunday at the Breman Museum. It’s free, but seating is limited and reservations are recommended. The event is one in a series of Sunday programs that explore the imaginative and cleverly manipulated photographs in the museum’s current art exhibit, Icons: Selections from The Portrait Unbound, Photography by Robert Weingarten (through October 1.)

One of these 14 visual biographies is of Baryshnikov.

The event “feels in perfect step with our mission to connect people to Jewish history, culture and arts,” Breman Museum Executive Director Leslie Gordon stated in a press release. Sunday’s program will be followed by a reception and an opportunity to view the Baryshnikov image with Tony Casadonte, the exhibit’s curator.

As a young person, Welker says he was deeply inspired by Baryshnikov, a ballet phenomenon whose performances with American Ballet Theatre after he defected from Russia wowed audiences in the 1970s.

“He set the standard for what I aspired to,” Welker said. “The physicality, the technique, but also the magnetism. He had a certain gravitational pull on ballet lovers and the uninitiated alike. He was a presence, and he continues to inspire me.”

Baryshnikov later joined New York City Ballet, became artistic director of Ballet Theatre, founded the White Oak Dance Project and, in 2005, launched the Baryshnikov Arts Center, an arts incubator in New York. He has continued to act, direct and inspire generations of dancers.

Welker has never met Baryshnikov, but Heginbotham has many times. “Misha [as he’s known] has been really important to me,” he said. “He supported my becoming a professional choreographer. That is part of Misha’s DNA that I’ve seen many times. He’s a generous supporter of the artists around him. There is lots of love [in the community] for him.”

Heginbotham says he plans to talk on Sunday about “the big highlights” of Baryshnikov’s life and work, which are “dramatic and exciting. But I’m not a historian. It will be very anecdotal.”

The two Johns met when Welker was dancing with Atlanta Ballet and directing that company’s summer ensemble, Wabi Sabi. Atlanta Ballet’s then artistic director John McFall introduced them and suggested Heginbotham create a dance for the ensemble.

“We instantly hit it off,” said Welker. “What I love about John is that he took time to learn about the dancers, engage with them and get their feedback to create something special. To have someone like that in the studio is invigorating.”

Heginbotham said he quickly learned that Welker was a great leader: “Everything you did with Wabi Sabi had a lot of integrity.”

“The experience together was so fun and wonderful,” Welker said, warming to the memory. “Lots of good organic friendship along with the seriousness of it all.” Wabi Sabi premiered Heginbotham’s Angel’s Share in 2014, and the main company later performed it on a mixed bill that included Yuri Possokhov’s Classical Symphony.

“That amazing piece!” said Heginbotham of Classical Symphony, almost leaping out of his Zoom frame with enthusiasm. “It was thrilling and you were awesome in it.” Welker smiled quietly.

The photographer Weingarten, who is Jewish, has a unique way of interacting with his subjects. He asks them: “What makes you who you are?” and uses their answers to craft a multilayered image. It seemed fitting to ask the two Johns, both very relaxed at this point, the same question.

Welker talked about being a dad and seeing his son, now 10, develop through both nature and nurture. It’s the same for me, he said. “I feel formed by my family and the community around me, but I’m still uniquely me. John McFall was a huge part of my coming of age and becoming the artist I am today,” he said. “I have to give him a huge hug.”

Welker also gave credit to one of his early ballet teachers, Violetta Boft. “She was the person who formed and shaped me as a dancer. I was a very temperamental child.” Heginbotham laughed, seemingly surprised by the revelation. Welker continued: “I was quick to anger, quick to judge. Something about the physicality and mental discipline of ballet hones the whole person,and I am a more balanced human being as a result.”

Then it was Heginbotham’s turn. He grew up in Alaska, a formative landscape for a child, he said. “It is very isolated. There’s a sense that everything is huge, and it feels a little dangerous at times. That’s part of me.” His parents prized the performing arts and introduced him and his younger sister to the arts at an early age.

His initial dream was to be on Broadway, but, when he saw the Merce Cunningham Dance Company perform in Anchorage, he fell in love with that, too. “You couldn’t imagine two things more different. I loved them both.” He later joined the Mark Morris Dance Group in New York.

I asked the two Johns their ages. Heginbotham said he’s 52. Welker is 46. “Such a baby,” Heginbotham said, teasing, but both ages are considered old for a dancer.

Baryshnikov turned 75 this year, and Welker is inspired by the way he continues to be a creative force in the dance world. He embodies the fact that when you’re done dancing, you don’t have to give it up, Welker said. “You can still be part of the community and give back.”

Welker and Heginbotham will give back Sunday with their program at the Breman Museum. The museum says there will be some audience participation. “We want to give people insight into the art of shaping movement by tying it to John’s work as a choreographer and the way he creates,” Welker said. “We hope people walk away with more appreciation for the craft.”

And, of course, there will be plenty of stories about Misha. “He has inspired so many people,” Heginbotham said. “It will be nice to have the opportunity to celebrate him.”

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Gillian Anne Renault has been an ArtsATL contributor since 2012 and Senior Editor for Art+Design and Dance since 2021. She has covered dance for the Los Angeles Daily News, Herald Examiner and Ballet News and on radio stations such as KCRW, the NPR affiliate in Santa Monica, California. Many years ago, she was awarded an NEA Fellowship to attend American Dance Festival’s Dance Criticism program.