Transcript: Rex Harrington | Jan 16, 2000

(Rhythmic string and wind music plays)

In animation, a word in pink slides by against a gray background as hands paint strokes using paintbrushes, play a piano, and touch as in a ballet performance.

The title of the show reads “Dialogue.”

The title of the episode pops up against an image of Richard Ouzounian and a guest talking in a filming studio: “Rex Harrington. Dancer.”

Then, Richard appears facing the screen. He's in his late forties, clean-shaven, with short side-parted blond hair. He's wearing rounded glasses, a light gray suit, black shirt, and light gray tie.

He says WELCOME TO
DIALOGUE.
I'M RICHARD OUZOUNIAN.
THERE ARE PERFORMANCES ON
STAGE IN THEATRE, IN DANCE,
IN MUSIC THAT SO GRAB
YOUR IMAGINATION,
YOU WANT TO FIND MORE
ABOUT THE ARTIST
WHO BROUGHT
THEM TO YOU.
THAT HAPPENED TO ME WHEN
I SAW JAMES KUDELKA'S
THE FOUR SEASONS.
I WANTED TO LEARN ABOUT THE
MAN FROM
THE FOUR SEASONS.
AND THAT'S WHY YOU'RE
ABOUT TO HEAR A
DIALOGUE
WITH REX HARRINGTON.

Rex is in his late twenties, clean-shaven, with abundant wavy brown hair. He’s wearing a gray sweatshirt and pale blue sweatpants.

Richard continues REX, THANK YOU
FOR BEING HERE.
IT'S INTERESTING, YOU'VE HAD
ALREADY, AT YOUR YOUNG AGE,
A VERY WIDE AND
VARIED CAREER,
AND YOU'VE DONE A LOT OF
THE GREAT CLASSICAL PARTS.
BUT A LOT OF ATTENTION HAS
FOCUSSED ON THE WORK YOU DID
IN
THE FOUR SEASONS
IN
THE LAST COUPLE OF YEARS.
ON THE NATIONAL BALLET'S
LAST TRIP TO NEW YORK,
CLIVE BARNES SAID THAT YOU
WERE THE GREATEST ARTIST
IN THE COMPANY.
PHENOMENAL,
PHENOMENAL APPLAUSE.
FIRST OF ALL, WHAT DOES IT
FEEL LIKE TO GO THROUGH
THAT LIFE-TO-DEATH
JOURNEY IN THAT BALLET
EVERY TIME YOU DO IT?

Rex says IT'S EMOTIONALLY EXHAUSTING
AND PHYSICALLY EXHAUSTING.
I THINK WHEN WE WENT TO NEW
YORK, I THOUGHT, MY GOD,
THEY'RE GOING TO THINK
HE'S OVER THE HILL,
AND WHAT'S HE DOING HERE?
SO, I HAD THIS TREPIDATION
ABOUT EVEN GOING OUT THERE.
BUT I THINK EMOTIONALLY,
WORKING WITH JAMES,
I WOULD GO FOR THE
TOTAL ANGST OF IT ALL,
AND DEATH IS
VERY DRAMATIC.
AND HE WANTED ME TO DO IT
MORE LIKE BUSTER KEATON,
WHERE I FIGHT DEATH
AND IT'S FUNNY,
BUT WE ALL KEEP
STRUGGLING.
SO, FINDING THE JOURNEY, I
REMEMBER AFTER THE FIRST
SEASON WE DID IT IN TORONTO,
I DID GET TO THE WINGS
AND JUST FALL IN A HEAP,
MUMBLING INCOHERENTLY
AND BARELY ABLE
TO GET BACK OUT,
BECAUSE I WAS SO
TIRED AND DRAINED.

Richard says HOW DID YOU FIRST
HEAR ABOUT IT,
IF YOU CAN HARKEN
BACK TO IT?
YOU OBVIOUSLY KNEW THE
NATIONAL BALLET - JAMES WAS
GOING TO DO THIS BALLET, AND
IT WAS GOING TO BE BASED ON
THE FOUR SEASONS.
WHEN DID YOU FIND OUT
YOUR PART AND WHAT
IT WAS GOING TO INVOLVE?

Rex says WORKING WITH JAMES, HE
NEVER REALLY LETS YOU KNOW
WHAT'S GOING ON.
SO, YOU JUST GET OUT THERE,
HE GIVES YOU THE STEPS,
AND YOU TRY TO INTERPRET.
AND HE'LL LET YOU KNOW IF
YOU'RE GOING SOMEWHERE WHERE
HE DOESN'T WANT, AND THAT'S
SOMETHING THAT WE REALLY FOUND.
I HAVE A TENDENCY SOMETIMES
TO BE OVERLY DRAMATIC AND
A LITTLE TOO INTENSE, AND HE
WANTED IT TO BE A FINE LINE
OF JUST LETTING THE
CHOREOGRAPHY SPEAK
FOR ITSELF AND NOT
PUSHING THINGS.
HE SAID IT WAS ALMOST TOO
PAINFUL EMOTIONALLY HOW
I WAS INTERPRETING IT, BUT
I FELT I HAD TO PUNCH
EVERYTHING AND
GET THAT ACROSS,
BECAUSE I WAS
FEELING IT ONSTAGE.
BUT OFTEN TIME IN ACTING,
YOU HAVE TO NOT FEEL IT
TO LET THE AUDIENCE FEEL IT;
THERE'S THAT DUALITY
BETWEEN THE ROLE.

Richard says IN
THE FOUR SEASONS,
THERE IS A CERTAIN AMOUNT
OF LOVE AND HAPPINESS BEFORE
THE LOSS AND THE DEATH.
NOW, YOU'RE GIVING ME
ALL THE LOSS AND
THE DEATH RIGHT AWAY.
WHAT ABOUT THE LOVE,
HAPPINESS PART?
DIDN'T THAT MAKE A
STRONG IMPRESSION?

Rex says THERE'S A BIT OF THAT, BUT
IT'S EASIER TO PORTRAY
THE ANGST, I THINK.
IT'S EASIER TO GO ONSTAGE
AND SMILE AND JUMP AROUND
AND LET IT GO.
THERE'S A LOT OF
HUMOUR IN THE BALLET,
AND TONGUE-IN-CHEEK MOMENTS
WHERE THE GIRLS START DOING
THE TWIST, AND HE'S USED THE
OLD PEOPLE IN THE COMPANY
AS A HARBINGER OF
THINGS TO COME.
SO, THERE'S A REAL SPECTRUM
THROUGHOUT THE BALLET
THAT'S GOING ON.
ALSO, HE SAID THE JOURNEY IS
THAT YOU GO THROUGH LIFE;
YOU DON'T REALLY CONNECT
WITH ANYONE, WHICH THE
PAS DES DEUX IS THE SPRING
COMES ON AND FALL AND WINTER.
YOU NEVER REALLY CONNECT
WITH ANYONE, AND ULTIMATELY,
YOU COME INTO THIS WORLD
ALONE AND YOU GO OUT ALONE.
AND I THINK THAT
WATCHING IT,
THE VERY END OF THE
BALLET I THINK TAKES
PEOPLE BY SURPRISE.
AND DEPENDING ON THE NIGHT,
I EITHER HIT IT OR I DON'T.

Richard says IT'S INTERESTING, DESPITE
YOUR SELF-DEPRECATING
COMMENTS ABOUT BEING OVER
THE HILL AND EVERYTHING,
BECAUSE SUCH A YOUNG MAN
DIES ONSTAGE IN THE BALLET,
A LOT OF PEOPLE FELT
THAT THERE HAD TO BE
AN AIDS SUBTEXT
TO THE BALLET.
WAS THAT EVER MENTIONED,
OR DID YOU EVER PLAY IT?

Rex says NO, FIRST TIME
I'VE HEARD THAT.

Richard says NO ONE EVER FELT THAT, THAT
IT WAS A YOUNG MAN BEING
KNOCKED DOWN IN HIS
PRIME, IN EFFECT?

Rex says NO.

Richard says SO, YOU DON'T FEEL YOU'RE
A YOUNG MAN BEING...?

Rex says WELL, IN THIS CAREER, YOU CAN
BE KNOCKED DOWN IN YOUR
PRIME BECAUSE
BALLET'S ABOUT YOUTH,
AND I DON'T THINK I COULD
HAVE DONE THIS ROLE
10 YEARS AGO.
AND EVEN WHEN I DID ONEGIN,
AND ROLES LIKE THAT THAT
REQUIRED A CERTAIN
AMOUNT OF MATURITY,
YOU HAVE TO HAVE LIVED A
LIFE IN ORDER TO PORTRAY IT.
MOST MALE DANCERS MY AGE NOW
ARE RETIRING, AND I'M ONLY,
I THINK, RIGHT NOW WITH THE
ROLES THAT I'M DEVELOPING
LIKE
FOUR SEASONS
AND
ROTHBART IN
SWAN LAKE
AND BEING GIVEN THESE
NEW CHALLENGES,
IT'S ALMOST LIKE KAREN KAIN,
WHERE SHE SLOWLY STEPPED
BACK FROM THE CLASSICS AND
TOOK ON THESE OTHER ROLES,
WHICH I AM FINDING FAR MORE
FASCINATING TO WORK ON
BECAUSE THEY HAVE A MUCH
MORE HUMAN CONTEXT.
WHEN I STARTED WORKING WITH
KAREN WHEN SHE WAS MY AGE NOW
AND I WAS THIS LITTLE
UPSTART THAT THOUGHT I KNEW
EVERYTHING, AND NOW I GET
THERE AND I'M LOOKING
AT PEOPLE YOUNGER
GOING, JUST YOU WAIT.
THAT'S WHY IN TERMS OF
AGE, I THINK THAT NOW
IS A REALLY GOOD TIME TO
BE DOING THESE ROLES.

Richard says THIS LITTLE UPSTART
YOU TALK ABOUT,
IT'S INTERESTING, THE
OFFICIAL STORY - IT'S GREAT,
IT'S LIKE FILLING IN THE
GAPS WITH YOU AND KAREN -
EVERYBODY'S LIFE, ACCORDING
TO THE NATIONAL BALLET,
BEGINS WITH THE
TIME THEY WERE BORN,
AND THEN THEY GO RIGHT TO
THE NATIONAL BALLET SCHOOL.
IN BETWEEN THAT BIRTH
CERTIFICATE IN PETERBOROUGH,
I THINK IT WAS FOR YOU,
WHAT KIND OF HOME DID
REX HARRINGTON GROW UP IN
AND WHEN DID HE FIRST BECOME
AWARE THAT PEOPLE COULD
DANCE FOR A LIVING?

Rex says IT'LL ALL BE IN MY
BOOK,
BEHIND THE TUTU:
CONFESSIONS OF
A GUY IN TIGHTS.

Richard laughs out loud.

A caption appears on screen. It reads “Rex Harrington. Dancer.”

Rex continues I'M GOING TO
WRITE THIS BOOK.
I STARTED AT 14, AND THAT
WAS TOTALLY MY MOTHER'S IDEA.
I WASN'T ONE OF THOSE
PEOPLE THAT SAID,
I WENT AND SAW
NUTCRACKER
AND HAD A REVELATION.
I DIDN'T KNOW
ANYTHING ABOUT DANCE.

Richard says WHAT DID YOU
LIKE UP 'TIL THEN?
WHAT KIND OF
KID WERE YOU?

Rex says I WAS VERY SHY
AND INTROVERTED,
AND I HAD THIS BIG HEAD
FOR THIS LITTLE TINY BODY,
AND THIS HAIRCUT LIKE THIS,
AND SAT IN THE CORNER.
I REMEMBER IN SCHOOL,
THEY WERE LIKE,
WHO'S THAT GUY
SITTING IN THE CORNER?
I WAS TOTALLY THE ANTITHESIS
OF WHAT I AM NOW,
LIKE TOTALLY JUST FREE AND
OUT THERE AND CRAZY
AND I LOVE TO MAKE
PEOPLE LAUGH.
I GREW UP IN A VERY SORT OF
DYSFUNCTION - THERE'S
THAT WORD - FAMILY.
MY PARENTS WERE DIVORCED
AND THE COURT BATTLES
AND BACK AND FORTH
AND BACK AND FORTH.
AND MY MOTHER WAS CLINICALLY
PARANOID SCHIZOPHRENIC,
A LITTLE BIT TWISTED, AND
I ALWAYS JUST THOUGHT
SHE WAS VERY INTERESTING.
SO, A LOT OF MY
WORLD CAME FROM THAT,
AND I SPENT YEARS THINKING
THAT IN ORDER
TO BE AN ARTIST, YOU HAVE
TO COME FROM PAIN AND
ALL THAT SORT OF THING.
AND I THINK THAT THAT
WAS THE CATALYST,
IF YOU TALK TO ANYONE
WHO'S A GREAT ARTIST,
OR EVEN OPRAH WINFREY AND
ALL THESE PEOPLE WHO'VE
SUCCEEDED, IT'S THAT NEED TO
SUCCEED COMES FROM THINKING...
I ALWAYS THINK IF YOU GREW
UP IN ROSEDALE AND HAD THE
PERFECT FAMILY, AND I KNOW
THERE'S PROBLEMS IN THOSE
FAMILIES TOO, BUT SOMEHOW
I WOULDN'T BE WHERE I AM.
AND I WOULDN'T CHANGE IT.
I OWE MY MOTHER EVERYTHING,
BUT THE SAD PART
OF THAT STORY IS SHE HAS
NEVER SEEN MY CAREER.
SO, THERE YA GO, FROM BIRTH
CERTIFICATE TO THE COMPANY.

Richard says BIRTH CERTIFICATE
TO THE COMPANY.
BUT WHAT MADE HER...
THERE MUST HAVE BEEN
SOMETHING IN YOU THAT MADE
HER SAY, TAKE THAT
BOY AND PUT HIM IN DANCE.

Rex says SHE JUST THOUGHT THAT
I NEEDED AN OUTLET
AND THAT I WAS
VERY SENSITIVE.
BUT ON THE OTHER HAND,
MY FATHER SENT ME OFF
TO APPLEBY COLLEGE, AND I WAS
PLAYING RUGBY AND BEING
ATTACKED ON THE FIELD, AND
THROWING ME THE BALLS LIKE -
THIS LITTLE KID
GETS SQUISHED.
BUT I WAS ON THE SOCCER TEAM
AND I WAS IN GYMNASTICS.
AND I THINK I WAS ALWAYS
VERY ATHLETIC AND
VERY SORT OF EMOTIONAL.
AND WHEN I AUDITIONED
FOR THE SCHOOL,
I WAS THE ONLY BOY.
I STARTED IN VANCOUVER; AND
I WENT DOWN TO THE STUDIO
AND THEY STRETCHED ME
AND LIFTED MY LEGS
AND I HAD NO TRAINING.
I TOOK A FEW CLASSES
WITH KAY ARMSTRONG.
AND THEY SAID,
DO A PIROUETTE.
AND I WAS LIKE, WHAT
THE HELL IS THAT?
TENDU-WHAT?
AND I'M STILL WONDERING WHAT
PIROUETTES ARE TO THIS DAY.
TECHNIQUE IS NOT
SOMETHING THAT I ENJOY.
BUT THEY ACCEPTED ME, AND
I WENT INTO THE SCHOOL.
AND THERE'S ANOTHER
STORY THERE,
IN THAT MY MOTHER LIED AND
SAID THAT SHE WAS MOVING
TO TORONTO TOO, SO I
COULD BE A DAY STUDENT,
BECAUSE THEY COULDN'T
GET ME INTO RESIDENCE.
AND I ENDED UP LIVING IN
HIGH PARK IN A BOARDING
HOUSE WITH AN ENGLISH COUPLE
AND COLLEGE STUDENTS.

Richard says AT THE AGE OF 14.

Rex says GOING HOME ON THE SUBWAY AT
TWO O'CLOCK IN THE MORNING,
AND THEY FOUND OUT HALFWAY
THROUGH THE YEAR
AND FINALLY ACCEPTED
ME INTO THE SCHOOL.
SO, IT WAS ALL VERY...
YOU CAN LOOK AT
IT EITHER WAY,
TRAUMATIC OR
INTERESTING.

Richard says WELL, IT CAN BE BOTH.
IF YOU START OUT...
WERE YOU AWARE BY THE TIME
YOU GOT TO THE SCHOOL
OF YOUR MOTHER'S
MENTAL CONDITION?

Rex says NO, IT WASN'T
UNTIL RECENTLY,
I THINK ABOUT EIGHT
OR NINE YEARS AGO.
I THINK IT JUST FLARED, AND
I THINK SHE HAD AN EPISODE
WHERE SHE WENT TO
LIVE ON THE STREETS.
AND I HADN'T SEEN
HER, AND I FOUND HER,
AND I HAD TO PUT
HER IN HOSPITAL.
AND SINCE THEN, SHE CAME
OUT AND SHE WAS FINE,
BUT WITH ALL SORTS
OF SCHIZOPHRENICS
THEY DON'T TAKE MEDICATION.
AND I DON'T KNOW WHERE
SHE IS RIGHT NOW.
I'M HOPING THAT
SHE'S IN VANCOUVER,
I THINK LIVING WITH MY...
I HAVE A HALF-BROTHER.
BUT I DON'T KNOW, AND
THAT'S MY BIG TRAGEDY.
IT'S LIKE THAT
MOVIE
STELLA
OR WHATEVER, WHEN SHE'S
LOOKING OUT THE WINDOW.
I THINK, IS SHE OUT
THERE IN THE AUDIENCE?
BUT I'VE NEVER BEEN
ABLE TO LET HER KNOW WHO
I AM, AND THIS WAS HER BIG
DREAM, IN ONE SENSE;
IT WASN'T MINE.
SHE HAD THIS LIBERACE
FANTASY WHERE HE WOULD SIT
HIS MOTHER IN THE FRONT
ROW IN THE FUR AND GO,
THERE'S MY MOTHER,
PUT THE SPOTLIGHT!
BUT IT NEVER HAPPENED
BECAUSE SHE ONLY SAW ME
IN THE QUARTER BALLET.

Richard says REALLY, BUT SHE AT
LEAST SAW THAT MUCH.
SO, SHE SAW THE
BEGINNING OF YOUR CAREER.
SO, YOU'RE 14
AND YOU'RE IN
THE NATIONAL BALLET
SCHOOL, WHICH...
IT'S AMAZING, EVERYBODY I
EVER TALKED TO WHO WENT
THERE HAS A DIFFERENT STORY.
IF YOU MENTION IT
TO Mr. KUDELKA,
YOU KIND OF GET LOWERED
LIDS AND HE TALKS ABOUT
THE WOUNDED CHILD
WITHIN ME.
KAREN SAYS IT WAS
RIGOROUS, BUT NOT UNFAIR.
WHAT DID YOU
FIND IT TO BE?

Rex says I THINK IT'S INCREDIBLY
UNFAIR, IN A SENSE,
THAT YOU'RE A SMALL KID
AND YOU'RE BEING
CONSTANTLY CRITICIZED.
I MEAN, THE WHOLE PROCESS OF
CREATING TOP ATHLETES OR
TOP DANCERS ISN'T FAIR, AND
THERE'S A LOT OF REJECTION
AT A YOUNG AGE, AND THERE'S
A LOT OF SEPARATION FROM
YOUR FAMILY WHEN YOU
GO TO THAT ENVIRONMENT.
AND I ACTUALLY WASN'T
ACCEPTED INTO THE SCHOOL
BASED ON AN INTERVIEW
WITH A PSYCHIATRIST;
BETTY'S BIG THING AT THE TIME
WAS PSYCHIATRIC FOR KIDS.
AND I, OF COURSE, HAD
JUST RUN AWAY FROM HOME,
SO THAT'S ALL I TALKED
ABOUT WAS MY FATHER.
AND MEANWHILE, I'VE
COME FROM VANCOUVER
WHERE I RAN AWAY, BACK TO
TORONTO, AND THEY SAID,
WE CAN'T ACCEPT HIM.
SO, MY MOTHER
SENT A LETTER.
SEE, IT ALL HINGED
ON HER SAYING,
RUDOLF NUREYEV HAS GOT
PROBLEMS AND GREAT ARTISTS
HAVE PROBLEMS;
DON'T ADD TO THEM.
LET HIM DANCE IF
HE HAS TALENT.
AND BASED ON THAT,
THEY ACCEPTED ME,
AND THEN I EVENTUALLY
GOT INTO THE SCHOOL.
BUT I THINK GROWING
UP IN THE SCHOOL,
I WAS VERY MUCH...
IT WAS LONELY AT
TIMES, I FELT,
AND BEING IN RESIDENCE AND
BEING AWAY FROM YOUR...
SO, I THINK I BASICALLY
BROUGHT MYSELF UP,
IN A SENSE, BUT I HAD
WONDERFUL PEOPLE
LIKE LIZ GUY AND
DEBBIE BOWES.
THEY'RE STILL
TEACHING.
DEBBIE BOWES WOULD TAKE ME
HOME ON EASTERN WEEKENDS AND
GIVE ME THE VITAMINS BECAUSE
MY EYES WERE DOWN TO HERE,
AND WONDERING WHETHER
I WAS BEING CARED FOR.

Richard says WHAT ABOUT JUST PHYSICALLY,
BECAUSE 14 IS AWFUL LATE
TO BRING A YOUNG
MALE BODY AND SAY,
MAKE THIS BODY
A DANCER?

Rex says I WAS ALREADY A GYMNAST, I
WAS ALREADY VERY ATHLETIC.
I CERTAINLY WASN'T AS
STRONG AS I AM NOW.
I GREW INTO MY HEAD, SO TO
SPEAK; MY BODY FILLED OUT.
I WAS THIS LITTLE
TWIG IN THE SCHOOL;
THE PICTURES
ARE HYSTERICAL.
AND I REMEMBER, EVEN SERGE,
WHO'S TEACHING ME NOW,
I'VE KNOWN HIM
FOR LIKE 25 YEARS.
HE WOULD PULL ME OUT
OF THE PAS DES DEUX WORK
AND SAY, THIS IS
SUPERMAN, HE'S INCREDIBLE.
AND THAT WAS MY FORTE, WAS
PARTNERING AND LIFTING
AND THAT ASPECT OF IT.
AND THAT'S WHAT I
REALLY CONNECTED WITH,
WAS A PARTNER.
I THINK THAT'S WHAT, WHEN I
FIRST JOINED THE COMPANY,
ROSS PETTY TELLS THE STORY
OF HE WENT TO THE SCHOOL
SHOW AND SAID TO
KAREN ONE NIGHT,
HAVE I GOT A
PARTNER FOR YOU.
AND I CAME OUT OF THE
SCHOOL, AND LO AND BEHOLD,
HISTORY WAS MADE
IN THAT SENSE,
THAT I MADE MY
CAREER WITH KAREN.

Richard says YOU HAD NO VISION OF
BALLET BEFORE YOU CAME
TO THE SCHOOL, SO WHAT
I'M CURIOUS ABOUT -
I'M TRYING TO GET MY HEAD
AROUND THIS TEENAGER,
WHO HAD BEEN TO APPLEBY,
HAD DONE RUGBY.
AND SUDDENLY, HE'S BEING
PLUNGED INTO THIS BALLET WORLD.
WHAT IF IT TURNED OUT IF
YOU EVEN HATED BALLET?

Rex says IT TOOK ME MANY YEARS TO
UNDERSTAND WHAT I WAS DOING
AND TO REALIZE, THIS IS
WHAT I WAS MEANT TO DO.
I JUST THINK, THIS IS
IT; THIS IS WHERE
I WAS MEANT TO BE.
AND IT TOOK ME
A LONG TIME.
I ACTUALLY DID ENTER THERAPY
THINKING THAT I WOULDN'T
DEAL WITH MY MOTHER
AND ALL THAT STUFF,
BUT IT WAS HAVING OTHER
CONSEQUENCES IN MY LIFE,
IN MY RELATIONSHIPS, AND
HOW I DEALT WITH PEOPLE
AND ALL THAT
SORT OF THING.
AND I THOUGHT, I DON'T WANT
TO TOUCH THE PAIN BECAUSE
THEN I WON'T BE AN ARTIST.
BUT I REALIZED THAT ONLY
THROUGH DEALING WITH
THOSE THINGS THAT
I'VE GOTTEN BETTER,
AND IT'S HELPED ME
BECOME A BETTER ARTIST,
TO LOOK AT WHAT
CREATED ME, IN A SENSE.

Richard says ADOLESCENCE:
TOUGH FOR ANYBODY.
YOU'RE COMING FROM
A BROKEN FAMILY,
YOU'RE IN THE NATIONAL
BALLET SCHOOL.
WHAT ABOUT PERSONAL
RELATIONSHIPS?
AS YOU'RE GROWING UP AND
YOU'RE STARTING TO SAY,
OKAY, HERE I AM, THIS IS THE
KIND OF GUY I'M GOING TO BE,
WHAT I'M GOING TO DO.
WHAT DOES THE NATIONAL
BALLET SCHOOL DO TO THAT,
IN TERMS OF YOUR
NORMAL PHYSICAL
AND ROMANTIC IMPULSES?

Rex says GOD, IT TOOK ME 'TIL I WAS
20 YEARS OLD TO BE WITH ANYBODY.
I THINK THAT NOWADAYS,
THEY'RE SO SUPPORTIVE
ON BOTH SIDES OF THE
FENCE, AND I KNOW THAT
MAVIS IS REALLY...
IT'S TURNED 100 DEGREES
SINCE I WAS IN THE SCHOOL.
WHEN I WAS FIRST THERE, THE
GIRLS WERE OVER IN RESIDENCE
THERE, AND WE WERE OVER
HERE, AND YOU COULDN'T MIX.
AND THEY PUT ALARMS ON THE
DOORS AFTER THEY BUILT
THE NEW REZ PAST NIGHT.
AND WE WERE SNEAKING OUT; WE
WERE DOING ALL SORTS OF STUFF.
SO, WE WERE ABLE
TO HAVE NATURAL,
NORMAL KIND OF
REBELLIOUS CHILDHOOD.
BUT THERE'S ALL SORTS OF
THINGS WHERE YOU THINK THAT,
THERE WERE ALCOHOLICS WHO
WERE HOUSE MOTHERS AND
ALL THESE THINGS YOU FIND OUT
LATER, AND YOU'RE GOING...

Richard says BUT YOU DIDN'T KNOW IT AT THE TIME.

Rex says NO, BUT IT'S
ALL VERY STRANGE.
BUT I THINK BEING
A YOUNG KID,
YOU'RE SURROUNDED BY
KIDS WHO ARE TALENTED
AND EXCEPTIONAL.
SO, THERE WAS NEVER AN
ASPECT OF I'M A GUY DOING
BALLET AND WORRYING ABOUT
THAT SORT OF THING,
AND WHERE DO I FIT IN?
WE HAD NINE OR TEN
OF US IN A CLASS,
SO YOU GOT GREAT
SCHOOLING ACADEMICALLY,
AND YOU GOT
GREAT ATTENTION.
AND I THINK THAT WAS
SOMETHING THAT I REALLY
NEEDED, AND IT ALMOST
PROBABLY KEPT ME ALIVE,
IN ONE SENSE, TO HAVE
THAT SUPPORT AND THAT
KIND OF A FAMILY.
BECAUSE I WOULD GO HOME
AT SUMMER AND CHRISTMAS,
AND MY MOTHER, AND I LOOK
BACK NOW AND I THINK,
I THOUGHT THAT
WAS NORMAL?
THE THINGS THAT I LIVED
THROUGH WERE PRETTY
HORRENDOUS,
IN ONE SENSE.

Richard says I'M CURIOUS, BECAUSE YOU
SAID YOU WOULD GO BACK HOME
INTO THESE WEIRD SITUATIONS,
BUT YOU NEVER THOUGHT
THERE WAS SEVERE PROBLEMS.
YOU THOUGHT THAT
WAS NORMAL.

Rex says I WAS BROUGHT UP IN ALMOST
MY MOTHER'S UNREALITY,
AND IT WAS ALMOST...
THE STRANGE THING FOR ME
WAS GOING TO A SCHOOL
WHERE EVERYONE WAS VERY
WEALTHY, WHICH I WAS NOT,
WHO WAS ON BURSARIES,
WHICH I WAS NOT.
AND THIS JUXTAPOSITION
BETWEEN GOING TO THE BALLET
AND GETTING ON THE
BUS IN MY UNIFORM,
AND THEN GOING HOME AND
GOING HOME TO POVERTY
AND SORT OF MADNESS AND SORT
OF TAKING CARE OF MY MOTHER.
SHE HAD ANOTHER SON
WITH A DIFFERENT FATHER,
SO I WAS ALMOST A
PARENT BEFORE MY TIME.

Richard says WHEN YOU HAVE BEEN ABLE TO GO
INTO SOME OF THE GREAT ROLES,
I'VE ALWAYS FELT ONE OF
THE THINGS THAT WAS
FASCINATING, LIKE IN
ONEGIN
IN PARTICULAR,
THERE'S SOMETHING LIKE
POSITIVELY 19TH CENTURY
ABOUT THIS MAN.
AND THE GREAT ROMANTIC
SENSE, AND IT WAS LIKE,
YOU'RE NOT BRINGING
CONTEMPORARY MINDSET
ONTO THE STAGE - WHICH
IS WHY IT WORKS;
IT'S A WHOLE
OTHER WORLD.
DID YOU MAYBE GET
SOME OF THAT AT HOME?
WERE YOU ENCOURAGED
TO DEVELOP AND LIVE
IN ANOTHER
FANTASY WORLD?

Rex says I THINK I CREATED
MY OWN REALITY,
AND I ONLY REALIZE
NOW, AS AN ADULT,
THAT WHAT I GREW UP
WITH WAS NOT NORMAL.
AND I THINK GOING INTO
ROLES LIKE ONEGIN AND THAT
SORT OF THING THAT ULTIMATELY,
ME BEING ONSTAGE IS COMING
FROM A PLACE THAT I DON'T
EVEN KNOW WHERE IT HAPPENS.
AND IT'S FROM WHO I WAS
GROWING UP AND A LOT OF
THE PAIN AND A
LOT OF THAT.
I DON'T KNOW IF THERE
WAS GREAT JOY, BUT...
AND FINDING IN ONEGIN,
THERE HAS TO BE A REASON
FOR THE AUDIENCE TO
LOOK AT HIM AND REALIZE
THAT HE'S NOT JUST COLD.
IT ALMOST IS WHO
I AM, IN A SENSE.
THERE'S A GOOD
PERSON UNDER THERE,
BUT EVERYONE HAS THEIR
OWN PERCEPTION BASED ON
WHAT HE GIVES OUT.
AND I'VE ALTERED
HIM OVER THE YEARS,
IN THE SENSE THAT I
USED TO FREEZE HIM OUT,
AND I THINK PEOPLE COULDN'T
UNDERSTAND WHY TATYANA
WOULD WANT TO
BE WITH HIM.
AND WHEN I WENT TO
STUTTGART TO DO THAT ROLE,
WHERE IT WAS CREATED
ON MARCIE AND RICKY
AND I HAD ALL
THOSE COACHES.
IT WAS A BIG DEAL FOR ME,
AND I LISTENED TO THEM AND
THEY SAID, YOU HAVE TO MAKE
HIM A LITTLE MORE HUMAN
FOR HER TO WANT TO
FALL FOR HIM.
AND I REALIZED THAT HE'S
A GENTLEMAN AND
HE'S STILL VERY MUCH...
A LIKEABLE CHARACTER,
BUT, LIKE MOST PEOPLE,
WE REALLY DON'T KNOW
WHAT MAKES HIM TICK
AND WHAT'S GOING ON.
AND I HAD TO
SHOW BOTH SIDES.
AND THAT JUST COMES
WITH AGE, I THINK.

Richard says IT'S INTERESTING, BECAUSE
YOU'RE TALKING ABOUT
A REALLY MATURE AND
COMPLEX ARTIST'S VIEW
OF HOW HE APPROACHES
HIS WORK.
BUT WHEN YOU WERE A KID,
WHEN DID THE NATIONAL BALLET
STOP BEING, OH, HERE'S WHERE
I'M SAFE, AND BECOMING,
HERE'S WHAT I WANT TO DO.
DO YOU RECALL A MOMENT
WHEN YOU CROSSED THE LINE?

Rex says GOD, I MEAN, NOT UNTIL
MAYBE 10 YEARS AGO
AND HALFWAY THROUGH MY
CAREER THAT I REALIZED
WHAT I WAS DOING AND
WHY I WAS DOING IT.
I KNEW I WAS DOING IT.

Richard says THEN WHY'D YOU STAY?

Rex says JUST BECAUSE THAT'S
WHERE I WAS PUT.
WHAT CHOICE DID I
HAVE, IN A SENSE?
THAT WAS MY DESTINY,
MY MOTHER'S IDEA
OF WHAT I SHOULD BE DOING.
AND IF I HADN'T HAVE RUN
AWAY FROM MY FATHER,
I WOULD BE AT APPLEBY
COLLEGE TO THIS DAY.
I'D BE A LAWYER OR I'D BE
IN A MENTAL INSTITUTION
RIGHT NOW, YOU KNOW?

Richard says OR BOTH.

Rex says OR BOTH, YEAH.

Richard says SO, WITH THE DANCE, WAS
THERE EVER A POINT-
LET'S FIND THE POINT WHERE YOU
STARTED TO FIND YOURSELF.

Rex says I THINK ONCE I STARTED
WORKING WITH ARTISTS
LIKE EVELYN HART AND KAREN
AND BEING EXPOSED AND
BEING ABLE TO TRAVEL THE
WORLD AND REALIZED THAT,
HEY, YOU'VE GOT
IT PRETTY GOOD.
NOW, THE DOWNSIDE OF THIS
CAREER IS THAT IT ENDS SOON
AND YOU DON'T MAKE A LOT OF
MONEY UNLESS THERE'S SOME
OF US WHO CAN GUEST,
AND THAT HELPS.
BUT LIKE AN ATHLETE, WE
RETIRE AT THE SAME AGE,
BUT THEY'VE GOT THE
MILLIONS OF DOLLARS.

Richard says WHEN IT STARTED
GETTING COMFORTABLE,
WHEN DID YOU
START TO...

Rex says I JUST THINK ONCE I REALLY
UNDERSTOOD THAT THERE'S
SO MANY LEVELS THAT YOU CAN
FIND IN A PERFORMANCE,
AND THAT ARE CATHARTIC,
AND WHEN YOU MEET
YOUR PARTNER
ONSTAGE, IT'S MAGIC.
IT'S LIKE A PLACE THAT MOST
PEOPLE DON'T GET TO GO,
AND I'VE ALWAYS SAID I
LIVE MY LIFE ONSTAGE.
I'M VERY COMFORTABLE OUT
IN FRONT OF 3,000 PEOPLE.
BUT ONE ON ONE,
IT'S IMPOSSIBLE,
BUT THAT'S FROM
WHAT I GREW UP WITH.
I DIDN'T KNOW WHAT NORMAL
WAS; I DIDN'T KNOW.
SO, TO EXPRESS MYSELF
AND NOT BE JUDGED AND
TO BE OUT THERE AND CONNECT
ON A REALLY HUMAN EMOTIONAL
LEVEL, IN FRONT OF 3,000
PEOPLE, ODDLY ENOUGH.

Richard says ONE OF THE THINGS, YOU SAID
YOU LIKED TO PARTNER
AND YOU'RE A GOOD PARTNER.
AND ONE OF THE THINGS
THAT'S ALWAYS BEEN A COMMON
DENOMINATOR IN YOUR CAREER
IS THAT YOU TEND TO TAKE
PEOPLE AND BRING OUT
THE BEST IN THEM,
OR YOU BRING NEW
SIDES OF THEM OUT.

Rex says OR THEY'VE BROUGHT
IT OUT OF ME.
CERTAINLY, KAREN AND EVELYN
GREATLY TAUGHT ME ABOUT MUSIC
AND PHRASING AND
LOOKING AT SOMEONE AND
REALIZING THE DEPTH AND
ALMOST THAT IT'S PAINFUL
TO LOOK, BECAUSE
IT'S SO REAL.
AND I TRY TO BRING THAT
NOW WORKING WITH JENNIFER
FOURNIER, WORKING WITH
THE YOUNGER ARTISTS.
TRY TO HELP THEM UNDERSTAND
WHAT THE MOTIVATION IS,
BECAUSE I THINK IN ORDER FOR
THIS ARTFORM TO SURVIVE,
PEOPLE HAVE TO
START GOING BACK TO,
NOT THE STEPS AND
NOT THE TECHNIQUE,
BECAUSE THERE'S SO MANY
GOOD DANCERS NOWADAYS
THAT CAN CRANK IT
OUT AND DO IT.
BUT IT'S LIKE, WHEN YOU'RE
WATCHING FIGURE SKATING,
THERE'S ELVIS STOJKO, WHO I
THINK IS A GREAT TECHNICIAN
BUT HIS ARTISTRY,
FOR ME, LACKS.
I'D RATHER WATCH KURT
BROWNING, WHO COMBINES BOTH,
OR LITTLE RUSSIAN GUYS
WHO HAVE THE LINE
AND THE TECHNIQUE
AND THE ARTISTRY.
BUT I THINK WHAT
AN AUDIENCE, ULTIMATELY...
THEY WILL BE
THRILLED BY TECHNIQUE FOR
A MOMENT, BUT THEY'LL
TAKE HOME A FULL,
ROUNDED PICTURE OF
AN EMOTIONAL STORY.
IN ORDER FOR US TO
MAKE THIS SURVIVE,
WE HAVE TO GET PEOPLE
UNDERSTANDING THAT,
THOSE PERFORMANCES.

Richard says WHEN YOU BUILD ONE OF THOSE
PERFORMANCES WITH A PARTNER,
AND YOU DON'T HAVE HISTORY,
LIKE THE FIRST TIME YOU
WORKED WITH EVELYN HART,
HOW DO YOU GO ABOUT
BUILDING THAT RELATIONSHIP?

Rex says I JUST THOUGHT I KNEW IT
ALL, AND SHE WAS LIKE,
YOU DON'T SQUAT.
BUT WE CONNECTED INSTANTLY
ON AN EMOTIONAL LEVEL,
AND FROM THEN,
OVER 10 YEARS,
WE CAN GET TOGETHER AND
THERE'S SOME THINGS -
WE CAN DO NEW AGE NOW
IN 15 MINUTES OF
REHEARSAL AND WE PUT
IN ONSTAGE, BECAUSE
WE'RE SO CONNECTED.
AND WE ONLY SEE EACH
OTHER OFF AND ON.

Richard says YOU DON'T STAY
IN TOUCH...

Rex says WE DO A BIT, BUT I THINK
IT'S MORE DIFFICULT.
I THINK THAT THE REAL
CONNECTION COMES FROM...
JUST ALL THE BARRIERS GO
DOWN WHEN YOU'RE ON STAGE.

Richard says WHAT ABOUT FOR YOU, IS IT
MORE COMFORTING FOR YOU
TO PLAY A CHARACTER
IN A STORY BALLET,
WITH A BEGINNING AND
A MIDDLE AND AN END?

Rex says I'VE ALWAYS ENJOYED
THOSE MORE, IN A SENSE,
THAT THE FLORINES OF
SLEEPING BEAUTY
AND
THE NUTCRACKERS...
NOW WITH JAMES'S
NUTCRACKER
AND HE CREATED
IT ON ME - THERE WAS
A REAL JOY IN CREATING THAT
CHARACTER AND BEING ONSTAGE
AND BEING A CHILD AND
WORKING WITH THE CHILDREN
AND ALL THAT SORT OF
THING, THAT SEEMED
TO COME NATURALLY TO ME
BECAUSE IT WAS LIKE,
I WAS WORKING WITH
WHAT I DIDN'T HAVE.
AND THESE CHILDREN,
HE HAD ALL THESE
LITTLE DYSFUNCTIONAL
FAMILIES COMING ON,
THESE FUNNY FAMILIES,
AND I WAS LIKE
THE SAVIOUR OF
THE CHILDREN.
AND THAT ALL COMES
FROM HIS PLACE,
WHICH WE KNOW IS
A LITTLE TWISTED.
BUT I DON'T KNOW, I DO
ENJOY THE CHARACTERS.

Richard says WHAT ABOUT PETRUCHIO?
AGAIN, A GREAT PERFORMANCE,
BUT AGAIN VERY DIFFERENT:
MORE EXTROVERTED,
MORE SWASHBUCKLING.
IT'S FUNNY, A LOT OF
PEOPLE THINK OF YOU
AS THE SWASHBUCKLER
DANCER.

Rex says BUT ULTIMATELY, I THINK
PETRUCHIO HAS TO COME FROM
A PLACE OF LOVE AND RESPECT,
NOT JUST MISOGYNY AND BASHING.
THERE HAS TO BE A REASON
LIKE ONEGIN FOR THEM
TO LIKE HIM, AND IT'S
ALL GOOD NATURED TEASING.
BUT I NEVER PERFORMED
THAT ROLE LIKE, ANGRY.
AND I DON'T KNOW, SOMEHOW
I FEEL MOST COMFORTABLE
MAKING AN AUDIENCE LAUGH,
OR GOING FOR THAT ASPECT.
AND THAT'S WHY I DO THIS,
AND I THINK WHEN I STOP
DOING THIS, I'D LIKE TO ACT
OR I'D LIKE TO BE IN
THE THEATRE, AND I'M LOOKING
INTO THAT ASPECT OF MOVING ON.

Richard says ONE OF THE THINGS YOU GET
TO DO IN BALLET THAT YOU DON'T
GET TO DO IN THEATRE...
IN CANADA, AT LEAST,
OR IN NORTH AMERICA - IS
RECREATE A ROLE AND
REVISIT IT, AND
COME BACK TO IT.
AND SOMETHING LIKE
THE FOUR SEASONS,
WHICH JAMES CREATED ON
YOU A COUPLE OF YEARS AGO,
AND THEN YOU GET TO
REVISIT AND GO BACK TO,
WHAT HAPPENS WHEN YOU
GO BACK TO THESE ROLES?

Rex says YOU FIND THINGS THAT YOU
NEVER HAD THOUGHT OF BEFORE
BECAUSE YOU WERE STILL
FORMING THE STEPS AND WHERE
THEY WENT AND WHAT
YOUR RELATIONSHIP WAS.
BUT YOU FIND THE BALANCE OF
GETTING THROUGH IT AND NOT
PUSHING TOO HARD IN A PLACE,
OR NOT PUMPING THE EMOTION
AND LETTING THE
CHOREOGRAPHY SPEAK.
AND REALLY, THAT'S
WHAT I FOUND.
BUT WHEN I WENT TO NEW YORK,
ON OPENING NIGHT, I CHOKED.
IT WASN'T MY BEST
PERFORMANCE,
AND YET VERONICA TENNANT
CAME BACK AND SHE WENT,
I KNOW THAT'S NOT
WHAT YOU WANTED TO DO,
BUT IT WAS STILL A
GREAT PERFORMANCE.
AND THEN THE NEXT NIGHT,
BECAUSE YOU GET OUT THERE
WITH THAT EXPECTATION,
IF YOU JUST SIT IN WHERE
YOU ARE AT THE MOMENT AND TRUST
THAT IT'S GOING TO BE THERE,
WHICH IS ALWAYS
VERY DIFFICULT,
AND REALIZE THAT THE WORK IS
THERE AND THE MORE YOU WORK
IN THE STUDIO, THE MORE YOU
DON'T HAVE TO PUSH IT ONSTAGE.

Richard says WAS IT PSYCHOLOGICALLY
DIFFERENT?
THE FIRST TIME YOU DID
THE FOUR SEASONS,
EVERYONE WAS UP BECAUSE
IT WAS THE NEW BALLET.
BUT THEN AFTER IT CAME
BACK FROM NEW YORK,
GARLANDED WITH
ALL THIS ACCLAIM,
AND YOU THEN PERFORMED
IT AGAIN IN TORONTO,
I FOUND IT VERY DIFFERENT.
I ACTUALLY ENJOYED IT
MORE THE NEXT TIME,
AND I WAS WONDERING
IF IT'S BECAUSE...

Rex says I DID TOO; PERFORMING IT
ONLY BECAUSE I HAD GROWN
IN IT, AND I UNDERSTOOD
WHAT I WAS DOING,
AND I HAD A FEW
CONVERSATIONS WITH JAMES
WHERE I WAS TRYING TO FIGHT
HIM ON CERTAIN THINGS.
AND THAT WHOLE ASPECT OF NOT
MAKING IT REAL AND NOT GOING
FOR THE ANGST OF WHEN HE
FALLS APART IN THE LAST ACT,
IN THE SOLO THAT IT WAS
FIGHTING AGAINST DEATH.
BUT ISN'T IT FUNNY, WE ALL
HAVE TO GO THROUGH: MY NECK
HURTS; OH, I'M FALLING
APART; OH, I CAN'T BREATHE.
AND THEN JUST ACCEPTING,
AND NOT GOING, AHH!
I HAVE TO PUNCH THIS OUT; I
HAVE TO MAKE THEM FEEL IT.
AND ULTIMATELY, LET
THE AUDIENCE FEEL IT
MORE THAN ME FEELING IT.
AND THAT'S WHERE
ACTING COMES IN.

Richard says GEORGE KAUFMAN ONCE
STOPPED AN ACTOR AND SAID,
DON'T LAUGH, IT SAVES THE
AUDIENCE THE TROUBLE.
[laughing]
THAT'S THE SAME THING
HE'S TELLING YOU.
AS WE'RE RECORDING
THIS CONVERSATION,
YOU'RE EARLY ON IN
REHEARSALS OF
SWAN LAKE.
NOW, IT'S AN
INTRIGUING TIME;
WHAT HAS THIS PROCESS BEEN
LIKE FOR YOU RIGHT NOW
WITH JAMES KUDELKA?

Rex says IT'S BEEN A
GREAT CHALLENGE.
AT FIRST, I WASN'T GOING
TO BE IN
SWAN LAKE,
AND THEN NOW, I'M DOING
THE PRINCE AND ROTHBART.
SO, I'M CREATING SOMETHING
THAT I THINK ROTHBART
IS VERY CENTRAL, AND I
LOVE WORKING WITH JAMES.
WE HAVE MANY DIFFICULTIES
IN AND OUT OF THE STUDIO,
WHERE WE DO CLICK
HEADS A BIT.
BUT I THINK ULTIMATELY, WE
RESPECT EACH OTHER AS WHAT
WE'RE BOTH TRYING TO
DO, AND I REALLY DO
ENJOY THIS PROCESS
RIGHT NOW.
AND I'M VERY EXCITED
THAT WE ARE DOING THIS.
AND I THINK IT'S IMPORTANT
THAT WE DO THIS,
AND REALLY PUT THINGS IN A
CONTEXT OUT OF WHERE WE ARE NOW.
AND I THINK THAT'S
WHAT HE'S TRYING TO DO,
SO HE NEVER REALLY GIVES
YOU THE CHARACTER AGAIN.
SO, YOU GO IN, HE COMES IN,
HE GIVES YOU THE STEPS.
AND IF YOU'RE IN
THE WRONG DIRECTION,
HE'LL BRING YOU BACK.
BUT I AM, AS ROTHBART,
I'M ON OPENING NIGHT
WITH GRETA AND
ALEKSANDAR.
AND I CONTROL A
LOT OF THE ACTION,
AND IT'S QUITE
FASCINATING.

Richard says HOW MUCH DOES HE TELL YOU
OF WHAT HE'S TRYING TO DO?

Rex says I ASKED HIM A QUESTION
WHO I WAS THE OTHER-
WHO IS ROTHBART TO YOU;
WHAT'S GOING ON?
HE GOES, YOU'RE FINE.
SO, IT'S LIKE, YOU
DO WHAT YOU DO,
HE'S GOT YOU IN THERE FOR A
REASON BECAUSE HE KNOWS YOU
CAN DO IT, AND IF YOU'RE
IN THE WRONG DIRECTION,
HE'LL PULL YOU BACK
OR BRING YOU UP.
BUT HE LIKES TO LET IT UNFOLD
THROUGH THE CHOREOGRAPHY.
AND I THINK HIS
CHOREOGRAPHY - AND TO HIM,
THAT'S VERY IMPORTANT, THE
STEPS AND WHERE IT'S GOING.

Richard says YOU TALKING A LOT,
COMING IN AND OUT OF
THE CONVERSATION, ABOUT
HOW YOU THINK THE CLOCK
IS TICKING ON A DANCER, AND
WHAT YOU'RE GOING TO DO NEXT.
AND YOU TALKED ABOUT ACTING;
YOU TALKED ABOUT THEATRE
AND FILM AND TELEVISION.
WHEN THE DAY COMES
WHEN YOU SAY,
I CAN'T DANCE TO MY
SATISFACTION ANYMORE,
ARE YOU GOING TO LEAVE
AND GO TO ANOTHER MEDIUM,
OR MIGHT YOU TEACH
OR CHOREOGRAPH?

Rex says I'VE TALKED TO JAMES
ABOUT THAT, TOO.
I WOULD LOVE
TO COACH.
I HAVE DONE A BIT, I TOOK
ON THE COUPLES IN
ONEGIN,
BECAUSE I'VE DONE THAT
ROLE AND I WORKED
WITH REID ANDERSON
CLOSELY, AND I'VE DONE IT
WITH OVER 15 DIFFERENT
BALLERINAS AROUND THE WORLD.
AND I COACHED THAT AND
I REALLY ENJOYED IT,
AND I THOUGHT I BROUGHT
SOMETHING TO IT THAT I MADE
THE PEOPLE FEEL COMFORTABLE
AND UNDERSTAND THEMSELVES.
AND NOT JUST IMPOSE
MY WILL ON WHAT I DID,
BUT HELPED THEM
LOOK THEIR BEST.
AND THAT'S SOMETHING
THAT IS RARE, I THINK,
IN WORKING WITH COACHES,
THAT EVERYONE'S
STILL IMPOSING WHO
THEY WERE ON YOU.
BUT WHEN YOU'RE YOUNG,
YOU DON'T UNDERSTAND THAT.
AS YOU GET OLDER, THERE'S
THE DIFFICULTY BECAUSE
YOU'RE MUCH MORE INTELLIGENT
ABOUT THE PROCESS
AND YOU HAVE YOUR
OWN IDEAS.
AND OFTENTIMES
IN THIS CAREER,
YOU'RE NOT ALLOWED TO HAVE
YOUR OWN IDEAS BECAUSE FROM
THAT FIRST DAY AS A KID,
YOU'RE STANDING IN FRONT
OF THE MIRROR, AND YOU'RE
CONSTANTLY BEING CRITICIZED.
AND THAT'S HOW YOU
GET PERFECTION AND
THAT'S HOW YOU GET...
SO, I WOULD LIKE TO HELP
PEOPLE OUT WITH THAT PROCESS.
AND IN THEATRE, I'VE DONE
SOME TELEVISION NOW,
AND THE CYNTHIA
DALE SPECIAL,
THAT'S STILL DANCING, AND
I'VE DONE TALK SHOWS.
AND I LOVE BEING OUT
THERE AND DOING THAT.
I JUST THINK I
HAVE TO ENTERTAIN.

Richard says YOU HAVE TO BE OUT
IN THE PUBLIC EYE.
ONE LAST QUESTION: IF YOU
COULD SAY TO YOUR MOTHER,
YOU CAN COME AND WATCH ME DO
ONE PIECE I'VE EVER DONE,
WHAT DO WE THINK
IT WOULD BE?

Rex says GOD...
ALL OF IT.

Richard says WHICH ONE WOULD SHE
UNDERSTAND THE BEST, MAYBE?

Rex says
FOUR SEASONS
- IT'S
A LITTLE BIT TWISTED.

Richard says DO YOU THINK OF HER
WHEN YOU PERFORM IT?

Rex says SOMETIMES, SOMETIMES.
USUALLY...
I'VE WORKED ON IT
AND I'VE LET IT GO,
BUT I HOPE I'M
AT A POINT, TOO,
WHERE I THINK I MIGHT JUST
OPEN THAT CHAPTER, TOO,
AND FIND OUT
WHERE SHE IS.
I'VE NEVER TALKED
ABOUT THIS BEFORE;
IT'S PROBABLY THE FIRST
TIME I'VE TALKED ABOUT IT,
ONLY BECAUSE THAT'S
WHERE I'M AT RIGHT NOW.
SO, I HOPE THAT ONE DAY I
CAN FIND HER AND DEAL WITH IT.
AND SHE'LL COME,
BEFORE I QUIT.

Richard says REX, WHATEVER
CHAPTERS YOU OPEN,
I'M SURE THEY'RE
GOING TO BE REWARDING.
THANK YOU FOR THIS TODAY.

Rex says THANK YOU.

Richard faces the screen and says FOR
DIALOGUE, I'M
RICHARD OUZOUNIAN.
GOODBYE FOR NOW.

Music plays as the end slate reads “Special thanks to National Ballet of Canada. Dialogue.”

A production of TVOntario. Copyright 1999, The Ontario Educational Communications Authority.

Watch: Rex Harrington