Inspiration Isn’t a Eureka Moment: Laurence Lemieux’s “Looking for Elvis”
One myth I want to take down with this interview is the romanticized image of inspiration. Yes, we all get eureka moments: I have plenty of them. However, in my case, they’re never actually good ideas. Instead, those moments of inspiration are actually doors to the real idea, but I get too caught up in those moments to make use of the gateway they are it. (Which hurts when you realize you need to delete half your novel because it’s full of eureka moments.)
Laurence Lemieux also puts to bed the myth that inspiration comes in a flash of lightning. She’s the artistic director of Citadel+Compagnie and the choreographer of Looking for Elvis, which plays at The Citadel: Ross Centre for Dance in Toronto from May 2-5 and May 9-12, 2018, alongside renowned Canadian choreographer James Kudelka’s work The Man in Black.
The idea for Looking for Elvis began back in 2012, when Lemieux travelled to Graceland as part of a road trip to Nashville with her daughter to celebrate a milestone birthday.
“It was not at all what I thought it would be,” Lemieux says about Graceland, Elvis’s home in Memphis. She was expecting a mansion. “And you get there and it’s a little home.” (I agree with her: I had the same experience when I visited in my teens.)
But visiting Graceland opened up her artist’s mind: “I could imagine living in that home, because even though it was the 70s, it was really cozy. And I was like, ‘Wow! Who is this guy?’ I wanted to know more about Elvis.”
It’s not that Lemieux didn’t know who he was—she has always been a fan but “not like a crazy fan,” she says. But who was the man behind the performer?
She believes all performers experience what Elvis must have experienced, though admittedly usually to a smaller extent.
“You do a great show, people clap, you take a bow, you feel like a million bucks, you take your make-up off, you go home, and, you know, you eat a sandwich. The glamour is really sometimes in the moment on stage and then your life is actually not that,” she says.
Even though the question was planted with this visit, Lemieux says she didn’t have the idea at that time to choreograph a show that would answer it. She did listen to more of his music, but not even then did she have the moment of inspiration. It took a commission from another local dance company before she realized she might be on to something. Later, when Kudelka was remounting The Man in Black, Lemieux felt the two pieces would complement each other nicely for a show.
Lemieux never saw Elvis in a negative light. He wasn’t “fat” or “tacky” in her mind. Instead, she believes Elvis had a talent, and everyone wanted to make money off him: “They want money, so they want him to perform. So the damage that does to the person himself, that’s what I wanted to look at,” Lemieux says. It’s a cycle that keeps repeating: Michael Jackson, Prince, and many more.
To Lemieux, if Elvis were an office worker, he would have probably been sent home for a few weeks to rest and recuperate. I’d have to agree with her on that: a sick employee could actually cost a company money, whereas sending them home for awhile and having their short-term disability insurance cover the bill would save money. With performers, it’s the opposite: A performer can really be “here today, gone tomorrow,” and if the performer doesn’t perform, then the entourage doesn’t get paid.
Each choreographer has their own way of working. Some know exactly what they want and direct the dancers accordingly, whereas others have ideas in their mind and work with the dancers to embody those ideas on stage. Lemieux’s style more closely matches the latter group. She directs the movement but has her dancers find their own personal journey through it. “But I tell them emotionally where it should be sitting,” she says. “I tell them who they are in that moment and what they should be thinking. So, I give them a lot of feedback on their character more than the actual steps. Sometimes I think I direct them more like I would an actor.”
Kudelka has been the resident choreographer at Citadel+Compagnie for ten years now. Former Artistic Director of the National Ballet of Canada, the New York Times has called him “ballet’s most original choreographer.” The Man in Black, though, is not what comes to mind when you think of ballet. A homage to Johnny Cash, the work’s backbone is four dancers in cowboy boots. In contrast to Looking for Elvis, which Lemieux describes as more emotional, The Man in Black is Kudelka’s response to the music as a score. (Kudelka was not available for an interview, so I couldn’t ask him how the idea for this piece came about.)
The beauty of creativity is exploration: Lemieux describes one sequence in The Man in Black where Kudelka explores what cowboys would do if they had to dance. (Picturing Clint Eastwood trying to line dance makes me smile.) In Looking for Elvis, Lemieux choreographed a sequence where one dancer embodies Las Vegas Elvis, with all the bling, and she puts a microscope on what happens once he begins to falter: some of his friends turn their back on him, ignore him.
Inspiration doesn’t always come with a flash of lightning or a crescendo in orchestral music. It sometimes comes to us slowly, seeping via little windows into our minds until something pushes us to create a whole out of the pieces. If you find yourself frustrated with your own creative endeavours, see if you’re waiting for that eureka moment. Because if you are, you’ll be waiting for a long time. The world around you is already speaking to you, and those ideas are already in your head, waiting to be expressed. Lemieux works her ideas out on her dancers, and just like her, you can work your ideas out in your art form. That’s where you’ll find your creativity. And your inspiration.
Looking for Elvis and The Man in Black will be showing at The Citadel: Ross Centre for Dance in Toronto from May 2-5 and May 9-12, 2018. Tickets are available here.