Paul Boos is a sanctioned repetiteur for the George Balanchine Trust and has staged ballets worldwide with companies such as the Paris Opera, Bolshoi Ballet, Mariinsky Ballet, La Scala, Joffrey Ballet, and others. He is currently in Atlanta to stage George Balanchine’s Prodigal Son as part of Atlanta Ballet’s Balanchine & Peck program. Atlanta Ballet asked Boos for his thoughts on this significant ballet from Balanchine’s early career, when the choreographer was just 25 years old.

Tell us about Prodigal Son, its historical significance, and its enduring popularity.

Prodigal Son was the final ballet that George Balanchine choreographed for Diaghilev’s Ballets Russes in 1929, and it has remained a staple in the repertoires of companies all over the world ever since. I believe the reason for its enduring popularity lies in the unique role it offers male dancers. While Balanchine was renowned for creating incredible ballets for female dancers and famously said, “Ballet is woman,” he also created remarkable roles for men. Prodigal Son is particularly significant for male dancers, especially those cast as the Son; it is a role that every male dancer aspires to perform.

Why is storytelling and the ability to express emotion so important in Prodigal Son?

Classical ballet requires strong classical technique, and this is also true for Prodigal Son. However, the storytelling in this ballet is crucial, as is the dancer's ability to connect honestly with the audience. While Balanchine is not typically known for his storytelling, we should consider his works The Nutcracker, A Midsummer Night’s Dream, and Coppélia; Balanchine excels at telling stories through dance. He adapted the biblical tale into three distinct scenes—the opening, where the son leaves home; the middle, where those considered friends exploit him; and his eventual return home. Balanchine simplified the story in a way that is effective, emotive, and honest.

Can you discuss casting for the three lead roles?

When I meet dancers, it quickly becomes clear whether they are suited for the lead roles of the Son, the Siren, and the Father. Some are natural actors, while others require more guidance. There are dancers who are intuitive, and then there are those who approach their roles more academically, researching them thoroughly. I allow dancers to make mistakes, learn from them, and grow. Ultimately, everything comes together.

How do dancers prepare for these roles?

First, dancers learn the steps, then the music, and finally the intentions behind the movements. I provide them with information about previous casts and encourage them to research the roles and the dancers who performed them, particularly those coached by originators or those who worked closely with Balanchine. I believe that a dancer performs better when they have a deeper understanding, and I want them to know as much as possible. Personal research is essential. The dancers I am working with at Atlanta Ballet are wonderful; they quickly absorb information and seek clarification when needed. It has been beautiful to witness their growth. I am absolutely thrilled with their progress and the work they are doing.

How does the score enhance the impact of the ballet’s narrative?

Diaghilev commissioned the score while composer Sergei Prokofiev was working in Russia, and he traveled to France only to see the ballet shortly before its premiere; Balanchine choreographed without the composer’s supervision. The version we have now is an edited rendition of the original. In my opinion, the end scene—the apotheosis—is one of the most emotive moments of the ballet. It depicts a fraught scene in which the Son returns home and is welcomed by his Father in a subtle yet powerful manner. The music is compelling, although that adjective feels inadequate to describe it. The final moment, where the Father and Son come together, feels incredibly personal, and the music draws you into the scene. It’s impossible not to be moved to tears. Many people do weep at the end, as they find the story both heartbreaking and wonderful.

What is your favorite scene and why?

One of my favorite scenes is the seduction of the Son by the Siren. It's a wonderful role for a ballerina. The Siren is a femme fatale—a woman who, while not necessarily down on her luck, has certainly learned how to navigate her life. She is a courtesan who encounters a young, innocent boy, one of her many victims. I find this character fascinating. I love watching dancers go through the initial discomfort and embarrassment of transforming into a woman they would never dream of becoming. The character evolution is captivating to observe.

What will we see of the younger Balanchine in Prodigal Son?

Diaghilev sought the most talented choreographers, and Balanchine brought innovation, inventiveness, and a neoclassical style to the Ballets Russes. In Prodigal Son, you can see the avant-garde. The biblical story remains fresh and relevant today. I believe there is no ballet by Balanchine that feels dated. He created authentic works, and truth is never out of style.

You can experience this timeless masterpiece in Balanchine & Peck, alongside Balanchine's elegant Emeralds, and Justin Peck's abstract In Creases. On stage September 12-14 at the Cobb Energy Performing Arts Centre.

Choreography by George Balanchine © The George Balanchine Trust.

Repetiteur Paul Boos with Atlanta Ballet dancers Sophie Poulain and Ángel Ramírez.
Paul Boos with Atlanta Ballet dancer Denys Nedak. Photos by Amber Times.