Heath Gill of Terminus Fashionable Ballet Theatre to retire after “LORE” at Serenbe


For 13 years, Heath Gill has entertained Atlanta audiences in a sequence of dramatic and comedic roles, brilliantly embodying characters as numerous because the feisty Mercutio in Jean-Christophe Maillot’s Roméo et Juliette, the intrepid hero Kilroy in Helen Pickett’s Camino Actual, a unusual MC in Ohad Naharin’s Minus 16 and a slapstick, fun-loving buddy in Terminus Fashionable Ballet Theatre’s joyful Roam. 

“I like roles the place you get to go on a journey,” Gill says. “It’s so wealthy to reside in one other individual’s psyche for some time.”

He can get romantic too, as he did in Tara Lee’s stunning pas de deux, Retrograde Waltz, which he carried out together with his spouse Jackie Nash Gill earlier this 12 months.

However there received’t be any extra roles like this for Gill. He’s retiring. His final performances as a dancer can be in his personal full-evening ballet LORE October 21-30 at Serenbe’s Wildflower Meadow.

Gill as Kilroy (Picture by Charlie McCullers/Atlanta Ballet)

His audiences would possibly shed a tear or two, however Gill, 33, is delighted to be coming into a brand new part of his profession. He plans to commit his appreciable power to choreography, teaching, and dealing as Terminus’ manufacturing director, a job he has loved since co-founding the corporate in 2017.

Gill has already choreographed 11 ballets, some for Atlanta Ballet’s now defunct mini-company Wabi Sabi – he danced with Atlanta Ballet for six years — some for Terminus and most just lately works commissioned by Kennesaw State College’s KSU Dance Co. and Orlando Ballet 2.

LORE was his first full-evening narrative work and the second new work to premiere throughout Terminus’ defining first season. He expanded the ballet in 2019.

“If I’m trustworthy with myself, I’ve been prepared to do that for some time,” Gill mentioned just lately in a Zoom chat. “I discover myself drawing increasingly more pleasure from creating work and training others. I wouldn’t have been a dancer simply because I take pleasure in dancing. I’m a collaborative artist. I like to ask individuals into my world, inform them what I’m dreaming of and create one thing enjoyable collectively.”

Gill sees this transition as a chance to develop. “There’s a sure diploma of self-centeredness it’s a must to have as a dancer. To carry out effectively, it’s a must to be narrowly targeted and devoted. It’s important to care for your physique, know the fabric.” Now he has totally different objectives — discovering new motion, pushing boundaries, inspiring younger dancers, and serving to his co-founders additional develop Terminus as a powerful, modern, skilled firm.

He and Rachel Van Buskirk have been frequent companions at Atlanta Ballet, reveling within the up to date works that then creative director John McFall added to the repertoire. They danced collectively in David Bintley’s Carmina Burana and lots of different ballets and have continued to work collectively at Terminus.

“To this present day, Heath has such ardour and power on stage, sharing his unbridled enthusiasm together with his companions and the viewers,” Van Buskirk says. “He has a pure skill to have interaction and pull individuals into his storytelling. Comedic timing is not any straightforward factor to grasp. And having a grasp of it sharing his reward with college students and younger dancers, how fortunate are they!”

Heath Gill
Gill rehearsing “Minus 16” with Atlanta Ballet (Picture by Charlie McCullers/Atlanta Ballet)

Narrative ballets have all the time appealed to Gill, as each a dancer and dance maker. He shone in roles such because the hapless and terrified Harker in Michael Pink’s creepy Dracula for Atlanta Ballet. His personal ballets, amongst them Marley Was Useless to Start With, Confronting Genius and LORE, favor story and character over extremely technical pas de deux and virtuoso variations.

As Gill explains, lots of the full-length story ballets by which he carried out — together with Dracula and Maillot’s starkly fashionable Roméo et Juliette (each created in 1996) — are firmly grounded in traditional ballet method, the place narrative is commonly paused to permit for virtuoso pas de deux and variations that exhibit the dancers’ method.

Helen Pickett’s edgier, cutting-edge ballets The Exiled and Camino Actual, created for Atlanta Ballet within the 2013-14 and 2015-16 seasons respectively, pushed the boundaries of ballet additional in ways in which gave flight to Gill’s dramatic capabilities.

Gill needs to introduce extra up to date, naturalistic motion vocabulary into his narrative works. LORE is a superb instance. Not one of the girls is on pointe and the story telling is freed from conventional ballet’s usually stiff and formal mime. Although there are lifts — Gill loves partnering — and the dancers toss in a double tour en l’air, pirouette or grand jeté on occasion, the vocabulary contains a whole lot of gestural materials.

Impressed by Pickett and different twenty first century choreographers, Gill additionally needs to experiment with the spoken phrase, as he did in his vacation ballet Marley Was Useless To Start With, which Terminus will reprise later this 12 months.

Gill’s profession as a dancer has not been straightforward. He’s the primary to confess his toes may very well be extra versatile, his legs straighter, his physique extra ballet acceptable.

After his first 12 months in Atlanta Ballet’s fellowship program, McFall steered he ought to search for a job elsewhere when his fellowship ended. This blunt evaluation of his work drove him to work even tougher in his second 12 months. By the point his contract was up, McFall had introduced Pickett on board as resident choreographer and was championing the type of ballets that referred to as for an adventurous spirit, a willingness to behave and even communicate on stage. Gill was invited to remain. In 2014, Dance Journal acknowledged him as considered one of its “25 to Watch.”

One other turning level occurred when Gennadi Nedvigin took over as Atlanta Ballet’s creative director in 2016 and Gill’s contract was not renewed. The final ballet he carried out with the corporate was Camino Actual.

Within the wake of Nedvigin’s hiring, a number of of the corporate’s star dancers left of their very own accord, together with Van Buskirk, Christian Clark, Tara Lee and John Welker. The 5 of them based Terminus Fashionable Ballet Theatre in 2017, constructing it collectively, piece by piece, 12 months by 12 months.

At each juncture, Gill’s ardour for the artwork type overrode seemingly unconquerable obstacles.

The curtain will fall on Gill’s dancing profession on October 30; right here, artistic lighting provides drama to “LORE.” (Picture by Joseph Guay)

“I really feel a real measure of what Heath’s completed all through his profession is that he by no means possessed a ballet dancer’s physique,” says Welker, Terminus’ creative director, “however by his work ethic, ardour and sheer dedication he grew to become an completed ballet dancer, had a tremendous skilled dance profession, and within the course of by no means gave in to accepting ballet’s establishment.”

It appears becoming that Gill’s remaining performances can be in LORE, a narrative a few tight-knit group, household, legacy and the way in which traditions evolve and go from one era to the subsequent.

As choreographer, performer and manufacturing director for LORE, Gill has had little time to course of his emotions about his retirement however is aware of the depart taking can be bittersweet. “There may be nothing like being on stage, sharing your power with an viewers,” he says. “In fact, I’ll miss that.”

Terminus will carry out LORE on the Wildflower Meadow out of doors stage over two weekends, October 21-23 and 28-30. Celebrating Gill can be his many followers and his Terminus colleagues, together with Welker. “I’ll be amongst the numerous shouting ‘bravo Heath!’ on the high of my lungs on the finish of each efficiency,” he says.


Gillian Anne Renault has been an ArtsATL contributor since 2012 and was named Senior Editor for Artwork+Design and Dance in 2021. She has lined dance for the Los Angeles Day by day Information, Herald Examiner and Ballet Information, and on radio stations akin to KCRW, the NPR affiliate in Santa Monica, California. Within the Eighties, she was awarded an NEA Fellowship to attend American Dance Competition’s Dance Criticism program.


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