English choreographer Christopher Wheeldon is Artistic Associate of The Royal Ballet. He trained at The Royal Ballet School and danced with the Company 1991–3. For The Royal Ballet he created the one-act ballets Tryst (2002), DGV: Danse à grande vitesse (2006), Electric Counterpoint (2008), ‘Trespass’ (Metamorphosis: Titian 2012, in collaboration with Alastair Marriott) and Aeternum (2013, winner of the Olivier Award for Best New Dance Production), and the full-length ballets Alice's Adventures in Wonderland in 2011 (The Royal Ballet's first full-length commission in 20 years) and The Winter's Tale in 2014.

Wheeldon was born in Yeovil and trained at The Royal Ballet School. In 1991 he won gold medal at the Prix de Lausanne with a solo of his own creation and that year entered The Royal Ballet, where Kenneth MacMillan encouraged him in his choreographic work. In 1993 Wheeldon joined New York City Ballet, promoted to soloist in 1998. He created his first work for NYCB, Slavonic Dances, in 1997 and became the company’s first Resident Choreographer in 2001. Works for NYCB include Polyphonia (2001, winner of a London Critics’ Circle Award and the Olivier Award for Best New Dance Production), An American in Paris (2005) and The Nightingale and the Rose (2007).

Wheeldon choreographs regularly for leading companies, including Boston Ballet, San Francisco Ballet, Dutch National Ballet and Pennsylvania Ballet. In 2007 he founded Morphoses/The Wheeldon Company and became the first British choreographer to create a new work for the Bolshoi Ballet. In 2012 he collaborated with Alastair Marriott on the closing ceremony of the London Olympic Games, watched by 23.2 million people worldwide.

http://www.roh.org.uk/people/christopher-wheeldon

Alice's Adventures in Wonderland

Poliphonia

Christopher Wheeldon Directs ‘An American in Paris’ for Broadway

Paris — “This is tricky,” said Christopher Wheeldon. Robert Fairchild and Leanne Cope, the leads in his new production of “An American in Paris,” looked at him expectantly. The production team, sitting in a row in the auditorium of the Châtelet theater here, waited quietly.

Mr. Fairchild’s character, Jerry, was declaring his love for Ms. Cope’s Lise, and Mr. Wheeldon wasn’t convinced that it was working. He pushed his baseball cap farther back on his head and stared at the couple thoughtfully. “How about this?” Mr. Fairchild said, executing a perfect double pirouette. Everyone laughed. “If only that would do it,” Mr. Wheeldon said.

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