Agnes de Mille had just achieved the greatest success of her career, but right now the only thing she felt was confusion.
She was a dancer and a choreographer. Early in her career, de Mille had created the choreography for a ballet called Three Virgins and a Devil. She thought it was good work, but nobody made much of it.
A few years later, de Mille choreographed a ballet named Rodeo. Again, she thought her work was solid, but it resulted in little commercial fame.
But the success of Oklahoma!confused her. She thought that her work on Oklahoma! was only average compared to some of her other creations. She later said, “After the opening of Oklahoma!, I suddenly had unexpected, flamboyant success for a work I thought was only fairly good, after years of neglect for work I thought was fine. I was bewildered and worried that my entire scale of values was untrustworthy. I talked to Martha.”
Martha was Martha Graham, perhaps the most influential dance choreographer of the 20th century. (Although not as well-known by the general public, Graham has been compared to other creative geniuses like Picasso or Frank Lloyd Wright.)
During their conversation, de Mille told Martha Graham about her frustration. “I confessed that I had a burning desire to be excellent, but no faith that I could be.”
Graham responded by saying,
“There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open.”Agnes de Mille in her outfit for Rodeo. (Photograph by Maurice Seymour. Courtesy of Ronald Seymour/Maurice Seymour Archive.)