Interview with Jeff Buttle about Yuzu (machine translation from Kiss and Cry Magazine)
— I heard that you were responsible for choreographing the Piano Collection in Echoes. How did you get involved with this project?
Yuzu contacted me directly and said, "I would like you to choreograph a medley of short piano pieces." He provided me with a list of selected pieces, some of which reminded me of the Ballade No.1 I had choreographed before. He also specified certain elements he wanted to include, such as "I want to add a 4T here," but beyond that, he gave me full creative freedom. Unlike competitive programs, which come with many rules and restrictions, I was able to fully explore my creativity. Moreover, it had been a long time since he last commissioned me for a program, so I felt incredibly happy and honored.
— Did he give you any specific direction for the concept of the performance?
I heard that the theme revolves around the past, present, and future. Yuzu also explained that he wanted to express one person’s timeline through this performance.
— Was the idea of using a medley of piano pieces something Hanyu suggested?
Yes, the concept of weaving together multiple short piano pieces was his idea. When I first received the request, I asked him at which part of the show and in what way he planned to use these pieces. This was because I knew the choreography I would create wouldn’t be simple and would require a lot of physical effort, so I wanted to confirm where in the overall show this program would be placed. Of course, I was well aware of his extraordinary stamina…
— What was the choreography process like?
Since I couldn’t go to Japan, we worked together remotely via video communication. I first sent him a video of myself skating, and then Yuzu sent me back a video with much higher quality than mine (laughs). We completed the choreography through this back-and-forth exchange. Most of our communication was done through emails, along with a combination of calls and video sharing. We had worked this way a few times before, so there were no issues.
— What was the most important aspect you focused on while choreographing?
My main focus was on how to express the emotions conveyed by each piece of music. I paid particular attention to the fundamental aspect of skating—connecting steps. This is an extremely crucial element in figure skating, and working on it was a fascinating process. Since I couldn’t skate and film myself at the same time, I asked Yohnatan Elizarov, a Canadian skater who had been part of the Junior Worlds pairs team, to help demonstrate the movements. When I showed him the video Yuzu had sent back to me, he was amazed by the high quality. It was an interesting experience to let a future champion involved in this process as well.
— Ballade No.1, which you choreographed, was also performed in the show. I saw that part! That’s not an easy piece at all, and performing it at the very end of the Piano medley is just unbelievable. I can’t even imagine the level of stamina he has…
— Hanyu continues to perform competitive-era programs you choreographed in his ice shows after his career transition. What do you think about the evolution of his performances?
It’s such an honor that he’s still performing programs I choreographed. What’s amazing about Yuzu is that he continues to evolve mentally and artistically. It’s similar to when Joni Mitchell sings her older songs. It carries a different flavor than when she was younger. Yuzu is the same. When he performs past programs, you can clearly see how much he’s evolved, both as a skater and as a person. The way he expresses subtle nuances in the music, the way he handles every note—it all keeps changing, and it’s mesmerizing to watch.
— Hanyu has been producing solo ice shows since his transition. What are your thoughts on this?
It’s unheard of for someone to perform an entire ice show solo from beginning to end, but I know Yuzu well, so I’m not too surprised. He has a unique ability to hold the audience’s attention for two and a half hours. I hope people realize how special it is to witness his performances. Honestly, I don’t think we’ll see another show like this again anytime soon. Performing for two continuous hours on ice is on a completely different level from a concert. It’s a rare talent, a gift. Usually, including myself, athletes stop training at a competitive level after retiring. But Yuzu has kept at it, and that’s why he’s capable of something like this.
— If you could freely choose, what pieces would you like to choreograph for Yuzu?
Actually, I already have a few pieces in mind. One is Alexander Scriabin’s Symphony No. 4, Poem of Ecstasy. Some pieces immediately bring to mind a skater performing them, and certain pieces make me think, "Only this skater could bring this music to life." This was a piece I came across when I was searching for my own competitive programs, but even back then, I knew I wouldn't be able to do it justice. I've kept it close to my heart ever since. Later, I thought, if it were Yuzu, he would be able to embody it perfectly. Another piece is the final movement of The Pines of Rome by Ottorino Respighi. The music builds and builds, layer upon layer, pushing toward an overwhelming climax. Without extraordinary stamina, it would be impossible to skate to this. But I believe Yuzu has that strength. If I ever get the opportunity, I would love to choreograph these pieces for him.
— Hanyu recently celebrated his 30th birthday. What does the age 30 mean for a figure skater?
Personally, turning 30 wasn’t an issue for me. It was turning 20 that scared me the most. Like gymnastics, figure skating is often seen as a sport where youth is an advantage. If you have talent, people say, Wow, they can jump so well at such a young age! and you get a lot of attention. But when I was 20, I hadn’t achieved much as a competitor yet, so I was afraid. But later I understood that every athlete develops at their own pace. Yuzu has countless achievements to be proud of, but more than that, he should take pride in how much he has contributed to the sport as a whole. He has accomplished so much, and yet, he’s still only 30—that actually amazes me.
— You became a world champion at 25, right?
Yes. Then I retired at 26. By 30, I was doing what I loved and living a very fulfilling life. I’ve always loved skating, but I never really liked competing. So being able to focus on ice shows and tours in my 30s was a truly happy time for me.
— Thank you. Lastly, do you have a message for Hanyu?
Everything Yuzu has achieved is the result of his own effort and passion. Even now, he continues to share that passion with the world, and that makes me incredibly proud of him. He could have chosen to retire and live a more relaxed life, but instead, he keeps pushing himself forward, constantly working hard, and continuing to grow. He is a true icon.
Credit: yuzurujenn on tumblr
It seems that Jeff (and Yuzu) are busy incorporating "the fundamental aspect of skating—connecting steps" in their programs while ISU is actively remove them from competition.
I wish to see Yuzuru go for someone who isn't Buttle, whom I've always found contrived... although perhaps in saying that, it would include 99% of skaters and skating "choreographers" so whatever.
BTW. Wilson usually gets a bad rap for his choreo, and I have to admit that his competitive programs for Yuzuru were pretty terrible. But do check out his Ararat long program for Buttle. I think Wilson is much better suited for the 'artistic' aspects of skating, and hope to see more work with him.
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