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It takes more than pliés to lift a ballet company to great heights. From dancers to conductors, teachers to makeup artists, this blog series features fascinating insight from ABT experts and an intimate look inside America’s National Ballet Company®. Take a spot at the SideBarre each week to get to know the incredible people behind each bourrée of American Ballet Theatre.

Letter from Dwight D. Eisenhower to American National Ballet Theatre, March 26, 1953.
Posted In
A Fond Look Back at 80 Years
July 29, 2020
What does it mean to be America's National Ballet Company®?

"As a touring company, Ballet Theatre was on the frontlines of cultural tensions and international unity."

Agnes de Mille in <i>Rodeo</i>. Photo: Maurice Seymour.
Agnes de Mille in Rodeo. Photo: Maurice Seymour.

Perhaps it is fateful that American Ballet Theatre’s 80th Anniversary has coincided with the trials of a dominating pandemic, civil unrest, and political uncertainty. The challenges we have faced so far this year have forced us to ask important and difficult questions:

How do we co-exist in our collective grief, and how do we honor the grief of others? How do we celebrate the small triumphs that will lead us to the other side of this, whilst remembering how far we have to go? What connects us through the frustration of isolation? What does it mean to be an American in times of hardship?

The latter is a question that has been pondered many times before, and one that has always remained relevant to ABT. In the words of Agnes de Mille, American dancer, choreographer, and a charter member of Ballet Theatre at its inception in 1940:

What do we mean by American? I’ve been looking for the intrinsic American. He has a multitude of faces, many names, and many nationalities. Humorous, salty, bold, original, and independent. At times persnickety, at times downright ornery. But we know him.

Ballet Theatre 1953-54 Domestic Touring Schedule, December 27th-February 6th.
Ballet Theatre 1953-54 Domestic Touring Schedule, December 27th-February 6th.

We know him, her, them, xin, and all the variations in between. We are the collection of beautiful, different, and diverse faces. There is no one way to answer, “What does it mean to be an American?” nor could we ever all agree on a single definition. But one thing is for sure, in times of division, we can all find meaning and comfort in works of art.

In the 1950s, Ballet Theatre was no stranger to the turmoil and conflict that had spread throughout the world for decades. Following World War II and into the Cold War, the restoration and healing of many nations relied on the resilience of beloved cultural institutions and artistic inspiration to raise spirits and look towards a peaceful future. As a touring company, Ballet Theatre was on the frontlines of cultural tensions and international unity.

From its inception, Ballet Theatre toured not only the United States but around the world showcasing American culture, a mission that was particularly important during times of conflict.

The intention was to showcase Ballet Theatre’s innovation and traditions with the widest possible audience as well as to build relationships with international cultural institutions that were welcome and celebrated in the United States. Financed by both the State Department and independent funders, Ballet Theatre toured throughout Europe, the Middle East, Latin America and Africa during the 1950s.

Letter from Dwight D. Eisenhower to American National Ballet Theatre, March 26, 1953, in a program for American Ballet Theatre.
Letter from Dwight D. Eisenhower to American National Ballet Theatre, March 26, 1953, in a program for American Ballet Theatre.

In 1956, Ballet Theatre was christened “American Ballet Theatre” by President Dwight D. Eisenhower. The president acknowledged American Ballet Theatre’s prominence in cultural diplomacy and his hope that ballet could represent American ideals, inspirations and ethnology to audiences at home and abroad.

ABT has continued to fulfill this hope. In its 80 years, the Company has performed in all 50 states and in 45 countries. ABT’s current roster of dancers hails from around the world, including 15 countries and 25 states.

The writer, Bethany Beacham, joined ABT as Marketing Coordinator in 2020.

"It is through the universal language of the arts that the free peoples of the world can most readily communicate with each other and attain a truer understanding of the spiritual ideals and aspirations of other nations."

- Dwight D. Eisenhower , Memo from The White House, March 26, 1953

"We in the United States have been the fortunate hosts to most of the world’s great artists and artistic organizations, whose visits have abundantly enriched our cultural life."

- Dwight D. Eisenhower , Memo from The White House, March 26, 1953

"The American National Ballet Theatre sets forth on its tour abroad with our hope that it may convey through the medium of ballet some measure of understanding of America’s cultural environment and inspiration."

- Dwight D. Eisenhower , Memo from The White House, March 26, 1953

Learn more on ABT’s
Google Arts & Culture exhibit,
On “American”: American Ballet Theatre

July 21, 2020
If I wasn't a ballet dancer, I would be...

"All I've ever wanted to do is ballet."

By Chloe Misseldine

What would I do if I weren’t a ballet dancer? This is a tough question, but if I had to pick something other than ballet, I would go into international relations or global development. I really like to travel and experience other cultures.

Both of my parents are immigrants from different countries, so I grew up with exposure to a wide range of cultures and perspectives. I’m fortunate to have traveled to numerous countries, which has helped me to develop an appreciation for other ways of life. However, all I’ve ever wanted to do is ballet.

When I was young, most of my days were spent exploring the halls of Orlando Ballet, where my mother worked as a teacher. I still remember peeking into the studio and watching her teach class, imagining what it would be like to one day be a part of that. I started taking dance classes and eventually enrolled full-time in the Orlando Ballet School.

By the time I was 14, I had been given opportunities to perform solos and attend competitions such as Youth America Grand Prix and American Dance Competition. It was a great experience to get this type of exposure, especially at such a young age. A few years later, I competed at the prestigious Prix de Lausanne ballet competition in Switzerland. The Prix was the most high-pressure competition for which I had ever prepared. It is impossible to describe that initial feeling I experienced when the music began and all eyes were on me.

Chloe Misseldine in the <i>Pas d'Esclave</i> from <i>Le Corsaire</i> with ABT Studio Company. Photo: Jojo Mamangun.
Chloe Misseldine in the Pas d'Esclave from Le Corsaire with ABT Studio Company. Photo: Jojo Mamangun.

At the Prix, I was offered a contract with American Ballet Theatre Studio Company, and I was absolutely thrilled. My mother danced with ABT when she was younger, so as you can imagine, it had always been a dream of mine to be a part of the Company. At the age of 16, I left my family and moved to New York City. My time with ABT Studio Company was an amazing experience and was vital to both my professional and personal development.

My mother has been my biggest inspiration in life. She has taught me the importance of strength, determination and hard work. Her stories about her time as a student training in China and as a professional dancer with ABT are very motivating. She continues to push me towards becoming my best, not only as better dancer, but also as a better person every day.

Chloe Misseldine joined ABT Studio Company in 2018 and became an apprentice with the main Company in 2019.
Chloe’s mother, Yan Chen, joined ABT in 1993 and was appointed a Soloist in 1994. She retired from the stage and is now on faculty for ABT’s Summer Intensive.

Read Chloe's 2019 cover story in Dance Spirit Magazine
July 16, 2020
How did you become ABT's Company Manager?

"There's no one path to finding your ideal job in the arts."

By Kyle Pickles

My career started on the stage.  Oh no…not like the stage of the Metropolitan Opera House as a professional ballet dancer…but rather as an energetic five-year-old at the annual recital for the run-of-the-mill Miss [insert anyone’s name] Academy of Dance.  I dipped my toe in the ballet world, when I was a supernumerary for a local production of The Nutcracker – first as a party boy and soldier, then a year or two as Fritz, before landing the role of the Nutcracker Prince.  My ballet career was relatively short-lived, but I found another outlet, musical theater, and was fortunate enough to perform summer stock at the “nation’s oldest and largest outdoor musical theatre,” the Muny, in St. Louis for seven hot-and-humid summers.  My joy from dancing and performing far exceeded my technical prowess, and I easily accepted that a professional career in the arts would be offstage. But I was left wondering, “What exactly would I do?”

After college, and after a few odd jobs in my attempt to figure out what I wanted to be when I grow up, I was ready to take the leap into arts administration. I decided to go to graduate school to get my Master’s Degree in Performing Arts Administration – which just between you and me, is not necessary for a career in arts management – but was a path that I chose to get me closer to my dream of living in New York and working in the arts.  After graduating with an advanced degree, and some student debt, I still didn’t know what avenue to pursue.  Theater?  If so, not-for-profit or commercial?  Dance?  Ballet or contemporary?  This is where the buzzword “networking” comes into play.

After graduation, I landed my first job through a recommendation from an event producer I met during an internship in grad school.  She was hired by a small not-for-profit theater to produce their fundraiser, and we hit it off.  We kept in touch, and when I mentioned to her that I had graduated and was eager to get in the field, she reached out to her contacts in the commercial theater world – and a week later, I was hired.  As an office assistant, I saw first-hand what it was like to work ‘on Broadway.’ It was crazy…it was exciting…it was intense.  But during this tumultuous year of the company’s Broadway hits and misses, I got to know some of the company managers of the various productions coming out of our office and began to envision a career in company management.  As luck would have it, one of the company managers was leaving to become the Company Manager of American Ballet Theatre, and a few months later, he wrote to ask if I was interested in joining the company management team…and I jumped at the opportunity!

I joined ABT in October 2007 as the Assistant Company Manager, and eventually was promoted to Associate Company Manager, before becoming the Company Manager in 2012.  I have had the pleasure of traveling the world with this amazing company of dancers and staff. Over the past few years, we have performed in cities across the United States, as well in countries such as Australia, China, France, Japan, Oman, Russia, South Korea, Spain, the UAE and the United Kingdom.

Despite having ‘stumbled upon’ company management, I know it’s the right fit for me.  I am surrounded and inspired by the performing arts, especially ballet, but my skill set – critical thinking, attention to detail, strong organizational skills, good interpersonal communication – lends itself to my individual role in the organization.  People often ask, “How did you get into company management?” and although I’ve charted my course for you, I often tell people – follow your instincts.  There’s no one path to finding your ideal job in the arts.  Get your foot in the door.  Just because you start in one department doesn’t mean you can’t explore other departments.  Work hard.  Be a team player.  Hone your skills.  Seize opportunities.  Through the journey, you may just find *the* job for you that you didn’t know existed.

Posted In
Get to know...
July 14, 2020
What gets you up in the morning?

"During a time when reality is confined within the same four walls every day, we need hope to keep the dreams alive."

By Claire Davison

What gets me up in the morning? Especially during a global pandemic? Off the top of my head, I can think of two things. This first is coffee. When everything is uncertain, there is one thing that I can guarantee will be there each morning (as long as I make it): cofffeeee. The other thing is less tangible. It’s what makes the actor go onstage each night, knowing the play will end in tragedy but imagining that this time might be different. It’s what turns every figure in the distance into a certain someone. It’s what gets Charlie Chaplin off the crate after the circus has left him behind and makes him click his heels as he walks away. It’s hope. During a time when reality is confined within the same four walls every day, we need hope to keep the dreams alive. This is a time when fantasy is more important than reality. As humans, we’re storytellers. Whether we do it through our art or something else, we are constantly telling stories: “I like this. I don’t want that. If I do this, I’ll feel that.” Why not embellish our stories with hope?

An acting/clown teacher of mine, Gabe Levey, has an exercise where you imagine a dream and a nightmare scenario. First, he asks us to imagine what the best possible thing to happen in this moment would be. Maybe it’s a unicorn coming through the wall and taking you away to a huge pile of money. Maybe it’s simply being surrounded by loved ones. Then he asks us to imagine the worst thing that could happen in this moment. Sometimes this is easier to imagine, especially when pleasure and happiness can feel out of reach. After we’ve fully experienced both, we pick ourselves off the floor and make our way to somewhere in between the nightmare and the dream. This, he tells us, is where we mostly live our lives.

I sometimes think of it like walking a tightrope. You could fall or you could continue to walk ahead and eventually reach the landing. It’s the story we decide to believe that pushes us over or keeps us steady. Why not proceed with hope? So it’s a little windy. You focus, find your balance and hope that you’ll make it across to safety. Or you hope that today might be the day you do see the person you’ve been trying to make out of the crowd. Maybe you hope that you’ll be back portraying the star-crossed lovers soon, even if you know the ballet ends in despair. At the very least you can hope that someone else made the coffee today, and that there’s still half and half in the fridge.

Mmmmm coffee…

July 9, 2020
What is your favorite ballet to conduct?

"There is one ballet that seems to fit me like a glove."

By David LaMarche

I find pleasure, wholly, or intermittently, in all of ABT’s ballets.  Some are more challenging for the conductor, and some more so for the dancers, but they all have their moments!  However, there is one ballet that seems to fit me like a glove, and that is Frederick Ashton’s Sylvia.  It’s not for everyone, but it suits me and my temperament.  The score is so beautifully orchestrated.  There are wonderful tunes – lyrical, grand, comedic – and Ashton understood it because his choreography finds the balance between pathos and humor, intimacy and distance.  I look forward to it every time it returns to the repertoire, and I have enjoyed every single performance.  There are orchestra members who chide me about my affection for the composer, Léo Delibes, but what can I say? It’s in my French heritage!

If I hadn’t stumbled into this profession (and believe me, I had no plan), I can only speculate about what would have happened to me. Something with language, maybe. A writer, a translator (I love languages), or (and this is a stretch), a dancer! I studied ballet for a year in college at a private studio, and my teacher, who had a small company, asked me to join. I think it’s because she was desperate for men to join the troupe, but who knows? I could have ended up on the other side of the proscenium!

Florence Pettan in 1977.
Posted In
Mentors
July 7, 2020
Who is your mentor?

"Florence Pettan was a mentor to me - unwittingly perhaps, as I don't think she realized how her influence on me would take hold."

By Cristina Escoda

Natalie Wood, Robert Wagner and Florence Pettan.
Natalie Wood, Robert Wagner and Florence Pettan.

Of the many people who have inspired and guided me through my years in the ballet world, as dancer and then dance administrator, one person in particular was more than just a role model or an inspiration.  Florence Pettan was a mentor to me—unwittingly perhaps, as I don’t think she realized how her influence on me would take hold.  But when I look today at how I try to conduct myself at work and in life, and I look back to my early years as a fledgling artistic staff member in the office next to hers, it is evident how much I learned from Flo.

It was not so much in the practical skills department (certainly not—I was witness to her valiant efforts to move from typewriter to clunky desktop computer, floppy disks and all!).  It was in the area of professional comportment and dedicated service to the Company that I learned a thing or two from Flo.

She was of a different generation, with a Rolodex full of legendary names (movie stars, socialites, politicians) and illustrious close friends from work (the choreographer Glen Tetley, the designer Santo Loquasto, the ballerina Lupe Serrano).  And she had such a style about her— a wonderful wardrobe, Bakelite jewelry, platform heels (she was a tiny thing).  But she was neither showy nor aggressive.  As she gently told me with a smile one day early on when I was fretting over what to wear to an ABT Gala: “It’s not about us.”

Florence Pettan at work.
Florence Pettan at work.

Lucia Chase’s son Alex Ewing spoke about Flo glowingly at a memorial event for her in 2008 (she passed away in December of 2007).  In his words, she was “always on call, never complaining, ready for whatever came up next.”  She didn’t “ever raise her voice, or give way to anger, or put herself first—she was there to do Lucia’s bidding, whatever that entailed.”  All that might make her sound like a bit of a doormat, but she wasn’t.  She was simply “true blue… for Lucia, and in much the same way for American Ballet Theatre.  You didn’t dare talk against either one of them…not with Florence Pettan.”

Flo worked at ABT for at least 50 years (perhaps longer— it is unclear what year she actually began with the Company).  In the beginning, she was one of only five people in the ABT office who were support staff for the entire Company of 100+ people—dancers, ballet staff, crew, musicians, etc.  She was Lucia’s executive secretary, but as there were no separate press, marketing, development, special events or general management departments, she had a hand in every aspect of the Company’s daily business.

My work with ABT is vastly different from Flo’s back then. I also do not have an ounce of her style or fashion sense.  But with her calm, smiling, ready-to-help demeanor etched forever my brain, I try to be as tirelessly dedicated as she was and will be happy if I am able to contribute, without unnecessary fanfare, to the fabric and history of ABT even half as much as she did.

Tina Escoda was a member of ABT’s corps de ballet from 1985-1991.
She joined ABT’s Artistic Staff as Rehearsal Coordinator in 1994 and has served as Artistic Administrator since 2000.

July 2, 2020

"It is impossible to ignore the welfare of our fellow humans."

By Remy Young

The misfortune this pandemic has created is unparalleled. These circumstances are ubiquitous; they have affected every single human being in some way. However, in my opinion what is most mind-blowing is the dichotomous nature of our present state: the physical isolation and loneliness this virus has generated have also resulted in a widespread feeling of unification among people around the world. We can now empathize with one another more candidly than ever before. The only antidote to the stress and anxiety of flattening the curve is considering the greater good— it is impossible to ignore the welfare of our fellow humans.

Once we reach the other side of COVID-19, permeating our world with art will be vital to healing our collective brokenness. Art unites, inspires, empowers— we cannot do these things alone. The purpose of a dancer is to share stories with an audience; we dance FOR the audience. I think everyone is experiencing some hardship in not feeling the presence of a community. This is what I am most looking forward to once we conquer this virus: bringing people together and sharing with them something beautiful. In the meantime, there are plenty of ways to remind ourselves that there is indeed a community out there eagerly anticipating the return to normalcy.

Remy Young phone banking for New York Cares. Photo courtesy Remy Young.
Remy Young phone banking for New York Cares. Photo courtesy Remy Young.

For me, volunteering with New York Cares was an exceptionally heartwarming experience that did just that. It consisted of a relatively simple task: make calls to senior members of The Actors Fund to see how they are holding up. I came across many different personalities— some lively and spirited, others just frustrated and fed up with this pandemic. No matter their degree of responsiveness, every person I spoke with was appreciative of the opportunity to chat. The call was beneficial on both sides of the phone line. For them, it was a reminder that they are thought about, cared for, and have access to resources if needed. For me, it provided a sense of purpose that eased the helplessness quarantining has instilled. I was refreshed by brusque New York dialects and inspired by the voices of such well-seasoned artists. I was given hope by seeing that there is still good that can be done from my couch.

Most of all, I was reminded that my community, my New York, is still there, and none of us are alone. I am very much looking forward to volunteering for New York Cares again and would recommend it to anyone who is homesick for the city, in need of a pick-me-up, or just looking for a fun and fulfilling way to spend their time.

Remy Young joined ABT as a member of the corps de ballet in 2016.

Vernon Ross backstage during Whipped Cream. Photo courtesy Ross.
Posted In
Occupations
June 30, 2020
What do you do at ABT?

"Working in Wardrobe can be very demanding, and it helps to be very organized and attentive to detail, which strangely enough, I enjoy."

By Vernon Ross

To be a supernumerary in Dance Theatre of Harlems production of Firebird at the Kennedy Center in Washington, D.C. was a life-changing experience for me at the age of 21. It was the impetus for my changing the course of my career path after graduating from college. Having studied mostly modern and African dance because ballet training was less accessible, I had the opportunity to take company class for a week while DTH was in D.C. and consequently was invited to attend the summer intensive workshop that year. At the end of the summer intensive workshop, I was invited to return in the fall as a student in the professional training program. I was a student in the school for two years and was given an apprenticeship the following year. At the request of Mr. Arthur Mitchell, I was asked to work with the wardrobe department. Of course, as an aspiring dancer I was not thrilled with this decision but was hopeful. As part of my apprenticeship, I was given the opportunity to travel with the company and to take daily company class before starting my wardrobe duties. My career at DTH spanned the course from student to wardrobe assistant to wardrobe supervisor, culminating as the production manager for the professional touring company.

Touring nationally and internationally and working in some of the worlds most renowned venues was an invaluable experience for both my personal and professional development and growth. To witness firsthand the multifaceted complexities of live theater kept me focused and knowledgeable. There were always hurdles and challenges that I would have to face when coordinating and setting up shows – I would often have to pull a rabbit out of a hat.”  I look back on my trajectory and sincerely believe that the transition from a wardrobe assistant to the wardrobe supervisor brought me the most joy and satisfaction, which is why I now enjoy working at American Ballet Theatre. Working in wardrobe can be very demanding, and it helps to be very organized and attentive to detail, which strangely enough, I enjoy.

I started working as a dresser for the Principal men at ABT in May 2006; and in January 2017, I was hired as the assistant wardrobe supervisor for Principal men. Keeping up with the details, logistics and maintenance of the wardrobe for a company of 90-plus dancers, which tours extensively, can be very challenging. Documentation and organization are paramount to stay on top of all of the tasks and responsibilities required of the job. There are so many moving pieces that you have to be organized to a fault. How we pack the wardrobe equipment and costume crates before we travel, and unload them when we arrive at the theater, are crucial for seamless and successful engagements and performances.

I enjoy many aspects of my job, such as assuring that the dancers look their best and feel as comfortable as possible when performing on stage. This is achieved by way of individual costume fittings and alterations. I also collaborate with my fellow co-workers on ways to improve and streamline some of the basic wardrobe daily operations. The least favorite aspect of my job, only because of the personal stress it causes me, is preparing and assigning costumes for the dress tech rehearsals at ABT.  While it is exciting and I am always happy to see dancers promoted with the opportunity to perform new roles, it’s unlikely in the ballet world that each dancer performing in a new role will have his own costume. In addition, we often do not run the rehearsals in program order, which prevents me from having sufficient time to properly prepare the costumes for the next cast as precisely as I would like. Oh well, welcome to the world of ballet!

Vernon Ross has been a valued member of ABT’s Wardrobe Department since 2006.

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Vernon Ross has been a member of the wardrobe department with American Ballet Theatre for the last fourteen years, however, working behind the scenes was not Vernon’s first love. Born and raised in Baltimore, Maryland, Vernon made his way to New York as a dancer in 1981, joining the Dance Theatre of Harlem pipeline, first as a student in the school and then as a dancer with the company before eventually taking over the production department. In a pinch-hitting situation, (“I didn’t even know how to sew!”), Vernon was plucked from the studio and into the wardrobe department by Arthur Mitchell himself. Vernon quickly became an integral part of the creation of skin-tone tights and shoes for all of the company’s dancers. Vernon spent countless hours standing over 30-gallon boiling pots of water concocting the perfect shade for each individual company dancer. For the first time in ballet history dancers of color were embracing their skin colors on stage that celebrated them instead of covering them up with the traditional “ballet pink” toned tights, “All of them [the dancers] would treat tights like gold, because they wanted to look their best. It was one of the biggest aspects of my job because Mr. Mitchell was really a stickler about the flesh-tone shoes and tights. And, really, he set the platform for it being what it is today.”⠀ ⠀ #Juneteenthdancebreak | Thank you @MoBBallet for the inspiration. ⠀ ⠀ #BalletRelevesForBlackLives #AmplifyMelanatedVoices ⠀ ⠀ Photo Credits:⠀ Photo 1: Eddie Shellman and members of the Harlem Dance Theatre rehearsing Balanchine’s “Four Temperaments”, New York, New York, 1970. (Photo by Afro American Newspapers/Gado/Getty Images)⠀ Photo 2: Tights and shoes on exhibit at “Dance Theatre of Harlem: 40 Years of Firsts.” Photo by Gene Ogami⠀ Photo 3: Vernon Ross. Photo courtesy of Vernon Ross

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Posted In
Favorites
June 23, 2020
What is your favorite ballet to conduct?

"Undoubtedly one of the greatest ballet scores of the 20th Century is Igor Stravinsky's Apollo.

By Ormsby Wilkins

Undoubtedly one of the greatest ballet scores of the 20th Century is Apollon Musagète by Igor Stravinsky. However, it is probably less appreciated than the big three ballets written at an earlier stage of Stravinsky’s career: Firebird, Petrouchka and The Rite of Spring. I have had occasion recently to delve more deeply into this work. 

Firstly, I have been fortunate enough to have conducted performances of Apollo with three different companies over the last two years, including ones with American Ballet Theatre during its 2019 Fall Season at the Koch Theater in New York. 

Secondly, I recently did an interview for an online arts journal and as I knew that this interview would be an extensive look into the score, as well as its close relationship to the inspired choreography of George Balanchine, I did some extra reading and to my delight turned up all sorts of interesting facts and stories surrounding the original creation of the ballet.

Stella Abrera (Terpsichore), Melanie Hamrick (Calliope), Joo Won Ahn (Apollo) and Katherine Williams (Polyhymnia) in <i>Apollo</i>. © The George Balanchine Trust. Photo: Rosalie O’Connor.
Stella Abrera (Terpsichore), Melanie Hamrick (Calliope), Joo Won Ahn (Apollo) and Katherine Williams (Polyhymnia) in Apollo. © The George Balanchine Trust. Photo: Rosalie O’Connor.

I did know that the first performance, commissioned by The Library of Congress, had taken place in Washington, D.C. in April of 1928, though of course that choreography was not by Balanchine but by Adolph Bolm, now completely lost and forgotten. What I did not know was that in some early sketches, Stravinsky had planned to include harp and piano in the instrumentation, perhaps representing Apollo’s lyre, but in the end composed it for a string orchestra (the solo violin makes a glorious stand-in for the lyre!).  It was only two months later, in June 1928, when the Balanchine version (now with the simplified title Apollo) was danced by Diaghilev’s Ballets Russes, with Serge Lifar as Apollo. 

Ormsby Wilkins joined ABT as Music Director in 2005.

Learn more about Apollo
Posted In
Mentors
June 23, 2020
Who is your mentor?

"When I think of mentors who helped me to attain my dream...several names come to mind."

By Cynthia Harvey

Cynthia Harvey and Natalia Makarova in <i>La Bayadère</i>. Photo: Kenn Duncan.
Cynthia Harvey and Natalia Makarova in La Bayadère. Photo: Kenn Duncan.

They say it takes a village; a village and at least 10 years to become a dancer. With that in mind, when I think of mentors who helped me to attain my dream of becoming a dancer with American Ballet Theatre, and who simply helped me to navigate life, several names come to mind. No singular person is more important than another.

My first ballet teacher, Christine Walton, was the first person who influenced me. Mrs. Walton opened my eyes to beauty of line. She taught me about effortless grace and imbued in me the joy of dance. She continues to be one of the most open-minded people I know. I look to her now, like I did when I was a child, to respond to my inquisitive nature on the “HOW” of the dance.

The next influential person and mentor to me would have to be the legendary teacher David Howard. He came into my life at a time when I needed to learn how to really move. He dissected movement and helped me to understand that the linking steps were very important, and further, his own generosity of spirit was a lesson in love. Then, around the same time, Natalia Makarova became a mentor. She taught me the importance of dynamism. She taught me that simply making things look easy was boring and that quality and expressiveness were always something to aspire to. She gave me more than she knows.

Finally, I’d be remiss if I did not include Mikhail Baryshnikov as one of my big mentors. He taught me that purity of form was beauty in itself and verified that the work was the most important thing – always the work. He also made me understand that challenges could be attractive. I owe him, and the other people named here, a tremendous amount.

Cynthia Harvey retired from the stage in 1996 after a celebrated career as Principal Dancer with American Ballet Theatre and
The Royal Ballet. She was named Artistic Director of the ABT Jacqueline Kennedy Onassis School in 2016.