Dancer Voices
Peter Boal coaching PNB dancers in Opus 19/The Dreamer. Photo by Lindsay Thomas, courtesy PNB

In a windowless subterranean studio under the New York State Theater, I pulled back an imaginary arrow and let it fly.

"Good!" said ballet master Tommy Abbott. "I think you're ready. Tomorrow you rehearse with Mr. Robbins."

I was slated to play Cupid in Jerome Robbins' compilation of fairy tales called Mother Goose. It was a role given to the tiniest boy who could follow directions at the School of American Ballet. In 1976, that was me.

The following day, I reported to a much larger windowless studio on the fifth floor known as the main hall. The room was bristling with excitement and nervousness. About half of the dancers from New York City Ballet were on hand, plus a coterie of bustling ballet masters and Mr. Robbins. Tommy tucked me and two other boys in a corner. My first rehearsal with the legendary choreographer was underway.

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A long time ago, I was a teenager, just hired as a member of the corps with New York City Ballet. I found myself standing in B-plus at the very back corner of the State Theater stage, clutching the hand of fellow teenage corps member Shawn Stevens. Though the expansive stage was filled with dozens of talented dancers, I was most awed by the two who stood front and center: Suzanne Farrell and Peter Martins. With a sudden and sweeping downbeat from maestro Robert Irving, the full power of Balanchine and Tchaikovsky flooded the stage and the final triumphant moments of "Diamonds" began.

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