A collection of the author's programs

How Illness Made Me Realize That What I Love Most Is Going To The Ballet

I've had a sticky note on my desk since 2013 with a horoscope that reads, "What would you do if you made happiness your number one priority?"

Like many things in life, at least for me, there is no single, simple answer to that question, which is perhaps why it's still sitting there.

The past year, I was very sick. You wouldn't have necessarily known it to look at me, but I was. The kind of sick that prompts soul-searching, and meaning-of-life searching. The kind of sick that has you thinking, "There has to be a takeaway from this awful experience; I can't have gone through this for nothing."


So I started thinking about what I liked, what I enjoyed—in part because it seemed like a positive way to get through six miserable months of treatment. I like a whole lot of things, chief among them dessert and Harper's Bazaar UK. But what I really like is going to the ballet.

This was not a shocking realization.

Many of my best memories are of wonderful performances—the first time I saw The Royal Ballet, seeing Alessandra Ferri in Manon, watching my friends dance their first principal roles in Nutcracker. Going to the ballet has in many ways defined my life. Performances I have seen serve as landmarks when I look back. I've traveled across the country just to go to the ballet, as I did last summer when I went to see Jewels at Lincoln Center. And if I'm already planning a trip, I always make sure that there is a performance to see while I'm there.

Going to the ballet Alessandra Ferri and Julio Bocca in Manon. Photo by Gene Schiavone

When I was in my first year in Nashville Ballet 2, artistic director Paul Vasterling choreographed Carmina Burana. I wasn't cast in it, and I wasn't understudying it either. I was disappointed—but also, secretly, relieved. I could tell that Carmina was going to be a big production, and I deliberately didn't watch rehearsals, wanting to wait and see it onstage.

And when I did—oh, what a thrill! The ballet was a spectacle, by turns dramatic and romantic. When the curtain came down, the audience leapt to its feet. As I stood applauding with the crowd, I felt genuine pleasure to be an audience member. My delight at watching was as great as what I felt when dancing.

Anyway, I was sick, although I felt well enough to go to the ballet. And it just so happens that I work for a ballet company, Smuin Contemporary American Ballet, and that in addition to all of Smuin's performances, I was sick during San Francisco Ballet's season. So between November and May, I saw a total of 17 ballets at SFB, of which 13 were new to me and four were world premieres. Two performances featured retirements, which is always a special thing to see. At Smuin, I saw The Christmas Ballet and Dance Series 02 about a dozen times each.

When Dance Series 02 ended, I felt like I was in withdrawal. I'd gotten accustomed to watching those ballets every night! When the curtain went up, I would fall into the world onstage while my realities melted away. For those two hours, I was free. I wasn't a patient or a carefully contained wreck. I was just me, sitting in the dark, watching the dancers move.

The famous line from A Chorus Line, "Everything is beautiful at the ballet"—maybe this is what the character meant. Not merely that ballet is beautiful, but that whatever unpleasantness is present in your life dissipates while watching it. The magic of the theater is that you can leave your life behind.

Now that I'm done with treatment and moving forward, it's time to prioritize happiness. To that end, I launched Going to the Ballet. I'll be writing about performances I see and, hopefully, interviewing people about why they go.

If we can express why we love ballet, perhaps we can get other people to love it too. I hope to see you at the ballet!

The author taking a photo at a BalletNext performance

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Today, it's fair to say that Lanteri has far surpassed his goal of creating scholarship opportunities. But NYCDA has done so much more, bridging the gap between the convention world and the professional world by forging a wealth of partnerships with dance institutions from Marymount to The Ailey School to Complexions Contemporary Ballet and many more. There's a reason these companies and schools—some of whom otherwise may not see themselves as aligned with the convention/competition world—keep deepening their relationships with NYCDA.

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What brought you to The Joyce?

That was many years ago, but it's still the same today: It's a belief in and passion for the mission of the theater, which is to support dance in all of its forms and varieties—every kind of dance that you could imagine.

Diversity is so important in dance leadership today. How do you approach this at The Joyce?

Darren Walker said something interesting at a Dance/NYC Symposium, which was that The Joyce is a disruptor. It was nice to hear in that context, because we don't think of it as something new. We didn't have to change our mission statement to be more diverse. We've been doing this since day one.

Is drawing in new audiences and maintaining longtime supporters ever in conflict?

Of course. I call it the blessing and the curse of our mission. We do present more experimental companies that may attract a younger audience. But it's very tricky. You're not going to tell your long-term audience, "Don't come and see this because you're not going to like the music." We've had people walk out of the theater before, but it's a response. It's important to spark those conversations.

What experimenting have you done?

We've tried a "pay what you decide" ticket the past couple of seasons with some of our more adventurous programming. You would reserve your seat for a dollar and after seeing the show pay what you decide is right for you.

Do you have advice for other dance presenters?

Find opportunities to sit with colleagues from around the country. At Dance/USA there's a presenters' council where we come together and talk about what we're putting in our seasons and what we're passionate about. Maybe there are enough presenters to collaborate and make it possible to bring a company to New York or to do a tour around the country.

Also, remember what it's all about: making that connection between what's onstage and the audience. If we can do that, despite every visa issue and missed flight and injury and changed program and whatever else comes our way, then we should feel good about the job we're doing.

To purchase tickets to the Dance Magazine Awards or become a sponsor, visit dancemediafoundation.org.

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