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Robert Fairchild is Ready to Break The Rules
In his final bow at New York City Ballet, during what should have been a heroic conclusion to a celebrated ballet career, Robert Fairchild slipped and fell. His reaction? To lie down flat on his back like he meant to do it. Then start cracking up at himself.
"He's such a ham," says his sister Megan Fairchild, with a laugh. "He's really good at selling whatever his body is doing that day. He'll turn a moment that I would totally go home and cry about into something where the audience is like, 'That's the most amazing thing ever!' "
Fairchild admits that he kind of loves it when things go wrong onstage: "It's such a high!" Mistakes and slipups give him an excuse to come up with his own script in the moment. And, more often than not, they usually mean he was taking a risk. "I would rather try and fail than not try," he says.
He's applied that same philosophy to his career: Last fall, he decided to leave life as a ballet star behind to find out what possibilities might lie in musical theater, TV and film. In the course of our conversation, he repeats the same sentence over and over, like a mantra: "You never know how far you're gonna go if you don't jump." This is his jump.
His New Gig-To-Gig Career Has Changed Who He Is As An Artist
Fairchild is taking on any challenge that interests him. Photo by Jayme Thornton
Today, Fairchild is cobbling together a career built on whatever projects pique his interest: working on a one-man show; choreographing for Broadway Dance Lab; playing modern dance icon Ted Shawn in an upcoming film adaptation of The Chaperone, written by "Downton Abbey" creator Julian Fellowes. Over the holidays, Fairchild choreographed his own performance as the monster in Mary Shelley's Frankenstein off-Broadway. In February, he flew to Los Angeles to audition for TV pilots.
This new chapter in his career has puzzled some longtime fans. Only 30 years old, he still has several years of strong dancing left in him. But that's part of the point. "If you're dancing on film, that image lasts forever," he says. "You want to be at the top of your game."
Gigs outside of NYCB had been piling up ever since his Tony-nominated performance in Broadway's An American in Paris. After leaving the show in early 2016, he appeared in A Chorus Line at the Hollywood Bowl, Oklahoma! at London's Royal Albert Hall and Kiss Me, Kate for New York City's Roundabout Theatre Company. Fairchild felt simultaneously disconnected from NYCB and too restricted by it to say yes to all the projects he wanted to do.
What's more, he'd changed as a performer. Not only had he fallen in love with singing and acting, his Broadway experience had transformed his approach to dance. "I wanted to find a story in everything I was doing. I was thinking, Why am I doing these steps? What am I saying?" he recalls. "That's my favorite thing, to tell stories."
Yet in a company where Balanchine reportedly said, "Just go and do, and don't think so much about it," Fairchild's new strategy had mixed results. Eventually, he says, he felt like he didn't belong there anymore.
Getting Back To His Original Dreams: To Be Like Gene Kelly
What his fans at Lincoln Center might not realize is that this career change is simply getting Fairchild back on track to fulfill his original dreams. He explains by telling me about a fourth-grade assignment: "In it, I wrote, 'My special place is on Broadway because there's this guy named Gene Kelly and he's a dancer just like me. And I want to be just like him someday, and I also want to be in a movie.' "
Fairchild had fallen in love with Kelly through a VHS tape of Singin' in the Rain, and became the kind of kid who—despite school bullies—would find a way to turn book reports into tap presentations. "Robbie would spend four hours a day choreographing by himself in our living room every weekend," says Megan, who's three years older.
(Despite the siblings' dual success as NYCB principals, neither of their parents had a dance background—mom was a dietitian in a Salt Lake City hospital, dad was a habitat manager for Utah's wildlife resources.)
Fairchild was a jazz and tap kid growing up. Photo courtesy Fairchild
It was Megan who instigated Fairchild's detour to NYCB. When he was 15, she convinced him to attend a summer at the School of American Ballet to polish up his classical technique. To everyone's surprise, he fell in love with it, worked his "butt off" and joined the company.
What he lacked in ideal legs and feet he more than made up for in movement quality and presence. Christopher Wheeldon, who choreographed on him at NYCB and directed him in AAiP, says Fairchild's bold performance quality reminds him of dancers of a bygone generation, like Jacques d'Amboise and Edward Villella. "Not a refined, princely technique," he says, "but a raw, masculine theatricality, a real American male dancer style. Exciting, stage-devouring dancing."
What's propelled Fairchild through any new challenge, from ballet to Broadway, is his intense drive. "He just wants to keep on digging deeper and deeper and deeper," says acting coach Joan Rosenfels.
When he was in full rehearsals for AAiP while also performing with NYCB, instead of taking his Monday nights off, he'd book semiprivate lessons with Rosenfels. He continued to take her open class throughout the AAiP run. "There he was, starring on Broadway, and he'd cheer everybody else on," says Rosenfels. "He'd stand up and scream 'Bravo!' like we were at the ballet!"
Life Outside The Ballet Studio Has Its Benefits
Robert Fairchild performs Gene Kelly's Ballin' the Jack in the Dance TV program of the 2014 Vail Dance Festival. Photo by Erin Baiano
Fairchild's retirement was announced less than three months after word broke that he was ending his high-profile marriage to fellow NYCB star Tiler Peck. But Fairchild maintains that the two life changes aren't related. "We are constantly changing variables in a constantly changing world," he explains, adding that his years with Peck were "incredibly special." But he needed to make a career change, and the timing, he says, was coincidence.
Today, he is exploring life outside of ballet. Now that his body isn't constantly fighting off injury, he can spend hours at museums without his back aching. He can walk around New York City without worrying about overworking his calves. He goes to the theater most nights of the week—plays, musicals, dance ("I've realized I love going to see the ballet!")—and has particularly devoted himself to friendships now that he has the time.
Yet he stays ready for whenever the right casting call comes his way by keeping up with singing and acting classes, and giving himself barre in his apartment building's yoga studio (sometimes with his sister, who lives nearby).
Although he's focused on performing opportunities, he's full of ideas for creative projects, including an animated movie. With endearing enthusiasm, he pronounces: "You gotta cast a wide net. Maybe you'll catch something." Then he catches himself dreaming out loud, and sort of apologizes for his optimism, adding, "Who knows? Maybe it won't happen. It's just an idea."
The thing is, however, he's got that special something that makes him succeed more often than not. "You cheer for him," says Rosenfels. Through a combination of his charm, his graciousness and, yes, his natural good looks and of course his talent, he has a way of getting people on his side, rooting for him.
"The game for me right now," he says, "is just to be ready at any point for when the right opportunity comes along. It's kind of really thrilling."
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New York City Ballet is celebrating the Jerome Robbins Centennial with twenty (20!) ballets. The great American choreographer died in 1998, so very few of today's dancers have actually worked with him. There are plenty of stories about how demanding (at times brutally so) he could be in rehearsal. But Peter Boal has written about Robbins in a more balanced, loving way. In this post he writes about how Robbins' crystal clear imagery helped him approach a role with clarity and purpose.
Who says you need fancy equipment to make a festival-worthy dance film? Right now, two New York City–based dance film festivals are calling for aspiring filmmakers to show their stuff—and you don't need anything more cumbersome than a smartphone to get in on the action.
Here's everything you need to know about how to submit:
On the occasion of its 70th anniversary, the Ballet Nacional de Cuba tours the U.S. this spring with the resolute Cuban prima ballerina assoluta Alicia Alonso a the helm. Named a National Hero of Labor in Cuba, Alonso, 97, has weathered strained international relations and devastating fiscal challenges to have BNC emerge as a world-class dance company. Her dancers are some of ballet's best. On offer this time are Alonso's Giselle and Don Quixote. The profoundly Cuban company performs in Chicago May 18–20, Tampa May 23, Washington, D.C., May 29–June 3 and Saratoga, New York June 6–8.
We all know that the general population's knowledge of ballet is sometimes...a bit skewed. (See: people touching their fingertips to the top of their head, and Kendall Jenner hopping around at the barre.)
Would your average Joe know how to do ballet's most basic step: a plié? Or, more to the point, even know what it is?
SELF decided to find out.
When Lisset Santander bourréed onstage as Myrtha in BalletMet's Giselle this past February, her consummate portrayal of the Queen of the Wilis was marked by steely grace and litheness. The former Cuban National Ballet dancer had defected to the U.S. at 21, and after two years with the Ohio company, she's now closer to the dance career she says she always wanted: one of limitless possibilities.
For 17 years, James Samson has been the model Paul Taylor dancer. There is something fundamentally decent about his stage persona. He's a tall dancer—six feet—but never imposes himself. He's muscular, but gentle. And when he moves, it is his humanity that shines through, even more than his technique.
But all dancing careers come to an end, and James Samson's is no exception; now 43, he'll be retiring in August, after a final performance at the Teatro Romano in Verona, where he'll be dancing in Cloven Kingdom, Piazzolla Caldera and Promethean Fire.
The wait for Alexei Ratmansky's restaging of Petipa's Harlequinade is almost over! But if you can't wait until American Ballet Theatre officially debuts the ballet at the Metropolitan Opera House on June 6, we've got you covered. ABT brought the Harlequinade characters to life (and to the Alder Mansion in Yonkers, NY) in a short film by Ezra Hurwitz, and it's a guaranteed to make you laugh.
When an anonymous letter accused former New York City Ballet leader Peter Martins of sexual harassment last year, it felt like what had long been an open secret—the prevalence of harassment in the dance world—was finally coming to the surface. But the momentum of the #MeToo movement, at least in dance, has since died down.
Martins has retired, though an investigation did not corroborate any of the claims against him. He and former American Ballet Theatre star Marcelo Gomes, who suddenly resigned in December, were the only cases to make national headlines in the U.S. We've barely scratched the surface of the dance world's harassment problem.
Many choreographers have been defeated by Stravinsky's Rite of Spring. However, one dancemaker whose stridency, rhythmic daring and sheer inventiveness could possibly match Stravinsky's is Wayne McGregor. For his first commission from American Ballet Theatre, McGregor has taken on this earth-cracking music in AFTERITE, to premiere at ABT's Spring Gala. Also on the May 21 gala program are excerpts from Alexei Ratmansky's restaging of the comic ballet Harlequinade, the full version of which will premiere next month, and a pièce d'occasion by tapper Michelle Dorrance. May 21–26. abt.org.
If diamonds are a girl's best friend, it's safe to say that faux-diamond earrings are a dancer's best friend. A fixture onstage at just about every competition weekend, these blinged-out baubles are also the surest sign that recital season is upon us again. And what better way to get into the sparkly spirit than by drooling over these 5 diamonds in the rough? (Sorry not sorry!)