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."
- Robert Fairchild: From God to Monster (and Choreographer) - The ... ›
- Robert Fairchild (@robbiefairchild) | Twitter ›
- Robert Fairchild to Leave New York City Ballet - The New York Times ›
- Robert Fairchild (@robbiefairchild) • Instagram photos and videos ›
- Robert Fairchild Opens Up About Leaving NYCB ›
Imagine this scenario: You get a text from a friend just as you're heading into ballet class, and have to answer as quickly as possible. Now, if you were heading into a juggling class, or water polo match, or fencing practice, you'd be able to send a quick emoji in response. But alas, you're forced to type out a full sentence. Because, to the ballet world's collective frustration, There. Is. No. Ballet. Emoji. Until now...
According to Emojipedia, the site for all things emoji-related, a ballet shoe emoji is slated to come out later this year (the exact date hasn't been announced yet) as part of Emoji Version 12.0. The proposal came from Australia-based tech company manager and ballet fan Rüdiger Landmann. Landmann proposed three separate ballet emojis: a ballerina, a male ballet dancer and a pair of pointe shoes. Only the pointe shoe emoji was approved, and we'll be honest, it doesn't look like any pointe shoe we've ever seen. It's more like a pink loafer with ribbons attached. But we're trying not to complain, as this is definitely a (wobbly, given the shape of that shoe) step in the right direction.
You might still be thinking wistfully of the figure skating choreography at the 2018 Winter Olympics or already looking forward to the gymnastics competition at next summer's games, but we're officially marking our calendars for Paris 2024. Why? There's an excellent chance that break dancing will make its Olympic debut.
The jukebox musical is a bonafide Broadway staple. Everyone from ABBA to Elvis and Billy Joel to The Beach Boys has been given the Great White Way treatment, and shows with Alanis Morissette's and Michael Jackson's hits are on their way. The big question on our minds is, What current artists' songs might we hear on Broadway in the future?
The fourth wall has come down, and it has opened up a whole new kind of gig for dancers. Since Sleep No More became a hit in 2011, immersive theater experiences have been shattering expectations by inviting audiences to move through the world of the performance as they please. What kind of skill set does this burgeoning art form demand?
For choreographer Raja Feather Kelly, music is simple: "There's good music and there's bad music and I love good music and I love to hate bad music."
But, true to form, Kelly—whose past few months have included choreographing the Skittles Super Bowl musical and earning one of our first-ever Harkness Promise Awards—had some surprises up his sleeve when he made us a playlist he describes as "for moody Geminis who work over 12 hours a day and need a playlist that can shuffle and never disappoint."
Though the playlist has some whiplash-inducing twists and turns—from Coheed and Cambria to Carly Rae Jepsen to Missy Elliott to Schubert—there is a through-line: "Music that makes you feel like you're in your own movie. I love walking through the street feeling like I'm on a runway, living my best life."
Get Dance Magazine in your inbox
Every dancer's nutrition goals are different. Maybe you're trying to go vegan, or maybe you want to cook your own dinner more often. No matter what your personal objectives are—or whether you work with a dietitian—there are all kinds of apps that can help you make smart decisions at the tap of a button.
The lack of female leaders in ballet is an old conversation. But a just-launched website, called the Dance Data Project, has brought something new to the discussion: actual numbers, not just anecdotal evidence.
Whether she's performing on stage, in music videos, or on television, French electro-pop sensation Chris (formerly known as Christine and the Queens) never seems to stop moving.
Building a full-length ballet from scratch is an intense process. For the world premiere of Anna Karenina, a collaboration between The Joffrey Ballet and The Australian Ballet, that meant original choreography by Yuri Possokhov, a brand-new score by Ilya Demutsky, costume and set designs by Tom Pye and lighting designs by David Finn.
Growing up, I never saw a problem with my dancing and neither did my Muslim-Egyptian dad or my non-Muslim, American mom. They raised me to understand that the core principles of Islam, of any religion, are meant to help us be better people. When I married my Pakistani husband, who comes from a more conservative approach to Islam, I suddenly encountered perceptions of dance that made me question everything: Is it okay to expose a lot of skin? Is it wrong to dance with other men? Is dance inherently sexual? What guidelines come from our holy book, the Quran, and what are cultural views that have become entwined in Islam?
When Thomas Forster isn't in the gym doing his own workout, he's often coaching his colleagues.
Two years ago, the American Ballet Theatre soloist got a personal training certification from the National Academy of Sports Medicine. Now he trains fellow ABT members and teaches the ABT Studio Company a strength and conditioning class alongside fellow ABT soloist Roman Zhurbin.
He shared five of his top tips for getting into top shape.
No matter how much anti–Valentine's Day sentiment I'm feeling in a given year, there's something about dancer couples that still makes me swoon. Here's a collection of wonderful posts from this year, but be warned: Continued scrolling is likely to give you a severe case of the warm fuzzies.
When Rennie Harris first heard that Alvin Ailey American Dance Theater had tapped him to create a new hour-long work, and to become the company's first artist in residence, he laughed.
"I'm a street dance choreographer. I do street dance on street dancers," he says. "I've never set an hour-long piece on any other company outside my own, and definitely not on a modern dance company."
Lately I've been having recurring dreams: I'm in an audition and I can't remember the combination. Or, I'm rehearsing for an upcoming show, onstage, and I don't know what comes next. Each time I wake up relieved that it was only a dream.
However, this is the reality of how I often felt throughout my dance career. Once I knew the steps, there was no undoing it. It was the process of getting there that haunts me to this day.
Sebastian Abarbanell remembers being asked as an undergrad at Trinity Laban in London to perform wearing only a dance belt. "I said no," he says, "because I felt uncomfortable." Now a performer with Sidra Bell Dance New York, he's performed partially nude several times, without reservation. The difference? "It comes with more experience and maturing as a dancer," he says. "When you see a dancer living in their skin, you don't need to put anything else on them. When I said no in college, I wasn't in my skin yet."
Getting in your skin—and getting comfortable wearing only your skin onstage—requires a particular alchemy of vulnerability, agency, preparation and practice.
The entrancing power of Instagram can't be denied. I've lost hours of my life scrolling the platform looking at other people documenting theirs. What starts as a "quick" fill-the-moment check-in can easily lead to a good 10-15 minute session, especially if I enter the nebulous realm of "suggested videos."
My algorithm usually shows me professional ballet dancers in performances, rehearsals, class, backstage and on tour, which I quite enjoy. But there are the other dance feeds that I find myself simultaneously intrigued and horrified by: the hyper-elastic, hyper-extended, gumby-footed girls always at the barre doing developpés to six o'clock. There are the multiple turners, the avid stretchers and we can't forget the endless balancers.
This parade of tricksters always makes me wonder, What else can they do? Can they actually dance?
When Chase Brock signed on to choreograph a new musical at a theater in New Jersey in 2015, he couldn't have predicted that four years later, he would be receiving fan art featuring his Chihuahua because of it. Nor could he have he imagined that the show—Be More Chill, based on the young adult novel by Ned Vizzini—would be heading to Broadway with one of the most enthusiastic teenage fan bases the Great White Way has ever seen.
It's no longer just Les Ballets Trockadero de Monte Carlo and the few pointe-clad male character parts, like in Cinderella or Alexei Ratmansky's The Bright Stream. Some male dancers are starting to experiment with pointe shoes to strengthen their feet or expand their artistic possibilities. Michelle Dorrance even challenged the men in her cast at American Ballet Theatre to perform on pointe last season (although only Tyler Maloney ended up actually doing it onstage).
The one problem? Pointe shoes have traditionally only been designed for women. Until now.
Camille Sturdivant, a former member of the Blue Valley Northwest High School dance team is suing the school district, alleging that she was barred from performing in a dance because her skin was "too dark."
The suit states that during Sturdivant's senior year, the Dazzlers' choreographer, Kevin Murakami, would not allow her to perform in a contemporary dance because he said her skin would clash with the costumes, and that she would steal focus from the other dancers because of her skin color.
You wander through the grocery aisles, sizing up the newest trends on the shelves. Although you're eager to try a new energy bar, you question a strange ingredient and decide to leave it behind. Your afternoons are consumed with research as you sort through endless stories about "detox" miracles.
What started as an innocent attempt to eat healthier has turned into a time-consuming ritual with little room for error, and an underlying fear surrounding your food choices.