Sterling Hyltin and Amar Ramasar in George Balanchine's Who Cares. Photo by Paul Kolnik, Courtesy NYCB
Last Friday, through an appeal to an independent arbitrator, the American Guild of Musical Artists successfully reinstated NYCB principals Amar Ramasar and Zachary Catazaro, previously fired for allegedly circulating sexually explicit texts containing nude photos.
AGMA opposed Ramasar and Catazaro's terminations in order to prevent the setting of a dangerous precedent that would allow dancers to be fired under less understandable consequences. But we cannot allow future cases to dictate the way we handle this situation—particularly a union committed to "doing everything in [its] power to ensure you have a respectful environment in which to work."
Teresa Reichlen gave opening remarks at New York City Ballet's fall gala surrounded by her fellow company members. Photo by Erin Baiano, Courtesy NYCB
Would New York City Ballet address the elephant in the room? At the company's annual fall gala last night, where the focus is ostensibly on newly-commissioned ballets and high-profile fashion collaborations, it was impossible not to wonder whether there would be any direct acknowledgement of the turmoil broiling behind the scenes: namely, an explosive lawsuit brought against the company by former School of American Ballet student Alexandra Waterbury. The allegations led to the recent resignation of Chase Finlay and subsequent firings of Amar Ramasar and Zachary Catazaro; all three are named in Waterbury's suit. (This following the retirement in January of ballet master in chief Peter Martins amidst allegations of sexual harassment, which an independent investigation were unable to corroborate.)
Some dancers in the company have taken to social media to address the situation in recent weeks. Responses have ranged from condemnation of their colleagues' alleged actions to support for the fired dancers. The shared sentiment, however, seemed to be determination to come together and buckle down in rehearsals for the new season.
Update: Additional perspectives have been added to this story as more responses have come in.
When news about the lawsuit against New York City Ballet and Chase Finlay emerged last week, plaintiff Alexandra Waterbury, a former School of American Ballet student, told The New York Times:
"Every time I see a little girl in a tutu or with her hair in a bun on her way to ballet class, all I can think is that she should run in the other direction," she said, "because no one will protect her, like no one protected me."
It was quite a statement, and it got us thinking. Of course, it's heartbreaking to imagine the experiences that Waterbury lists in the lawsuit, and it's easy to see why this would be her reaction.
But should aspiring ballet dancers really "run in the other direction"? Were her alleged experiences isolated incidences perpetuated by a tiny percentage of just one company—or are they indicative of major problems in today's ballet culture within and beyond NYCB's walls?
