Wendy Whelan spoke with Balanchine legends Allegra Kent, Kay Mazzo, Gloria Govrin and Merrill Ashley. Eduardo Patino.NYC, Courtesy NDI
George Balanchine famously wrote, that ballet "is a woman." Four of his most celebrated women—Allegra Kent, Gloria Govrin, Kay Mazzo and Merrill Ashley—appeared onstage at Jacques d'Amboise's National Dance Institute Monday evening to celebrate his legacy. The sold-out program, called "Balanchine's Ballerinas," included performances of excerpts from ballets closely associated with these women and a discussion, moderated by former New York City Ballet principal Wendy Whelan. Here are some highlights of the conversation, filled with affection, warmth and fond memories.
Balanchine technique will challenge your footwork and musicality. Photo by Rosalie O'Connor, courtesy SAB
Before spending a summer at Los Angeles Ballet School, Lillian Glasscock had never learned a Balanchine variation. "The stylistic differences, like preparing for a pirouette with a straight back leg, were at first very challenging," says Glasscock, 17. "But it soon got easier."
Los Angeles Ballet company members were in class daily, motivating and inspiring her. Trying out a new style and expanding her repertoire gave Glasscock more strength, and a better understanding of the varied demands of ballet companies today. Months later, the Balanchine variations she learned are now personal favorites.
While the early years of training are typically spent diligently working through the syllabus of a single ballet technique, when you start to prepare for a professional career, versatility is key. There isn't just one correct version of each step. And as ballet companies continue to diversify their repertoires, directors need dancers who can move fluidly between an array of styles.
Fellow Angela Harris teaching an intermediate girls class at SAB
New York City Ballet has an image problem. Despite having the moniker of one of the most diverse cities on the planet, the company regularly comes under fire for its lack of diversity. A perception of overbearing whiteness has plagued the institution, often acting as a cultural barrier for prospective students and audiences.
Over the last three years, the company's School of American Ballet and its diversity team have been working to change this. Since NYCB preserves its Balanchine legacy by keeping everything in house—dancers are hired almost exclusively from SAB, where they are trained by former members of the company—the school is a logical place to start transforming its image. And it's working. Presently, the children's division and intermediate/advanced division boasts 44% and 29% students of color, respectively.