Just for Fun
A young Robbie Fairchild, posing for a tap number. Courtesy Fairchild.

When you hear names like Maria Kochetkova, Sutton Foster and Robbie Fairchild, you immediately picture flashes of them as the fully-formed, phenomenal performers they are today.

But even when they were kids, they had a glimmer of their future star power, giving a glimpse of what was to come. Thankfully for Instagram, we've got the pictures and home videos to prove it.

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Dance in Pop Culture
Chava Lansky

After days spent rallying against "Good Morning America" host Lara Spencer's flippant comments about boys doing ballet, the dance world triumphed on Monday. Not only did Spencer issue a lengthy on-air apology, complete with an interview with Robbie Fairchild, Travis Wall and Fabrice Calmels, but over 300 dancers gathered outside of the "GMA" studios for an impromptu ballet class.

The dance field seemed geared to press forward with positivity; a change.org petition urging "GMA" to cover the benefits of ballet for young men has gathered over 40,000 signatures, and many are examining the ways in which the #boysdancetoo movement can be made more inclusive. This made it all the more disheartening to open Instagram this morning and see that Fox News commentators Raymond Arroyo and Laura Ingraham took the bullying a step further last night, mocking Spencer's apology on a program called "The Ingraham Angle."

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Dancers Trending
Many of this morning's students outside the "GMA" studios with the five teachers in the front row. Chava Lansky.

At 6:30 this morning, I exited the subway in Times Square and walked towards the group of dancers gathered outside the "Good Morning America" studios. The moment I entered the fray, any lingering early morning grogginess disappeared; the energy in the crowd was palpable. By 7 am, the time that "GMA" goes live to millions nationwide, over 300 dancers of all stripes had gathered, and class began.

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News

On this morning's edition of "Good Morning America," host Lara Spencer did what the dance community has been clamoring for since last Thursday, when her flippant comments about Prince George enjoying ballet lessons provoked widespread outrage: She apologized live on air.

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Dancers Trending
Robbie Fairchild in a still from In This Life, directed by Bat-Sheva Guez. Photo courtesy Michelle Tabnick PR

Back when Robbie Fairchild graced the cover of the May 2018 issue of Dance Magazine, he mentioned an idea for a short dance film he was toying around with. That idea has now come to fruition: In This Life, starring Fairchild and directed by dance filmmaker Bat-Sheva Guez, is being screened at this year's Dance on Camera Festival.

While the film itself covers heavy material—specifically, how we deal with grief and loss—the making of it was anything but: "It was really weird to have so much fun filming a piece about grief!" Fairchild laughs. We caught up with him, Guez and Christopher Wheeldon (one of In This Life's five choreographers) to find out what went into creating the 11-minute short film.

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Cover Story
Robert Fairchild is jumping into the next phase of his career feet-first. Photo by Jayme Thornton

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!' "

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Dancer Voices
Peter Boal coaching PNB dancers in Opus 19/The Dreamer. Photo by Lindsay Thomas, courtesy PNB

In a windowless subterranean studio under the New York State Theater, I pulled back an imaginary arrow and let it fly.

"Good!" said ballet master Tommy Abbott. "I think you're ready. Tomorrow you rehearse with Mr. Robbins."

I was slated to play Cupid in Jerome Robbins' compilation of fairy tales called Mother Goose. It was a role given to the tiniest boy who could follow directions at the School of American Ballet. In 1976, that was me.

The following day, I reported to a much larger windowless studio on the fifth floor known as the main hall. The room was bristling with excitement and nervousness. About half of the dancers from New York City Ballet were on hand, plus a coterie of bustling ballet masters and Mr. Robbins. Tommy tucked me and two other boys in a corner. My first rehearsal with the legendary choreographer was underway.

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