Mira Nadon poses against a white backdrop. She leans back on her hands as she sits on one shin with her downstage foot propped on pointe. Her expression is cool as she turns her face to the camera. She wears a dark green sleeveless unitard. Her dark hair is neatly pulled back in a high bun.

The Diamond: New York City Ballet Principal Mira Nadon’s Brilliance Has Many Facets

As Mira Nadon stepped onstage for George Balanchine’s “Diamonds” pas de deux at the Kennedy Center in June, I was struck by both her youth and her maturity. At just 23, the New York City Ballet principal was making her debut in a role typically reserved for the company’s senior ballerinas. Yet she was bringing something new and distinctive to her interpretation.

A Long-Awaited Return: Inside Suzanne Farrell's "Diamonds" Rehearsal at NYCB

In a large practice studio inside Lincoln Center’s Koch Theater, Suzanne Farrell watches quietly as New York City Ballet principals Sara Mearns and Russell Janzen work through a series of supported poses. As Janzen kneels to face her, Mearns brushes through to croisé arabesque, extending her leg high behind her. “I wouldn’t penché there,” says […]

Endings: The Suzanne Farrell Ballet Faces Its Last Season

When it was announced last fall that 2017 would be The Suzanne Farrell Ballet’s final season, the news rippled through the American ballet community. Farrell, who for many represents the embodiment of George Balanchine’s ’60s and ’70s style, had been producing lucid, emotionally connected performances of his works annually at The Kennedy Center since 2001. […]

What Makes Balanchine's Jewels So Timeless

A long time ago, I was a teenager, just hired as a member of the corps with New York City Ballet. I found myself standing in B-plus at the very back corner of the State Theater stage, clutching the hand of fellow teenage corps member Shawn Stevens. Though the expansive stage was filled with dozens […]

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