Dancing Through It: My Journey in the Ballet
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costume department of, 137–38, 191–92
Dancers’ Emergency Fund, 43
Diamond Project, 86, 200, 202
friendships in, 244
grueling schedule in, 64–65, 73
high standards in, 60, 87, 195, 206
invitation to join, 3, 57–58, 69
and orchestra, 171, 172–73, 181–82
principal dancers of, 74, 169, 193, 206
publicity for, 224
rehearsal time in, 61, 64, 68, 169, 209
repertoire of, 61, 68–69, 169
at Saratoga, 32, 112, 177, 190, 193–95, 209
and School of American Ballet, 28
sense of belonging in, 73–74
signing in, 167–68
soloists in, 92
unique artistry of, 55–56, 170, 174, 250
Workout program, 115, 150
New York City Opera, 62
New York Sports Clubs, 115, 150
New York State Theater:
author’s first performance in, 46–49
author’s first solo in, 80
designed for ballet, 47
stagehands, 167, 168
warming up backstage, 157–58, 167
New York Times, 4, 94, 212, 214, 220
Nichols, Kyra, 233, 242
Nikitas, Tanya, 11
North Carolina, author’s childhood in, 7–9
The Nutcracker (Tchaikovsky), 64–68, 81, 148
author’s comeback in, 155, 156–59
in Brooklyn, 179–80
in New Paltz, 134, 137–44
Sugar Plum Fairy, 92, 138, 139–40, 144, 190, 211–12, 250–51; see also Sugar Plumgate
tutu for, 137–38, 139–40
O’Day, Kevin, Huoah, 94
Oprah (TV), 223–30
Overeaters Anonymous (OA), 101–3, 104–5, 109, 110
pain:
in ballet class, 21–22
dancing through, 21–22, 51, 80–81, 87, 197–99
Palermo, Italy, performance in, 240
partnering, 21–22, 36, 37, 83–84, 124
Parton, Dolly, 127, 163
Pas de Quatre (Perrot), 184–86
Patrelle, Francis, Romeo and Juliet, 150–51, 180–81
Pazcoguin, Gina, 203
perfection:
author’s quest for, 2, 5, 26, 72, 87, 93, 100, 102, 113, 115, 248, 249–50, 251, 256
and Christian faith, 5, 111, 120, 254
correcting errors in line or technique, 214, 220
mirror reflection of flaws and imperfections, 86, 89, 119, 245, 256–57
in performance, 80, 173, 175, 179
and physical appearance, 17, 86–87, 91, 119, 220
subjective judgment of, 135, 153, 214, 220, 249–50
technical foundation for, 36–37, 174, 220, 236
Pilarre, Susan, 36, 37, 42, 50
Pilates, 52, 98, 124
Portman, Natalie, 220, 227
Professional Children’s School (PCS), 34, 36, 55, 124
Prokofiev, Sergei, Romeo and Juliet, 83–85, 150–51, 180–81
Ramasar, Amar, 183–84
Ratmansky, Alexei:
Namouna: A Grand Divertissement, 232
Russian Seasons, 200–204, 232, 246
Redeemer Presbyterian Church, New York, 196–97
Ringer, Becky (sister), 9–10, 24, 31, 145, 189, 241
as best friend, 99, 126, 151–52
in New York, 76, 78, 86, 99
wedding of, 105
Ringer, Doug (father), 9, 17, 88–89, 105, 247
Ringer, Jenifer:
and boyfriends, 121–25, 151
childhood of, 6–17, 121, 255–56
children of, see Fayette, Grace Rebecca; Fayette, Luke Douglas
confidence of, 119–20, 151, 197, 199
and critical reviews, see Sugar Plumgate
in dance classes, 8, 9, 11–12, 14–16, 19–22
and dating, 124–26, 130, 145–48, 149, 150, 151–52, 160
in denial, 93–94, 100, 103, 104, 109–10, 129
and depression, 5, 114–15, 117
eating disorder of, 3, 5, 53, 86–92, 93, 95, 98, 100–101, 103, 104–5, 106, 107–8, 117
faith of, see Christian faith
icing her feet, 74–76
injuries to, 50–53, 55, 98–99, 197–98
and James, see Fayette, James
looking back on her career, 251–54
media stories about, 94
and motherhood, 196, 204–10, 215, 222, 245–48, 254
name, spelling of, 60
perfection sought by, 2, 5, 26, 72, 87, 93, 100, 102, 113, 115, 248, 249–50, 251, 256
and performance preparation, 163–70
and pregnancy, 205–7, 246, 247–49, 250–51
retirement thoughts of, 206–7, 244, 253
schooling of, 8, 9, 10–11, 34–35, 55, 73, 121
singing “Little Drummer Boy,” 147–48
as teenager, 23, 28, 31–34, 38, 39, 42, 50, 53–54, 58, 73, 77, 81, 84–85, 103, 176, 220, 249–50
wedding of, 188–92
Ringer, Scharlene (mother), 88–89, 105
and author’s childhood, 8–9
and author’s dance career, 18, 34, 56, 99–100, 110, 111
and author’s dance lessons, 24–25
and author’s injuries, 51, 55, 99–101
and author’s physical development, 54
and author’s wedding, 189–92
and Ballet Mothers, 26, 28
and grandchildren, 226, 247
jobs held by, 24, 31
Riverside Church, New York, performance at, 128
Robbins, Jerome, 86, 108, 170
choreography, see Robbins, Jerome, choreography by
eye contact desired by, 237–38
“Jerry Dancers,” 237
Robbins, Jerome, choreography by:
The Concert, 94
Dances at a Gathering, see Dances at a Gathering
Fancy Free, 161
The Four Seasons, 178–79, 226, 230
I’m Old Fashioned, 225
Interplay, 81–83
Moves, 89–90
2 and 3 Part Inventions, 94
West Side Story Suite, 207
Robbins Rights Trust, 207
Robert Schumann’s “Davidsbündlertänze” (Balanchine), 182
Romeo and Juliet (Prokofiev), 83–85, 150–51, 180–81
Royal Ballet, 56
Royal Danish Ballet, 187
Russian classical style, 20
Russian Seasons (Ratmansky), 200–204, 232, 246
San Francisco Ballet, 207
Saratoga Performing Arts Center (SPAC), 177–78, 193
Saratoga Springs:
James’s final performance in, 193–95
summer seasons in, 32, 112, 190, 209
Savoye, Sean, 90
School of American Ballet, 28
author as student in, 33–34, 35–40, 41
author as teacher in, 246
author’s acceptance to, 29
Balanchine technique taught in, 30, 35–36, 57, 187
competition in, 39–40
gateway to career in, 42
high standards in, 29–30, 58
male class at, 124
neoclassical style in, 35–36
and The Nutcracker, 66
summer course at, 31–34
Workshop program, 42–51, 64
Schorer, Suki, 36, 37, 42–45, 48–50
self-absorption, 108, 113–15
self-acceptance, 119–20, 151, 158, 256–57
self-hatred, 4, 91, 102, 112, 113, 119, 225, 256
self-image, 4, 89–91, 100, 118, 216–17, 222, 249–50
Serenade (Balanchine), 52, 232
author’s epiphany in, 2–3, 27
author’s image of, 1–3
choreography, 27, 35
music of, 1, 2–3, 27, 49
opening scene, 1
Waltz Girl, 1, 2, 4, 44–45, 49, 159
in Workshop program, 42, 43–49
Shields, Terry, 12, 13–16, 17, 18, 19
Sinfonia (Martins), 94–95
The Sleeping Beauty (Tchaikovsky), 38, 81, 161, 177–78
Somogyi, Jennie, 172
La Sonnambula (Balanchine), 209
Soto, Jock, 233, 239–40
Sousa, John Philip, 148
South Carolina, author’s childhood in, 9–17
South Carolina Children’s Ballet Theatre, 15–17
Stafford, Abi, 203
Stars and Stripes (Balanchine), 113, 129, 148
Steel, Michael, 19
Steps, 117–19, 208
Stiefel, Ethan, 57
Sugar Plumgate:
and focus on author’s strength, 222–23
and focus on body image, 220, 224, 230
and focus on dance, 216, 220
and focus on eating disorders, 216, 219–21, 224, 225, 231
helping others via, 222, 224, 225, 230–31
and media intrusion, 222–23
New York Times review, 212–17, 230
opening-night performance, 211–12, 224
and Oprah, 223–30
public response to review of, 213–14, 215–17, 218, 222, 230
return to, 250–51
seeking God’s plan in, 222, 224, 225, 229, 230–31
and Today show appearance, 216, 217–21
Swan Lake (Tchaikovsky), 197–99
Sylve, Sofiane, 203
Sylvia and Danny Kaye Playhouse, Hunter College, 150
Symphony in C (Balanchine), 42, 43, 50
Symphony in Three Movements (Balanchine), 183, 184
Taylor, Janie, 172
Tchaikovsky, Peter Ilich:
The Nutcracker, 64–68, 81, 148
Serenade for Strings in C, 27, 49
The Sleeping Beauty, 38, 81, 161, 177–78
Swan Lake, 197–99
Tschaikovsky Suite No. 3, 61–64
Tharp, Twyla, Beethoven’s Seventh, 181, 182
Time, 94
Today (TV), 216, 217–21
Tokyo, performance in, 182–84
Tracey, Kathleen “Katey,” 41, 46, 48, 62, 178
Tracey, Margaret “Meg,” 41, 46, 48, 62, 64
Tumkovsky, Antonia “Tumey,” 36
Tupin, Oleg, 20
2 and 3 Part Inventions (Robbins), 94
Van Kipnis, Pascale, 159, 234–35, 240
Velez, Inmaculada, 59, 63, 66
Verona, Italy, performance in, 184–87
Vienna Waltzes (Balanchine), 170–71
Virginia, author’s family move to, 20
Virginia Ballet School, 20–23, 24
Walker, Elizabeth, 40, 50, 131–33, 158
The Waltz Project (Martins), 95–98
Washington Ballet, 30, 32, 124
ballet style in, 19, 40
Serenade performed by, 2–3
summer courses with, 20, 23
Washington School of Ballet, 2, 17
author’s acceptance in, 24–27
author’s audition for, 18–19
author’s first fall in, 175–77
summer intensive in, 23–24
Weese, Miranda, 202
weight:
author released because of, 109–10, 111
author’s acceptance of, 119–20, 151, 158, 256–57
author’s loss of, 87–89, 155
author’s obsession with, 89, 94, 95, 96–98, 109, 135
for ballet, 3–4, 54–55, 86–87, 104, 107–9, 136, 151, 153, 159–60, 219–20, 248–49
control of, 54–55, 91, 153, 155
and dance critics, 212–14, 222, 224
fluctuating, 89, 91–92, 108, 111
and Overeaters Anonymous, 101–3, 104–5, 109, 110
and overeating, 95, 99, 105, 108–9, 113
and pregnancy, 207–8, 247–48
and self-image, 4, 89–91, 216–17, 249–50
society’s bias about, 216–17, 223
West Side Story Suite (Robbins), 207
Wheeldon, Christopher, 113, 128, 129
Evenfall, 202
Whelan, Wendy, 94, 174–75, 203, 233, 236
Williams, Stanley, 38–39, 42, 43, 52
Winfrey, Oprah, 226–30
Woetzel, Damien, 233
World Financial Center, performing at, 144, 148–49
PHOTOGRAPH CREDITS
Choreography depicted, © The George Balanchine Trust: 6, 12, 18, 22, 25, 28, 30, 38, 42.
Photograph number:
1, 2, 3, 4, 5, 8, 9, 10, 14, 37: Courtesy of the author.
7, 20: Courtesy of Scharlene Ringer.
6, 18: © Steven Caras. All rights reserved.
11, 12, 13, 17, 23, 26, 27, 28, 29, 30, 32, 33, 36, 38, 39, 40: © Paul Kolnick.
15, 16, 42: Courtesy of James Fayette.
19: Photo by Linda Smalley.
21: © 2013 Eduardo Patino, NYC.
22: Brian Rushton. The George Balanchine Foundation Interpreters Archive.
24: Photo by Wendy Whelan.
25: Brian Rushton. The George Balanchine Foundation Archive of Lost Choreography.
31: Sarah Silver / Trunk Archive.
34, 35: Terry Brown.
41: © Rosalie O’Connor Photography.
43: Courtesy of Rebecca Ringer.