Hindsight is 20/20. For a ballerina, having a daughter who wants a ballet career can be both elating and scary. A professional knows all the hardships—injury, pain, competitiveness, disappointment. And she can spot every mistake her daughter makes. It’s a mixed blessing for daughters, as well. While a mother who knows exactly what it takes can help, the fact that she probably has her own opinions about every phase of training comes at a cost. “Now that I’m a professional, it’s great,” says Gabriella Yudenich, a soloist with Pennsylvania Ballet whose mother, Barbara Sandonato, danced with the company. “But when I was 15, my mom and I had some nasty fights about ballet.” When a dance career passes from mother to daughter, what does that mean for their relationship? Here are several who have found different ways to cope.

Irina Dvorovenko and Olga Dvorovenko
Olga Dvorovenko explains that her daughter, American Ballet Theatre principal Irina Dvorovenko, was always independent and driven. She remembers when a 10-year-old Irina marched into her Kiev Ballet School audition, told the pianist what music she wanted and performed a self-choreographed solo—and was accepted to the academy. Then at 16, Irina traveled alone to the USA International Ballet Competition in Jackson, Mississippi, and returned with a silver medal, prize money and a new TV, VCR and video camera for the family. Then there was the car: “Irina had a used car shipped home from one of her first professional tours in Japan,” Olga says. “We never had a car before.”

Talk to Irina, though, and you’ll hear about a mother and father who worked diligently to provide for their daughter and guide her through the inevitable tears and hard work of a dance career. Olga and Vladimir Dvorovenko both trained as ballet dancers and became principals with the Ukrainian State Academic Dance Ensemble. Despite the couple’s relative success, life was bleak in Ukraine during the Soviet era. They didn’t have an abundance of anything at home. “Dance was our light,” Olga says.

From Irina’s earliest days, she loved being in the theater. “The dancer’s lifestyle excited me,” she says, “to sparkle and dazzle onstage and to be exceptional.” She dreamed of a career that would take her to the top. Her parents taught her how to work, how to look at and correct herself. When Irina was a teenager, her father filmed all her performances. “He would sit next to the orchestra pit and tape me, then we’d go home and work,” Irina says.

“As dancers and teachers, Vladimir and I would see every error,” Olga says. “We’d say, ‘If you do this, it will be better.’ ‘Look at this finger, here, it has to be up.’ It takes hard work—a lot of work—to be number one.”

Irina never rebelled. “I’d rather hear corrections, even if they sound painful or uncomfortable, from my family than hear that someone doesn’t like something, but doesn’t tell me why or explain how to fix it,” she says. Today Irina still looks to her mother for input. “My mom’s my mentor and advisor, friend and supporter,” she says. “I don’t hide anything from her.”

Gabriella Yudenich and Barbara Sandonato

Barbara Sandonato, founder of the Barbara Sandonato Ballet School in Philadelphia, was a trailblazer. An elegant and sophisticated Balanchine-trained dancer, she was Pennsylvania Ballet’s first company member and first principal in the 1960s. Back then, she had no idea that her daughter, Gabriella Yudenich, would one day be the first member of Pennsylvania Ballet II and, now, at 28 years old, a soloist with the main company.

Early loss drew mother and daughter together and helped dispel some of the natural tension that arose during Yudenich’s teenage years. Alexei Yudenich, Sandonato’s husband and Yudenich’s father, who was also a principal dancer with Pennsylvania Ballet, died when his daughter was only 6.

After her husband’s death, Sandonato turned to teaching, traveling up and down the East Coast to make ends meet. Since she had no extra money for childcare, she took Yudenich with her. When she was 11, Yudenich had an epiphany after seeing a documentary, Backstage at the Kirov. “It struck a chord within me,” Yudenich says. “It showed a girl in the corps de ballet being singled out for solo parts and her rise to dancing Odette in Swan Lake. I thought, ‘Oh my gosh, I have to do this.’ ”

Sandonato remembers the night, during a commute in their car, when her daughter told her from the backseat that she wanted to dance. “I said ‘Gabby, you’re 11, you have to do such a crash course,’ ” she remembers. “If by 13 you’re not accepted to a major school, it’s not going to happen.”

But Yudenich’s desire was sincere, so Sandonato began training her at home. “We got up every morning, put the kitchen timer on and stretched,” Sandonato says. Yudenich also began taking Sandonato’s classes, and enrolled in summer courses at Central Pennsylvania Youth Ballet, where her mother was on staff.

At 14, Yudenich entered the School of American Ballet’s year-round program on full scholarship. During the audition, Sandonato remained in the lobby. She had been in the school on full scholarship herself under George Balanchine. Yudenich has long dealt with people thinking her opportunities came through her mother. “This is a very competitive profession,” she says. “And people are going to say what they’re going to say, period. It’s been almost harder at Pennsylvania Ballet because people know who my parents are.” But ending up there almost seemed like a coincidence. The year she left SAB, PA Ballet needed girls for their Nutcracker. Yudenich auditioned and got hired. After, she stayed on as the first member of PA Ballet II.

Now a soloist, Yudenich and her mother know that their successes have come from perseverance. “In our business you’re always striving,” Sandonato says. “Telling someone they’re the best is not going to help. You have to be strong enough of mind and body to improve yourself to the capacity that you can.”

Hannah Marshall and Cheryl Yeager
A quintessential soubrette with an effervescent stage presence, Cheryl Yeager proved a popular principal dancer with American Ballet Theatre in the 1980s. She danced leads with Julio Bocca and Mikhail Baryshnikov in ballets that included Coppélia and La Sylphide. She also had roles made on her, such as Twyla Tharp’s razor-sharp Brief Fling.

Yeager’s daughter, Hannah Marshall, now a pre-professional student at ABT’s Jacqueline Kennedy Onassis School, is more at home in lyrical roles like Swan Lake’s Odette. Even at 16, Marshall has an effortlessness in her dancing that makes it seem like each sky-high extension and expressive upper body movement really does start from deep inside and move out.

While Yeager did not teach Marshall until her daughter was 11, she oversaw Marshall’s dance development from the outset. Marshall took her first “Mommy and Me” class as a toddler at Manhattan’s Ballet Academy East, where Yeager is on faculty, and she continued on through the graded level program at BAE until moving to JKO last fall. “It was just so nice having her in the same building,” Marshall says. “And she guided me, but with just enough room that I could do things sort of on my own.”

When Marshall did eventually take class with her mother, there was occasional mother/daughter tension. (“Sometimes with technique I can get a little, ‘Enough, Mom,’ ” she says.) Marshall has relished, however, the moments where Yeager can offer perspective. “The first time I didn’t get a part,” Marshall says, “I was crushed and she knew exactly what to say because she’s been there, but she could also be my mom at the same time.”

Now that Marshall is on her own at JKO, Yeager misses her but is glad that she is doing what she wants. “When you’re a dancer it affects your life forever,” she says. “It has been my life since I can remember, and now it’s her life, too.”



































Trending
Andrew Peasgood and Constance Devernay in "The Fairy's Kiss." Photo by Andy Ross, courtesy Scottish Ballet.

From now through January 15, Pointe is streaming Scottish Ballet in Sir Kenneth MacMillan's Le Baiser de la Fée (The Fairy's Kiss). This one-act ballet, based on the Hans Christian Andersen fairy tale "The Ice Maiden," was choreographed for The Royal Ballet in 1960. For more on the ballet's history and for behind-the-scenes footage, click here.

Synopsis

The Lullaby in the Storm
A mother with her child struggles through the storm. The Fairy with her attendants appears and pursues her. The Fairy separates the mother from her child. Passing villagers find the body of the mother, now dead, and guided by the Fairy, they find the child. The Fairy kisses him on the forehead. The villagers become frightened and taking the child with them, they run away.

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Rigorous program, check. Well-rounded technical training, check. Purposeful liberal arts curriculum, check. Study your craft abroad, check! If you are looking for all the above, the Joan Phelps Palladino School of Dance at Dean College truly has it all.

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via YouTube

It's finally the weekend, and we're celebrating the best way we know how—a new ballet video. Juliet Doherty (who trained with San Francisco Ballet and Master Ballet Academy, and is set to star in the dance film, On Pointe), teamed up with Cartoon Network for her latest project.

"Cartoon Network contacted me about their show, Steven Universe, which was coming out with a new vinyl album of the soundtrack of the show," Doherty shared with Pointe. "They told me about one of the show's main characters named, Pearl, who is a strong-willed character but has the grace inspired by a ballerina."

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Mr. Jeremy FIsher, from Sir Frederick Ashton's "The Tales of Beatrix Potter."

Animal roles might not typically be what dancers dream of performing…but they're oh-so-fun to watch. You can't help falling under their spell (and perhaps aspiring to dance one someday). Here's a round-up of some of our favorite furry and feathered roles.

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Run. Dance in a circle. Pretend to be a rabbit. It might sound like a creative movement combo, but don't let that fool you. The role of Peter Rabbit in Sir Frederick Ashton's The Tales of Beatrix Potter requires fierce technique—not to mention the ability to project personality while wearing an animal head and fur suit.


Four-Legged Interlude

Who do you turn to for halftime entertainment during a quartet of fairy variations? Dancing lizards, mice and a frog of course! This charming quintet of creatures light up the stage in David Bintley's Cinderella.

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Your Career
Photo Courtesy Barry Kerollis.

I was probably about 15 years old when the director of my local dance school, seeing my drive and ambition, asked me to work as a teaching assistant for one of the main ballet instructors. She asked to meet with me to discuss the details of my new job. She explained what my role was in the studio, expectations of me in the position and more. But as we approached the end of my meeting, I wasn't expecting the conversation to take the serious turn that it did.

"Now, Barry, I need you to be very, very careful about how you work with these young girls. Kids are sensitive and, especially considering that you are a man, if you correct them in a way that can be viewed as sexual by either a student or a parent, even if you didn't do anything, you could be jeopardizing your future as a teacher and in this field." The look on my face must have been utter shock; the prospect of losing my job or getting sued over sharing my artform had never crossed my mind. This forever changed my perspective on being a dance educator, and I still find myself overly cautious about the way that I work with my students today.

Unless you've been hiding underneath a holiday blanket, it has become abundantly clear that we are undergoing a massive cultural shift here in the States. It started in the entertainment industry, then shifted to major corporations. Sexual misconduct in the form of harassment and assault that had been swept under the rug for years is bubbling to the surface. Things began to boil quite quickly, and those interested in our performing-arts world were speculating that something was going to be brought up in our tight-knit community, especially considering the hands-on approach that teachers have with students, dancers have with other dancers and artistic staff has while coaching employees. I had to sit on my own hands for over a month, after I was given a heads-up that a major news publication was working on an exposé about Peter Martins and his many alleged abuses (which had been quietly circulating around our dance community for years).

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Your Career
Erica Lall and Shaakir Muhammad in class at American Ballet Theatre's 2013 New York Summer Intensive. Photo by Rosalie O'Connor, Courtesy ABT.

This story originally appeared in the December 2013/January 2014 issue of Pointe.

When Pacific Northwest Ballet School student Madison Abeo was accepted into San Francisco Ballet School's summer session on a partial scholarship, she was thrilled. But then she added up the remaining cost for the program and realized she didn't have the funds. “I really wanted to go," she says, “but we just couldn't make the other half of it work."

Ballet training is expensive. For many families, a trip to a dream summer intensive simply isn't in the budget. SFB was $2,500 out of Abeo's reach. But she was determined. At the suggestion of her aunt, Abeo created a Facebook fan page where she asked for opportunities to babysit or perform odd jobs, and included a link to a PayPal account where friends and family could make donations. Two local dancewear businesses, Vala Dancewear and Class Act Tutu, offered to outfit her for fundraising photos, which a photographer took for her Facebook page for free. By June, Abeo had raised enough for tuition—plus plenty of pointe shoes.

Affording your dream intensive isn't as difficult as you might think. There are a surprising number of eager dance supporters out there. Case in point: On Kickstarter, dance projects have the highest success rate of any type of campaign, with dancers receiving over $4 million in donations through the site since it began. You can also apply for need- or merit-based grants and scholarships, either through your summer program or an outside foundation. Most dancers who want it badly enough can make it happen.


Madison Abeo with other Pacific Northwest Ballet School students in the 2013 School Performance of an excerpt from "Serenade," choreography by George Balanchine. Photo by Rex Tranter, Courtesy Abeo.

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In class at the Bolshoi Ballet Academy summer intensive. Photo by Gene Schiavone, Courtesy Russian American Foundation.

When Complexions Contemporary Ballet's summer intensive program director Meg Paul auditions students for its Detroit intensive, there's one thing that catches her eye for all the wrong reasons. "It's a real pet peeve of mine when a dancer keeps shifting her eyes to me during a phrase," she says. "It tells me that she's not fully invested in the movement, that she's more interested in being watched than in embodying the choreography."

Every summer intensive director has their own list of audition deal-breakers, but there are a handful of universal turnoffs to avoid. "Yes, we want the most talented students, but when talent is paired with a bad attitude or improper etiquette, it gives us pause," Paul says. While certain behaviors may seem minor, they can make all the difference when it comes time for scholarship offers or even acceptance decisions.

DEAL BREAKER #1: Not Presenting Yourself Professionally

An audition is a first impression, and you want to look your best. This begins with researching the specific intensive's audition requirements. "Our audition has a dress code, and we expect dancers to respect that," says Rina Kirshner, director of the Russian American Foundation's Bolshoi Ballet Academy programs. "We want dancers to stand out through hard work and talent, not brightly colored leotards or flowers in their hair."

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