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.”



































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Pittsburgh Ballet Theatre's 'The Nutcracker.' Photo by Rich Sofranko

Catching a performance of The Nutcracker has long been a holiday tradition for many families. And now, more and more companies are adding sensory-friendly elements to specific shows in an effort to make the classic ballet inclusive to children and adults with special needs.

While the accommodations vary depending on the company, many are presenting shorter versions of the ballet with more relaxed theater rules. Additionally, lower sound and stage light levels during the performance, as well as trained staff on hand, make The Nutcracker more accessible for those on the autism spectrum and others with special needs.

Pittsburgh Ballet Theatre's performance will take place on Tuesday, December 26th, and they are one of the pioneer companies in presenting sensory-friendly performances of The Nutcracker (their first production was in 2013). PBT also offers sensory-friendly versions of Jorden Morris' Peter Pan and Lew Christensen's Beauty and the Beast throughout the year.

See our list of sensory-friendly performances, and check out each site for all of the details regarding their offerings.

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Your Best Body
Pilates hundred intermediate set-up, modeled by Jordan Miller. Photo by Emily Giacalone.

The Pilates hundred is a popular exercise used by many dancers for conditioning and warming up, but it's also one of the most misunderstood. Pumping your arms for 100 counts sounds simple enough, but it requires coordinated breathwork, a leg position that suits your abilities and proper alignment. Marimba Gold-Watts, who works with New York City Ballet dancers at her Pilates studio, Articulating Body, breaks down this surprisingly hard exercise. When done correctly, the benefits are threefold: "If you're doing it before class," she says, "the hundred is a great way to get your blood flowing and work on breath control and abdominal support all at once."

To Start

Lie on your back with knees bent and feet on the floor. Nod your chin toward the front of your throat, and reach your fingertips long.

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Pointe Stars

At just 16 years old, the Bolshoi Ballet's Maria Alexandrova already had the makings of a great artist. In this variation from Coppélia, she portrays the carefree Swanilda with blithe, youthful ease.

When she bounds on stage in her perky pink tutu, you immediately notice her legs–they just go on forever. In the first sequence of steps she keeps her jetés and développés low, but then the phrase repeats and she lets her gorgeous extensions fly. She sails through Italian fouettés and whirls around in piqués en manège that get faster and faster. While she nails all the virtuosic movement, Alexandrova also pays beautiful attention to detail throughout the variation. Even the simplest steps become something exciting, like her precise pas de bourrées beginning at 1:03 that sing with musicality.

Swanilda has been one of Alexandrova's signature roles throughout her career. For a fun side by side, watch her perform the same variation almost 20 years later in this video. Although Alexandrova formally retired from the Bolshoi in February, she still performs frequently in Moscow and internationally as a guest artist. Happy #ThrowbackThursday!


Pointe Stars
Ingrid Silva and her dog, Frida Kahlo. Photo by Nathan Sayers for Pointe.

You're probably already following your favorite dancers on Instagram, but did you know that you can follow many of their dogs, too? We rounded up some of our favorite dog-centered accounts and hashtags to keep you pawsitively entertained (sorry, we can't help ourselves).

Cora and Maya (American Ballet Theatre's Sarah Lane and Luis Ribagorda)

Sarah Lane and Luis Ribagorda's pups Cora and Maya update their profile pretty frequently. Often accompanying Lane to the ABT studios, they can also be seen using tutus or piles of pink tights as dog beds.

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Pointe Stars
Vladislav Lantritov and Ekaterina Krysanova in "Taming of the Shrew." Photo by Alice Blangero, Courtesy Bolshoi Ballet.

If you haven't checked your local movie listings yet for this weekend, hop to it. The Bolshoi Ballet in Cinema series and Fathom Events is broadcasting a performance of Jean-Christophe Maillot's The Taming of the Shrew to theaters nationwide on Sunday, November 19. (To see if it's playing near you and to purchase tickets, click here.) While the rest of the Bolshoi's cinema season features 19th- and 20th-century classics, The Taming of the Shrew gives audiences a chance to see the revered Moscow company in a thoroughly modern, 21st-century take on Shakespeare's famous play.

Aside from a limited run in New York City this July, American audiences have had little exposure to Maillot's 2014 production. To learn more, check out these two exclusive, behind-the-scenes webisodes below. Principal dancer Ekaterina Krysanova, who stars as the hotheaded Katharina, gives an intimate play-by-play of two major scenes in Act I. The first is her fiery rejection of three potential suitors (who all would prefer to marry Katharina's younger sister Bianca).

The second scene breaks down Katharina's first encounter with Petruchio (danced by the larger-than-life Vladislav Lantritov), the only man who seems to be able to challenge her. Here, too, we see the shrew's heart start to soften. (Don't miss her time-stopping attitude turn at 4:27.)

The Bolshoi Ballet in Cinema Series continues through June; for more details on upcoming screenings, click here.

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Smuin Ballet dancers Erica Felsch, Rex Wheeler, Mengjun Chen and Tessa Barbour in "White Christmas," choreographed by dancers Ben Needham-Wood and Michael Smuin. Photo by Keith Sutter, Courtesy Smuin Ballet.

Nutcracker-ed out? Or just can't get enough holiday ballets? These unique Nutcracker interpretations and non-Nutcracker productions will make your season bright.


The Hip Hop Nutcracker

Through December 30

Tchaikovsky's masterful Nutcracker score isn't just for classical ballet…

Hip Hop + a live DJ + an electric violinist unite in The Hip Hop Nutcracker, currently touring the U.S.

Familiar characters such Drosselmeyer, the Nutcracker, Mouse King and Marie (here called Maria-Clara) dance through an updated New York City storyline with choreography by Jennifer Weber, artistic director of the Brooklyn-based theatrical hip hop company Decadancetheatre.

Premiered in 2014, The Hip Hop Nutcracker is produced by New Jersey Performing Arts Center.

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