Wendy Whelan leads a crowded morning class. "The energy was amazing," she says. "Among the visiting companies, there was such a shared respect and friendliness toward each other." Kyle Froman.

Eight Companies, One Iconic Choreographer: Inside Rehearsals for New York City Center’s Balanchine Festival

On a crisp day in late October, the studio air is thick and hot as dozens of sweaty dancers finish up grand allégro at New York City Center. Despite the fact that many of them are jet-lagged, there is a palpable, positive energy throughout the studio. Teaching class is former New York City Ballet star Wendy Whelan, which seems fitting. The dancers, culled from eight major companies around the world, are getting ready for opening night of Balanchine: The City Center Years, a five-day festival highlighting the choreographer George Balanchine's early works.


NYCB was officially founded at City Center in 1948, 16 years before the company moved into its current, much larger home at Lincoln Center. Some of Balanchine's most groundbreaking works, such as 1957's Agon, were created while the company was in residence there. To celebrate its 75th-anniversary season and its place in dance history, City Center invited eight companies—American Ballet Theatre, The Joffrey Ballet, Mariinsky Ballet, Miami City Ballet, NYCB, Paris Opéra Ballet, The Royal Ballet and San Francisco Ballet—to showcase 13 Balanchine ballets over six programs. Each troupe prepared one to two ballets for the festival, ranging from modernist (The Four Temperaments, Agon) to classical (Divertimento No. 15, Symphony in C) to sweepingly lyrical (Serenade).

The event had New York City audiences buzzing with excitement, but it couldn't compare with the excitement of the dancers themselves. "I have friends here from all over the place, even some who I know only from Instagram," says Mariinsky Ballet principal Xander Parish. "This brings us all together and makes the ballet world even smaller."

Pointe went behind the scenes with the dancers to capture the festival's final preparations.

Kyle Froman

Mariinsky principals Kimin Kim and Viktoria Tereshkina run through Balanchine's 1960 Tschaikovsky Pas de Deux.

Latest Posts


Whitney Ingram

Revisiting Julie Kent's Dance Bag, 20 Years Later

Julie Kent was our very first Show & Tell when Pointe magazine launched in spring of 2000. Then a principal with American Ballet Theatre, Kent carried a second bag entirely dedicated to her pointe shoes. Twenty years later, she is now the artistic director of The Washington Ballet, and no longer needs to tote her pointe shoes. "For 40 years they were like a part of my body," says Kent. "And now they're not part of the landscape until my daughter's old enough to go on pointe." Nevertheless, Kent's current role keeps her in the studio. She always carries practice clothes and ballet slippers for teaching and rehearsals.

Keep reading SHOW LESS
Courtesy Tiler Peck

Tiler Peck's Top 10 Tips for Training at Home

On March 15, New York City Ballet principal Tiler Peck announced to her 172,000-plus Instagram followers that she'd be teaching a live class from her family's home in Bakersfield, California, where she's currently waiting out COVID-19. Little did she know that she'd receive such a viral response. Since then, Peck has offered daily Instagram LIVE classes Monday through Friday at 10 am PST/1 pm EST, plus an occasional Saturday class and Sunday stretch/Pilates combo. "The reaction was just so overwhelming," she says. "These classes are keeping me sane, and giving me something to look forward to."

Keep reading SHOW LESS
Getty Images

It’s OK to Grieve: Coping with the Emotional Toll of Canceled Dance Events

Grace Campbell was supposed to be onstage this week. Selected for the Kansas City Ballet School's invitation-only Kansas City Youth Ballet, her performance was meant to be the highlight of her senior year. "I was going to be Queen of the Dryads in Don Quixote, and also dance in a couple of contemporary pieces, so I was really excited," she says. A week later, the group was supposed to perform at the Youth America Grand Prix finals in NYC. In May, Grace was scheduled to take the stage again KC Ballet School's "senior solos" show and spring performance.

Now, all those opportunities are gone.

The COVID-19 pandemic has consumed the dance community. The performance opportunities students have worked all year for have been devoured with it. Those canceled shows might have been your only chance to dance for an audience all year. Or they might have been the dance equivalent to a cap and gown—a time to be acknowledged after years of work.

You can't replace what is lost, and with that comes understandable grief. Here's how to process your feelings of loss, and ultimately use them to help yourself move forward as a dancer.

Keep reading SHOW LESS