A summer in New York City, filled with glamour and dreams, sweat, blood and tears; that's the tantalizing prize for the lucky few who pass the School of American Ballet's 1990 nationwide auditions.
On a recent Monday afternoon, 28 Utah hopefuls ages 12-14 gathered at the Marriott Center for Dance. Their mission: to win one of the 200 places open in the Balanchine-founded academy's summer school, where many a top ballerina got her start. To do so, they must place highest among 2,000 young people who audition in 23 American cities.Nothing ventured, nothing gained, and there's an air of excitement as each dancer performs her pet warm-up at the barre.
Conducting the auditions are two former members of New York City Ballet, now SAB officials - Robert Lindgren, president of the school, and Garielle Whittle, a faculty member and ballet mistress for children.
Lindgren was born in Victoria, British Columbia, emerging on the international scene in the '40s. He danced with the Ballet Russe de Monte Carlo, with Ballet Theatre, forerunner of the American Ballet Theatre, and in some Balanchine choreographies on Broadway before moving into New York City Ballet. He well remembered working with Utah's Christensen brothers in pre-World War II days in New York, and had fond memories of choreographing a '60s production of "The Promised Valley" in Phoenix.
A veteran of many recruiting tours, Lindgren views Salt Lake City as a happy hunting ground. "We become accustomed to finding a good level of dance training in certain cities, and Salt Lake is one of the best," he commented. "We always find some dancers here."
The hour's audition is not a full class, explains Whittle, a tall, graceful blonde with a crisp, pleasant manner. "But we can observe potential even in that short time. We look for a certain type of body with NYCB in mind and judge how the dancer's level of training compares to her age, which shows capacity. We will take as many as we can find in any one city."
First comes a long workout at the barre as both judges move about assessing individually, and Lindgren films with video camera. Then there are some center combinations _ difficult stuff, with extensions, arabesques, turns, jetes and other tests of balance, slow and fast.
The girls' determination shows on their faces, and insecurity or confidence surface in their body stance. You begin to see bodies through NYCB eyes _ too short, too hippy, too heavy in the legs, too full-busted. Winners begin to surface _ girls who stay steady under pressure, jump gracefully with control and manage to keep the poetry in their movement.
After an hour of assessment, Lindgren and Whittle confer over smudgy judging sheets. Though they say that no decision is made until they get back to New York, you kind of think otherwise. I have made my decision, choosing two outstanding girls, and I wonder about them. "Do you know who you will take?" I ask.
"We have our winners," Whittle conceded.