New York City Ballet -- October 6, 2014 -- Wendy Whelan Farewell

On Monday, October 6th, we went to New York State Theater for a NYCB Association seminar devoted to Wendy Whelan's 30-year career with the Company.  It was really a chat between Wendy and Tyler Angle -- one of her regular partners over the last few years.

Wendy Whelan & Tyler Angle in Christopher Wheeldon's 'Polyphonia'.  Photo by Paul Kolnik for NYC Ballet

Wendy was part of the first generation of dancers to join the Company following Balanchine's death in April of 1983 -- Wendy became an apprentice in 1984 and joined the Company in 1986.  In discussing her earliest days with the Company, she noted that she didn't miss Balanchine's presence, because he had never been around when she joined the Company, but that she missed his approval of how she danced the roles he had created for others.

Wendy Whelan in the studio with the choreographer Christopher Wheeldon

She only realized how much this could mean when she started working with living choreographers on new works.  She was particularly inspired by working with Christopher Wheeldon (first on 'Polyphonia' which premiered in early 2001) and Alexei Ratmansky (first on 'Russian Seasons' which premiered in mid-2006).  Wheeldon created roles in seven more ballets for Wendy; Ratmansky created roles in three more.  The two choreographers are working on a piece d'occasion for Wendy's farewell performance on October 18th which she will dance with Tyler Angle and Craig Hall.

Wendy Whelan and Craig Hall in 'After the Rain' by Christopher Wheeldon, photo by Paul Kolnik for NYC Ballet

When the subject of mentoring was raised, Wendy laid out the lineage of her special relationships with her fellow dancers:  Heather Watts who danced under Balanchine had mentored the young Jock Soto; Jock in turn mentored Wendy; and Wendy has mentored both Craig Hall and Tyler Angle who have been her primary partners following Jock's retirement.  Wendy says that she's always open to other colleagues asking for advice and assistance, but 'they have to ask'.    

Recently, she has been teaching advanced girls at Ballet Academy East and looks forward to continuing that mentorship role as time permits.  An audience member asked why she was teaching at Ballet Academy East rather than at the Company's official school, The School of American Ballet.  She answered, 'that's not up to me'.  I would only add, that's SAB's loss.

Among her favorite roles: the final waltz in Balanchine's 'Liebeslieder Waltzer' and the last movement of Balanchine's 'Brahms-Schoenberg Quartet'; Robbins' 'The Cage', 'Dances at a Gathering' (especially the Grand Waltz), and 'In Memory Of . . .'; plus all of the works created for her by Wheeldon and Ratmansky.

Roles she would have liked to dance (it seems she's danced every role in the Company's repertoire):  Balanchine's 'La Valse' and Robbins' 'Afternoon of a Faun'.

Next steps in her career: Wendy takes her show 'Restless Creature' on the road for six months starting in January.  It features four works by four young, male choreographers who are also her partners in their works.

Wendy Whelan and Joshua Beamish in his piece from 'Restless Creature' .  Photo by Christopher Duggan.

Next summer an evening of new works created for Wendy and Edward Watson of the Royal Ballet at Covent Garden which will transfer to City Center in New York in 2016.  Wendy has been named Artistic Associate at City Center for two years beginning next month.  In other words, when she leaves City Ballet on October 18th, Wendy will not be resting on her considerable laurels.  

Wendy Whelan preparing toe shoes in her dressing room at Lincoln Center.
Photo by Beatrice de Cea for the New York Times 

You can go to Wendy's web page (www.wendywhelan.org) to keep up with her.  It includes a schedule of 'Restless Creature' dates and a wonderful 11 minute video about her life to date.