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Updated: June 9, 2009, 3:46 pm	Share    Print    Email

The post performance dinner dance in the transformed studios of the School of American ballet. Photos by Douglas Harrington

New York City - Once a year, lovers of dance have the rare opportunity to look into the future of American ballet, the future of the art itself. Perhaps, the opportunity to see the next Suzanne Farrell, Edward Villela or Kelsey Kirkland, as these renowned artists are but three of the multitude of graduates of The School of American Ballet that have gone on to become the principal dancers in some of America's most prestigious dance companies. Many, at the end of their performance careers, continue on to direct existing dance companies or to create companies of their own, as well as creating and choreographing new and classic works. On June 1, over 500 patrons of the nation's most prodigious training ground for American dancers gathered in Manhattan to attend the annual Workshop Performance Benefit of The School of American Ballet.

Suki Schorer - a 37 year faculty member.

The evening began with the opening remarks of the the school's Artistic Director, the legendary former principal dancer of the Royal Danish and New York City Ballets, Peter Martins. Among other remarks celebrating the school's history and its contribution to the lexicon of American dance, he charmingly thanked the sell-out crowd for their support in general and some patrons in particular, including the event's chairpersons Stuart H. Coleman, Amy Mazzola Flynn, Carolyn Wright-Lewis and Edward Lewis, along with the Young Patron Chairwomen Elizabeth Darst and Genevieve Labean with a special thank-you to Honorary Chairman Howard Soloman. Upon the bestowing of the 2009 Mae L. Wien Awards For Outstanding Promise to students Emilie Gerrity, Ashley Isaacs, Shoshana Rosenfeld and Taylor Stanley, all of whom have been invited to apprentice with the New York City ballet, and the Faculty Award to renowned dancer and teacher Violette Verdy, the evening's dance program began.

The evening's program included three ballets, all choreographed by the school's co-founder, the venerable ballet master George Balanchine. The opening ballet, "Serenade," Balanchine's first in America, is among the Master's most famous, set to the music of Tschaikovsky it was nothing short of remarkable. The charming "Harlequinade" gave an opportunity for the school's youngest pupils to shine with the patriotic "Stars and Stripes," that featured music adapted from the works of John Philip Sousa, ended the evening's program. It was hard to believe, based on the exquisite quality of the performances, that these ballets were actually danced by students.

SAB supporters Carol Bryce-Buchanan and Andie Mendell.

In the lobby of the Peter Jay Sharp Theater at Lincoln Center I caught up with 37 year faculty member Suki Schorer, who staged the evening's performance of "Serenade" and asked her if she was pleased with the students' performance. Clutching her congratulatory bouquet she said, "They were brilliant, they were wonderful, the students were like professional dancers. It was so moving to see that 'Serenade' as they had so much heart and feeling and soul of movement. In 'Stars and Stripes' they had so much energy, bravura and a fun attack, it showed a big range. And the little children in 'Harlequinade' were so charming, they just made you smile in being and just made you want to get up and dance."

Andie Mendell, a 10-year supporter of the school, was equally effusive in her praise, "I think they were fantastic, it is the best performance I have seen in a long time. I think these students get better and better every year. They almost danced like professionals, in some cases better than professionals." First time attendee Carol Bryce-Buchanan said, "Actually, I am more of a fan of modern dance, although I have a subscription to the New York City Ballet. This is my first time actually seeing an end of year graduation performance and I was stunned by how much talent there was - I thought they were remarkable." Mendell added, "I used to support the New York City Ballet, but now I have been giving to the school because I think it is very, very important to get them when they are young."

SAB Artistic Director Peter Martins with his wife dancer Darci Kistler.

That was Balanchine's thinking as well in creating the school in 1934. Co-founded with the help of philanthropist Lincoln Kirstein, the original stated mission of the school remains steadfast in this, its 75th anniversary year. "It is the purpose of the School of American Ballet to develop a national ballet corresponding with the famous Russian Ballet, but created by American artists to express an American tradition." Their vision was eventually fully realized, as the school did indeed serve as the seedbed from which The New York City Ballet bloomed in 1948 with SAB as its official academy. Since The New York City Ballet's founding 61 years ago, 582 of the company's 666 members have been recruited and trained by The School of American Ballet.

I asked two of the school's younger students, Kaledora Kiernan-Linn and Gabrielle Verdolini, both 12 years old, if they enjoyed performing in the benefit performance. Out of costume, but still in stage makeup, they giggled enthusiastically almost in unison, "It was fun, it was tons of fun!"

Theses two students were a bit too young to attend the apres performance dinner dance that included benefactors, supporters, faculty and older members of the student body. The studios of SAB had been transformed into elegant dinning rooms by Ron Wendt Floral and Event Design, Ltd. and the largest rehearsal space into a disco for dancing, which the students kept packed throughout the evening, urging the older attendees to join them on the dance floor.

SAB students Kaledora Kiernan-Linn and Gabrielle Verdolini.

Not every student who attends SAB goes on to become a professional dancer, as was the case for Young Patron Benefit Co-Chair Elizabeth Durst who chose to attend Harvard University. Still, the impact of the school on their lives is profound, as explained so eloquently by Durst, "I did not go on to become a professional dancer, but the school had a profound influence on my life nonetheless. It teaches students of all ages discipline, dedication, perseverance, and the pursuit of excellence."

Based on the evening's turn out, the challenging economy has had little impact on support for this seminal institution of American dance. As Artistic Director Martins explained, "We are all suffering, everybody is suffering, but when you have an organization like SAB you will prevail. We have talent, we have patrons that are loyal, I am confident that we will withstand this difficult time."

American ballet seems alive and well with its future secure, thanks, in no small part, to the creative talent and training that is the hallmark of The School of American Ballet. Martins summed the evening up best in his written address in the 2009 Workshop Performance playbill. "What you will see on stage today is the future: bold, exhilarating young dancers who will soon take their places on stages here at Lincoln Center and across the country, possibly the world."

For more information about The School of American Ballet go to www.sab.org.