New York City - Co-founded by the legendary choreographer and teacher George Balanchine, the School of American Ballet (SAB) has been the gold standard by which all other American schools of classical dance have been measured. The fruition of which was once again celebrated at its 2010 Workshop Performance Benefit on June 8.

SAB alumna and benefit co-chair Paige Bluhdorn with her husband Paul.

Ranging in age from nine to 19, each year since 1965 the students of SAB are featured in workshop performances of selected ballets that, although called workshops, are of the highest caliber imaginable. The selections are further enhanced by the pure joy and exuberance displayed by these young, wide eyed disciples of dance. This benefit also serves as a glimpse into the future of the art form, as every year SAB graduates go on to become the principal dancers in many of the nation's greatest ballet companies. Former SAB alumni who have made their pre-professional debuts in these workshop performances have included Fernando Bujones, Paloma Herrera, Peter Boal, Merrill Ashley, Gelsey Kirkland, Leslie Browne, Darci Kistler and Patrick Bissell, to name but a very few.

Balanchine created the school in 1934, co-founded with the help of philanthropist Lincoln Kirstein, and the master's original stated mission for the school remains steadfast in this, its 76th 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." His 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 62 years ago, SAB has been the feeder school for its dancers, with 95 per cent of the current company roster comprised of SAB graduates. The school now enrolls students as young as six years old.

SAB Board Member Alexandra Lebenthal and her husband Jay Diamond.

For the first time, this year's benefit kicked off with a 5:30 p.m. pre-performance cocktail party held at Morse Hall at the Julliard School. It was a fantastic opportunity for proud parents, supporters and benefactors to mingle and chat prior to the performance. It should also be mentioned that this year marks the 50th Anniversary of Lincoln Center itself.

After the cocktail hour attendees walked to the Peter Jay Sharp Theater at Lincoln Center for the much anticipated Workshop Benefit Performance, the only public performance given by the school each year. Prior to the dancers taking the stage, Artistic Director and former principal dancer for both the Danish and New York City Ballet Peter Martins announced and introduced this year's winners of the Mae L. Wien Awards. This year's recipients included SAB faculty member Jeffrey Middleton along with student dancers Jillian Harvey, Spartak Hoxha, Alexander Peters and Elizabeth Wallace.

The program featured three performances: "Scènes De Ballet" featuring music by Igor Stravinsky and choreographed by Christopher Wheeldon, "Valse Fantaisie" featuring music by Mikhail Glinka and choreographed by George Balanchine, and finally "Bourrée Fantasque" featuring music by Emmanuel Chabrier and choreographed by Balanchine. The three ballets were staged by SAB faculty members Katrina Killian and Garielle Whittle (Scènes De Ballet), Suki Schorer (Valse Fantaisie) and Susan Pilarre (Bourrée Fantasque).

Even after performing on stage SAB students still had the energy to dance in their studio turned disco.

The three ballets where nothing short of superb, excellently staged and brilliantly danced by the young performers. I particularly enjoyed "Scènes De Ballet" with its trompe l'oeil choreography of a ballet mirror illusion and the precision in which the dancers executed their mimicked movements to create the illusion. Simply brilliant!

Following the performance guests walked a half block next door to the SAB dance studios that had been transformed into three elegant dining rooms. Along with a delicious late supper, attendees were treated to the delightful serenade of tinkling ivory as pianists played on the rehearsal baby grand pianos in the corner of each room. As is recent tradition, another of the SAB studios was transformed into a disco for the students.

SAB Artistic Director Peter Martins thanking supporters at the Workshop Performance Benefit Dinner

I had the pleasure of sharing a table at dinner with Lebenthal and Alexandra & James President and CEO Alexandra Lebenthal and her husband money manager Jay Diamond. Long time supporters of SAB, Lebenthal has been a board member for the past six years, but shared with me a much earlier connection with the school, "I auditioned here when I was eight years old, but I did not get in because my body type was not right. In those days they would then send you to study with this woman named Natalia Bernitzska who had danced for the Czar. When I ultimately joined the board years ago I mention that I had auditioned and they still had my little 3x5 card. So I am a success story that I am involved, but I was a reject."

She went on explain their passion for this particular event, "The great thing about this is that we are all kind of voyeurs at their graduation ceremony. The thing that Jay and I love about it, when we see their performances, is that we feel like we are at the most important moment in their lives until now. Everything that happens from here is a 'we knew you when' moment for all of us. It is such a great moment to be a guest at their big party."

Named in honor of each of the evening's ballets, three SAB dance studios were transformed into elegant dining rooms. (Lisa Lori Public Relations)

Besides the infectious personal joy the Workshop Performance Benefit brings to all involved, it is a major source of funding and scholarships for the school and its students. Former SAB alumna and co-chair of this year's event Paige Bluhdorn explained, "Having been on scholarship, at 11 years old I had the opportunity to do something extraordinary without the means. My scholarship meant so much to me, which also took care of my living expenses because I was from Rhode Island. So it is very dear to me that we raise the money that we need to, because I wouldn't be standing here today if it wasn't for that scholarship."

As Bluhdorn noted, SAB teaches more than just dance, "Discipline is off the charts in this most beautiful way [ballet training]. It is an education in dignity, which is important in everything we do. It teaches us to respect and understand each other. It forces you into moments of bliss that are so wonderful."

This year's Workshop Performance Benefit raised over $700,000 for SAB. In difficult economic times the value of ballet and the importance of nurturing its future artists is apparently not lost on the dedicated community of dance aficionados that ardently support the work and mission of the School of American Ballet. Balanchine's gift to the nation is alive and well and the future looks bright for its next generation of dancers.

For more information go to www.sab.org.