ABT Company Class -- Sanctuary Central
June 15, 1997

Dear Dancers,

Forgive the cliché, but I truly do wish you were here. The weather -- after an unseasonably chilly spell - is glorious and the dance and theatre offerings are even more so. In the weeks since I last wrote to you, I've seen "Rent," "Chicago," "Dream," "Smokey Joe's Cafe," and "Titanic" on Broadway -- all fabulous, but my heart belongs to Ann Reinking and Bebe Neuwirth dancing Reinking's choreography in "Chicago." Don't miss the experience when you're here!

I've also been enjoying the American Ballet Theatre and the New York City Ballet, most notably ABT's lavish and superbly danced production of "Swan Lake." I'll never, ever tire of the classics, especially when the corps de ballet is rehearsed to perfection and the principals are par excellance. Also outstanding this season are City Ballet's all Balanchine programs, mixed bills which underscore the diversity of Mr. B's genius.

Beyond that, I had the distinct privilege of watching an ABT company class in the studios of the Metropolitan Opera House. Balletmistress Alaine Haubert graciously invited me to attend and she made sure that a guest pass was waiting for me at the stage door. What a treat to watch those magnificent dancers at close range in the intimate atmosphere of the studio!

I have always thought of any dance studio as a kind of sanctuary, and this one was Sanctuary Central. The mirrors and barres and lofty ceilings not only served practical purposes but also created a sense that the space is in and of itself sacred, reserved only for the creative process of choreography, the rigors of rehearsals, and most important, the ritual of class. And the ritual itself, a meticulously scientific regimen designed to train bodies (and souls) to become what the prodigiously gifted choreographer Martha Graham called "Athletes of God," had clearly become a kind of catechism for the ABT dancers.

I watched with a mixture of peace and anticipation as they arranged the portable barres and then settled into the plié combination, bending turned out legs in unison, faces rapt with concentration, well-muscled backs held straight, and arms moving fluidly through the circular path of the port de bras. In a far corner, the accompanist coaxed a sinuous adagio out of the old baby grand, ignoring the stack of tattered sheet music and drawing on memory alone. The dancers, breathing with the rhythm of the music, warmed up precisely as they do almost every day of their lives. Ah, but when they moved to the center, the reason that they are among the elite of our profession became abundantly clear. The adagio was heart-melting and musical, the beats were brilliant, the turns were multiple and swift -- and every dancer in the room was strong and sure. I don't have to tell you that I was dabbing at my eyes!

Yet if what happens on stage in NYC is exciting, what goes on before and after the performances is equally so. A few months ago, I promised you a shopping and restaurant tour and I had planned to deliver exactly that with this missive. However, the spring whirlwind of children's performances and other obligations around town have left me with too little time to do justice to all of that. Next month, I promise you some postcards about eateries and dance supply stores, plus updates on summer performances.

For now, on with the dance!

Sondra