Episode 118: The Rosin Box: Dancing Your Way Out of It

As the Company concludes a Diamond Anniversary season absolutely bursting with repertory favorites, new restorations, world premieres, and successful tour stops around the world, Artistic Director Jonathan Stafford and Associate Artistic Director Wendy Whelan talk about what went into planning and presenting the year's many achievements. From triumphant debuts to the return of dancers featured in NYCB's original opening night 75 years ago, and a number of significant firsts on the Company's stage—including the first new work from Artist in Residence Alexei Ratmansky, the first Black Dewdrops in George Balanchine's The Nutcracker®, and the first non-binary pas de deux in Justin Peck's The Times Are Racing—they had much to celebrate, all while looking toward NYCB's, and the artform's, ever-expanding future. (40:43) Edited by Emilie Silvestri Music: Capriccio for Piano and Orchestra (1929) by Igor Stravinsky Symphony No. 3 in D major, Op. 29 (1875) by Peter Ilyitch Tschaikovsky

One of our favorite episodes of The Rosin Box has arrived: this season's Ask the Dancer! Hosts Claire and Aarón are joined by Corps de Ballet Member India Bradley to answer your questions and dish about everything dance life, from what's in her dance bag to the ballet that "woke her up" to the possibilities of ballet, which are her favorite costumes and how she likes to prepare for a performance, and beyond. (46:11) Edited by Emilie Silvestri Music: "Je ne t’aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

This week, hosts Claire and Aarón are joined at The Rosin Box by Soloist Megan LeCrone who gets real about what happens when things do not go as planned onstage. As they all agree, a certain degree of unpredictability is unavoidable in a live performance art like ballet; knowing how to pivot and when to let go after the fact is essential for any dancer. Megan shares her own experiences with a malfunctioning backdrop in one case and a missed count in another, and what it's like to face the challenges—and thrive—in a "rite of passage" show. (53:30) Edited by Emilie Silvestri Music: "Je ne t’aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

This week, The Rosin Box makes its star-studded season debut with an episode all about NYCB galas. Listen in on live coverage from the most recent red carpet with hosts Claire Kretzschmar and Soloist Aarón Sanz, and a post-fête conversation with Corps de Ballet Member and style maven Olivia Boisson. They'll discuss all the glitz and glamour and give helpful tips for thriving at these thrilling, twice-a-year events—including making the transition from pointe shoes to sky-high heels. (39:31) Edited by Emilie Silvestri Music: "Je ne t’aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

This week, Associate Music Director Andrews Sill invites us to See the Music of Igor Stravinsky's Scènes de Ballet, the eponymous score for Christopher Wheeldon's 1999 work. Sill relates that the piece was composed in 1944 for Broadway impresario Billy Rose, and drew inspiration from both world events and a variety of creative sources—including the ballet Giselle—as with so many of Stravinsky's singular compositions. (12:49) Edited by Emilie Silvestri Music: Symphony in Three Movements (1945) by Igor Stravinsky Scènes de Ballet (1944) by Igor Stravinsky, Performed by Israel Philharmonic Orchestra Who Cares?: The Man I Love (1924) by George Gershwin, Performed by Royal Philharmonic Orchestra Scènes de Ballet (1944) by Igor Stravinsky, Performed by BBC Symphony Orchestra

New Combinations host and Associate Artistic Director Wendy Whelan is joined by Principal Dancers Tiler Peck and Roman Mejia, the performers of the latest world premiere work created on the Company: Resident Choreographer Justin Peck's Dig the Say. Roman shares the way in which the ballet was tailor made for the two dancers, in the mode of a "modern day Tarantella," in Tiler's words, that capitalizes on their history of partnering in some of the most challenging works in the repertory. Imbued with a sense of competition yet always playful and fun, they both relish Peck's invitation to contribute to the ballet's shape, invigorated by the live jazz score. (45:18)  Edited by Emilie Silvestri Music: "Sisyphus" by Andrew Wegman Bird Wixen Music Publishing, Inc. as agent for Muffet Music Co

This week, NYCB Music Director Andrew Litton leads us on a promenade through the Modest Mussorgsky score to Alexei Ratmansky's 2014 ballet Pictures at an Exhibition. Beginning with a little background on the composer's short but complicated life, colored by contemporary critiques of his "disregard" for musical conventions, Litton is joined by Piano Soloist Stephen Gosling as he demonstrates the ways in which Mussorgsky captured the subjects of a beloved artists' paintings in remarkably challenging piano pieces. (23:31) Edited by Emilie Silvestri Music: Symphony in Three Movements (1945) by Igor Stravinsky Pictures at an Exhibition (1874) by Modest Mussorgsky

This week, Hear the Dance host Silas Farley is joined by three dancers who know William Forsythe's 1992 ballet Herman Schmerman well: Original cast members Jeffrey Edwards and Associate Artistic Director Wendy Whelan, and current interpreter Tiler Peck. Edwards and Whelan recall the unique physical and artistic challenges Forsythe's choreography posed, particularly as he called for improvisation and constant change in the studio—sometimes up until the dancers hit the stage. For Peck, Forsythe is as essential a creator as a mentor, particularly as her own career as a choreographer takes off. (59:13) Written by Silas Farley Edited by Emilie Silvestri Music: Behind the China Dogs (1988) by Leslie Stuck The Four Sections (1987) by Steve Reich Just Ducky (1992) by Thom Willems 200 Press (2014) by James Blake Reading List: William Forsythe and the Practice of Choreography: It Starts From Any Pointe Edited by Steven Spier William Forsythe Edited by Senta Driver The Oxford Handbook of Contemporary Ballet Edited by Kathrina Farrugia-Kriel and Jill Nunes Jensen

As we prepare for opening night of Spring performances, Associate Artistic Director and New Combinations host Wendy Whelan catches up with sought-after choreographer Amy Hall Garner between rehearsals for her first commission for NYCB, premiering in just over a week. Garner shares the long, dance-rich journey—including summer sessions at the School of American Ballet, studying modern, tap, and jazz, and performing on Broadway—that led to this moment in her dance-making career. "I love being in the studio," she says of the creative process. "I think that's a sacred space." (40:04)  Edited by Emilie Silvestri Music: "Sisyphus" by Andrew Wegman Bird Wixen Music Publishing, Inc. as agent for Muffet Music Co

City Ballet The Podcast is back! In the lead up to the return of two of Pam Tanowitz's ballets to the stage this spring—Gustave le Gray No. 1, from 2019, and Law of Mosaics, which premiered in 2022—Former Principal Dancer Russell Janzen and current Soloist Miriam Miller join Hear the Dance host Silas Farley to discuss working with the singular choreographer. As both dancers describe, Tanowitz's unique approach to ballet and generosity in the studio make familiar steps new, freeing the performers to challenge themselves and discover new aspects of their own artistry. (1:14:37) Written by Silas Farley Edited by Emilie Silvestri Reading List: Reality Hunger: A Manifesto by David Shields Béla Bartók by David Cooper The Prickly Rose: A Biography of Viola Farber by Jeff Slayton Merce Cunningham by Roger Copeland Four Quartets by T.S. Eliot Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Law of Mosaics (2012) by Ted Hearne All music performed by the New York City Ballet Orchestra