If you only read the New York Times, the New Yorker, or other mainstream media-of-record, you might think the New York City Ballet these days is an incurable misogynistic den of iniquity, and an artistically dysfunctional one at that. I certainly understand the fascination with scandal, but it’s annoying when the same few instances get rehashed repeatedly as example of the culture of the institution. In the real world, several hundred of my fellow artists and staff have nothing to do with any untoward texting, sexting, shaming, blaming, or naming. In fact, let me put your mind at rest: most of us, when we aren’t playing our instruments, conducting, set building, sewing costumes, or dancing, are merely quotidian, and decidedly un-buzzworthy, but we are pretty excellent at what we do.
Rather than beat a practically dead horse, as the New Yorker did recently, or sensationalize a former director’s bullying and retributive pettiness, as the New York Times did the other day, I’d like to remind everyone of a few of the unique and trendsetting occurrences that have been taking place at #NYCB consistently, for seventy-one years. Some of these may actually be new to hear, even to those long-time fans who are in-the-know.
1. When, to great fanfare in 1966, musician Orin O’Brien historically became the FIRST woman in the New York Philharmonic, she had, for almost a decade previously, been one of SEVERAL women members of the #NYCB orchestra, including a then concertmaster. This feminist trendsetting has never faltered, even embracing a female music director, Andrea Quinn, 2000-2006, and a current executive director.
2. For thousands of performances over many decades, the #NYCB has performed to music provided by live musicians, utilizing recordings only for electronica and a few other unavoidable situations. Very few other dance companies in the world can claim a similar track record
3. The #NYCB could hire any dancers in the world, but has chosen to develop its own artists, the majority of the stars being women.
4. People of color have always been included, starting with the recently deceased great principal dancer Arthur Mitchell, who’s legacy still towers over almost all other artists of our time.
5. Unlike the lion’s share of other classical arts organizations in the United States, #NYCB hasn’t relied exclusively on European warhorses for lifeblood, but has developed its own American repertoire, except Nutcracker, which Europe has mostly ceded to America anyway.
6. It has commissioned more music than most symphony orchestras, and more dance than anywhere.
7. As an institution, it has LONG outlasted its genius founder George Balanchine, something that precious few arts organizations even attempt.
8. Speaking of Balanchine, the greatest choreographer of his time realized the company he was building needed an associate, and he chose the SECOND greatest choreographer of his time, Jerome Robbins. Any lesser artist than Balanchine might have been too jealous, petty, or ego-protective to bring in such a collaborator. This one serendipitous happenstance is what still makes #NYCB the greatest company in the world.
9. The #NYCB recognizes that we are in the 21st century, and encourages its artists to post and tweet because it understands that brand building is what sells tickets. It also disseminates eye catching and creative social media because it recognizes that if it didn’t, the classical arts would be otherwise invisible in the general media landscape. This recognition of societal reorganization is something that other major arts organizations, especially some of our sister Lincoln Center institutions should emulate, but don’t at the same level.
Are there flaws as there are everywhere? Yes. Could we utilize more women choreographers and composers? Of course, who couldn’t, and I would welcome that? Should mistakes be forgiven? Smarter people than me need to answer that particular question. Instead of dwelling on the mostly-atoned-for past, let’s look forward to future projects that a new artistic director, perhaps a woman, will bring.
EDIT: Wendy Whelan was appointed Associate Artistic Director on February 28, in conjunction with Jonathan Stafford being appointed Artistic director.
Ron Wasserman, a native and lifetime New Yorker, has been principal bassist in the New York City Ballet Orchestra since 1988. He also conducts, composes, and arranges music for other dance companies.