Wendy Whelan - New York City Ballet

The Company

Wendy Whelan

Background	Wendy Whelan was born and raised in Louisville, Kentucky, where at the age of three she began taking dance classes with Virginia Wooton, a local teacher. At age eight she performed as a mouse with the Louisville Ballet in its annual production of The Nutcracker. Joining the Louisville Ballet Academy that year, she began intense professional ballet training. In 1981 she received a scholarship to the summer course at the School of American Ballet (SAB), the official school of New York City Ballet, and a year later, became a full-time student there. In 1984, Ms. Whelan danced as an apprentice with New York City Ballet. Ms. Whelan became a member of New York City Ballet's corps de ballet in January 1986. She was promoted to the rank of soloist during the 1989 spring season and to the rank of principal dancer in the 1991 spring season.
Featured Roles Since Joining NYCB	Ms. Whelan has danced featured roles in ballets such as: George Balanchine's: Agon Allegro Brillante Apollo Ballade Brahms-Schoenberg Quartet (Fourth Movement) Chaconne Concerto Barocco Cortège Hongrois Divertimento No. 15 Episodes The Four Temperaments George Balanchine's The Nutcracker™ (Sugarplum Fairy, Dewdrop, and Coffee) Liebeslieder Walzer "Rubies" and "Diamonds" from Jewels A Midsummer Night's Dream (Titania and Divertissement) Mozartiana Orpheus La Sonnambula Stars and Stripes Swan Lake Stravinsky Violin Concerto Symphony in C Symphony in Three Movements Tschaikovsky Piano Concerto No. 2 Tschaikovsky Suite No. 3 (Theme and Variations) Union Jack Walpurgisnacht Ballet William Forsythe's: Behind The China Dogs Peter Martins': Barber Violin Concerto Fearful Symmetries The Sleeping Beauty Swan Lake and Jerome Robbins': The Cage Dances at a Gathering The Four Seasons Glass Pieces The Goldberg Variations In G Major In Memory Of... Ms. Whelan originated principal roles in: Jorma Elo's Slice to Sharp William Forsythe's Herman Schmerman Peter Martins' Ash, Jazz (Six Syncopated Movements), and Les Petits Riens Wayne McGregor's Outlier Alexei Ratmansky's Namouna, A Grand Divertissement, Russian Seasons Jerome Robbins' Brandenberg Christopher Wheeldon's After the Rain, Klavier, Liturgy, Morphoses, The Nightingale and The Rose, and Polyphonia Ms. Whelan has worked with numerous choreographers including Christopher d'Amboise, Ulysses Dove, Boris Eifman, Albert Evans, Edwaard Liang, and Kevin O'Day.
Other Performances	Ms. Whelan has performed as a guest artist with the Royal Ballet at Covent Garden and the Maryinsky Ballet at the Maryinsky Theater. She has toured extensively throughout the United States, Europe, and Asia. In 2002, Ms. Whelan appeared in the nationally televised Live from Lincoln Center broadcast "New York City Ballet's Diamond Project: Ten Years of New Choreography" on PBS, dancing in Red Angels, and in May of 2004 she appeared in the Live from Lincoln Center broadcast of "Lincoln Center Celebrates Balanchine 100," dancing in Brahms-Schoenberg Quartet.
Film Credits	Ms. Whelan appeared as "Coffee" in the film version of George Balanchine's The Nutcracker™, produced by Elektra Entertainment/New Regency Enterprises, and released in the winter of 1993.
Interview	The following interview took place in November, 1999: Q: When was the first time you appeared on the stage of the New York State Theater? A: It was when I was an apprentice in 1984. During George Balanchine's The Nutcracker^TM. I was a Snowflake, a maid and did the Spanish dance in Act II. Q: What do you remember about that performance and how you felt? A: I was thrilled to be asked to join the Company as an apprentice. After Peter [Martins] and Rosemary [Dunleavy] invited me to be an apprentice, I remember rushing to the telephone booth on the corner of 66th Street and Broadway, opposite Tower Records to call my parents to let them know. I still think of it every time I pass that corner. Q: For you, what are the differences between an opening night and closing night? A: Opening Nights are more jittery. Closing Nights are more sentimental for me. Q: How does it feel to be back on stage at the New York State Theater after you've been away for several months? A: It is always a relief to be home. It takes a little while to get into the groove. Afer a few weeks of Nutcracker and then again a few weeks into repertory, you start to feel more comfortable. Q: When did you first discover ballet? A: I was 3 when mom said, 'We're going to get you something to do. How would you like to try this?' And, so I began at ballet school and never stopped. Q: Is there a role that you haven't performed that you would like to? A: It changes all the time. I've often thought what it would be like to do La Valse, Bugaku, or Mozartiana. But, those decisions are not in my hands. Q: What inspired you as a dancer? A: Music completely. When choreography fits the music perfectly there is no other feeling like it. Q: Who has been your greatest influence as an artist? A: I'd have to say all my teachers. And, I've had many. Every time I'm in class I can remember something that one of them said or taught me. They are always with me. And, working with Jerry [Robbins], of course, has been a very big influence. Q: What do you consider the highlight of your career? A: Any full-length ballet that I have done has been a highlight. Being picked and being given a chance to do one is very special. The work and preparation to make it happen is just amazing. It really is a peak experience. It is also quite wonderful when a choreographer chooses you to create a new work. I have been lucky to work with some wonderful choreographers. Q: If you were not a dancer what would you like to do? A: When I was a kid I thought about being an athlete or an artist. I used to paint and draw all the time. As a ballerina, I think I am very lucky in that dance combines both those interests. I'm not sure what I would do if I didn't dance. I think I might like to work with children in some capacity that would encourage their creative sides.