Ashley Bouder
Interview and article by Pauline Golbin

Ashley Bouder in Firebird. Choreography by George Balanchine © The George Balanchine Trust Photo © Paul Kolnik

When Ashley Jean Bouder was eight years old she decided that she would be a New York City Ballet Principal Dancer. As she recalls, "I wanted to be a star one day."

Just 12 years later, at age 20, Ashley sat with me on the fifth floor of the New York State Theater between performances to discuss her promotion to the top of the Company and the realization of her childhood dream. I asked if she marvels at her accomplishment or, on the contrary, does it seem to have come along at just the right time. Her vibrant disposition and bright-eyed, candid responses reflect the cheerful readiness and pluck that got her to this inevitable place.

Growing up in Carlisle, Pennsylvania, Ashley insisted upon ballet lessons after meeting her mother's former ballet teacher at the mall one day. She was six when she began studying with Marcia Dale Weary at the Central Pennsylvania Youth Ballet. Also known as The Barn, because the space had originally been Marcia's father's barn before being converted into a studio, the school is renown for its rigorous training and turning out dancers of exceptional technique. Many NYCB dancers have come from this school including Sean Lavery, a former Principal Dancer and currently Assistant to the Ballet Master in Chief, Darla Hoover a former NYCB soloist who is today a resident teacher at The Barn, and current NYCB dancers Abi & Jonathan Stafford and Adam Hendrickson.

By the time Ashley was 11, the incomparable Violette Verdy had coached her to perform Balanchine's La Source. Before entering the School of American Ballet to continue her dance training at age 15, she was already performing Raymonda Variations, and Dewdrop and the Sugarplum Fairy from George Balanchine’s The Nutcracker™ with uninhibited facility and aplomb. These experiences simply whetted her appetite for more.

Ashley’s progress through SAB was swift. She attended one summer course followed by one winter course after which she was tapped to dance the lead in Stars and Stripes with Andrew Veyette and the lead in Dances Concertantes for the School's year-end Annual Workshop performances. She shared her SAB experiences with many current members of the Company. "Everyone I roomed with at the dorms is in the Company now. Everyone I danced with is in the Company now." That made the transition from being a student to an apprentice to receiving a corps contract much easier as Ashley recalls: "It all happened right away and I was with people I knew."

Shortly thereafter Ashley was given her first principal role where she could demonstrate her daring athleticism and technical zeal. La Source was a familiar role from her student days at The Barn; but this time she was performing it at the New York State Theater as a dancer with New York City Ballet. "I'm not used to being nervous,” she says and “I did the longest barre of my life before my first performance. But once I heard the music I was calm and comfortable."

The next significant opportunity was both propitious and serendipitous. When the two ballerinas cast to dance the role of the “Firebird” suddenly became unavailable to dance due to injury and flu, Ashley was chosen to replace them. The one catch was that she had only two hours in which to learn the choreography before that evening’s performance. In her own words, "I was in a Swan Lake corps rehearsal on stage in the afternoon wondering which ballet would be replacing Firebird that evening when Craig Hall said to me, ‘Bouder, you're doing Firebird tonight!’ And I started crying." She learned the part from her mentor Sean Lavery . This time though she was nervous. She says, "I was so scared. Chuck (Askegard) talked me through the whole thing and Sean was encouraging my every step from the wings." One would never have guessed the trying circumstances of that moment. As one of the “princesses” in the ballet, I saw the entire performance. In her glamorous and fierce makeup by Michael Avedon, Ashley’s transformation into an instinctive and alluring “Firebird” was complete.

Another ballet in which she had me, and the audience, completely riveted was Balanchine’s Ballo della Regina. Her performance was intrepid and full of zing. Ashley describes preparing for the role with Merrill Ashley, on whom it was created, as "amazing. She has high expectations. You do things with her that you didn't even know you could do."

When I asked her what it was like doing a big corps ballet one night and debuting in a principal role the next, she said, "It was kind of nice. I could relax in between the challenges. I miss it sometimes. Principal roles are a huge responsibility."

Four years after joining the Company she was promoted to Soloist and one year later in February 2005, Friday the 13th to be exact, Ashley was promoted to Principal Dancer along with colleagues Stephen Hanna and Megan Fairchild. All were called in together for a meeting with Peter Martins. They couldn't decide if they were in trouble or they were going to get promoted! After leaving the good news on her mom's answering machine, she went home and sat by herself thinking about the realization of her early dream All she can say is, “It is surreal.” As for her next endeavor, she says "I want to enjoy what I have here. I also want to guest in full-length ballets. I HAVE to do Giselle one day, and La Bayadere, Cinderella, Don Quixote and Le Corsaire, too!" Today, at 21, Ashley is dancing with the freedom and joy of a veteran and her fans look forward to relishing every dazzling step. It seems that dreams do come true.

How do you prepare for your day?
Turn on New York One. Take the dog outside for a walk. Shower. I HAVE to stop by Starbucks for a Grande Vanilla Skim Latte.

Do you have a least favorite food?
Peas.

Do you have a favorite color?
Green.

What music do you listen to these days?
Classic rock and classical music.

To which periodicals do you subscribe?
The New York Times

If you were stranded on a desert island what single item would you take with you?
My phone. It has my whole life on it.

Do you have a secret guilty pleasure? How do you pamper yourself?
Spa treatments and sitting home all day on the couch and ordering in for dinner.

Did you have a pet growing up?
An English setter named “Baby.” A cat named “Sunshine.” A beagle named “Scott.” And two more cats named “Max” and “Charlie.”

How did your parents feel about your career choice?
My dad told me I had to be a dancer. My mom was supportive; but not pushy at all, she knew I could be successful.

What or whom has been the greatest influence in your life?
Jock Soto was always looking out for me and helping set my boundaries. He was very strict. Peter Martins has always been understanding and encouraging with me. He helped me through any problems I had and is very lenient with me.

Was there a single performance that you will never forget?
Yes! Dancing the “Firebird” for the first time will never leave my mind. Also, watching Miranda Weese perform the Ballo della Regina pas de deux on the Acropolis in Athens during out last visit to Greece. It was so magical (former Company member) Stuart Capps and I were crying in the wings.

Is there a routine you always do before the curtain goes up?
I put rosin on my shoes at least 20 times because I've fallen so much from really stepping out on stage and going for it.

Is there a favorite ballet you would love to do?
Swan Lake

What is the most memorable thing you saw on stage that wasn't supposed to happen?
Well, I didn’t exactly “see” it; but I certainly felt it when I fell on my face once dancing Dew Drop in George Balanchine’s The Nutcracker™. THAT was definitely NOT supposed to happen!

Where will you be in 20 years?
Hopefully, retiring right here.

Do you have a motto or principle you live by?
Stay upbeat all day.