Who has been an important influence or inspiration to you as a performer?

I’ve always admired Mikhail Baryshnikov—not just for his power and stage presence as a dancer, but also because of something he said in an interview. He once was asked what it was like to be the best ballet dancer in the world, and his answer completely changed the way I thought about dance and life in general. I don’t want to misquote him because I’ll get it wrong, but basically he said he never really cared about being the best. He just wanted to be better than he was the day before. I thought that was such a powerful idea—that it’s not about being better than anyone else or comparing yourself to others. The only competition is with yourself, and achievement is measured in your own growth as an artist.

Do you have any special memories from your time as a student at SAB?

When I attended summer programs at the School of American Ballet as a young dancer, I had the privilege of taking classes from Stanley Williams. He was a very soft-spoken man, and the expectation was that you already knew the combinations he was giving. During the first few classes, all I could do was scramble and follow the company dancers and other students who had taken his class before. It was terrifying—but eventually, I caught up, and everything became much clearer. That experience taught me an important lesson: if you have something valuable to share, or wisdom to impart, it doesn’t need to be shouted. I don’t think I’ve ever experienced a better example of “speak softly and carry a big stick.” What he had to teach us was so impactful that he barely even needed to explain it—and yet it changed us.

Was there a pivotal moment in your career that helped shape who you are today?

A couple of months after I joined New York City Ballet as a young corps de ballet member, I was cast to perform Bluebird in Peter Martins’ The Sleeping Beauty during the company’s Saratoga season. It was a big opportunity—and an important moment for me, because I failed. I didn’t prepare myself properly. Instead of staying in New York during the layoff to take class and rehearse, I went home to California and took a break. When I arrived in Saratoga, I was completely unprepared for the demands of such a physical role. After the dress rehearsal, I pulled myself from the performances. I was mortified. I never wanted to feel that way again. No amount of physical discomfort would ever compare to the sting of that disappointment—letting down my partner and the artistic staff who had believed in me. The experience reminds me of a video I once saw of an acceptance speech given by Formula One champion Niki Lauda. In it, he dedicated his award to the losers, saying he had learned more from his failures than from any of his victories. I couldn’t agree more. That moment in Saratoga shaped me in a way no success ever could.

What do you imagine for the future of the art form – what do you think is interesting or inspiring about what’s happening in the ballet world today?

The future is very bright for ballet. There are so many special works being created by brilliant choreographers right now. But I also think the future lies just as much in the talented dancers who are beginning their careers. Ballet is such a unique art form because you’re not just watching the ballets—you’re watching the people dancing them. It’s like art within art. Seeing dancers grow and evolve is one of the most powerful and exciting parts of what we do, and there are some really special dancers coming through New York City Ballet right now.

Do you have any special words of wisdom or helpful hints to share with dancers who are either new to the art form or to the company?

Performing can be scary at first. We all want to be perfect—but that’s just not realistic. A better goal is to simply do the best you can. The catch is, you have to take chances. You have to risk being 'good' in order to be great. Most of the mistakes I’ve made in performances throughout my career came from trying to be careful. Being careful actually undermines all the work you’ve done leading up to the show. We feel confident in class and take risks in rehearsal—so why play it safe onstage? My advice would be: trust the work you’ve done. Go for it, be brave, and give yourself a real chance to be your best.

_{Photos from Stars and Stripes and The Sleeping Beauty © Paul Kolnik. Photo from Pictures at an Exhibition © Erin Baiano.}