Pas de Deux
An Interview with Suzanne Farrell
photo by Paul Kolnik
 Merde is excited to share with you an interview with Suzanne Farrell, Artistic Director and Founder of The Suzanne Farrell Ballet, the Repetiteur for The George Balanchine Trust, and a Kennedy Center Honoree.
Ms. Farrell is a true American success story. She was the tomboy from Cincinnati, Ohio who only started dance classes at 8 years old because she was forced to go along while her older sisters took dance and piano lessons. The dance teacher suggested she attend acrobatics class as an outlet for her excess energy. Ms. Farrell immediately recognized that she loved to dance and move. She enjoyed tap class, but initially felt ballet class was too regimented, "I liked to jump and move and I didn’t think ballet would give me that freedom." As a young girl, she never thought she would become a dancer, but says "music made me want to dance." "A few years later I was chosen to perform in a series of Kinderkonzerts and the orchestra conductor wanted a short ballet on the program. It was my first time dancing in a tutu and in a real theater! Before the performance---I stood alone on stage in the glow of the ghost light and stared out into the dark theater. I could feel the "dust", the "aura", of the people who had performed there before me. It was palpable---I knelt down and picked up a splinter from the stage. I was 12 and decided that I would make ballet my life…this was the world I needed to live in. I carefully taped the splinter in my scrapbook that night. And I still have it."
Through talent and hard work, Ms. Farrell grew up to be a world-renowned ballerina. While still a teenager, she moved to New York City to study at the School of American Ballet on a scholarship from the Ford Foundation. She began her professional career in 1961 when she joined the New York City Ballet under the direction of George Balanchine. Her talent quickly ignited Balanchine’s imagination and she rose to the rank of principal dancer as one of Mr. Balanchine’s most celebrated muses. Ms. Farrell retired after 28 years on stage in 1989. Her career is without precedent or parallel in the history of ballet. She has danced a repertory of more than 100 ballets, a third of which were created expressly for her by the choreographer. The debut of The Suzanne Farrell Ballet occurred during The Kennedy Center’s Balanchine Celebration in 2000. While ballets by Jerome Robbins and Maurice Bejart are also performed, her company’s primary mission is to help insure the preservation of Mr. Balanchine’s legacy reaching audiences around the world. Ms. Farrell also hosts a three-week summer intensive program for ballet students at the Kennedy Center each summer called Exploring Ballet with Suzanne Farrell.
Merde had the unique opportunity to chat with the eloquent and charming Ms. Farrell for this issue. We are honored to share with our readers her advice and comments about auditions and the ballet world.
This audition season, what advice do you have for a student who would like the challenge of attending a summer intensive program?
Ms. Farrell says that it is fine for dancers to go to auditions, but that they should be selective about the number of auditions they attend. She feels very strongly that students should be prepared to really listen to what the teachers have to say during the audition and to weigh each experience honestly.
When you are auditioning students for Exploring Ballet, what stands out to you?
"I watch for musical response and how students allow the music to inspire their movement quality through technique. I enjoy working with and teaching happy dancers who simply have a love of movement through various musical styles and tempi." " Too many students focus on grading themselves in the mirror. And it’s natural to want to put your best self forward. However, the mirror is not the real image. I don’t believe you can be an honest performer and spectator at the same time". Ms. Farrell also looks for dancers that can learn quickly and pick up choreography quickly.
Ms. Farrell believes that the Exploring Ballet program is rare. She keeps the class size to 30-35 students so that they can all get attention. She wants the students to concentrate on developing not only their technique but also their musicality, dynamics and individuality. When it comes to her choice for class dress code, she prefers white leotards (skirt, if desired) because of the simplicity and clean lines. She feels a dress code is economical and practical. "I would rather the dancers spend money on shoes rather than fancy leotards because quality shoes are so important to a dancer’s wellbeing". Ms. Farrell also hosts a unique program at her home on Cedar Islands for younger dancers. Each summer since 1981 she has invited a select group of girls to her home in upstate New York where she teaches, cooks and counsels the students. They spend time immersed in dance while harmoniously enjoying swimming, boating, croquet and the beauty of nature.
How do you feel the ballet world has evolved since you retired from the stage?
Ms. Farrell is encouraged by the number of opportunities that are available to dancers and appreciates the many types of classical and modern companies that now exist. She also feels that it is much easier now to merge reality with the dream of becoming a professional dancer. "There are many opportunities for a determined dancer to become a paid dancer while also being a responsible adult." While the abundance of opportunity makes it easier to find a job, Ms. Farrell believes that too many dancers are quick to run from a less than ideal situation. She advises those unhappy with their position to learn from the experience and use that knowledge to build character and grow as a dancer. Try to look at the problem in a mature manner. So that if you leave, you do not take your problem to a new company. Ms. Farrell says, "you’re never more of an individual than when you’re a happy team player." She also advises that it is possible to learn from every experience. " Do not brood. It makes the moment you are living in unavailable for learning and life. A dancer’s life is short." Although many more opportunities exist for dancers to earn a living performing, Ms. Farrell says that students need to be open to other styles of dance if they choose to pursue a career as a professional dancer.
What has been the most challenging question you have been asked by a dancer, and what was your answer?
Ms. Farrell is asked many questions by the students and by the professional dancers she interacts with everyday. She remembers one question very clearly because of the innocent way in which a Cedar Islands student asked, "Do you think I’ll ever be a dancer? My teacher says I’ll never be a dancer." I explained to that young lady, and to dancers everywhere that it is important to be true to oneself. Sometimes you will have to be your own cheerleader. But you are the only you there is; no one has your face. Re-examine your commitment, as it is vital to go through the preparation and adopt the discipline of body, mind and emotions that are necessary to give us the physical and moral strength to dance.
Merde Magazine is read mostly by pre-professional dancers. What words of wisdom do you have for young girls aspiring to be professional dancers?
"Treat each class as if it were your first," Ms. Farrell says. "When I was at this age, I set as my goal to be the best dancer I could be. Not the most famous, or the highest paid dancer, just the best I could be. Out of this discipline came great freedom and calm. I acquired a commitment to excellence for its own sake---and the joy that such a commitment can bring along with all the hard work." Ms. Farrell summed up our discussion with what I believe is the most touching advice a teacher can offer to a student, "When you are on stage in front of an audience, you want to engage the entire crowd. If a thousand people are in the theater, you need to dance a thousand different ways, not one-thousandth of a way."
Merde would like to thank Ms. Suzanne Farrell and the staff of the Kennedy Center for their precious time and participation in this interview.
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