Transcript
Speaker: One thing I do now before I go out on stage, because I know i put in the work, you know, I rehearse as much as I can and take time to study like the intention behind the piece. I just tell myself to have fun. Just go have fun. It's like this career is so short in comparison to other careers. And ever since COVID, when that was taken away from us, I don't take it for granted at all.
Speaker: I'm Caitlin, a former professional ballerina turned dance educator and career mentor. And this is the Brand New Ballerina podcast. I am here for the aspiring professional ballerina who wants to learn what it really takes to build a smart and sustainable career in the dance industry. I'm peeling back the curtain of professional dance world with open and honest conversations about the realities of becoming a professional dancer.
Speaker: Come along to gain the knowledge and inspiration you need succeed in a dance career on your terms.
Speaker: Hello and welcome to the Brainy Ballerina podcast. I'm your host, Caitlin Sloan, and I am joined today by Sarah Adams. Sarah is a soloist with New York City Ballet, a company she's been a member with for 18 years. Before we get into Sarah's whole professional journey, we're going to start the very beginning.
Speaker: Sarah, why did you take your very first dance class? Yes. Hi, everyone. I started dance classes as an after-school activity with my sister, Kate. Yeah, it was like one of the things that you could sign up for at our school. And I was six years old. I went after school with my sister. it was called Mid-Kate Ballet with my teacher was Virginia Zango Troub. Yeah, we did that after school about a couple days a week. What was your training like growing up from there? i remember it being like the best time ever. when I was little, you know, we had like movement. It was like movement class. So, you know, she would come around and be like, what flower you? And I'd be like, I'm a rose. And she'd like, and then melt. And like we'd melt down, which was really fun. Like I learned how to do a cartwheel. and But then I saw that the older dancers had point shoes and I like really, really wanted to get on point. That was my goal. So every year in fifth grade, you would go away on a week trip, the fifth grade school trip. And my sister had already been on point for a little bit.
Speaker: And she went away on that fifth grade trip. And during that trip, my teacher was like, well, I think it's time for you to go on point. I was nine years old and I wore my sister's pointe shoes. My first pointe shoes were my sister's pointe shoes.
Speaker: And they didn't fit, you know, they're like big for me and I had like big toe pads in there and, but I loved it and I was so happy to get on point. That was like kind of probably a turning point for me where I was like, I need to do this instead of like, and mean, it was still so much fun, but I like needed it. i really, really needed it. And Dancers would come during the summer to teach on the Cape. And one of them was Katrina Killian, who was a soloist with York City Ballet. And she's also a teacher at the School of American Ballet. And she came during one of the summers and also during the winter to do the Nutcracker with us as the Sugar Plum. And she said that if I wanted to continue on, that I should go
Speaker: off Cape somewhere like to keep going. She recommended Boston Ballet. So yeah, my mom drove me to Boston every day from Cape Cod, which was about two hours in one way and two hours the other way. I'd have to leave school early. I'd like sneak out of school by like 2.25 and try to get up to Boston for my class at four. Yeah. so it was because of Katrina who said like, you should continue on if you want this. And I really, really, really wanted it. So that's kind of how it started. i went to Boston Ballet for three years. And then i took a summer course at the School of American Ballet. And the very last day of the summer course, they asked me to stay for the year round program. And
Speaker: I did because that commute was a lot, you know, for my mom to drive me every day. There was a lot of time in the car spent and I'm so close with my mom. So I'm grateful for that. But it was a long commute. Yeah, that's a lot. When you were at the summer course for SAB, were you expecting to get an offer to stay? Did you kind of go into it with that idea? no You know, i was in level two at the school. I 13 in level two
Speaker: It's funny, but when I first got to the city and first at SAB, I felt... this like sense of peace. And I was just like, these are my people here. Like I felt really at home in New York. And I told my mom that I remember calling on a calling card at one of those pay phones in the dorms before internet or anything like that. And she was like, oh, that's great. You know, she was so happy that I was having a good time here. And I don't remember if we like mentioned that we wanted to stay. i just remember my mom calling me like second to last day saying they called and said that they offered you a spot here, which means that like you know someone must have declined and said they couldn't come. But I fully believe like everything's meant to be when it's supposed to happen. And...
Speaker: Yeah, it did. And it was a hard decision because I was so young. I would be just turning 14 and moving to New York, not knowing anybody, staying in the dorms there, know, going to high school. It was a lot. i called home a lot. I called home like six times a day. yeah And my mom was always like, and my dad too, they're so supportive. and they were like, just come home. Like, just come home. And I was like, no, I can't come home. Like, this is like, I need to be here. So with time, i like, you make the best friends. You like live with all of your other dancers and who are now in the company because, you know, you just grow up together. So it took a little time in the beginning because i didn't know anybody. And I was the only one in the level I was in. was in B1. And everybody else in the dorms was either in B2 or above. So I did feel a little like, I'm not in the right level. Like everybody here is in above and I should be.
Speaker: But Katrina, again, was like looking up for me. She's like, nope, you're exactly where you should be. and I was like okay, got to trust that. When you were in the school, were there teachers or mentors who had a really big impact on you and your training?
Speaker: Yeah, so Katrina, of course, had a big impact and she still has a big impact on my just dance career. She's just an amazing teacher and I learned so much from her. i mean, all of the teachers at the school really have made a big impact. i'm Susie Pillar, Suki Shore, Kay Mazzo, Cheryl Ware, who who's not at the school anymore, but really all of the teachers at the school really made a big impact. Like I said before, when I came to SAB, I was like, oh,
Speaker: like Something clicked with the technique and I was like, I love this. I love it. I love learning it. And there's always so much to learn. i love that aspect of it too. The teachers at the school really made a big impact. What are some of the biggest lessons that they taught you?
Speaker: The biggest thing that the teachers at the school taught me or what I took from that is like the love of the balancing technique. You can just tell they're so passionate about it. and That made me want to explore more about it and like understand why. And I think their love of the Balanchine technique and the Balanchine legacy and like passing that down and how important it is to do specific things that Balanchine wanted, like, you know, spot front and... The speed of certain steps and the way we do, you know, certain things at the bar, like how we hold our head straight and not move our bodies too much at the bar. That was super interesting to me to keep learning like why and what the differences are between classical and Balanchine. So i think their passion is something that has stayed with me because I love the Balanchine technique so much.
Speaker: How did you find out that you had a contract with New York City Ballet? I got my contract in 2008 when there was a lot of like economic trouble, I guess. Kay Mazzo called me into the office.
Speaker: saying that 99% sure that I will have a contract with New York City Ballet. But we didn't they didn't know if they could 100% because of what everything that was going on. She said, the Royal Danish Ballet also wants to offer you a contract. So where do you want to be? And I was like, I love Royal Danish as well, but New York City Ballet was my top, top place. She's like where do you want to go? was like, New York City Ballet. She's like okay. So We officially, officially found out at the workshop, but we had like a big inkling that we were, we as in the group of us who also were told the 99% that we would get a contract or our apprenticeship. We found out at the workshop. So after our shows, probably Saturday or Monday night. So yeah, it was so exciting. And yeah, it was a good, good experience to hear that, you know, and, and your dreams are coming true. Yeah.
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Speaker: hard because you have to learn how to like read the schedule, where to stand in class, like that is full of a company who's been there for, you know, before us, and who has their own spots, how to act in rehearsals, just like the etiquette of being a professional company member and not a student who, when you're at the school, there's someone who's always, who wants to like give you corrections and in the company,
Speaker: It's more of like a class for warmup. Teachers do give corrections, but it's not as much as if you were at the school. So yeah, just learning together how to navigate all that. But now I'm one of the mentors for the apprentice. There is a ah mentor program. at New York City Ballet, which we meet with the apprentice group that's coming in before every season just to check in and also give them like kind of the lay of the land. And if they have any questions, they can come to us as mentors. So there is that kind of bridge between the school and the company, which is super helpful because it's nerve wracking to come into the company and be like,
Speaker: wait, what do we do? Like, where do we go? Like, what should we wear Who can we ask questions? So I feel good to pass that knowledge down. Yeah, i love that. Did that exist when you were an apprentice? No. Or is that more new? Okay. It's new. and Well, it's probably been about 10 years now, but yeah, that was new because there's a lot that you know We go on tour to Saratoga every year and that tour is kind of a a special one where you kind of have to find your own housing, rent your own car. And if you didn't know that, like you'd be like, wait, what's happening? What's going on? So that like information is helpful to have us as mentors be that person. Also, things like how to do your makeup or how to do your hair for certain ballets or like what side the headpiece should go on and where to sit in the dressing room. And yeah, it's just a nice little check in with the apprentices just to give them a heads up on things so they don't have to learn by themselves. Yeah, that's huge. Do you remember what your first ballet was that you performed with the company? Yes. my first thing with the company was Fourth Movement Symphony in C. And it was in Paris. There was a Paris Copenhagen tour. was three weeks, end of August, beginning of September 2008. And we got asked to go really, really last minute. The company had visas and we didn't have visas. We were told to like be tourists basically because...
Speaker: And we only had one show. There was two of us who came, my best friend, Kristen Sagan, who just retired this year, but we came as apprentices for that tour. And, you know, we packed all of our pointe shoes with us and we didn't know how to do our makeup. Another dancer, Erica Pereira, she like did our makeup for the shows and continued to do it when we came back from tour too because we had like no idea how to do it so I'm very grateful for her and for everybody who helped us out on the tour but yeah Bizet fourth movement at the Palace Garnier which was like a raked stage and it was just so fun we just had the best time i was 18 and it was the best time
Speaker: after doing fourth movement, like revisiting Symphony in sea now as a soloist. This past season, I got to do the demis of second movement. I've also done first movement core and second movement core. So it's it's fun to do a lot of different parts in that ballet and just see the progression because, you know, we were so new in the company when we were in fourth movement and now to like be more experienced. It's fun to remember those moments of us back in Paris. Was there a particular moment role that you got that felt like the turning point you starting to move into the soloist position?
Speaker: I think it was 2012. There is this program that we used to do called Dancer's Choice at new York City Ballet and where the dancers get to pick the casting.
Speaker: And it's performed like a one-time show at the theater. So feels real. And it is real. It's like an audience comes. and you But the dancers who chose me to do Liturgy by Christopher Wheldon were Wendy Whelan and Adrienne Danchik-Werings. And they, or Wendy chose me to do liturgy, which is a role created for her. And that was really special to work with her on that. And I got to dance it with Jared Engel, which was a dream partner and dream person to dance with.
Speaker: I spent a lot of time watching Wendy do it. On YouTube, there was a video of her. So I'd really study that and listen to the music a lot. Yeah, that was kind of a turning point, I think, for me where, you know, such a featured role and people got to see me in that kind of capacity where I couldn't do that. It's one of my favorite pieces to dance still. So...
Speaker: Yeah, that piece, I think, was the turning point for me. Do you have a favorite ballet that you've done or is there a role that you never get tired of performing? There's so many. I mean, I love all of the Balanchine rep that we do. you know, Serenade is one of my favorites to dance and I danced it in the core.
Speaker: I haven't done it as a soloist, but I would love to do one of the principles in that. But it's a ballet that feels good to dance. And it's such a collective experience with everybody, you know, working together as a group. And the core is such a big part of that ballet. So that's one of my favorites that I never get tired of. Another one would be Symphony in Three movements.
Speaker: When I was at the school and I would go to watch the company perform, i remember watching Symphony in three movements and being like, I want to be a part of this company. Like, this is It it changed how I saw a new York City Ballet. I was like, this is amazing. I would love to dance this. So it's a hard one, but it's just, it's perfect. And also another one I'm just thinking too is Allegro Brilliant. It's 16 minutes and it's just perfect. It has everything in it. The music is amazing. The costumes are perfect.
Speaker: The steps are perfect. It's just one of my favorite ballets to dance and watch. it's It's just such a good ballet. so it's also one of like our, what we call like puffy, one of the puffy ones where it's like, it's hard to dance, but I would love to do that forever.
Speaker: Do you have a dream role that you haven't danced yet? Yes, I have a few dream roles that I would love to dance. One is in Midsummer Night's Dream, the divertissement. Pada is one of my favorites to watch. And I've learned it at the school, like in partnering class. i would love to dance that.
Speaker: someday. And another one would be the second aria in Stravinsky Violin Concerto. And I learned that one Kay Mazzo originated that role. And it's just, you know, it's so iconic with the hands like in the knees together. And it's just beautiful. And the whole ballet, it's just just another one of my favorites to watch as well. So I would love to do that. How do you feel like your relationship to ballet has evolved since you started in the company 18 years ago to now? That's a great question because it does evolve. But some days I'm like, I feel like I just got in It's funny because when you get there, time and age kind of is like, you don't really know because there's dancers, you know, who are so young, but you know, you're dancing right next to them. So it doesn't matter your age at all. It's just...
Speaker: how you interact and like react to different people's emotions. And since I've gotten into now, i just feel more comfortable being who I am. i think after being there for 18 years, it's going on 19 years in the company. People know you and know your little things. Like they know that like I like to practice a lot and work hard in the corner of like of the studio, but I'm like not embarrassed.
Speaker: buy that anymore. So yeah, maybe being more confident in who I am has changed. But yeah, some days it feels like I just got in too, in the sense where it doesn't matter like who you're dancing with. You could be the most senior, but also dancing next to like the brand new one, just depending on especially new rep that comes in which is really amazing. I think that makes us so special.
Speaker: How do you stay motivated for all these seasons of your dance career? I love this question too. Ever since I was little, i don't even know how to explain it, but it just feels like I need to be doing this.
Speaker: One story I like to tell, like when I was younger, when my mom would be driving me to Boston Ballet, there was a snowstorm going on. And I was like, we have to go still. and my mom was like, it's like a blizzard out there. And I like threw like a tantrum. i was like, we have to go. Like, I felt like I'd miss out if I wasn't there.
Speaker: and so we started driving and then we got, i don't even know how we got the information. I think we called like the line at Boston Ballet. we were already on our way and they're like, all classes have been canceled. Yeah.
Speaker: And so we turned back around and like came back home. But it was just like that kind of dedication, I think, keeps me motivated. i don't know. I just feel like I need to be doing it.
Speaker: Also, i love watching it. I love watching the ballets. I love watching old tapes of New York City Ballet and trying to, you know, keep that legacy alive through those old tapes. Obviously, things evolve. And even when Balanchine was around, like things changed forever. for each dancer and stuff too. But I think it's so fun to work on those solos or ballets that he made. i don't know. I don't know how to explain it. It's just like, it's fun to, or motivates me to keep working towards that legacy. And I just need to be doing it. I feel better when I do like take class and it's just part of me. You mentioned the confidence has grown. What other strengths do you feel like you've developed as a more experienced artist in the company from when you were a younger dancer? Yeah, confidence. Sometimes the confidence isn't there though, but I try to be confident. Yeah, some days there's like not as much, but I trust that I'm here for a reason.
Speaker: i used to hide in the back of class and not maybe be in the front or like in the center. And I evolved to do that. Now I go in the first group, but some other strengths, I think just being positive and not bitter. It can be really easy to get down on yourself and compare, it which is hard. And I've learned to Try to let that go. It's not that I'm not feeling those things at some parts of like my career, but trying not to let that be my identity, you know, and just like always being comparing yourself. I think it's good to watch and learn from other dancers, but try not to get down on yourself if you can't do something the way someone else does it.
Speaker: So that has changed throughout my career, just being that positive light in the company. An example, like as a mentor, I wanted to set that example of like, you know, working hard, coming to class and being respectful. And I looked up to those dancers, so I want to be one of those dancers too.
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Speaker: hosted by Detroit Metropolitan Dance, formerly Eisenhower Dance Detroit, at Central City Dance in Canton, Michigan. This two-day event takes place October 3rd and 4th and brings together dancers, parents, and college representatives from programs across the United States.
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Speaker: panel discussions, and workshops. In addition to these classes and workshops, dancers can audition and receive valuable feedback while being considered for admissions, scholarships, and other opportunities.
Speaker: And the programming goes beyond auditions too. dance Dancers and parents can attend sessions covering topics like navigating the college application process, FAFSA and financial aid, careers in dance, nutrition, health and wellness, injury prevention, resilience, and preparing for life beyond high school.
Speaker: Whether you're just beginning your college search or preparing to audition this year, seeing and be seen offers a chance to learn, connect, and gain clarity on your next steps.
Speaker: To learn more and register, head to the link in the show notes and start planning for an inspiring weekend this October. One thing that i think that's really cool about your story is that you earned your degree from Fordham while dancing professionally. What inspired you to pursue a higher education and take that route?
Speaker: I graduated from high school, PCS. I went to professional children's school. And I took a year off, I think, from school because I got into the company at like 18. I like learning. I love continuing to learn. So I started taking classes at Fordham. I love the sciences. And so I took mostly science classes just to continue learning. i like wrote on my transcript as my major pre-med science So I was like, you know, maybe someday i will be pre-med.
Speaker: So I started just taking classes for fun. And then it kind of turned into a degree, not pre-med because I couldn't take all of the labs that were up in the Bronx um since we only have Mondays off. So I took like one class a semester for a really long time. and it kind of morphed into a psychology major because it was mostly sciences And then after that, like I saw, i could get a degree. I didn't take Fordham classes with the intention of getting a degree or graduating, but just to keep learning. Having something outside of dance to keep doing too was important to balance, not just being so focused. I was very focused on the company. That's why i only took one class a semester, but to have an outlet that was not dance too was helpful.
Speaker: But yeah, I took one class a semester for a really long time. And then i had a goal of graduating before I was 30. Towards the end of that, when 30 was approaching, i was taking two to three. and then one semester, I took like four classes a semester.
Speaker: And that was right before I got promoted soloist, which I always look back on. I'm like, how did how did that happen? Because I was on in the core almost every night, which is... I love that. like I loved being on every night in like multiple ballets a night, but also doing four classes that semester it was like... really intense. There was lot of tears, but my now husband helped me a lot with that because he was very, he is very good at academic stuff too. So he was just like, helped me navigate how to do all of that school during that time. So that was helpful.
Speaker: Do you see yourself going the psychology field when you someday retire from ballet? I definitely want to do something that involves movement still. It's really hard for me to stay still or like not move for a while. I'm continuing to take classes now, not with Fordham, but I'm doing a program for Dance for Parkinson's disease where, yeah, I'm just learning about all of the background of Parkinson's, but also hopefully going to be able to lead dance movement classes for people with Parkinson's, which I feel very passionate about.
Speaker: It's been really giving me a lot of joy to do that through the New York City Ballet Education Department. They have programs, amazing programs for access workshops for people with disabilities, all ages. And i love being a part of that and leading those workshops. So yeah it involves psych in a little bit, but more movement-based. I like learning about the science behind all of that as well. What else do you like to do outside of dance? Fitness, fitness for sure. I love, my husband and like love fitness, all kinds. I love to swim.
Speaker: i wish I had a pool that was accessible, but you know, I grew up on Cape Cod. So when I go home and visit, I get in the ocean as much as I can. Yeah. Like strength training. I like gyrotonics and yoga. That's also part of my conditioning for my career, which I have felt that has helped me so much. Like I'm certified in Pilates. Yeah. I love learning about the body and all of that stuff too, like nutrition and that. I also like to knit and I like to like watercolor or just like go out to restaurants and stuff.
Speaker: Most of my time is at the ballet, but I do love going out with like friends to new restaurants or yeah, doing fitness things. Yeah.
Speaker: How do you feel like all the education you've done or all these things that you love outside of dance have influenced you as a dancer in the studio? The things outside of dance have helped me just see people as people. It's important to love what you do, like love it at the company and love dancing, but also not have it consume you, which I mean, like not to put other people down for you to get ahead. That's kind of what I mean. So seeing people as humans and just being kind to people, the outside stuff has helped with that because our career is so different from like a normal person working in an office. so
Speaker: Things that happen in the company don't really happen in like workplaces. So just learning what people do outside of the company and outside of the dance world kind of brings you back to like reality, I feel. And hopefully to bring that back into the company.
Speaker: It's just how we treat people, I think is important. Last question, Sarah. If you had to give aspiring professional dancers pursuing their career one piece of advice, what would you tell them? I would tell them to have more fun.
Speaker: One thing I do now before I go out on stage Because I know i put in the work, you know, I rehearse as much as I can and take time to study like the intention behind the piece. I just tell myself to have fun. Just go have fun. It's like this career is so short in comparison to other careers. And ever since COVID, when that was taken away from us,
Speaker: I don't take it for granted at all. Yeah, just going out on stage and getting to perform is is just a gift. So I would say have fun. And another piece of advice I would say is just trust in your timeline and your journey because comparing yourself to other people takes that away from you. So try not to compare yourself and just trust yourself.
Speaker: that if you put in the work and have fun, then it'll be all worth it. Yes. Sarah, if anyone listening wants to learn more about you, where can we find you? So my Instagram is Sarah Jane Adams. That's my name. Okay. I'll put that in and the show notes for anyone who wants to follow you or learn more about your story. please This was so interesting. I'm really grateful for your time.
Speaker: Thank you so much.
Speaker: Thank you for tuning into the Brainy Ballerina podcast. If you found this episode insightful, entertaining, or maybe a bit of both, I would so appreciate you taking a moment to leave a rating and hit subscribe.
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Speaker: I'll be back with a new episode next week. In the meantime, be sure to follow along on Instagram at The Brainy Ballerina for your daily dose of dance career guidance.
