Sep 25, 2019, 9:36 AM ETInterview

Jonathan Stafford and Wendy Whelan – New York City Ballet

Jonathan Stafford grew up in Carlisle, Pennsylvania, initially playing baseball and soccer while his sister took ballet lessons.
- He was not initially interested in dance until witnessing a dynamic performance in February 1989 that shifted his passion.
Wendy Whelan began ballet at age three after her mother enrolled her to channel her energy following a playful incident with her baby sister.
- She became smitten with performing after dancing in the Nutcracker with the Louisville Ballet at age eight.
Whelan joined the New York City Ballet (NYCB) as an apprentice at 17 and retired from the company 30 years later.

The company was established in 1948 by George Balanchine and philanthropist Lincoln Kirstein following the founding of the School of American Ballet.
Jerome Robbins joined the company shortly after its inception, complementing Balanchine's distinct style as an associate artistic director and resident choreographer.
The company's repertory relies on the combined legacies of Balanchine and Robbins, offering a spectrum of styles from Broadway-influenced theatrical works to technically precise classical pieces.
The institution was founded on the principle of continuous evolution rather than functioning as a museum, with Balanchine actively commissioning new works throughout his life.

Balanchine's Style:
- Characterized as athletic, angular, geometrical, and mathematical, often set to Stravinsky or Tchaikovsky music.
- Maintains a spiritual and intellectual quality while adhering to the Imperial Russian technique, avoiding placing female dancers on the floor.
- Traditionally focuses on performance directed toward the audience, emphasizing precision and clear lines.
Robbins' Style:
- Defined by a grounded, human quality with a "watercolor" aesthetic and emotional authenticity.
- Often features dancers performing to one another to create a sense of community, rather than performing solely for the audience.
- Draws inspiration from everyday American life, as seen in works like Fancy Free and West Side Story.

Current programming seeks to identify current needs within the specific cohort of dancers rather than relying on past requirements from five years ago.
The selection process for new choreographers prioritizes those with a clear artistic vocabulary, a distinct musical understanding, and the ability to collaborate rather than dictate.
Recent commissions, such as Justin Peck's The Times They Are A-Changin' (danced in sneakers and shorts), aim to challenge dancers and reflect raw, contemporary youth protest movements.
The company balances new works with the traditional repertory to ensure new pieces complement the high-level existing body of work without being "too far out."

The leadership took over during a period of turbulence following the resignation of Peter Martins amidst allegations and subsequent scandals involving male dancers during the Me Too movement.
NYCB has restructured its wellness program to include upgraded access to mental health professionals, substance abuse counselors, and nutritionists.
A primary policy shift aims to decouple personal struggles or health issues from casting decisions to remove the stigma that speaking up could end a dancer's career.
The company is focusing on treating dancers as "human beings" rather than "cogs in a machine" to address the high-pressure "sink or swim" culture of the industry.

Artistic Director Jonathan Stafford and Associate Artistic Director Wendy Whelan operate in tandem, utilizing their different strengths to provide multiple perspectives on dancer coaching.
The leadership team frequently recruits former company stars to act as "extra eyes," leveraging their experience to help current dancers recover the original essence of Balanchine and Robbins roles.
Both leaders emphasize the importance of authenticity, citing a shared philosophy that performers must bring their true selves to the stage rather than masking their identities.

The company acknowledges that certain Imperial-era gender norms, such as the "man as courtier" dynamic, are out of step with modern society and are being challenged in new commissions.
Despite these shifts, leadership asserts that classical ballet remains vital and alive, drawing parallels to the enduring resonance of classic literature.
NYCB positions itself as a forward-looking institution that will integrate classical traditions with modern sensibilities to ensure the art form's continued relevance for centuries.