Ballet Company Quotes

I thought 'Out of Africa' would be a beautiful ballet.

The Kirov is a great ballet company because it has so many terrific dancers, but it doesn't always know what to do with them.

I danced with Jacques d'Amboise. At that time, he was the tallest man in the company. So it was a different kind of choreography. It was lyrical.

I ended up training only for four years before I was accepted into American Ballet Theater in New York City.

There's only a certain amount of space in every ballet company. You're basically on a team. You want to succeed as a group but all want to have the same roles.

Dancing is a tough career, but I'm glad I spent it at the Royal Ballet.

Mr. Balanchine was a great gentleman, and he loved his dancers. He was devoted to his company. He came to the ballet every night, and his presence was felt. It was like the whole company was dancing for him. And if he liked you, he trusted you to be yourself. He didn't try to change you and make you into something you were not.

I went to Indiana University for college for a couple of years where I double majored in dance and journalism, and after my sophomore year there, I went to the San Francisco Ballet school for the summer, but then they offered me a scholarship to stay for the year. That's where I danced after the year they offered me a contract with the company.

My goal has always been to be a principal dancer with ABT.

However, the moral center of New York City, I believe, is the New York City Ballet.

You can usually tell how healthy a ballet company is by the degree of your interest in the middle ranks of the dancers - the not-yet stars, the up-and-comers.

City Ballet remains a great company in perpetual artistic crisis.

I toured the Middle Eastern countries with the ballet.

Being one of the few African American women to make it to this level in a classical ballet company, the level of American Ballet Theatre, takes a lot of perseverance.

There would never have been a British Ballet without Diaghilev. He had a wonderful influence.

One of the few things in dance to match the Royal Ballet's curtain calls is the Royal Ballet's dancing.

I had classical training at London's Royal Ballet School, and my first job was with the Semperoper Dresden ballet company in Germany.

After I finished 'Center Stage,' I went back to San Francisco, and I danced for seven seasons with the San Francisco Ballet.

The moment the curtain rose on that first ballet, I knew something wonderful and new had come into my life. I can still see the first scene. The ballet was Divertimento No. 15.

I've been with Semperoper Ballet in Dresden, Germany, for five years - I wanted to escape the competitive dance world and go somewhere where I felt appreciated for my talents. Stateside, it was always kind of a struggle. And the competition? Not into it.

I think of the New York City Ballet as the Yankees without George Steinbrenner.

And what would be great numbers in a Broadway show are now on stage of the New York City Ballet.

Just to get into a company like ABT is a dream come true, but to have all of these opportunities on top of it, I don't think it will hit me until I'm 70. I'll be like, "Oh, my god, remember that amazing life you had?" It's an incredible honor to be a part of something like ABT.

I was an apprentice at the San Francisco Ballet, and a casting director came to one of our rehearsals to scout talent for 'Center Stage.' I landed the role of Jodie.

In a ballet company, you're trying to create unison and uniform when you're in a cour de ballet.