Wendy Whelan

W

Photo of  Wendy  Whelan


Wendy Whelan

Dancer
New York City Ballet

DancePulp Video:
Life at New York City Ballet after Balanchine | Season 1: Ep. 14

Biography:

Wendy Whelan was born and raised in Louisville, Kentucky, where at the age of three she began taking dance classes with Virginia Wooton, a local teacher. At age eight she performed as a mouse with the Louisville Ballet in its annual production of The Nutcracker. Joining the Louisville Ballet Academy that year, she began intense professional ballet training. In 1981 she received a scholarship to the summer course at the School of American Ballet (SAB), the official school of New York City Ballet, and a year later, became a full-time student there. In 1984, Ms. Whelan danced as an apprentice with New York City Ballet. Ms. Whelan became a member of New York City Ballet’s corps de ballet in January 1986. She was promoted to the rank of soloist during the 1989 spring season and to the rank of principal dancer in the 1991 spring season.Ms. Whelan has performed as a guest artist with the Royal Ballet at Covent Garden and the Maryinsky Ballet at the Maryinsky Theater. She has toured extensively throughout the United States, Europe, and Asia. Ms. Whelan has worked with numerous choreographers including Christopher d’Amboise, Ulysses Dove, Boris Eifman, Christopher Wheeldon, Edwaard Liang, Alexei Ratmansky, Wayne McGregor, William Forsythe, and Kevin O’Day. Ms. Whelan appeared as “Coffee” in the film version of George Balanchine’s The Nutcracker™, produced by Elektra Entertainment/New Regency Enterprises, and released in the winter of 1993. In 2002, Ms. Whelan appeared in the nationally televised Live from Lincoln Center broadcast “New York City Ballet’s Diamond Project: Ten Years of New Choreography” on PBS, dancing in Red Angels, and in May of 2004 she appeared in the Live from Lincoln Center broadcast of “Lincoln Center Celebrates Balanchine 100,” dancing in Brahms-Schoenberg Quartet.

Updated 66 days agoReturn to Top

Your contribution appreciated: If you think something should be included, please leave a note in the comments and a reference link to the information. Thank you.

One Response to “Wendy Whelan”

  1. Donald Sockol says:

    I was gripped by “Black Swan” yesterday and puzzled at the number of even positive reviewers disoriented by its boundaries between reality and fantasy. I was pleased to find at least one review, your own, that was within range of my own interpretation.
    The bounds of reality and logic are only relevant if one thinks they apply to the ballet itself.
    The movie is director Darren Aronofsky’s version of the ballet, with swans transmuted into human form.
    The dance director is the prince, Lily is the black swan who seduces him away from Nina, and Nina is the white swan, but also the dancer who becomes the black swan, then returns to die as the white swan.
    You would know the music well enough to judge my speculation that the music and story in the human story mirrors passages in the ballet.
    As a human, even a cocooned and suffocatingly pampered Nina could not have persisted as a disciplined, successful dancer who continued to live in a bedroom nursery. But as a “white swan” such the credibility of such innocense is permissable.
    As a human, Nina could not have danced the act with a shard of glass in her belly. But as a “swan” in a ballet, the fantasy is credible.
    The director’s intent is put into words by the dance director in the film, when he reassures his audiences (in the film and in the theater) that though “Swan Lake” has been staged innumerable times, that audiences haven’t seen “MY version.”

Leave a Reply

test