Ballet Career Quotes

Going on stage and doing ballet, for the first time, was even more verification of, "This is what I'm meant to do. This is what I'm going to do. I'm going to make it somehow."

I actually quit ballet when I was offered a job, an apprenticeship at North Carolina Dance Theater Company, run by John Pierre Bonnefoux and Patricia McBride, who are my idols. Everything sort of went perfectly. I was 16, and I was about to drop out of high school and become a professional ballet dancer.

When I was 16, I moved to Torrance, California to train at a more advanced studio, and by 19, I joined the American Ballet Theatre in New York. It all happened so fast - it was pretty unheard of that someone could train for so few years and become a professional at one of the most elite dance companies in the United States.

40 years old is about the time a principal dancer would start to think about retirement, but some go on to dance a little bit longer than that.

You should see ballerinas' feet. They don't have nails. You see beauty, but it's unbelievable pain - with a 40-year pension! That's it, and then life is really finished.

When I was nine, I started doing ballet. That's when I knew that I was down to keep doing it.

I remember my dreams when I was a junior soloist. 'Oh, I hope I don't end here,' I thought. 'I want to do the ballerina in 'Scotch Symphony.' I don't want to be the little Scotch girl.' And I actually went beyond my wildest dreams. I worked with Balanchine. I had ballets choreographed for me.

I have done the company lifestyle for 16 years, and ballet has changed.

I actually came to New York when I was 12 and did ballet school for a little while. I was being groomed to be professional, and a lot of the professors and teachers there were drawn to me and thought that I could become a professional ballerina.

Looking back at it now, I really feel like it was a gift because I don't know if I have the talent to become a prima ballerina. It's such a hard job to have. I don't have any regrets about it.

I know that dancers, especially ballet dancers, can't do it forever.

The last time I had to make a career decision, I was 17. I could have gone to Ballet Theatre or National Ballet of Canada. There were options. But as I became exposed to the Robbins repertoire, I realized that there was a living genius in the house.

At the Paris Opera Ballet, they were always making choices for me.

I think that, like any kind of career, there are many different people involved in the ballet world.

As a dancer, I know couples that have stayed married but separated to dance on different continents. Dance in general, but ballet in particular, is such a finite career. You can't do it later in life, and it's something that I think a dancer has to have some selfishness to fulfill.

I actually was a ballet dancer - I studied ballet from three until 13 - but like very seriously, that's what I wanted to do. I wanted to be a contemporary ballet dancer. I wanted to go to Juilliard.

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

'The Firebird' just symbolizes a lot for me and my career. It was one of the first really big principal roles that I was ever given an opportunity to dance with American Ballet Theatre, and it was a huge step for the African-American community, I think, within the classical ballet world.

I wanted to be a ballet teacher.

My mom always wanted me be a ballerina, and I was just adamant that I wanted to be a track star. I wanted nothing to do with ballet.

To become a classical ballerina, you have to move to New York when you're 12 or 11 and that becomes your life. I just wanted to be good in my company in Charleston and I wanted it to always be part of my life.

I always looked at the process and the career of being a ballerina as sacred. It's a true gift to have this talent and perform these masterworks; it's sublime.

I was a ballerina for a good 12 years. When I was 15 I had to stop. It wasn't a choice, it was an injury that prevented me from going forward in ballet unfortunately. Well, fortunately because I wouldn't be doing what I am doing now if that had not happened.

I was a ballerina. I had to quit after I injured a groin muscle. It wasn't mine.

I started taking ballet lessons when I was 4, and I was performing in ballet companies when I was 10, and I did summer stock in Miami Beach when I was 12, and finally I said, 'I gotta go to Broadway.'