There was a stage when Balanchine and I didn't talk. I was trying to develop my classical technique as opposed to the fast-track technique that he was pushing. We were very quiet with each other. But after two years he saw what I was doing and sent messages through other people that, yes, this is good.
'Swan Lake' is the most difficult thing to portray for a female ballet dancer; it really requires such specific qualities of articulation, agility, strength, and the arm work is something that takes a lot of training.
I had a wonderful childhood, coming from Cincinnati, and I think that it was great going into the life that I was going to have, where you have to start young as a dancer.
So many people think of me as a character on TV, but first and foremost, my passion is teaching dance and creating employable, working dancers.
When I coach dancers, I always like to get on the dance floor with them or describe something by showing them.
I don't like teaching, because it's so repetitive - especially the beginning of class, which is always more or less the same and has to be carefully done. It's tedious. But I know it's necessary for dancers to keep working on technique.
It's going to take a while before we see a real shift in the students and the dancers that are going into professional companies because it takes so many years of training, but I do think that there's a new crop of dancers, of minority dancers that are entering into the ballet world.
In order to dance professionally, you have to start at a young age. No matter what, your muscle structure and your bones have to be groomed from a very young age. Nobody wakes up at 17 and decides to become a ballet dancer.
