Patricia McBride: A Life in Dance
The year I was born, 1942, was a year of turmoil and uncertainty. But in the quiet backstreets of Oakland, California, a small miracle took place. It wasn't war or political change that filled the air, but the joyous, melodic sound of a young girl’s first steps, on tiptoes, at the tender age of three. This was Patricia McBride, a name that would one day grace the posters of ballet houses across the globe, a name synonymous with grace, agility, and captivating stage presence.
My story, as it were, began with the twinkle of my tiny feet on wooden floors. The studio of Madame Maria Billeci, with its worn out barres and the aroma of sweat and talcum powder, became my sanctuary, my school, my second home. Every afternoon, I would arrive with my tiny ballet bag, filled with hope, dreams, and a whole lot of enthusiasm. This was more than just learning dance moves, this was a journey into a world of artistry, a world that unfolded its magic in the form of pirouettes and fouettés, in the stories whispered through grand jetés and graceful port de bras.
Madame Billeci was a demanding teacher, a strict taskmaster who demanded nothing less than perfection from her students. But behind that steely exterior beat the heart of a dedicated artist, who instilled in us not just the technique of ballet, but its spirit, its soul. As a young girl, her passion, her sheer love for the art form, resonated through every lesson, every correction, and every carefully chosen piece of choreography.
But Madame Billeci wasn’t alone in shaping my destiny. A woman named Virginia, a petite, graceful woman with eyes that held the sparkle of a thousand stage lights, became my mother’s close friend, a role that inadvertently brought ballet into my life. Virginia introduced my family to a young dancer named Peter Gennaro, who had been awarded a full scholarship to the prestigious School of American Ballet (SAB) in New York City.
With Gennaro as my mentor, I was given an introduction to the world of ballet that transcended mere technique. He saw not just a student, but an individual, a budding artist with her own unique set of strengths and weaknesses. Gennaro became a guiding light, offering constructive criticism and encouragement in equal measure. It was during these early years of mentorship that the seeds of ambition were planted deep within my heart, the seeds that would eventually blossom into a professional career that spanned decades.
The decision to leave California, the comfort of my family and friends, was not easy. But as the 1950s unfolded, with the vibrant hues of the emerging ‘golden age’ of ballet, my inner voice whispered louder than ever. I was 12 when I travelled east, away from the familiar California sunshine, and into the whirlwind that was SAB.
At SAB, I immersed myself in the language of dance, learning not just technique but a profound appreciation for the history and artistry of the ballet. Amongst my fellow students, there was a palpable excitement in the air, an electric energy that seemed to flow through the very building, inspiring everyone to strive for excellence. The atmosphere was demanding, yet nurturing, pushing me beyond my limitations while always encouraging growth and development. My time at SAB was filled with rigorous classes, intense rehearsals, and the thrill of participating in school performances.
Then came the moment I had been training for, the day that marked the beginning of my professional life – my graduation from SAB, the acceptance into the prestigious New York City Ballet company, founded by George Balanchine, the father of American ballet.
Joining New York City Ballet, that glittering gem of the American dance scene, was like stepping onto a stage illuminated by a thousand spotlights. Each day brought a new challenge, a new experience, a new chance to grow as a dancer. I was fortunate to work alongside a company of incredibly talented and gifted dancers. The atmosphere was intensely competitive, but there was also an undeniable sense of camaraderie. The bond we shared as artists, united by our passion for the art form, surpassed any competitive rivalry.
George Balanchine’s style, a dynamic combination of classicism and innovation, revolutionized the way I danced. The intricate patterns of movement, the fluidity and precision, demanded immense dedication and a complete understanding of every subtle nuance. His ballets, with their demanding choreography, often pushed me to the limits of my physical and emotional capacity, a constant challenge that sculpted me into the artist I became.
Some of my most memorable experiences were the opportunities I had to perform in the legendary ballets choreographed by Balanchine. ‘Apollo’, with its Greek mythology-inspired setting, and ‘Agon’, a modernist masterpiece with its abstract dance patterns, both gave me the chance to showcase my versatility.
My dancing career blossomed, each role enriching me with a deeper understanding of the art of storytelling. My portrayal of the ‘Black Swan’ in Tchaikovsky’s ‘Swan Lake’, was particularly challenging and fulfilling, allowing me to embrace the conflicting emotions of passion and darkness. ‘The Firebird’, with its vibrant colours and mystical elements, gave me the opportunity to embody the spirit of a mythical creature, captivating the audience with each graceful move.
Beyond Balanchine, I worked with choreographers such as Jerome Robbins and Antony Tudor, expanding my repertoire and evolving my dance style. Robbins’ ballets, known for their energetic style and dynamic movements, allowed me to explore a new side to my artistry. Tudor’s more melancholic pieces pushed me to delve deeper into my emotional expression. It was a constant learning curve, pushing me to embrace new challenges and refine my technique.
Throughout my time at New York City Ballet, I had the honour of collaborating with several legendary dance partners. With each, I found a different dimension to my own dancing, forging partnerships that enriched my career and allowed me to truly flourish. From the grace and elegance of Jacques d'Amboise, to the technical mastery of Peter Martins, to the warmth and brilliance of Edward Villella, I learned invaluable lessons from each of these gifted dancers.
But beyond the stage lights and applause, ballet became a deeply personal experience for me. The studio, the rehearsals, the friendships forged through the sweat and discipline of ballet – they shaped me not just as a dancer, but as a woman. The rigorous training not only developed my physical capabilities, but instilled a deep sense of discipline, focus and dedication that would stay with me for life. The shared experience of pushing my physical and emotional limits fostered a sense of resilience that transcended the dance studio and helped me navigate life’s inevitable ups and downs. The community of dancers, with its unique blend of competitiveness and support, taught me the value of hard work, perseverance and unwavering commitment, not just to my craft, but to all aspects of my life.
The decision to leave New York City Ballet was a difficult one, but it came with a sense of fulfilment. Having danced with the company for almost a decade, I felt a profound gratitude for the experience and the extraordinary individuals who shared that journey with me. However, I felt a need for a new challenge, a different direction, an opportunity to delve into the creative process in a new way.
This yearning led me to a unique collaboration with Robert Joffrey, a man who embraced his creative passions with an unwavering zest for life. We founded a ballet company – The Joffrey Ballet – that challenged convention, embraced diversity, and sought to make ballet more accessible to wider audiences. This venture not only deepened my passion for the art form but brought forth a new dimension to my creative spirit.
My involvement in the Joffrey Ballet was a significant chapter in my life, giving me a voice, a creative platform, a way to share my understanding of the art form, both as a performer and an artistic director. We embarked on a mission to redefine the conventional ballet narrative, bringing to life innovative pieces by renowned choreographers such as Paul Taylor and Twyla Tharp, challenging audiences’ preconceptions of what ballet could be. The Joffrey Ballet also aimed to embrace diversity in our productions and performance spaces, bringing the magic of ballet to communities across the United States.
My life as a dancer is filled with cherished memories, from the first steps I took on that Oakland floor, to the dazzling stages I performed on around the globe. Ballet is not simply a passion or a profession, but an intricate part of my being, my spirit, my identity.
Even as the years have passed, I remain devoted to the art form, passing on my knowledge and passion to future generations. As an artistic director and mentor, I have seen young dancers, their faces radiating with excitement and anticipation, enter the magical world of ballet, a world that continues to capture the imaginations and hearts of audiences across the globe.
I am eternally grateful for the gifts that ballet has given me. The joy, the challenges, the profound satisfaction that comes with sharing the magic of dance with audiences – these are the rewards that make a life dedicated to ballet, a life beautifully danced, worth every single step.