Patricia McBride: A Life in Dance
The air hangs heavy with anticipation. The orchestra tunes, the rustle of silk and the murmur of excited whispers fill the theatre. This is the world I know, the world of ballet. This is the world that has defined my life since I was a tiny girl in Oakland, California, dreaming of pirouettes and grand jetés.
My story begins with the simple magic of dance. At four years old, captivated by the graceful movements of ballerinas, I started taking lessons. Little did I know that this spark of fascination would blossom into a lifetime dedicated to the art form. My early years were a whirlwind of practice, discipline, and dedication. Every step, every plié, every leap was a stepping stone towards my dream - a dream fuelled by the ethereal beauty of Margot Fonteyn, the technical brilliance of Maria Tallchief, and the captivating charisma of Baryshnikov.
The path was not always easy. Every aspiring ballerina understands the demanding nature of this art. We dedicate our bodies, our minds, our lives to achieving the impossible. Hours spent perfecting a single fouetté, the burning ache in muscles, the sacrifices – these are the unseen struggles that pave the way to every graceful pirouette. But amidst the toil, there was the sheer joy of dancing. The feeling of the stage beneath my feet, the orchestra's music swelling in my ears, the exhilaration of flight – these were my rewards, my reasons for pushing further, striving harder.
At thirteen, my journey took me to the world-renowned School of American Ballet in New York City. This was a pivotal moment. This was where I honed my technique, learned from the greats, and tasted the raw intensity of a professional life. It was an exhilarating and gruelling time, pushing me beyond my limits, forcing me to tap into an inner strength I never knew I had. There, amongst the other gifted students, I met a group of remarkable girls - the talented Gelsey Kirkland, the stunning Kay Mazzo, the strong and expressive Cynthia Gregory - women who would go on to become titans of ballet, women I am forever bound to through the shared experience of our youth. This was where my ballet family was forged.
My professional debut with New York City Ballet in 1961 at the tender age of 19 was a defining moment. Stepping onto the stage as the "Sugar Plum Fairy" in George Balanchine's "The Nutcracker", the world seemed to shrink. It was only me and the music, the lights, and the audience. I danced, and in that dance, I found my truth. The audience’s response, their rapturous applause, their enthusiastic roars, reinforced the fact that this is where I belonged, this was my destiny.
My Years With New York City Ballet
My time with New York City Ballet, under the tutelage of the legendary George Balanchine, was a formative experience. Balanchine’s revolutionary choreography demanded precision, athleticism, and an incredible expressiveness, a perfect match for my style. He was more than a choreographer to me, he was a mentor, a visionary who saw potential where others saw limits. His belief in me gave me the confidence to push myself further, to strive for excellence in every role.
- The year 1962 marked a watershed moment when Balanchine, in an unprecedented gesture of trust, promoted me to Principal Dancer. The first American-born ballerina to receive this distinction. It was a tremendous honour. It opened up new possibilities, new opportunities for growth and exploration, and it was a moment I knew would stay etched in my memory.
- One of my proudest moments with NYCB was my debut in "Jewels". The sheer elegance and refinement of the piece, the subtle nuances, and the breathtakingly beautiful costumes drew me in. My portrayal of the "Emerald" role in "Emeralds" captured the essence of classical ballet and became a hallmark of my career.
- During my tenure with NYCB, I worked alongside the likes of Arthur Mitchell, Edward Villella, Jacques d’Amboise – each an iconic dancer in their own right. This collective brilliance made every performance, every rehearsal, an exciting and stimulating experience. It fostered an atmosphere of collaboration and creative energy, driving each of us to elevate our performances, constantly strive for more, constantly reinvent.
- During this period, I was fortunate enough to be featured in numerous works, both by Balanchine and other renowned choreographers. Some of my favourites include "Symphony in C", "Agon", "Tchaikovsky Pas de Deux", and “Slaughter on Tenth Avenue.” These iconic ballets showcased my strengths - my ability to express a myriad of emotions, my technical prowess, my graceful yet powerful style.
But amidst the artistic highs, there were personal challenges. Ballet demands sacrifices. There are nights out missed, social engagements foregone, romantic relationships that struggle under the shadow of my unwavering dedication to the art form. Every pirouette comes at a cost. Yet, it is a cost I am willing to pay, for it allows me to touch people's hearts, to express emotions in ways words never can. Every night on stage, I have the honour of telling a story, of evoking feelings, of creating an ephemeral world that leaves an imprint on those who witness it.
Stepping Into New Frontiers
In 1973, after thirteen exhilarating years with New York City Ballet, I felt a growing urge for change, a desire to explore new creative landscapes. Leaving the comfort and familiarity of NYCB was a daunting step, yet it was a move driven by a thirst for exploration, a desire to discover new ways to express myself as an artist.
- After leaving NYCB, I took the brave decision to venture into the realm of choreography. I started out as a guest artist, choreographing smaller pieces for various companies. These initial works allowed me to experiment, to refine my choreographic voice, to find my unique language of movement.
- In 1979, I became the co-founder of the "Dance Theatre of Harlem", a company that strived to be more than just a ballet company, it aimed to challenge preconceptions and bridge divides through dance. I was instrumental in nurturing this young company, contributing significantly to the creation of the “Dance Theatre of Harlem’s first full-length work” called "The Ballad of the Brown King" a groundbreaking ballet about black history.
- In 1984, I accepted a position at the renowned San Francisco Ballet, where I had the opportunity to contribute significantly to the company’s artistic landscape, nurturing young talent and building an exciting and challenging repertoire. This stint exposed me to a diverse community, showcasing my versatility and expanding my choreographic range.
- Throughout my later years, I continued to choreograph and guest teach in various locations, contributing my knowledge and expertise to the world of ballet. I have been a judge at numerous international ballet competitions, fostering and supporting future generations of dancers.
My life in ballet has been an incredible adventure, a journey of learning, exploration, and endless possibilities. Through countless rehearsals, countless performances, countless collaborations, I have found my voice. And even as the curtains fall on each performance, even as the music fades, the echoes of those moments of creation, the passion of the art, will forever reverberate in my heart.
I have been privileged to witness the beauty of the art form in all its nuances. Ballet is not just a sequence of movements; it's a language that transcends borders, cultures, and generations. It speaks to our deepest emotions, evoking wonder, joy, sorrow, and everything in between.
My journey continues. I will forever be captivated by this art, this art that has shaped my life, this art that I love, and this art that continues to inspire me to this day.
This is my story. The story of Patricia McBride. The story of a ballerina who lived and breathed for the magic of dance.