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Finis: By this time, were the technical demands of the solos very easy and natural and not a worry for you? David: Yes, because during the rehearsal periods, we had worked out all the kinks. Fortunately, I remember Kevin saying a very important thing: "Once you go on stage and you're so into your character, the technical aspects aren't worrisome, and they more or less just happen. You are Sigfried, and you're not worrying about doing 5 pirouettes at the end of your variation. Finis: And did you? David: Worry? No. Can I say I don't count my pirouettes? (laughter) The 5 pirouettes didn't happen, but for some reason I was happy. It's not all about the pirouettes for me. Finis: Well, you're right. It takes more than turns to make a performance. So, now (after you & Michele make your quick trip to Moscow, Russia, to dance Grand Pas) you are about to have a season at The Met. What are you working on? David: My debuts are the new full length Raymonda, (and I do most of my dancing with Michele) and Tchaikovsky Pas de Deux. I'll also be doing Theme & Variations, Swan Lake, and solo roles in other ballets. Finis: What do you make of Tchai Pas? David: I feel it's such an exciting piece of music. It's so uplifting, it's a real showcase piece. It's very technical, in a sense, but also the kind of pas de deux where you can just go out there and entertain the audience. I'll be doing that with Michele. I think she brings a certain youthful excitement to the audience, and I love to feed off of that. Finis: Yes, you two are very lucky to have each other. You both have such beautiful, long line, plus exceptional technique and artistry. And, you both have the verve of youth, where you're not afraid to show how much you love to dance and perform. That's why audiences love you. At this point in your career, what are you aiming for? David: I've had to learn to take things step by step. It's as I explained before, it's a process. It's a heavy learning process that for me is best taken role by role, step by step. So now that I have my first Sigfried under my belt, I want to go on from there, and work on my other roles. Finis: How do you do that? David: It starts with learning the steps completely. And then fine tuning them, getting the kinks out with your partner, with your variation. Once the steps are there, and I feel like I have a certain grasp of what the choreography is, and what it demands, it's time to search for the character. And that includes, I think, getting as much feedback from as many dancers who have danced that role. For instance, I've talked a lot with Kevin about Sigfried. Guilliame Graffin has also been very helpful. Videos help me tremendously. I've looked at Malakhov, Nureyev, and Misha in Swan Lake and studied how each of them took the role. Once I feel like I have seen enough, and heard enough, there comes a point when I feel I have to make it my own. I can't copy anyone else. I may like something that someone did, but if it doesn't look good on me, then obviously I can't do that on stage. And that basically leads up to the performance. Once I get to the theatre, I feel the stage, the surroundings, I involve myself in the work, in the ballet, in the story. Not to say that the process is probably going to be very different when I do my second Swan Lake, because although I've learned the choreography, I'm sure certain things will change with my characterization, based on artistic choices I've made on what I either liked or didn't like in the first performance. Finis: Good. You are a thinking dancer! David: (Laughter) Fortunately, and unfortunately! Finis: David, I think you're going to enjoy a fabulous career and bring great joy to audiences everywhere. Keep it up, and thank you!
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