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Finis: My first teacher, Mr. C (Bill Christensen) said "You either get strong, or die." How many ballets do you have in your head? Wendy: Oooh. I don't know. The ballets that I can generally retain are the Stravinsky Ballets. I could go on and do these without rehearsal, because those were the first ballets I ever did - Stravinsky Violin Concerto, Symphony in Three Movements, Agon. I think because these ballets are so musically complicated and detailed, once you learn them, you don't forget them. Finis: Did you ever have any nightmare times at City Ballet? Wendy: Oh, yeah! There were times when, due to injuries of other Principal dancers, I sometimes ended up dancing several Principal roles in a single evening. So, I was not only dancing my own parts, but also replacing other people as well. Sometimes I was prepared, sometimes I wasn't. I had to get to used to being called upon, sometimes at the last moment, to go out and perform, ready or not. Finis: In general, how much time do you usually have to learn a new role? Wendy: It's always different. If I'm learning something that I am probably going to be cast for, then I'll usually have a few weeks, or a month to prepare. However, there have been times when I've walked in for morning class, and been told I'm to go on that evening in a role I have never rehearsed. Finis: Wow! How do you do that? Wendy: For instance, I had to learn the Waltz girl in Serenade in one day. And I had never danced any role in that ballet, not even corps, as a Company member. I had danced the corps at SAB, but never a Principal role. So I had about six hours to learn the part, which is quite substantial, and pivotal to the piece. I learned the part both by studying a video, and being taught by Sara Leland, one of our ballet mistresses. Finis: How did you feel while you were doing this? Did you have time to react? Wendy: I couldn't think of anything else! I was so focused. I was also excited, because I had always wanted to do that part, and it wasn't a typical kind of role for me at the time. Finis: And how was the performance? Wendy: I can't even remember! It was all about remembering every detail. I didn't have enough time to relax. It was much more about work than truly performing it. Finis: Baptism by fire! But another step up for you. Another chance to prove yourself. Any more experiences like that? Wendy: The worst of all the experiences was when I was rehearsing with Billy Forsythe for Herman Schmerman in the rehearsal room late at night, while the performance was going on, and Merrill Ashley hurt her hip on the first step of Barber Violin Concerto. They had to bring the curtain down. They decided to substitute Tchaikovsky Pas de Deux for Barber. They ran up to get me in the rehearsal room, and said "You have ten minutes! Go put your hair in a bun. You have to do "Tchai Pas."
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