Finis Jhung Workshops

Finis: Going back to "nightmares" do you have any specific recall of a time when you weren't sure of yourself on stage?

Wendy: Oh yeah! Big recalls! I remember when I was first learning the Sugar Plum Fairy, as well as Dewdrop, in Waltz of the Flowers in The Nutcracker, and all I wanted to do was Dewdrop, because she was running and jumping, and never being still. I could hide with all the movement. I wasn't so sure I could handle the serenity of the Sugar Plum Fairy.

Finis: So what did you do?

Wendy: It took many years of cultivation for me. I did so much work mentally, I believed myself into the ballet, so I understand how what you have in your head will come out in your dancing.

Finis: And, what you don't have in your head will not come out in your dancing.

Wendy: It's true. It's also true, that you can really see so much of a person's personality in their dancing. You can tell where their priorities lie.

Finis: You can say that again! All you have to do is watch a dancer's eyes. It tells the whole story. What else happened while developing Sugar Plum?

Wendy: I gained maturity and confidence based on trusting that I had it in me, even though I didn't feel it. I had to learn to see myself differently. I had kind of type-cast myself, as a strong, athletic dancer. I had never really thought of myself as delicate, light, airy, and feminine. I felt very strong and bold. It took me a long time to crack open this new idea of myself.

Finis: Is part of it letting yourself respond to music in a different way?

Wendy: Part of it. It was also learning to relax with my partner, and letting him lead me. I didn't have to control everything. All the guys liked to dance with me, because they didn't have to do anything. It wasn't until I danced with Jock Soto (City Ballet Principal) who broke down the barrier I had built up. Jock showed me how I could trust him and how much better everything could be. It gave me a whole new dynamic with the choreography.

Finis: What have been the highlights of your career?

Wendy: There were two debuts I made. One was Dewdrop in Nutcracker, and the other was Odette in Balanchine's Swan Lake, Act II. (Laughter) I remember waking myself up at night, doing "run-run-run" in Dewdrop. My sheets were all over the place, from being kicked around while I danced in my sleep. And then, before the performance, I had my make up on, and I my legs felt like rubber. I couldn't even warm up! I hardly could stand up. It was freaky. I was melting with the nerves. (Laughter) Those were two of the best performances of my life! I felt like I could fly, and I could balance forever. (Laughter) This was not what I expected, from the way I felt before the performances. It ended up beautifully, even though I felt so out of control. It was like a force of nature coming from outside of myself. Mozartiana was the same; in performance, I just let it happen. It danced me.

Finis: Wonderful!

Wendy: Over time, I've come to realize that my greatest gift is my individuality. When I first joined the Company, I always wanted to be like someone else, and would compare myself along the way. I was always struggling to be something that I thought I was supposed to be. I was always insecure with what I was. In recent years, I've come to the conclusion that I've worked very, very hard for a long time, and I've realized that I've earned my voice as a performer. So I decided to accept myself, trust myself, and be glad I was different. I realized not everyone has to love my dancing, or the way I look, as long as I love what I'm doing. I think the audience knows when you're being honest, and authentic, and that's what they want. You know, I never knew Balanchine, because he died on the day of my first Workshop Performance in 1983, but nonetheless, I've learned over time, to trust my interpretations of the Balanchine ballets.

Finis: Wendy, there's not the slightest doubt that the audience and critics trust what you're doing up there on stage. Do you have any special thoughts for aspiring professionals?

Wendy: Basically, it's really important to realize that each person has different strengths and weaknesses, and things aren't going to come easily all the time. You need to always remain a student, learning from the people around you, and from your own mistakes. You want to make the best out of the hard times, realizing that everyone experiences difficulties in life, sooner or later. It's important to turn what may feel like a negative situation into one that is positive. You want to be careful that you don't get scarred from negative situations, but that you face them, stay open, and allow time and effort to heal yourself. These learning situations are always gifts, because they only enhance your character, and therefore, your artistry.

Finis: Well said. I can't wait to see your next performance! Thank you!

 

1 2 3 4 5




©Paul Kolnik		  
©Paul Kolnik		  
©Paul Kolnik		  
©Paul Kolnik