A Quote by Chita Rivera

I was from Washington, D.C., and then I came to New York and got the scholarship for the ballet. — © Chita Rivera
I was from Washington, D.C., and then I came to New York and got the scholarship for the ballet.
I spent a whole year in New York without going back to France. And I always came back because my mother was living in New York since I was 13. So I went to summer camps, hang out at the Roxy, go to class for ballet, so I always had part of my life in New York.
I came to New York to study ballet and English.
I knew I wanted to be a ballet dancer, but what kind, I wasn't sure. My two dream companies had been New York City Ballet and American Ballet Theater.
Everything I learned and didn't do in New York I would put into place here in the London West Hollywood. It's fascinating, when you look at the critics' reviews, and we had a great one in the New York Observer and all that, and then the New York Times came and it was a devastation; two stars out of four. They said that I played safe because it wasn't fireworks. Then they judged the persona over the substance that was on the plate.
When I was 8, I began to study ballet. In seventh grade, my mother took me into New York to study at the School of American Ballet. I loved ballet - its precision, the escape from uncertainty, and the music.
But 'This Town' is official Washington. It's political Washington. It's not the Washington that clogs New York Avenue. It's not the Washington that lives in Gaithersburg. It's not the Washington that accounts for most of the population. 'This Town' refers to the people who think they run your country.
So that when I came to New York again, it was, I'm not too sure right now, but it was '74 or '75. I went to Miami in '74 and then I came to New York, I think, at the end of '74.
Before founding Ballet Beautiful, I was a ballerina with the New York City Ballet.
When I got to 10th grade at Booker T. Washington High, I had a teacher, Miss Geraldine Nesbitt. I think she came from New York. She helped me begin to question things.
I came to New York for school, and then I did this amazing show that was received very well, with a great group of people, and I felt like I was creating something that I was really proud of, and then 'Hamilton' was my next big thing in New York.
In 1998, Vanity Fair asked me to write a big piece for them on the 50th anniversary of the New York City Ballet. My life, to a great extent, had been spent at and with the New York City Ballet, and I decided to try it. It was very scary, writing about something I loved so much and had such strong opinions about.
I'd excluded New York from my writing, and then I came back and I fell in love with it all over again... The energy comes from an absence, that yearning for New York when you are not there.
I'd excluded New York from my writing, and then I came back and I fell in love with it all over again. The energy comes from an absence, that yearning for New York when you are not there.
At the ballet classes I took when I first came to New York, I would see great dancers like Cynthia Gregory and Lupe Serrano. I would look at them and study what they could do, and what I couldn't do. And then I'd think maybe they should try what I could do.
Does the New York City Ballet affect other places? Yeah, it lets people know they should come to New York.
I love New York. I was in New York at the age of 13, at the School of American Ballet, walking around the subways in my little bunhead and thinking I was so cool.
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