A Quote by Mary Helen Bowers

Before founding Ballet Beautiful, I was a ballerina with the New York City Ballet. — © Mary Helen Bowers
Before founding Ballet Beautiful, I was a ballerina with the New York City Ballet.
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.
The life of a dancer is tragically short. What is remarkable about the New York City Ballet is that it makes us forget that. Because it keeps the ballet alive.
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.
All the New York City Ballet does is hit beautiful home runs.
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.
I really enjoyed watching a ballerina named Denise Dabrowski who used to dance at California Ballet. She was a beautiful ballerina and role model for a lot of young dancers.
I ended up training only for four years before I was accepted into American Ballet Theater in New York City.
However, the moral center of New York City, I believe, is the New York City Ballet.
Does the New York City Ballet affect other places? Yeah, it lets people know they should come to New York.
Kids are always told that they can be anything that they want. But what if you want to be a ballerina, and you're terrible at ballet? Or what if you're gifted at ballet, but you don't like doing it?
The first time the Kirov ballet was seen in America was on Sept. 11, 1961. The ballet was 'Swan Lake.' The ballerina was Inna Zubkovskaya. The place was the old Met, on what must have been one of the hottest nights of the year, and there was no air-conditioning.
I think of the New York City Ballet as the Yankees without George Steinbrenner.
Fonteyn was our first proper British ballerina, and from the moment I started dancing, her image engulfed me. In my first year at the Royal Ballet School, Margot's statue was outside my dormitory. Like generations of budding ballet dancers before me, I used to touch her middle finger for luck.
On an ideal Saturday night, I'll go to the New York City Ballet, where my friends play percussion.
And what would be great numbers in a Broadway show are now on stage of the New York City Ballet.
The New York City Ballet is obviously speaking to a whole new generation and bringing it the same wonder and beauty that it brought previous generations
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