bringing brillante

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One of my favorite pre-show tidbits came around this time last season, while working on Apollo with a Skype-assisted Sandy Jennings.  Her suggestion to wear my favorite perfume for the performance reminded me just how transformative feeling like a ballerina can be.  Friday in the studio, sweet Elyse added another gem (harhar) to that collection.

“I want you to imagine you have little tiny diamonds on the tip of every eyelash, every fingernail, the end of every strand of hair…and maybe a few on your butt,” Elyse said with a wink.

Signature sass in every syllable, she dusted the aforementioned areas with jittering fingers.  Delicate red-tipped nails played invisible keys hovering just over my shoulders and down my arms as she spoke.  Emphasizing the importance of exclamation points (and maybe “a couple commas”) throughout the piece, Elyse used her diction to demonstrate.  Ah, diamonds and dialogue, does it get any better?

This one is a memory I will lock up in me, to be accessed and applied whenever I lose sight of my brillante.  Now, on with the show.

for tickets.

a word with elyse borne

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As the opening of our performance season approaches, rehearsals are ramping up.  In a rare moment of downtime, I corresponded with Balanchine répétiteur Elyse Borne to get her take on working with FBP and Mr. B…

Hello!  Let’s just dive in: What makes Allegro Brillante different from other Balanchine ballets? Why is it special?

Allegro is not exactly different but incorporates the speed, clarity, technical difficulty, musicality, and neoclassical style so closely identified with Balanchine.

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Your schedule is so busy!  You’re always traveling somewhere new to set another ballet.  Where else have you staged Allegro in the past?

I have actually staged Allegro for FBP before! I’ve also done it in San Francisco, Vancouver, Washington D.C., Atlanta, Singapore etc…..

That’s right, this wasn’t your first visit to Providence. What was your experience like working with the dancers of FBP this time around?

I had a great time with your dancers. They learned the choreography at breakneck speed and expressed a real interest in executing the ballet correctly.

“I love walking into a studio where no one knows the steps and seeing it all come to life in just a few hours.”

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If you could describe Allegro Brillante in 3 words, what would they be?

I would describe Allegro as fun, gut-buster, and energized!

What is your favorite part of the staging process?

I love walking into a studio where no one knows the steps and seeing it all come to life in just a few hours.

After retiring from NYCB, you were ballet mistress at Miami City Ballet for eight years and then San Fransisco Ballet for six.  You’ve been in the ballet world for your entire career, but now staging ballets, you have such a unique job.  How did you become a répétiteur?

I always had a propensity for learning quickly so this was a natural inclination. I gained a lot of knowledge being a ballet mistress and still face challenges with relish when I have to learn a ballet I’ve never staged. I feel honored and privileged to be allowed to stage Balanchine and Robbins.

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What is it about the Balanchine style that you enjoy so much?

I think I must have grown up with Balanchine style in my blood. It is so natural for me. Dancing at NYCB was a dream come true.

You premiered in The Nutcracker with Mikhail Baryshnikov. What was that like? Do you have any favorite memories of working with Mr. Balanchine or at NYCB?

My scariest and favorite experience at NYCB was doing the Sugar Plum Fairy with Baryshnikov. Alone everyday for 5 days in a studio with the 2 of them, Balanchine and Misha. Awestruck and nervous and excited all at once. My memories go on and on. I think I will have to write a book! I was so lucky to work with such a genius.

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…and we would love to read your book.  Thank you, Elyse!

all photos via