Celebrating NYCB’s 75th Anniversary with a Round of Dancer Doppelgangers!
New York City Ballet Principal Dancer Roman Mejia in George Balanchine’s Rubies from Jewels. Photo credit: Erin Baiano
In ballet, the present recalls the past. Knowledge is passed down and repertoire is preserved through memory. Tantamount to the survival of the art form lies a reverence for what came before. In the realm of New York City Ballet, this principal has a particular importance this year as 2024 celebrates the 75th Anniversary of the company. This provides the perfect opportunity to combine the past and the present in a game I’d like to call Dancer Doppelgangers! Cue kazoos & confetti. To commemorate the company, let's take a look at some current City Ballet dancers and their historic counterparts. Disclaimer: This isn’t to say these dancers are -exactly- alike, but simply reminiscent in my humble opinion. In placing dancers of the past parallel to those of the present we have a chance to investigate and applaud the NYCB’s history by highlighting dancers who have made Balanchine’s choreography blossom over the last 75 years.
When considering City Ballet’s penchant for explosive and dynamic movement, current principal dancer Roman Mejia springs to mind. His agile and powerful ballon (appearing lightweight when jumping) continually astounds me. In accordance with these strengths, Mejia’s doppelganger is none other than Edward Villella! Villella began dancing with NYCB in 1957 and danced with the company for 22 years. His incredible soaring jetés and boyish charm are immediately apparent in every video he appears in. It’s safe to say Villella is a timeless icon. In an interview honoring the 75th Anniversary, Villella speaks of his experience originating and dancing Balanchine’s Rubies in the ballet Jewels.
If you skip to minute 3:13 of the clip below, you can see Villella dancing the same steps as Mejia here (courtesy of Mejia’s Instagram). Seeing the two dancers share the same choreography with 60 years between them is truly remarkable.
New York City Ballet Principal Dancer Mira Nadon in George Balanchine’s Errante. Photo credit: Erin Baiano
The next Doppelganger duet is Mira Nadon and Suzanne Farrell. Nadon, promoted to principal in February of 2023, showcases a sparkling, enigmatic presence that cannot be forgotten after leaving the theater. Her dancing continues to strike me as naturalistic and smoldering; a similar feeling I ascribe to Farrell. I had been mulling about the pairing for some time, so when Nadon recently premiered in Balanchine’s Errante (formerly titled Tzigane), I felt as though NYCB had awarded me a gold star for my matchmaking. The ballet was created on and for Farrell in 1975 for the Ravel Festival and in April of 2024 she returned to the company to stage it on Nadon (NYT’s Gia Kourlas wrote a beautiful article detailing the show here). I’ve found clips of both of them dancing in the ballet, with Farrell in the video below, and Nadon here and here. When watching them dance, it becomes exceedingly clear the pair share and relish dramatic flare as they flirt with their audience, challenging their viewer with a penetrating stare. They fearlessly toss their heads giving way to small smirks that glimmer on their doll-like faces. They imbue the stage with a hue of quiet tenacity; melding ferocity with childish mischief.
Next up! Drum roll please… the spritely Emma Von Enck and Patricia McBride. These two, man oh man, I just adore watching them. Their buoyant energy and concise footwork perfectly pair with NYCB’s canonical upbeat tempos, assuring their audience’s insides bubble with glee. I’ve scoured the internet for clips of these two dancing the same roles and I’ve not been able to find any matching clips, however, their movement quality echos with similar hues of quick pixie-like energy whether it be showcased by Von Enck as marzipan in Balanchine’s The Nutcracker or by way of McBride’s Tarantella. They spread sparkles of jubilance in their wake through a delicious combination of technical precision and charisma. Von Enck was just recently promoted in May of 2024 and I sincerely look forward to seeing her take the stage in many more exciting lead roles.
It’s constantly inspiring to see the dancers of NYCB breathe life into Balanchine’s choreography both then and now. Taking a look at NYCB predecessors provides valuable insight not only regarding the technical feats of the past but also highlights the character and vibrancy that overflowed the boundaries of the stage. It is abundantly clear that NYCB’s mission to bring life and zest to the stage has survived into 2024, making the future generation of doppelgangers an enticing prospect to consider. I encourage all movers and artists alike to play Dancing Doppelgangers, whether it be through finding your own doppelganger or one for your friends’. Recognizing similar counterparts for oneself and others in any artform can strengthen the ability to evaluate and reflect upon one’s work. In addition, embracing the activity of comparison in the dance world through play provides a radical means of redefining what can otherwise be experienced as harmful/hurtful. I hope this round of Dancing Doppelgangers has been a delight!
New York City Ballet Principal Dancer Emma Von Enck in George Balanchine’s Tarantella. Photo credit: Erin Baiano
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