Ballet is a art of contradiction. From the lithe, lean bodies concealing strength and grit, to the seemingly effortless movement quality emerging from a technique designed in opposition to the normal human anatomy. Not many of us are born with the necessary bone structure- the high arches and the one-hundred-and-eighty degree turn-out in the hip sockets. Ballet is an exclusive club and none perhaps is more selective than the School of American Ballet.

At twelve years old, I was first introduced to SAB during an audition for the summer study program. Before the class even began, the instructors circled the room measuring the physical capabilities of each dancer with a simple command, "stand in first position with your best turn-out, then point one foot to the side." Every student is hand-picked for similar characteristics and trained to achieve a uniform level of excellence and aesthetic.

Co-founders Lincoln Kirstein and George Balanchine began SAB in 1934 when Kirstein invited Balanchine to leave the Ballet Russe and join him in America, to which Balanchine accepted with the famous condition, "but first, a school." 32 young pupils were chosen to attend classes in the Madison Avenue studios. Like the art form of ballet itself, SAB has its own contradiction- an old tradition of promoting youth. Balanchine is credited with discovering the exceptionally young and talented baby ballerinas, who would become stars of the Ballet Russe. Initiated by one of the baby ballerinas turned SAB faculty member, Alexandra Danilova, and supervised by Balanchine, the School of American Ballet Workshop was founded in 1965 to showcase young rising stars. In keeping with tradition, SAB presented a careful selection of prodigies in it's 2010 Workshop Performance on June 5 and 8th at the Peter Jay Sharp Theater.

Dance devotees gathered to attend the show and to celebrate the 50th Anniversary of the Lincoln Center of Performing Arts. SAB began its relationship with Lincoln Center in 1967 with the Workshop Performance, and has since become the school's permanent home. Chairman and Artistic Director, Peter Martins, addressed the audience with gracious pride with regards to the students and the faculty whom he called "the heart and soul of the organization", and the 700,000 dollars raised at the annual benefit performance. The night also honored four students- Jillian Harvey, Spartak Hoxha, Alexander Peters, and Elizabeth Wallace- for outstanding promise, and faculty member- music teacher Jeffrey Middleton- for distinguished service with the Mae L. Wein Awards.

The show opened with Scenes de Ballet choreographed by Christopher Wheeldon. With a setting meant to resemble a mirrored studio with a barre dividing the stage down the middle, the piece showcased dancers as young as 9 years old. The piece was a testament not only to the incredible physical capabilities of each young dancer, but also the discipline necessary to carry off the theme of a mirror and dance opposite another person, matching not only steps but line. This is a challenge for dancers of any age, and even more impressive when age is considered. The piece was a perfect demonstration of Balanchines vision for the necessity of a school where young dancers would be trained under one stylistic approach, as well as, a perfect glimpse of the various levels of students performing together.

Second on the program was the Balanchine-choreographed Valse Fantasie, featuring one lead couple and a corps of four women. This was a nice progression from the classroom sett and simpler classroom costumes of Scenes de Ballet, to a lovely, spirited technical display. The choreography not only offered greater opportunity for the dancers to expand beyond proper execution of steps, but also to play with dynamics, completing lightning-fast jumps, or petite allegro, in combination with a carefree lyrical expression in the carriage of the arms and upper body.

Closing the program was another work by Balanchine, the three movement Bourree Fantasque. The music, composed by Emmanuel Chabrier, was dedicated to the composer's friend- pianist Edouard Risler. In a letter to Risler, Chabrier said, "I have made you a little piece which I think is quite amusing. Let us see how you will make this one shine! It should be bright and crazy." These words are fitting, not only for the music- famous for its exceptional tonal varieties and richness, but also for the choreography which demands classical technical precision one moment and quirky entertainment the next.

Each of the three movements had a distinct personality of which the dancers fully embodied. From the flirtatious and Vaudevillian first movement, featuring the sassy long-legged Meaghan Dutton-O'Hara and the buffoonishly charming Alexander Peters, to the lyrical Prelude- where Jillian Harvey and Chase Swatosh broke the comedy with their fluid and effortless quality of movement.

Real passion and fire came in the third movement, Fete Polonaise, as Harison Ball and Angelica Generosa led their fellow performers in a dazzling spectacle of never frenzied, but always feisty, dancing. Generosa was the stand-out performer of the evening. She brought excitement to the stage, not only through her flashy extension and held balances, but for the radiant artistry she exuded through her technique.

There is a good reason for the exclusivity surrounding Balanchine's work. It is the kind of choreography that dancers cannot hide behind; there are few gimmicks, breaks, or tricks to distract from the structural clarity in the staging and in each individual dancer. The work is musically and technically challenging for a dancer of any age, commanding the attack and presence of a seasoned professional. It is work that glorifies those specific bodies, those anatomical wonders, but allows the true artist to leave an almost inhuman imprint on the memory of the audience.

The Workshop did a magnificent execution of showing the transformation a student of SAB undergoes; from a young talent in the classroom, to prodigious technical skills, to an emerging artist. While there may have been a few slip-ups par for developing dancers (a fumbled curtain call for instance), the showcase was a perfect walk through of what it is to be blessed with the genes, the discipline, and the opportunity for those on the road to becoming ballet's next stars. These are the dancers that left this audience member feeling simultaneously very impressed, and at twenty-three, very old.

SEEN: Alexandra Adame, Susan Baker & Michael Lynch, Paige Bluhdorn, Celeste Boele, Mitchell & Margo Krody Blutt, Brie Bythewood Stuart H. Coleman, Chelsea Clinton,  Coco & Arie L. Kopelman, Susan Krysiewicz & Tom Bell, Margaret Hayes, Susan Fales-Hill, Effie & Robert Fribourg, Sasha Galantic (Chanel Inc.), Duane Hampton, Jill & Harry Kargman, Pamela J. Joyner, Alexandra Lebenthal & Jay Diamond, Genevieve Labean, Tamara & Josh Leuchtenburg, Peter Martins (Artistic Director and Chairman of Faculty)  & Darci Kistler (Principal Dancer), James Marlas, Elizabeth McCreery, Sara Mearns (Principal Dancer) Elizabeth & Richard Miller, Gillian & Sylvester Miniter, Amy Mazzola Flynn, Megan Mullally (Party Down, Fame, Will & Grace), Philip Neal (Principal Dancer), Liz & Jeff Peek, Roswell B. and Susan H. Perkins, Betsy & Rob Pitts, Suzanne Allen Redpath, Jean Shafiroff, Jonathan Stafford (Principal Dancer), Jock Soto (Principal Dancer), Marjorie Van Dercook (Executive Director of SAB), Barbara & John Vogelstein, Jack Watters, and Laura & Will Zeckendorf.

*All photos by Clint Spaulding courtesy of PMc

*1: Megan Mullally and Susan Stroman

*2: Jock Soto and Luis Fuentes

*3: Alexandra Lebenthal

*4: Paul Bluhdorn, Audrey Joan Bluhdorn, Anna Yvette Bluhdorn, and Paige Bluhdorn

*5: Coco Kopelman and Arie L. Kopelman

Tuesday evening on the Upper East Side, sipping champers and shopping. A lovely way to celebrate the glorious dance career of New York City Ballet's Darci Kistler. The kick-off event for the NYCB's Annual Luncheon, Saying Goodbye to Darci, was held at the Valentino Boutique on Madison Ave. The cocktail party hosted gorgeous guests, including several NYCB dancers all dressed from head to toe in Valentino.

Ms. Kistler, known as the last of the "Balanchine ballerinas", will be retiring after 30 years years with the Company. Peter Martins, Ballet Master-in-Chief, and the Annual Luncheon 2010 Chairmen will host the NYCB Annual Luncheon on Wednesday, February 10th at the David H. Koch Theater at Lincoln Center. The luncheon will tribute Ms. Kistler's remarkable life as a dancer, Mother, and teacher.

The afternoon program will include dance selections with Ms. Kistler and students of The School of American Ballet, as well as excerpts from Anne Belle's 1989 film, Dancing for Mr. B: Six Balanchine Ballerinas.

The Luncheon will also recognize this year's Janice Levin Dancer, Kaitlyn Gilliland.

For more information or to purchase tickets for the New York City Ballet Annual Luncheon 2010, please call the Special Events Office at 212.870.5585

To view more photos from Kick-Off event, please click HERE