An Echo of Balanchine
Janie Taylor: an appreciation.
Mar 24, 2014, Vol. 19, No. 27 • By SOPHIE FLACK
One former NYCB dancer, Jacques d’Amboise, says that Balanchine used to ask his dancers, “Why are you holding anything back?” In her one and only performance of Tchaikovsky Pas de Deux in 2002, Taylor seemed to have been coached by Balanchine himself. Dancing with complete abandon, she was reminiscent of another Balanchine ballerina, Patricia McBride, as she devoured space with a wonderfully springy jump while remaining feminine and beautiful. Taylor says she assumed she wasn’t any good at the role because she was never asked to dance it again. But that performance was, by far, the greatest rendition of the ballet I’ve ever seen.
In 2004, Taylor performed more than at any other time in her career: She felt a little run down, but figured that some exhaustion was to be expected with her demanding schedule. She also noticed that she’d been bruising easily, but thought nothing of it. As a precaution, Taylor visited her doctor, who performed a routine blood test, and she returned to work.
Then, in the middle of rehearsal one day, the doctor called with the test results. He urged her to stop what she was doing and go immediately to the nearest emergency room. Taylor was diagnosed with idiopathic thrombocytopenic purpura, a dangerous autoimmune disease which destroys platelets in the spleen, resulting in a dangerously low platelet count, meaning blood doesn’t clot. Her doctor prescribed a steroid regimen that controlled the disease, but each four-day bout of steroids left her joints loose, making dancing extremely precarious. In the month-and-a-half between treatments, however, Taylor had her blood tested regularly and was not only able to dance, but rose to the pinnacle of her ability.
In 2005 she performed the lead role in Balanchine’s Square Dance, a ballet that is almost technically impossible and shows the company at its most virtuosic. Taylor was coached by Merrill Ashley, who had revived the role with Balanchine in 1976, thus making her a star in the company. “Balanchine wanted a high level of energy in every movement,” says Ashley in Dancing for Balanchine. “It made no difference whether we were moving slowly, quickly, or not at all.” And you can see Ashley’s instruction through the clarity of Taylor’s slicing footwork. Taylor was promoted to principal dancer before her second performance, but Square Dance was also one of the last allegro ballets she would ever dance. After months of treatment, the steroids were deteriorating Taylor’s body, and shortly after her promotion, she decided to have her spleen removed.
The surgery was a success, but the steroids weakened her, and her injuries were slow to heal. As a result of her illness, Taylor had to rebuild her repertory with dramatic adagio roles (usually reserved for more experienced ballerinas) rather than the allegro roles for which she’d been known. Over the next few years, Taylor debuted in Balanchine’s Davidsbündlertänze, Liebeslieder Waltzer, and La Sonnambula, among others. The new rep forced her to explore a different side of her capabilities, and critics noticed Taylor’s development.
Taylor says her approach to dance hasn’t changed over the years, but she has been forced to develop her mental acuity. She can no longer afford to injure herself by continually trying to dance by trial and error: “I try to use my brain a little more now that I’m older.” While other dancers perpetually run through choreography, or practice turns in succession before the curtain goes up, Taylor can be seen sitting or standing quietly by herself, looking blankly into space. But she’s not in a daze; she is running the ballet through in her mind so that she’ll know exactly how she will approach each step before setting foot onstage.
Taylor and her husband are relocating to Los Angeles, where Marcovici will begin a new position as ballet master with Los Angeles Dance Project, where Taylor plans to take company class. She is designing the costumes for Justin Peck’s new ballet for NYCB, which premieres this spring, but she has no plans to dance professionally. While there is no shortage of creative outlets for Janie Taylor, she says there is nothing she won’t miss about being part of the New York City Ballet. She looks forward to a life without pain, however: “I can’t remember the last time I just felt great, so that’ll be a nice relief.” Then she smiles to herself: “Or it’ll be, like, ‘Well, this hurts, but who cares? It doesn’t matter!’ I think that’ll be nice.”
Sophie Flack, author of "Bunheads," is a contributor to The Wall Street Journal, The Boston Globe, and Ballet Review.
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