The atmosphere is thick with anticipation and a hint of trepidation as rehearsals commence for the New York City Ballet’s fall season. For dancers like Furlan, Fairchild, and Bradley, the return to the studio after a period of disruption is not just a resumption of routine; it’s a complex emotional and physical recalibration. The question lingers: after so much uncertainty, will they ever truly dance again with the same freedom and assurance?
Furlan, arriving in New York post-vaccination, describes the initial sensory overload of the city after the quiet of Brazil. “In the beginning, it was a little overwhelming to get used to the city and all the noise because it was so quiet where I was in Brazil,” she notes. Yet, the familiar rhythm of company class quickly reasserted itself. The shadow of the pandemic, however, remains. Masks are back, PCR tests are mandatory, and the ever-present threat of another shutdown looms. “Of course, things are not 100 percent better,” Furlan acknowledges, highlighting the precariousness of the upcoming season. The fear that it all could be halted again is palpable.
Fairchild’s return was immediately intense, plunged directly into rehearsals for a new ballet by Sidra Bell. Her personal life, however, mirrors the chaotic re-entry. A toddler’s medical emergency and a near-miss medication error marked her first days back, a stark reminder of the delicate balance dancers must maintain. Despite the personal turmoil, Fairchild found her way back to the studio, demonstrating the resilience required in her profession. She reflects on the fragility of their situation, “Like damn, even that’s not for sure.” This sentiment encapsulates the underlying anxiety: even the anticipated return to performance feels conditional and uncertain.
Bradley articulates a broader shift in perspective. The pandemic has forced a re-evaluation of priorities and the source of personal fulfillment. “It’s a weird time, and you just can’t depend on New York City Ballet to make you happy or to bring you peace. You’ve got to find it somewhere else,” Bradley states, emphasizing the need for a life beyond the demanding world of ballet. For Bradley, the artistic fulfillment once derived from roles like the “Diamonds” corps may no longer be sufficient. This signals a potential turning point for dancers, a search for deeper meaning and stability beyond the stage. The question isn’t just about physically dancing again, but about rediscovering why they dance and what sustains them through periods of instability.
Fairchild perhaps best encapsulates the redefined approach to their art. The focus has shifted from the performance as the ultimate goal to the daily process of creation and connection. “This is not about getting to a show. This is about coming in each day and having the opportunity to get to dance and be here with each other.” In this environment of uncertainty, the joy and purpose are found in the present moment, in the act of dancing itself and the camaraderie of fellow artists. The future of performance may be unclear, but the commitment to dance, albeit altered by experience, endures. The question of whether they will ever dance again in the same way is perhaps less important than their continued dedication to the art form in the face of ongoing challenges.
