It is a challenging undertaking and you have to be ready for it. The winding corridors and staircases, the elevator, all the dark, seemingly abandoned offices in the Kennedy Center's backstage areas can be intimidating and confusing. Eventually, though, you will be rewarded: you follow a corridor on the first level, then take the elevator upwards, cross two other hallways, which will lead you to a white, sun-light flooded spacious room that contains not much more than a piano, a giant mirror and a collection of ballet barres.
About 30 women and one brave man, ranging in age from 18 to 55, have assembled in the dance rehearsal room, eager to participate in the Kennedy Center's annual "Exploring Ballet with Suzanne Farrell" program. The program has been advertised as directed toward non-dancers. However, about half of the participants clearly have a strong ballet experience. Dressed in black leotards and rosé slippers, hair pulled back in a knot, they stand straight, awaiting the famous ballerina, Farrell, with a mix of excitement and awe.
Farrell, who trained at the Cincinnati Conservatory of Music and the School of American Ballet in New York, danced in more than 100 ballets during her 28 years on the stage. After her retirement in 1989, she transferred to dance education and has been working as the artistic director of her own company, the Kennedy Center-based Suzanne Farrell Ballet, since 2002.
After a short introduction, the class starts with barre work. Linda, the pianist, has accompanied for Farrell's classes for a long time. Although Linda is blind and cannot see which keys her fingers hit, she creates impressive, beautiful ballet pieces and has an admirable feeling for the right class pace.
"And she never plays any piece twice," Farrell said.
"Exploring Ballet with Suzanne Farrell" is more than just an introduction to the movements of ballet. While Farrell demonstrates, she keeps explaining where and why a certain movement or term derived, and sometimes even extends to philosophy.
"Dance is your body at its maximum. That's what Mr. Balanchine would always tell us," she said in reference to renowned choreographer George Balanchine. "When you dance, you have so much power. You say 'Leg, go up!' and your leg will lift. You cannot say that to politicians or stock market traders. They will want to argue with you. But your body just complies and has to give in to your supremacy. So, dance is a very powerful job. Dance is the best moment you can have at this particular second of your life."
Later, when the barres have been moved away and the students gathered in the center, Farrell touches on adagio and pirouettes. Already short of breath, but happy, her class tries to copy and internalize the movements gracefully, anxious never to forget the number one ballet rule: "Smile and enjoy!"
Ninety minutes is a short amount of time when you're having fun. Farrell smiled and taught her class a final sequence, a reverence that bid farewell to the imaginary audience on the other side of the mirror.
"Thank you, all. It's been a pleasure. See you again next year!" she said.
And then, fairylike, the legendary ballerina disappears into the labyrinths of the Kennedy Center, to continue to encourage and produce superb dance education and prepare her company for its upcoming performances.
You can reach this writer at thescene@theeagleonline.com.
