NEW YORK– February 9, 2009. When the curtain rose on Sunday’s New York City Ballet matinee performance of Balanchine’s Tchaikovsky Suite #3, the audience could not have known that it was about to witness ballet history. But that is exactly what happened when Stacey Harwood (left), an unknown, stepped from the wings to assume the lead in Theme and Variations, the fourth and final movement of this quintessential Balanchine work.Harwood took over the role from Sterling Hyltin who injured her ankle during morning class.The performance was even more dazzling because Harwood, 39, began her ballet studies just four short years ago, at an age when many dancers have begun to consider retirement.
The surprise casting switch recalled the glory days of NYCB, when Balanchine frequently substituted dancers during a matinee as a way to introduce rising stars to the unsuspecting audience.
Harwood attracted the attention of Peter Martins, NYCB’s artistic director, when on a whim she attended his open classes. At first, she kept to herself along the back barré, but over time, as she gained in strength and technique, the other dancers encouraged her to move forward. It wasn’t long before Martins invited her to join the corps.Harwood’s ascendancy to a lead role, and an especially demanding one at that, gives new meaning to the expression, “to rise through the ranks.”
She drew thunderous applause with each pirouette and penchée. Her long supple legs recalled early Suzanne Farrell, Balanchine’s most constant muse. And for the old-timers in the hall, the name Tanaquil LeClercq came to mind with each sky-high arabesque. Yet unlike the other prima ballerinas who have danced this part, Harwood located the oft overlooked humor and irony inherent in much of Tchaikovsky’s music while at the same time capturing its somber mood. The drama of her astonishing debut was heighted by the grand ballroom setting and velvet and tuille tutus, pure classicism on display. By the final Variation, the audience was on its feet and remained standing until the final curtain call, which numbered too many to count.
What's next for Harwood? To be sure, her dance card is full.