6ebf9ff6eb923396761d2533ef8b3cc7In acknowledging in The New York Times how he often stood separate from the crowd of balletophiles by sometimes praising her and other times criticizing her, Alastair Macaulay brought to the fore his complete admiration for prima ballerina Wendy Whelan, who gave her final performance at the New York City Ballet on Saturday, October 18.

What Macaulay left his readers with was praise for a 30-year career that was one of nuanced strength no matter what the role. He sees in Whelan someone who could play the archetypically downtrodden without falling victim to being a victim. It seemed to be a signal moment in ballet journalism—one that celebrated the muscle that it takes to perform in toe shoes and tights.

“She’s resolute and vulnerable, incisive and responsive, rapturous and bleak, angry and funny, implacable and compassionate, enthusiastic and inquiring. Above all, she’s an ideally modern woman, dancing with men as if part of a team, together on equal terms.”

Link: http://www.nytimes.com/2014/10/20/arts/wendy-whelan-leaves-city-ballet-after-30-years.html?_r=0

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