Brief Interview with Christina Clark
This month's issue of Dance magazine has a brief interview with Christina Clark, a member of NYCB's corps de ballet.
New York City Ballet Dancer Christina Clark Is Celebrating Every Stage by Olivia Manno
NYCB's Christina Clark at the theater. Photo: Jonah Rosenberg for Dance magazine
When Christina Clark saw her first Nutcracker performance at age 5, she didnât immediately aspire to the roles of Sugarplum Fairy or Dewdropâinstead, she was fixated on the dozens of children in the cast. âI was determined to become one of those kids onstage,â she remembers. âPerforming was the only goal.â Clark, a New York City native, was accepted into the School of American Ballet at age 7, became an apprentice with New York City Ballet in 2016, and was promoted to the corps de ballet in 2017.
With her elongated limbs and polished port de bras, Clark is a remarkably self-possessed dancer who uses her 5â˛Â 10 1/2âł frame to fully inhabit every choreographic moment and musical note. She debuted in a slew of roles in 2023, including the Tall Girl in George Balanchineâs âRubiesâ and the lead woman in Haieff Divertimento, which hadnât been performed by NYCB since 1994. As more opportunities continue to come her way, Clark is determined to squeeze as much as possible out of each experience: âMy overarching goal is always to continue growingâin my technique, my artistry, and my approach to new roles.â
Embracing the Unfamiliar âI love exploring different movement styles, even if theyâre not my forte. When I was rehearsing Justin Peckâs sneaker ballet The Times Are Racing, I had to tackle questions like âHow does my weight need to be distributed differently in a sneaker versus a pointe shoe?â or âHow can I syncopate the steps and accent certain moments that reveal different aspects of the music?ââ
Using Imagination as a Tool âAs an English major at Columbia University, I love storytelling. When preparing for a role, I imagine a character or story to inform my movement. Even for something plotless like Haieff Divertimento or âRubies,â thereâs a certain flavor to each part. Itâs helpful to think about steps in terms of analogies and images, ranging from moving my hands through water to embodying a strand of seaweed in the ocean.â
A Recurring Pinch-Me Moment âDancing Balanchineâs Serenade always feels like a career-reaffirming experience. Iâve performed it for many seasons, and every time, it hits me that Iâm living in the tableau I dreamed of for so long. Itâs such a community-based ballet, and one of my favorite things about this career is connecting with the dancers around meâtheyâre my best friends and greatest sources of inspiration. To dance as part of a group, especially in a ballet containing so much meaning and joy, will always be a highlight.â
Christina Clark on the terrace of the theater. Photo: Jonah Rosenberg for Dance magazine
