Pastoral Resources

However, the moral center of New York City, I believe, is the New York City Ballet.

Does the New York City Ballet affect other places? Yeah, it lets people know they should come to New York.

And what would be great numbers in a Broadway show are now on stage of the New York City Ballet.

And it is always Easter Sunday at the New York City Ballet. It is always coming back to life. Not even coming back to life - it lives in the constant present.

All the New York City Ballet does is hit beautiful home runs.

God comes to us in theater in the way we communicate with each other, whether it be a symphony orchestra, or a wonderful ballet, or a beautiful painting, or a play. It's a way of expressing our humanity.

I've got no plans to be a ballet dancer at the moment.

My Mom is a ballet director, so I had this idea in me that classical training is the best foundation for anything you do, so I wanted to get a classical background and voice.

When other little girls wanted to be ballet dancers I kind of wanted to be a vampire.

For 24 hours a day, for 10 years, all I thought about was being in a band. That's all I did. I had no other social life. I don't want my life to be like that now. I've spent the past 10 years having a real life as well. But Spandau Ballet is such a difficult shadow to outrun.

My background is somewhat unusual, as I trained to be a ballet dancer. I worked in the theatre for eight or nine years as a contemporary dancer. But as an actor one does read Shakespeare and does try to learn the classics.

I used to dance when I was younger - ballet and modern dance.

I had never picked up a basketball before. I went through a grueling audition process. It was almost as if I was learning to walk. It would be like teaching somebody to dance ballet for a role.

I wanted so badly to study ballet, but it was really all about wearing the tutu.

Ballet-girls have a bad reputation, which is in most cases well deserved.

I went away when I was 9 to a ballet school. I thought I wanted to be a dancer, but eight years of ballet cured me of that.

In the Thirties, when I was in New York, I did the first surrealistic ballet in a show of mine.

Mum, who had been a dancer with a small ballet company before she got married, was full of encouragement. She didn't say, 'This is really good, you should do this', She just encouraged us to do whatever we liked.

I wanted to give people - which is fairly bizarre considering my whole life is contemporary dance really - I wanted to give people a really fulfilling sense that they had seen a white classical ballet - in a very pure form.

I copied my brother. He was a natural dancer. Graceful. People always asked did we study ballet. We never did.