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Article Excerpt
As the curtain opens on Christopher Wheeldon's Polyphonia, four women and four men stand in a row upstage. Even in stillness, one dancer stands out. With hollows in her upper arms and hips, she looks more like a fascinating sculpture than a lovely ballerina. But for anyone who has seen Wendy Whelan dance, the heart quickens. In roles that range from the regal Titania of A Midsummer Night's Dream to the lethal predator of The Cage, from the sinuous Coffee in The Nutcracker to the broken lines of Agon, from the poignance of Odette in Swan Lake to the powerful geometry of Red Angels, Whelan dances with a breathtaking energy and daring. Her etched outlines compel the eye to watch. Her body sometimes seems pulled in opposite directions, charging the space with a kind of electricity.
Her dancing was declared "the miracle" of New York City Ballet's spring season in 2001 by DANCE MAGAZINE Advisor/ Senior Editor Lynn Garafola (see Reviews, DANCE MAGAZINE, October 2001, page 92). And last summer her performances in London with an offshoot company garnered her critical praise describing her as "astounding," "seductive," and "awesome."
But for those who like their ballerinas soft and feminine, Whelan is not a favorite. She is rail-thin, with wiry arms and jutting ribs that strike some as unhealthy. To many observers, however, she is...
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