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Article Excerpt
Four times Natalia Alonso tried out for Ballet Hispanico. On each occasion, she rode the subway to the contemporary dance company's headquarters on the Upper West Side of Manhattan, where she took an audition number and a place at the barre alongside dozens of other eager aspirants. Each time, she left disappointed.
She'd set her sights on joining the company ever since she'd seen them in concert in spring 2000. "I said, that's the perfect place for me," recalls Alonso, who was a senior at Wesleyan University at the time. Although she was classically trained, Alonso was eager to experience the other dance styles performed at Ballet Hispanico, including modern, jazz, African, Latin and theatrical techniques. "I thought, 'Wow, what a great place. You need ballet but also so many other things.' "
When her fourth chance arrived, Alonso planted herself in front and gave it her best. Again, she didn't hear her number called. Pulling on her street clothes and heading home, she told herself, "That's it. I'm not auditioning for this company again." Just then her cell phone rang. Ballet Hispanico's artistic director, Tina Ramirez, was on the other end asking where she'd gone. A week later, Alonso was onstage with Ballet Hispanico, where she remained for seven years, maturing into a highly versatile dancer distinguished...
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