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The Leadership Dance
Ep. 26: Owning the spotlight, with Mira Nadon
00:21:39
New York City Ballet star Mira Nadon joins Alissa Hsu Lynch to reflect on her journey from California rehearsal studios to becoming the first Asian American principal dancer at the company. Hailed by the New York Times as “a once-in-a-generation...
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- [00:01]
A
I never really thought of myself as being this representative for the Asian community because I think most people didn't know I was Asian. And, you know, that's a part of my background that I love. But it wasn't something that I was really thinking about or thinking about that people were looking at me and seeing that. So when I got promoted and there was all this press, it did kind of make me rethink that. But I think that it is quite an honor to hold this position and be able to inspire people. You know, I get messages from young students or their moms or. And if they can look up to me and, you know, see some hope and see someone that is inspiring, that's so wonderful. And I do feel a little more of a responsibility, I think, to be visible and be out here.
- [00:49]
B
Hello and welcome to the Leadership Dance, where we explore the art of leadership with trailblazers in business and the arts. If you enjoy this show, please share, subscribe and leave a five star review. I'm your host, Alisa sue lynch, and today I'm thrilled to be speaking with Mira Naidon. Mira is a principal dancer with New York City Ballet. Born in Boston and raised in California, she began her training at Inland Pacific Ballet Academy before entering the School of American Ballet, the official school of New York City Ballet. After joining the company as an apprentice in 2017, she became a member of the corps de ballet a year later, was promoted to soloist in 2022 and became a principal dancer the following year, making history as the first Asian American woman to reach that rank. Since then, she has performed featured roles in works by George Balanchine, Jerome Robbins, Ulysses Dove, Peter Martins, Justin Peck, Christopher Wheeldon and many others. Her artistry has been recognized with honors, including the Princess Grace Award and the Clive Barnes Award in Dance. Thank you so much for joining me today, Mira.
- [02:01]
A
Thanks for having me.
- [02:02]
B
You were promoted to principal dancer at New York City Ballet when you were only 21 years old. What do you remember most vividly about the moment you got the news and what's changed for you since then?
- [02:15]
A
I mean, it did feel a bit surreal. I think it's something that obviously I had been hoping and reaching towards, but honestly not something that I was thinking about in my everyday life. You know, I was just coming to the studio and doing my rehearsals and trying to do my best. So it was something that I always wanted to happen, but I think something that I didn't think would happen so quickly, some of it is being in the right place at the right time. In that season There are a lot of openings, and when it finally happened, I think it took a little while for it to set in when you've been wanting something so much, and then it finally happens. It definitely took a couple months to actually feel like I was a principal dancer with New York City Ballet, because I think I knew that I had done the work, but actually thinking of myself with that title seemed a bit foreign. So I would say it definitely took a year to really feel comfortable and at home with that title. And now I think I'm about two years later. It definitely feels more comfortable be in that position.
- [03:11]
B
How does the announcement actually happen?
- [03:13]
A
So at New York City Ballet, it's kind of different for each person and each group of people promoted. There isn't. I know some companies have a meeting at the end of the season, and that's when it always happens. New York City Ballet can happen at any time, which I think also adds to the surprise and excitement. So for me, it happened with a group of myself, Isabella Lafreniere, Emily Garrity, and Roman Mejia. It was the last day of our winter season. We were on the last show, and they asked us to stay after. One of our rep directors told me it was about some promo shoot. But I kind of knew that that was an excuse. So I remember I was like, okay, if I'm getting promoted, Roman is definitely getting promoted. So I went up to him, and I was like, did they tell you to stay after? And he looked at me and was like, yeah. And we just kind of looked at each other like, okay. So that was very exciting. It happened right after the show. It was the last day of the season, so, you know, everyone was gonna celebrate the end of the season anyways, so it was a really nice way to close it out and really exciting.
- [04:08]
B
So then who was the first person that you called to let know?
- [04:11]
A
I called my parents. My mom doesn't have an iPhone, so I FaceTimed my dad. Cause I wanted to actually see them. And my mom wasn't home, so I told him. And then he went out and bought a bottle of champagne. And then I called him back when my mom was home and told her. And then he had the champagne, and it was really sweet.
- [04:25]
B
Oh, that's. That's awesome. Well, speaking about your parents, looking back, what. What was your childhood like and how did your upbringing influence how you navigated your career? Tell us more about your journey.
- [04:37]
A
I started ballet when I was 5 or 6, and I always was very serious about it. I took it very seriously, but I didn't really know anything about the professional world. And that wasn't even really on my radar as a possible career path. I come from a very academic family. My dad is a professor, both my grandfathers are professors, my mom was a lawyer. So it was a very academically oriented childhood, I would say. There was just never a doubt in my mind that I was just going to go to college and do that thing. So then when I started getting more serious about ballet and, you know, people told me to go to summer programs, summer intensives, and then I ended up going to SAB year round, that was definitely a shift in mentality for myself and my parents. And I think we were all learning together. But I'm really grateful for the support that they've given me. And I think growing up in, like an environment where I didn't have any pressure on myself to do ballet, it was just something that I really wanted to do. And having that balance, I think was really beneficial. And I feel like they really set me up to be a very independent person who can take care of myself. Because I think you really need that when you go off to ballet school and then get in a company. Like, you really have to be there for yourself.
- [05:48]
B
Were academics important for you at the same time while you were studying dance?
- [05:53]
A
Yeah. So school was always definitely an important thing for my family. So when I went to sab, I went to PCs. SAB has some partnerships with schools in the area. So that you can basically go to school in the morning, come back to sab, take a technique class, go back to school, come back, take a variations class or pointe class or predator class. So they have these specialized schools that work with the students who have these kind of strange schedules and allow us to kind of fit it all in.
- [06:20]
B
And what is PCs?
- [06:22]
A
PCs is professional children's school. A lot of dancers, a lot of Juilliard pre college students, a lot of actors, a lot of people on Broadway. And they are just a really great school that kind of allows you to have this flexible schedule while still getting all the classes that you need.
- [06:37]
B
And if I'm correct, you have a twin brother.
- [06:41]
A
I do.
- [06:42]
B
And did he end up going to Princeton? I actually graduated from Princeton, so I think we have that in common.
- [06:47]
A
Yes, he did go to Princeton, which is fun. Cause then he was a little closer to New York. But yeah, he went to Princeton and now he is in the army. So very different career path. But yeah, I think similarly very driven. And I think just the way we were raised, like ended up producing people who are hardworking and, you know, I think like to be challenged.
- [07:08]
B
Speaking of being disciplined, ballet is known for its discipline and maybe an emphasis on uniformity. Yet you've been described by Dance Magazine as singularly unforgettable. How have you discovered and expressed your own individuality within such a structured art form?
- [07:27]
A
I don't think that's something that I've consciously tried to do. I think it has just happened. I think that I feel very lucky that the school IPB that I went to in California, we got to perform a lot. So I had a lot of time on stage when I was younger, which I think was helpful than going to sab, where you don't get as much performance as many performance opportunities. I think it was helpful to have that background of comfort on stage and feeling like I could really just perform and not be nervous. So that once I got in the company, I didn't really struggle with performance anxiety. I felt very comfortable on stage and felt like I could be myself on stage. And I think that the rep that we do at New York City Ballet, we do a lot of these balancing ballets and non narrative ballets that you really can almost bring yourself to the role more because there's no story and you're not trying to fit anything. So that's always been something I've enjoyed and I feel like I've always just been able to, when I watch a ballet, kind of see the way that I would want to do it. So not something that I consciously tried to do or try to do things differently. But I think that I, for whatever reason, have felt very comfortable being on stage and trying to just be myself and do steps the way that I see them.
- [08:38]
B
Is that something you'd recommend then, for younger dancers is try to get as much performance experience as possible?
- [08:45]
A
Yeah, I think so. I mean, I didn't go to SAB when I was a child. I can imagine that it's a different experience when your performance opportunities are with a big company and you have that pressure. I was really grateful to have these kind of more low stakes opportunities to be on stage and not be stressed and not be scared. And it was just so fun to be with my friends and be on stage. So I think that's something that for me was very beneficial.
- [09:10]
B
So you've been celebrated for being the first Asian American woman to be promoted to principal dancer at New York City Ballet. Congratulations for that. However, you've shared that as someone who is half Indian and half white, people don't always recognize you as Asian. And maybe you didn't think of yourself just as Asian. Do you feel greater responsibility to be more visible for other Asian dancers who might not see themselves represented on stage?
- [09:34]
A
Yeah, I think I do. I mean, like you said, to be honest, going to SAB and getting into the company, I never really thought of myself as being this representative for the Asian community because I think most people didn't know I was Asian. And, you know, that's a part of my background that I love. But it wasn't something that I was really thinking about or thinking about that people were looking at me and seeing that. So when I got promoted and there was all this press, it did kind of make me rethink that. But I think that it is quite an honor to hold this position and be able to inspire people. You know, I get messages from young students or their moms or. And if they can look up to me and, you know, see some hope and see someone that is inspiring, that's so wonderful. And I do feel a little more of a responsibility, I think, to be visible and be out here.
- [10:29]
B
That's a great perspective to have, I think, somewhat parallel to you. I am Asian. I'm actually of Chinese descent, 1/8 Japanese. And growing up, my sister and I were the only Asians in our school. So, you know, did feel a little bit different. I think nowadays there's just so much more diversity in the younger generations. But I didn't really think of myself as a standard bearer or representative of other Asians until I think I became more successful in business. And then now I recognize, oh, there actually aren't that many Asian women who reach the executive roles that I have. And so I do feel a greater responsibility to speak out and encourage and mentor the next generation as well.
- [11:11]
A
It's kind of wild that I'm the first at New York City rally, so hopefully there will be many more to come.
- [11:17]
B
Outside of that, are there barriers or setbacks you've had to overcome to get to where you are?
- [11:23]
A
I think that navigating the pandemic was obviously difficult for everyone, and being a ballet dancer in that time was very challenging. It kind of all feels like a blur now, but that was definitely a low point, I think, just having so much uncertainty. I think as ballet dancers, we. Or at least myself, I really like having a schedule and going to class every day and really being able to know what my days will hold and being able to stay busy. So that was definitely very challenging to not even know when we were going to go back to work. But I will say it was incredibly Special. Then when we did finally go back, and I remember we opened our program with Serenade, and I was dancing in the corps of that. And being on stage when the curtain came up was just really special. So that was definitely a strange time. Strange time for everyone. And I did have ankle surgery right after a couple months after I was promoted to soloist. I had an extra bone in my ankle, so I took some time off in the summer to get that removed. And luckily, that's been my only kind of major injury. But I'm really glad that I did it then and that I was able to time it at a point that I didn't miss too much every season.
- [12:33]
B
What was that recovery period like for you? How long did it take?
- [12:36]
A
So I was luckily able to come back pretty quickly. I got it at the end of May, I think, and then was resting and recovering over the summer, and then was back for our fall season, which we started rehearsing probably at the end of August. I was back and I was dancing, but I definitely felt like I didn't feel back to my normal ankle and foot for another year after the surgery, which is kind of what I had heard from people. And I am glad that I came back so quickly. But it definitely took time for it to actually to get the full range in my ankle and to really feel like I didn't have to do extra warmups in the morning and have to get it worked on constantly to keep it from being too stiff.
- [13:15]
B
That's good to hear. And it doesn't bother you anymore?
- [13:18]
A
No, we're all good.
- [13:20]
B
Awesome. So what's a performance moment that maybe still gives you chills when you think about it?
- [13:26]
A
The Tall Run Rubies is very special to me. It was the first principal role that it did in the company, and I think kind of set the trajectory for the beginning of my career. I had never really done any neoclassical roles just being at sab. Even my workshop was that I did Scotch Symphony, which is a more classical role. You have, like, a long, romantic tutu. And I had just never really done those neoclassical things. When I got called to Ruby's and was cast for it, I didn't even really know if I could do it or would be good at it. And I ended up really loving it. And I feel like I have a special love for all those Balanchine Stravinsky ballets now. Like, they really make sense to me and feel good in my body. So anytime. We've gotten to do Rubies quite a few times since then, so it's really Special to revisit every time and find new things and find more comfort in that role. But it's very comfortable and it's very fun to do. I think another role that was very special for me, the first role that I did as a principal was the waltz girl in Serenade. We were going on tour to Madrid, and I was actually supposed to do the core of Serenade. It was a partial company tour, so not everyone was supposed to go on a tour. And I wasn't on the list. And I told our repertory director, Rosemary, who's in charge of the corps. The last time Serenade had gone, I had been a soloist, but someone got injured and I did the corps. So I told her, you know, if anyone gets injured, I'd be happy to do the corps. I would just really love to go to Madrid. I want to go on this tour. And then casting came out. I was going to do the corps. I was excited. Great, I get to go to Madrid. And then at the end of that season, I got promoted to principal. So I thought it was kind of funny that my first principal role was going to be the corps of Serenade. But then someone ended up going out of their principal role, and I was understanding it and then did that. But that was very special because I also learned an excerpt of Serenade at my home studio in California. And that was one of the ballets that kind of made me fall in love with this, the Balanchine way of dancing. So that felt like a really nice full circle moment.
- [15:19]
B
That's a great story. And I think it's interesting you said that. You kind of proactively raised your hand and said, hey, if there's an opening, I'd be really interested. That's actually a skill that people need in any field to speak up for yourself. So how did you know to do that or what gave you confidence in doing that?
- [15:39]
A
You know, I think it's something that I actually don't do a lot, but I think I felt more comfortable doing it because I was asking to do a core part and not the other way around. But I did know that since I had done it so recently as a soloist and that sometimes the rep directors prefer to just have people go in that have already know the roles. I thought it was worth a shot to just express my interest. Cause I also. I really wanted to go on a fun trip and go on the tour. And I'm so happy it worked out. And I really would have been so happy to also just go and do the chorus. And odd, it's so amazing and so fun, but it was really exciting and special then that I got to do the Waltz Girl, which is. Was always a dream role.
- [16:16]
B
And you've done both classical, neoclassical, contemporary works. What do you prefer? Or are there just any favorite choreographers or pieces that you want to do again?
- [16:27]
A
Yeah. I mean, we are so lucky we get such a variety of rep at New York City Ballet. I think the Balanchine ballets are always going to be my favorite. There's something about them that just feels so right in my body, and they're just so fun and fulfilling to dance. I do think specifically the Balanchine, Stravinsky ballets, a lot of those I really love, like Ruby's Movements for Pinot and Orchestra, Stravinsky Violin Concerto. Those are some of my favorite ballets. I feel like I had a very classical training when I was younger, so I do really love getting to work on those, the more classical ballets as well. And then it's always fun to have choreographers come in. And, you know, we have Justin Peck and Alexei Rutmansky, and working with them is really, really inspiring. And I feel like especially Alexei, like, really pushes us to be better and to work on every aspect of our dancing, our technique and our artistry. And working with him has really been also a high point of my career.
- [17:21]
B
That's wonderful. I serve on the board of trustees of American Ballet Theatre, and he was the resident choreographer for many, many years. So you guys are lucky to have him.
- [17:29]
A
Yeah, we're very, very happy to have him.
- [17:32]
B
So, as you think about leadership, what does leadership mean to you? Maybe on the stage and off the stage.
- [17:39]
A
I do remember when I was promoted to principal dancer, I really did have a moment where I thought about what it meant to be a principal in the company. And I do think part of that is leading by example and being a good example for people to look at. I think coming up through the company, you know, you understudy a lot and you watch a lot, and you see behaviors that you don't want to emulate and behaviors that you do. And I think that we are all together so much in a ballet company, and you observe everything that the way you're acting in the studio and the way you're treating everyone around you and the way you're treating the ballets that you're dancing is really important and really rubs off on all the people around you. So I try to be aware of that. We're not perfect all the time, but trying to be respectful of the people that I'M dancing with and respectful of the ballets that I'm doing and trying to be a good example for the younger people in the company.
- [18:30]
B
And outside of dance, what's your favorite thing to do?
- [18:33]
A
I love to read. I love to just get outside. I'm on the Upper west side, so it's so nice to be close to Central park and Riverside. I love to travel when we have time and cook and hang out with my friends and my boyfriend. So I think it is really important to have a balanced life. And it can feel so all consuming sometimes to be in the ballet world. And we care so much about our ballets and how we're doing, but I think it can only help you to have that balance outside. And sometimes it's nice to take a step back and be like, you know, what if I fell out of that pirouette? It really doesn't matter. It's okay. I have a full life that is fulfilling and makes me so happy.
- [19:12]
B
What kinds of books do you like to read?
- [19:14]
A
I feel like I do usually like a fiction. I do often like a historical fiction. I feel like usually it is escapism just to like have my mind somewhere else and be able to go into a world.
- [19:26]
B
Can you think of a book that you would recommend?
- [19:28]
A
This isn't maybe a relaxing book, but I recently read Demon Copperhead, which I really loved, and I thought it was such beautiful world building and like painful and sad, but beautiful. And I really, really love that.
- [19:43]
B
What's your relationship with social media? Because you kind of brought up, you know, comparison and watching so many others. How do you think about social media?
- [19:51]
A
I'm not super big on social media. Like, I wouldn't say that I'm an influencer or trying to be an influencer, but I do think it is fun to be able to stay connected with so many friends and dancers from all over the world, like going on gigs and meeting new people and following them and then seeing what they're up to and seeing how they're dancing. And I think it's very inspiring to see dancers from all over the world and it's nice to be able to stay connected in that way that wouldn't actually happen in real life. So I think it could be a nice tool to stay connected and be inspired by people that you don't get to see on a daily basis.
- [20:25]
B
So, last question, Mira, what advice would you give to your younger self or to younger aspiring dancers about navigating their careers?
- [20:33]
A
It's like kind of cliche, but just staying true to yourself. I think in the ballet world it can be so easy to fall into comparison and always looking at others. But even when I see people around me dance, everyone always looks the best when they're doing whatever is the most natural for them. So I think that's important to remember and whatever is the most natural for you is going to feel the best and also look the best. And I think that's something that I've tried to stand by in my career and that's really helped me.
- [21:04]
B
So, Mira, I've really enjoyed learning more about your Leadership Dance and I want to wish you continued success and growth in your career. I would love to come see you dance now that I'm living in New York City. So I will come this fall season and everybody else should go as well. And it's been such a pleasure to have you on the podcast.
- [21:20]
A
Thank you. Thanks for having me.
- [21:23]
B
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