NEW YORK — In a rehearsal room brimming with anticipation, dancer Unity Phelan was preparing for her pivotal performance of “Swan Lake” at New York City Ballet. As she tackled the grueling rehearsal, her mentor, Kathleen Tracey, advised skipping the infamous 32 fouettés—those electrifying one-legged spins that never fail to captivate audiences every time Odile, the cunning Black Swan, performs them. Tracey and Phelan agreed that conserving her leg strength was essential before the big night.
Phelan was on the brink of taking on her second performance as both Odette and Odile, a milestone she had dreamed of since she was a child. The realization of this ambition at 30 was a monumental moment, celebrated by her family, friends, and countless other supporters, including those from her home state of New Jersey. Remarkably, this was among the most physically taxing challenges she had encountered in her illustrious career.
While “Swan Lake” enjoys global renown as a classic ballet, fewer people understand the sheer difficulty of the leading ballerina’s role. The dancer’s task is akin to conquering a towering peak, necessitating impeccable technique, extensive training, incredible stamina, and an emotional sturdiness. Like marathon runners, performers must prepare for the endurance demanded by the near-continuous 2 ½-hour performance, with a brief intermission for rest and nourishment. The most demanding segment comes when exhaustion has set in—especially during Odile’s breathtaking tricks, which she uses to deceive the prince in a plot laced with mistaken identities. By the time a dancer reaches the arduous fouettés, the exertion is already evident; the name itself, rooted in French, conveys the swirling, whipped motion executed onstage.
“There’s barely enough time to get to the back wing before coming out again,” Phelan shares. “You’re incredibly fatigued, running on stage, needing to push forward.” During the dress rehearsal, the exhaustion was palpable; Phelan humorously remarked to a fellow dancer, “At this point, I’m questioning all my life choices!”
Despite the joking, Phelan wasn’t alone on this journey; she was among three fortunate New York City Ballet ballerinas debuting the role in the recent season. This new wave of swan queens was expected to find both exhilaration and challenge in one of ballet’s most demanding roles.
Mira Nadon, who at the young age of 23 has already achieved the role of Odette-Odile, shares Phelan’s passion. Having recently been named a principal dancer—the first Asian American female principal in the company—Nadon has only bolstered her reputation as an exceptional talent. “Of all the full-length ballets,” she reflects, “this is the one that truly resonates with me; I had always hoped for the opportunity.”
Despite reaching a pinnacle as a principal at a major company, the opportunity to perform as Odette-Odile is never guaranteed. NYCB dancer Sara Mearns was notably cast in the role at 19, beginning her tenure in the corps de ballet, continuing to dazzle audiences along with her long-time colleague, Tiler Peck. Many dancers wait a lifetime without the chance to lead in “Swan Lake.” Since the company’s last full-length version of the ballet ran in the previous five years and was further delayed due to the pandemic, Nadon was particularly thrilled when called to step into the role. Collaborating with her coach, Rebecca Krohn, she focused on perfecting her steps and felt the importance of this muscle memory coming to her aid. Building the necessary endurance became imperative for the taxing challenges of “Swan Lake.”
“You must accept the inevitability of fatigue and focus on pushing through,” Nadon comments. “It requires mental resilience; abandoning the task isn’t an option. You need to trust that you can achieve your goal.”
Miriam Miller, who recently achieved the status of a principal dancer only weeks before her “Swan Lake” premiere, echoed this sentiment of self-belief.
“For a long time, it felt unrealistic to me, like it wasn’t going to happen,” Miller, 28, shares. Recognizing herself as someone not particularly known for spinning reverse turns, she initially doubted her capability to tackle the Black Swan’s intricate steps.
“It includes every ballet step imaginable,” Miller explains of the challenging piece. “The White Swan segment demands delicacy and precision, which requires thoughtfulness in each transition.” The brief intermission poses its own challenges: costume changes, a shoe switch, and refueling before recharging for the next segment.
“Mentally, it demands significant strength and awareness,” Miller adds. “You leave it all on the stage, physically and emotionally.” Proving her doubts unfounded, Miller felt a rush of triumph and exhilaration post-premiere, despite the physical toll it took.
“Contending with your thoughts to not dominate the experience is arduous,” Miller shares. “Our bodies tend toward laziness, as do our minds—urging you to quit when it’s strenuous. What I’m proud of is overcoming those mental battles during the performance.”
Reflecting on the role preparation, Miller laughed at the depiction of Natalie Portman’s role in “Black Swan,” surviving predominantly on minimal nutrition—a scenario at odds with professional ballet demands.
“Attempting to perform on that diet would leave anyone flattened,” Miller says with amusement.
Preparing her body, she consumed carbohydrates similar to long-distance athletes and relied on electrolytes and energy supplements before the show. Consumed during the performance were energy-packed snacks—a peanut butter protein bar and a banana, while Nadon opted for an electrolyte-packed regime with yogurt, then a pre-show sandwich. For Phelan, nutritional strategy involved replenishing with half a banana during the break and ensuring a diet rich in carbohydrates and protein in advance of the high-demand days, even amidst the nervous anticipation that often dulls appetite.
“Nerves can diminish your appetite, but you must fuel yourself or have nothing to sustain you,” Phelan advises.
The preparation seemed successful, as recollections of the performance prompted smiles. The immense crowd became apparent during curtain calls as Phelan finally discerned individual faces as the lights came up.
“The auditorium was jam-packed; people were standing. The realization that 2,500 individuals were watching left an overwhelming thrill of, ‘Wow, they enjoyed it,'” she reflects.
Though the triumph was palpable, the experience left physical reminders behind—soreness in overworked muscles.
“I’ve never felt quite this fatigued post-performance,” Miller quips.
