At City Ballet, a Once-in-a-Generation Dancer Arrives
Mira Nadon was 5 when she took her first ballet class. It was pre-ballet, which meant running around the studio, maybe getting a shot at fluttering like a butterfly. This was not for her.
When she found out that students began proper training at 6, Nadon laid it on the line: “I told my mom, ‘This isn’t serious,’” she said. “‘I’m just going to wait till I’m 6.’”
Even then Nadon was levelheaded and unflappable. Now, at just 23, she is a principal dancer with New York City Ballet, approaching the close of a momentous season at Lincoln Center, where her versatility, artistry and jaw-dropping abandon have made her seem like a ballerina superhero. This week, she returns to the role of Helena, the rejected young woman determined to win her lover back in George Balanchine’s “A Midsummer Night’s Dream.” An affinity for drama is in her bones, but something else makes Nadon a rarity: humor.
Nadon, the first Asian American female principal dancer at City Ballet, is a special, once-in-a-generation kind of dancer. Nadon can flip among many sides of herself — secretive, seductive, funny, serene. And she lives on the edge, with rapid shifts from romantic elegance to ferocious force. A principal since 2023, Nadon still has raw moments, but so much is starting to click: Her feet are more precise, her partnering more secure.
“To watch her grow — and it’s not been very long — has been tremendous,” Wendy Whelan, the company’s associate artistic director, said. “It’s fast and big and just blossoming.”
