NYCB Interviews: Daniel Ulbricht

The following is from a set of four interviews conducted with members (and one former member) of New York City Ballet, during their rehearsal for “A Gala Evening” in Mobile, Ala. The article was set to appear in a Sunday Arts section of the Mobile Press-Register, but was “killed” for size. They are being posted here for the first time.

Daniel Ulbricht

When re-reading my interview with Daniel Ulbricht, I always wish I could of asked more. Like with Albert Evans, this interview was conducted in the storage room of the theatre, he was a gentleman enough to pick up a few heavy chairs for us to sit on.Ulbricht a Florida native, joined NYCB in 2001, he was promoted as a principal dancer in May of 2007. He performed Balanchine’s “Tarantella Pas De Deux” and Peter Martin’s “Gopak” at “A Gala Evening.”

Q: Tell me a little about your background in ballet, didn’t you start out in Florida?

Ulbricht: Yes, I studied in Florida and I moved up to SAB when I was fifteen years old. I think you hit a certain level where your teachers at home realize: hey, you’ve got to get to that next step. So yeah, my parents were behind me a hundred and fifty percent and said ‘Daniel, you know, its okay for you to go.’ But [my training] it’s kind of a hybrid between very classical training; Cuban style and then I had my other teacher who taught me basically the kind of stuff we’re doing with New York City Ballet. So it was [a] really strong classical vocabulary but then to be able to do anything with that. So it was great.

 Q: I’ve read in an interview that you get a ‘rush at the end of a show.’ What is performing like for you?

Ulbricht: Man. I mean, anytime you get to do your job and do what you love, I think that’s a rush. Every day for me is a rush. There’s something so exhilarating about pouring your heart out there, and people seeing that. Not only are they clapping because: O.K. wow he or she is really doing a great job, but because I think they see your soul out there in a way. That’s what I want to do. I kind of want that to pour out, so that’s that rush, it’s a great feeling.

Q: How long have you been teaching at SAB? What’s it like to instruct dancers?

Ulbricht: The SAB assignment is fairly new. I’ve been teaching for the last two years at a number of national schools and companies and universities. It’s amazing. It’s really taught me so much about my own craft. It’s constantly teaching me how to evaluate myself in a class when I take a class and then when I’m in a rehearsal. But most importantly, breaking down your technique to other people, it really breaks it down for yourself. So, the best tool that I’ve picked up along the way is to teach. So I love it.

Q: Doing my research I saw–did you know that your students have devoted a Facebook group to you?

Ulbricht: Somebody told me about it, and that’s why I don’t go on Facebook. I can’t afford to do that. I’d feel bad to reject them [laughs].

Q: What are some of your favorite roles?

Ulbricht: Ah, some of my favorite roles? Well, one of them we’re doing here is (George Balanchine’s) ‘Tarantella.’ It’s one of my favorites, I’ve done that thing for, I want to say, five years. Each time I try to find something new with it every time. So it’s neat to come here and do something that I love to do. Otherwise, ‘Mercutio’ in (Peter Martin’s) ‘Romeo + Juliet.’ ‘Puck’ in a ‘Midsummer’s Nights Dream’ and some other stuff. Yeah, the things that really push you as an artist; those are my favorite.

Q: I know you were cast as ‘Mercutio’ in Peter Martin’s ‘Romeo + Juliet,’ what was that like being part of a production that was so big?

Ulbricht: I think the only way I can describe it is awesome. It was such a great experience; we worked on that thing for, I want to say ten months from starting in the studio with fencing, then going into dancing, and then of course you have to think about acting. You have to pull it all together. You can’t just go from an actor to a dancer to a fencer. I mean, you have to be ‘Mercutio’ and be able to do them all. You can’t just turn a dial and hope that happens. It was just a wonderful process and a lot of times it’s give and take in the studio with the choreographer and even your peers.  It was a give and give. I know it sounds so cliché, but it was such a fantastic experience, so I was kind of able to put the things I wanted in to it, but I had that guidance to let me know what I can do.

 Q: Do you think there is a big difference between performing for regional audiences as opposed to performing in New York? Do you think it’s harder?

Ulbricht: I think actually I prefer performing outside of New York; just because I think the appreciation is there. I think it’s less common, so it becomes a commodity. In New York, it’s beyond educated they’re trained, the audience. Which is fantastic. They know what to look for, they know when to clap, they know when not to and that’s great. My favorite part is bringing New York to other people, cause not everyone comes to New York to see the things we do. So for me, this is like, if you will, an ambassador for your art and I love doing that. So I almost prefer it, the same thing with teaching. I like to go out and bring what I have and what I’ve learned to other people as opposed to them coming to New York.

Q: Has there ever been a moment when you’ve walked offstage and felt it was the best performance you’ve ever given?

Ulbricht: I don’t think I’ve had that yet. I think part of that is normal dancer mentality. I’ve had some that I’ve been so happy with and just, you know, completely fulfilled. Every single performance I leave fulfilled. There are certainly ones I feel are better than others. So I don’t know. I hope my best show is my last show.