Fresh Faces Fall 2024

After a busy year of 75th Anniversary programming and celebrations, and as we approach the beginning of another thrilling season of performances, we welcome seven new dancers to the corps de ballet. Oscar Estep, Sierra Griffith, Claire Kim, Kloe Walker, Mia Williams, and Shane Williams have been promoted from apprenticeship with the Company, and Eli Gruska joins us from, most recently, BalletMet. Read on to learn more about each of these singular performers.

OSCAR ESTEP

What do you like about living in NYC?

When I was 5, I moved to NYC with my parents, so it feels like home to me. I like the energy of living around so many different kinds of people from around the world, and the way they are pursuing their different dreams and ambitions. I love living in a city where you don’t need to drive because you have a freedom to travel and explore from a young age, and it really gives you a feeling that you are part of something so big and exciting.

Also, growing up as a dancer in New York City is really special. I had the opportunity to see so much amazing art, including dance, from such an early age. We have so many artists and performers here, and world class companies also come to tour. I think that exposure throughout my early life has really helped my artistry, and helped to inspire me to pursue this career. Now that I get to be onstage performing for NYC audiences who are so enthusiastic and supportive, I feel so lucky to live and work in a place where the arts are valued.

What have been some of your favorite moments as an apprentice with the Company?

My first performance as an apprentice was in the corps of Diamonds, opening the 75th Anniversary Season of the Company. I took my first bow and then the stage immediately began to fill up with hundreds of NYCB dancers and alum. I knew that this celebration was happening but I hadn’t realized the scale, and as I stood there, still full of the adrenaline of the performance, I felt that connection to every one of these dancers, each one of whom has also been on this stage performing Jewels. It was really amazing to feel part of this lineage stretching from dancers who had been in the original Company all the way to us apprentices, who had danced for the first time that night as Company members.

What makes NYCB special to you?

The number and variety of our performances is unparalleled, so I feel that every day I go to work, I am learning, which is very fulfilling. One of the things that makes it so special is the way we really work together—the Company is so large but every one of us has something to do. The rep that we do is so varied and so challenging, everyone needs to really work together to do justice to the choreography, and everyone onstage is dancing an integral part of the piece. The sense of shared purpose, even as an apprentice, makes it really exhilarating to perform as part of the Company, and I think it also creates an exciting performance for the audience.

SIERRA GRIFFITH

Do you have any special memories from SAB?

A special memory I have from SAB would have to be from my last Workshop Performances. I danced in excerpts from August Bournonville’s Napoli, which we were lucky to have staged by Petrujska Broholm. I remember feeling so immersed in the rehearsal process and learning so much about myself and my dancing. Petrujska was so particular yet gentle that we were all so engaged and focused while rehearsing. When it came to the shows, practically the whole advanced level was dispersed onstage watching one another dance different parts of the ballet, acting as a part of the set. I remember having so much fun standing and gesturing as my classmates and friends danced their variations. It was all very empowering. It was the first time I felt like I had been comfortable enough to be able to connect with other dancers onstage, which made the process feel very holistic and comforting. To be having such a great time while dancing such a difficult ballet that we had worked on together for months was extremely fulfilling. Additionally, having met some of my closest friends while living in the dorms at SAB was undoubtedly a highlight of my time as a student. I couldn’t count how many special memories we made while living with one another, but I feel so lucky that my time at SAB brought me to such special people.

What do you do to get back into the right headspace when you’re having an off day?

When I’m having an off day, I will usually try to move my body in a way that is not dancing. I find hot yoga or Pilates to be a great reset, and it helps me remind myself what my body is capable of instead of fixating on the things that have been bugging me. I’m someone who tends to try to find an answer to problems like this, and I’m slowly trying to learn that there isn’t always an answer to an off day. I find that distracting myself a little by doing an activity I enjoy or hanging out with friends, as well as being focused on a routine that isn’t so ballet-centered all of the time despite a busy rehearsal schedule, helps me enjoy dancing more during a rough patch and restores my excitement to dance. Although this is something I’m still working on, it’s an outlook that helps me stay excited to dance and enjoy my time in the studio more. I try to remember that the day you have does not define you as a person or dancer—it helps remind me not to dwell on harder days.

Are there any ballets you are looking forward to performing?

A ballet I have performed and look forward to doing again is Jerome Robbins’ Glass Pieces. In the first movement of the ballet, the entire corps walks seemingly without a pattern closely around three dancing soloist couples, intentionally mimicking a crowded New York train station. It’s mostly simple but lively and empowering. In the second movement, the corps women walk in the shadows at the very back of the stage during the pas de deux, the entirety of which has very dim lighting. It perfectly contrasts the first movement of the ballet with the solemn mood it brings. The couple dancing the pas weaves in and out of the corps at unpredictable moments. It’s such a unique feeling to dance that ballet, to look out at the dark audience and catch glimpses of the pas de deux happening directly in front of you. It’s a very serene and peaceful feeling. There are no lights on you. No one can see your face. You just have to keep yourself on track because the corps’s walking pattern is very complex. It’s just a very different feeling to dance than any other ballet, which makes it stand out to me.

ELI GRUSKA

Who inspires you most, or is a particularly important model or mentor?

There is such a long list of individuals who inspire me, but I would like to mention former NYCB Principal Dancer Joaquín de Luz. He came to dance Cavalier in my ballet studio’s production of The Nutcracker when I was thirteen years old. Seeing his finesse while dancing, his skilled partnering, and his work ethic had a big impact on me as a young dancer. Not to mention he was always very encouraging and supportive of me. He took the time to teach me the solo he performed in Robbins’ Dances at a Gathering, and he gifted me his old warm-ups that I still cherish to this day.

What are you most proud of, outside of dancing?

I am proud to be an enthusiastic uncle! My baby niece, Maya, is my favorite person in the world. I relish every chance I get to spend time with her and I can’t wait for her to experience her first Nutcracker knowing that her Uncle Eli is part of the magic.

How do you unwind after a tough day of rehearsals or a performance?

I find it restorative to get in the kitchen and cook. I like the ritual of preparing the food, and then getting to enjoy the results. The gratification is considerably more instant than the hours of rehearsal spent towards a relatively fleeting moment onstage (which I live for, of course). Beyond a nourishing dinner, I often reach for my foam roller and enjoy soaking in an epsom salt bath.

What makes you unique as a dancer?

I really value musicality, line, expressiveness, and power. I try to work consciously on these qualities in the studio so that I can embody them when I step out onto the stage. I would also say that partnering is one of my strengths. Uplifting and supporting other dancers while creating a connection with them gives me joy. I try to give whomever I’m dancing with the best possible experience so we can both shine.

Is there anything else you’d like to share?

I just couldn’t be more excited and proud to join New York City Ballet. It has been my biggest dream for so long and it feels fantastically surreal to be stepping into this new chapter where I get to be inspired by my colleagues and experience the NYCB synergy from behind the curtain.

CLAIRE KIM

What did you do when you first found out you’d be a part of the Company?

I first found out I was going to join the Company after a studio run-through of Swan Lake. Being an apprentice, there's so much pressure on you to constantly show up for yourself, and it feels like you have to work harder because not everyone knows how you dance. It felt like a huge weight was being lifted from my shoulders. I was so relieved to hear that all my hard work had paid off and I am now part of my dream company! As soon as I was alone, I immediately told my parents, and I couldn’t stop smiling on my walk home. When I was on the elevator in my apartment building, my hair was in a french twist, and one of my neighbors asked me if I was a ballet dancer. I replied "Yes," and I told him that I was a corps member of the New York City Ballet. It felt so surreal to say those words out loud. He told me he watches the ballets regularly and would look out for me next time.

What do you like about living in NYC?

I love New York because it’s so different from any other city in the US. It’s so diverse and there’s so much to do here. You can explore different cultures just by going to different areas of the city and eating all the different cuisines. Being Korean American, I love that K-Town is such a busy and popular area of the city. Some of my friends had never heard of Hmart (an Korean/Asian grocery store) and I was so happy to take them and show them my favorite snacks and foods; they’re now foods they crave all the time and we shop there weekly!

What is your favorite book or movie?

One of my favorite movies is Howl's Moving Castle. The animation and story are so beautiful. I've watched Studio Ghibli movies with my younger sister growing up, so watching these movies is always super nostalgic. Michael Scales, one of my favorite pianists, plays the theme song from Howl's Moving Castle in class sometimes, and hearing the music always makes me smile.

Who inspires you most, or is a particularly important model or mentor?

Suki Schorer has always been one of my biggest mentors. Taking class every week with her at SAB really helped me become a stronger dancer, because her classes were so hard! She was constantly correcting me and was super hands-on. I loved the way she would talk about Balanchine, and her variations class was always one of my favorite to attend. Megan Fairchild has also been one of my idols. I remember her classes at SAB being filled with so much information and knowledge. Sometimes she would take the class she taught with us and it was so cool to see how she works in class and how it translates to the stage. She has such beautiful technique and power, I could never get bored watching her. I still can't believe I am part of the same company as these two women.

KLOE WALKER

What have been some of your favorite moments as an apprentice with the Company?

When I came in as an apprentice, it was NYCB’s 75th Anniversary. I was so excited for my first performance with the Company to be one of George Balanchine’s most iconic ballets, Jewels; I got to dance in the corps de ballet of Emeralds, which is one of the most gorgeous and glamorous ballets. It felt so indescribable when the curtain rose and we were standing in our poses, feeling the breeze from the curtain go up, trying not to wobble and just feeling the butterflies. I remember being so nervous because not only was this my first show, every alumni from the Company was there for the 75th Anniversary, and I knew the people I looked up to and admired the most were in the audience. I could almost feel their presence while dancing in front of them. Being on that stage and knowing the history of the people in the audience that night would make me get lost in the quiet parts of the ballet, thinking, “Am I really here right now?” My nerves would go away naturally from how incredibly happy I was being there, and I’ll never forget those moments.

Are there any ballets you are looking forward to performing?

There are so many ballets I am looking forward to performing, but one that I can't wait to revisit is Brahms-Schoenberg Quartet, 4th Movement. I have never performed a ballet with so many character-style dance aspects, and I just had so much fun running around with those tall flowery headpieces and long skirts. My favorite part was performing it with everybody—everyone had this energy that was so exciting, and it was impossible not to have fun. It felt like a party onstage.

How do you unwind after a tough day of rehearsals or a performance?

I am a big walker, which is funny because of my last name. Usually, after rehearsals, if I feel like I need to, I like to clear my head by walking a lot and listening to music. I love ice cream and having it at the end of the day, and elevating my feet while watching a show or a movie always relaxes me.

MIA WILLIAMS

Who inspires you most, or is a particularly important model or mentor?

I had a teacher named Mr. Yin at both of the PNB summer intensives I attended, who gave me the validation I needed at the time and helped me pick up my confidence. He has a strong but caring teaching style that influenced my mentality and work ethic. I don’t think it’s him in particular that inspires me, but he helped me so much both of those summers that I can’t help but consider him a mentor, even though he wasn’t my teacher for very long.

What do you do to get back into the right headspace when you’re having an off day?

I haven’t figured out what the “right headspace” is or how to get into it yet. Whenever I’m having an off day, I’ll usually try brute force or powering-through tactics in order to get results—it’s one of my bad habits. One thing I’ve learned this year is that I have let go of my perfectionism and try to go with the flow.

Do you have any special memories from SAB?

One memory from SAB that sticks out to me was my first and only Winter Showing at the School. I remember seeing Jonathan Stafford in the front center, a little off to the side, and I was freaked out because no one told me he would be there. I was doing the “short girl” solo with the baton from Stars and Stripes and I was a little nervous about the pirouette series, but his being there also made me excited since I had the opportunity to dance in front of him. It was the first time I felt slightly competitive at the School—in a good way, obviously.

What is your favorite book or movie?

My favorite book is The Humans by Matt Haig. It’s about an alien that travels to earth and takes the identity of a famous and married math professor. There’s more to it that I don’t want to explain, but it’s very good and I would recommend it to anybody.

SHANE WILLIAMS

What did you do when you first found out you’d be a part of the Company?

I first found out when the curtain came down after the first show of George Balanchine’s Stars and Stripes this past winter, and I just remember jumping up and down, smiling so hard, and all the dancers were so happy for me, cheering and hugging me. It made the moment so much more special, and I’m so grateful to have such loving, devoted, and supportive colleagues around me.

What have been some of your favorite moments as an apprentice with the Company?

There are so many! In the winter, I found out I was getting thrown into Tiler Peck’s Concerto for Two Pianos. It was so much fun to dance and everyone onstage was just smiling and living, the energy was amazing! And in the spring, both Justin Peck’s Year of the Rabbit and Jerome Robbins’ Glass Pieces were highlights. I’m so grateful I got the opportunity to dance in the third movement of Glass Pieces; I knew it was going to be fun but it exceeded all of my expectations. It was so empowering.

What makes NYCB special to you?

My favorite part, and something that makes NYCB special to me, is that everyone is so different from one another, and then we come together to create and perform in front of audiences each night. We all have different stories, different journeys. We unify through our art form. Every time you get to the stage, it’s always a new experience with all of these incredible people, dancing and creating. Everyone is so talented. I love getting to watch my friends and colleagues dance and learning from them. It’s incredibly inspiring to watch.