When Christina Clark first saw her The Nutcracker: performance at age 5, she didn’t immediately aspire to the roles of the Sugar Plum Fairy or Dewdrop—instead, she was focused on the dozens of children in the cast. “I was determined to become one of those kids on stage,” she recalls. “Performance was the only goal.” Clark, a native of New York, was accepted into the School of American Ballet at age 7, became an apprentice with New York City Ballet in 2016, and was promoted to corps de ballet in 2017.
With her elongated limbs and polished port de bras, Clarke is a remarkably self-possessed dancer who uses her 5′ 10 1/2″ frame to fully inhabit every choreographic moment and musical note. She debuted in a number of roles in 2023, including The Tall Girl in George Balanchine’s The Rubies and the female lead in Haieff Divertimentowhich has not been performed by NYCB since 1994. As more and more opportunities continue to come her way, Clark is determined to squeeze as much as possible out of each experience. “My main goal is always to continue to develop – in my technique, my artistry and my approach to new roles.”
Embracing the unknown
“I like to explore different styles of movement, even if they are not my strong point. When I rehearsed Justin Peck’s sneaker ballet Times are racingI had to answer questions like, ‘How should my weight be distributed differently in a sneaker versus a slipper?’ or ‘How can I syncopate the steps and emphasize certain moments that reveal different aspects of the music?'”
Using imagination as a tool
“As an English major at Columbia University, I love to tell stories. When preparing for a role, I imagine a character or story to inform my movement. Even for something as pointless as Haieff Divertimento or “Rubies”, there is a certain flavor to each part. It’s helpful to think of steps in terms of analogies and images, ranging from moving my hands through the water to embodying a strand of kelp in the ocean.”
A recurring pinch moment
Balanchine’s Dances. Serenade: it always feels like a career reassertion attempt. I have performed it for many seasons, and each time it occurs to me that I am living in the picture that I have dreamed of for so long. It’s such a community-based ballet, and one of my favorite things about this career is connecting with the dancers around me—they’re my best friends and biggest sources of inspiration. To dance as part of a group, especially in a ballet containing so much meaning and joy, will always be a highlight.”