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I Was a Dancer
“Who am I? I’m a man; an American, a father, a teacher, but most of all, I am a person who knows how the arts can change lives, because they transformed mine. I was a dancer.”
In this rich, expansive, spirited memoir, Jacques d’Amboise, one of America’s most celebrated classical dancers, and former principal dancer with the New York City Ballet for more than three decades, tells the extraordinary story of his life in dance, and of America’s most renowned and admired dance companies.
He writes of his classical studies beginning at the age of eight at The School of American Ballet. At twelve he was asked to perform with Ballet Society; three years later he joined the New York City Ballet and made his European debut at London’s Covent Garden.
As George Balanchine’s protégé, d’Amboise had more works choreographed on him by “the supreme Ballet Master” than any other dancer, among them Tchaikovsky Pas de Deux; Episodes; A Midsummer’s Night’s Dream; Jewels; Raymonda Variations .
He writes of his boyhood—born Joseph Ahearn—in Dedham, Massachusetts; his mother (“the Boss”) moving the family to New York City’s Washington Heights; dragging her son and daughter to ballet class (paying the teacher $7.50 from hats she made and sold on street corners, and with chickens she cooked stuffed with chestnuts); his mother changing the family name from Ahearn to her maiden name, d’Amboise (“It’s aristocratic. It has the ‘d’ apostrophe. It sounds better for the ballet, and it’s a better name”).
We see him. a neighborhood tough, in Catholic schools being taught by the nuns; on the streets, fighting with neighborhood gangs, and taking ten classes a week at the School of American Ballet . . . being taught professional class by Balanchine (he was “small, unassuming, he radiated energy and total command”) and by other teachers of great Anatole Oboukhoff, premier danseur of the Maryinsky Theatre (“Such a big star,” said Balanchine, “people followed him, like a prince with servants”); and Pierre Vladimiroff, Pavlova’s partner (“So light on feather feet”). Vladimiroff drilled into his students, “You must practice, practice, practice. Onstage, forget everything! Just listen to the music and dance.”
D’Amboise writes about Balanchine’s succession of ballerina muses who inspired him to near-obsessive passion and led him to create extraordinary ballets, dancers with whom d’Amboise partnered—Maria Tallchief; Tanaquil LeClercq, a stick-skinny teenager who blossomed into an exquisite, witty, sophisticated “angel” with her “long limbs and dramatic, mysterious elegance . . .”; the iridescent Allegra Kent; Melissa Hayden; Suzanne Farrell, who Balanchine called his “alabaster princess,” her every fiber, every movement imbued with passion and energy; Kay Mazzo; Kyra Nichols (“She’s perfect,” Balanchine said. “Uncomplicated—like fresh water”); and Karin von Aroldingen, to whom Balanchine left most of his ballets.
D’Amboise writes about dancing with and courting one of the company’s members, who became his wife for fifty-three years, and the four children they had . . . On going to Hollywood to make Seven Brides for Seven Brothers and being offered a long-term contract at MGM (“If you’re not careful,” Balanchine warned, “you will have sold your soul for seven years”) . . . On Jerome Robbins (“Jerry could be charming and complimentary, and then, five minutes later, attack, and crush your spirit—all to see how it would influence the dance movements”).
D’Amboise writes of the moment when he realizes his dancing career is over and he begins a new life and new dream teaching children all over the world about the arts through the magic of dance.
A riveting, magical book, as transformative as dancing itself.
In this rich, expansive, spirited memoir, Jacques d’Amboise, one of America’s most celebrated classical dancers, and former principal dancer with the New York City Ballet for more than three decades, tells the extraordinary story of his life in dance, and of America’s most renowned and admired dance companies.
He writes of his classical studies beginning at the age of eight at The School of American Ballet. At twelve he was asked to perform with Ballet Society; three years later he joined the New York City Ballet and made his European debut at London’s Covent Garden.
As George Balanchine’s protégé, d’Amboise had more works choreographed on him by “the supreme Ballet Master” than any other dancer, among them Tchaikovsky Pas de Deux; Episodes; A Midsummer’s Night’s Dream; Jewels; Raymonda Variations .
He writes of his boyhood—born Joseph Ahearn—in Dedham, Massachusetts; his mother (“the Boss”) moving the family to New York City’s Washington Heights; dragging her son and daughter to ballet class (paying the teacher $7.50 from hats she made and sold on street corners, and with chickens she cooked stuffed with chestnuts); his mother changing the family name from Ahearn to her maiden name, d’Amboise (“It’s aristocratic. It has the ‘d’ apostrophe. It sounds better for the ballet, and it’s a better name”).
We see him. a neighborhood tough, in Catholic schools being taught by the nuns; on the streets, fighting with neighborhood gangs, and taking ten classes a week at the School of American Ballet . . . being taught professional class by Balanchine (he was “small, unassuming, he radiated energy and total command”) and by other teachers of great Anatole Oboukhoff, premier danseur of the Maryinsky Theatre (“Such a big star,” said Balanchine, “people followed him, like a prince with servants”); and Pierre Vladimiroff, Pavlova’s partner (“So light on feather feet”). Vladimiroff drilled into his students, “You must practice, practice, practice. Onstage, forget everything! Just listen to the music and dance.”
D’Amboise writes about Balanchine’s succession of ballerina muses who inspired him to near-obsessive passion and led him to create extraordinary ballets, dancers with whom d’Amboise partnered—Maria Tallchief; Tanaquil LeClercq, a stick-skinny teenager who blossomed into an exquisite, witty, sophisticated “angel” with her “long limbs and dramatic, mysterious elegance . . .”; the iridescent Allegra Kent; Melissa Hayden; Suzanne Farrell, who Balanchine called his “alabaster princess,” her every fiber, every movement imbued with passion and energy; Kay Mazzo; Kyra Nichols (“She’s perfect,” Balanchine said. “Uncomplicated—like fresh water”); and Karin von Aroldingen, to whom Balanchine left most of his ballets.
D’Amboise writes about dancing with and courting one of the company’s members, who became his wife for fifty-three years, and the four children they had . . . On going to Hollywood to make Seven Brides for Seven Brothers and being offered a long-term contract at MGM (“If you’re not careful,” Balanchine warned, “you will have sold your soul for seven years”) . . . On Jerome Robbins (“Jerry could be charming and complimentary, and then, five minutes later, attack, and crush your spirit—all to see how it would influence the dance movements”).
D’Amboise writes of the moment when he realizes his dancing career is over and he begins a new life and new dream teaching children all over the world about the arts through the magic of dance.
A riveting, magical book, as transformative as dancing itself.
464 pages, Hardcover
First published February 1, 2011
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671 people want to read
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Displaying 1 - 30 of 46 reviews
July 2, 2011
The beginning of D'Amboise's memoir really drew me in - his style is clever and conversational establishing intimacy with his reader from the first sentence. Unfortunately, his childhood and adolescence were much more captivating than his professional career or at least read that way. I had the opportunity to hear him speak a few months back and he recited EVERY amusing anecdotal story that appears in the book making the actual experience of reading his book anti-climatic - not unlike seeing a mediocre movie after falling for its really great trailer months before. In the plus column, I did come away with a better understanding and appreciation for George Balanchine. However, I wish he had addressed why Peter Martins succeeded Balanchine as artistic director when Balanchine himself had anointed him his heir apparent for years before his death.
November 27, 2021
At first brilliant, the book starts to drag and become uninteresting. Is it a personal memoir, a history of the New York City Ballet, or a detailed survey of the National Dance Institute? D'Amboise tries to be everything here, and one's interest level wavers depending on what one is actually interested in.
Most crucially for the reader, the light deft prose which sparkles in the first section (dare I say, the prose dances on the page) becomes leaden and flat footed as the book progresses. This may indeed be designed to reflect the aging process on the technique of the dancer/writer; if so, it is an approach which alienates the reader/audience.
Too bad, I loved this book at the beginning, but then it ambles and wanders and bores.
Most crucially for the reader, the light deft prose which sparkles in the first section (dare I say, the prose dances on the page) becomes leaden and flat footed as the book progresses. This may indeed be designed to reflect the aging process on the technique of the dancer/writer; if so, it is an approach which alienates the reader/audience.
Too bad, I loved this book at the beginning, but then it ambles and wanders and bores.
March 24, 2011
Yes, I admit I've been on a bit of a dance kick lately (no pun intended) and this book was just the ticket! Jacques D'Amboise was one of my favorite dancers, but I never knew much about him except that he was in "Seven Brides for Seven Brothers," danced for the New York City Ballet, and formed the National Dance Institute to teach children about movement and dance. He had a fascinating family life and it was great to read his first-hand stories of working with George Balanchine and the many great dancers of the NYCB. The book is not strictly chronological, it wanders around a bit, as conversations do. Highly recommended, both for the story and for the pictures!
May 27, 2020
This is a fascinating book and even though it's close to 500 pages long, I could not stop reading it for several days. It is unusually well written for a memoir. D'Amboise manages to tell us about a lot of fascinating characters in the ballet world without being mean about any of them. He is charming, and his passion for dance is marvelous. I read this on my Kindle and kept going on to Google to find more information and videos of dancers and choreographers he talks about in the book. This led me down many delightful rabbit holes. D'Amboise is an absolute treasure. You will learn so much about ballet if you read this book, and I highly recommend it.
April 18, 2024
D'Amboise's determined mother "The Boss" dragged Jacques, along with his sister, to ballet classes in New York. She was set on careers in the theater for them and she succeeded. Jacques' teachers knew how to make ballet attractive to a typical active boy and he managed to take 10 classes a week and also deal with the tough gangs in his neighborhood. Amboise had a long and varied career with NYC Ballet-- and also a lucky one--as he admits. He married a fellow dancer, raised four children, two of whom became dancers, and had wonderful friendships with many other dancers. When he stopped dancing, he founded the National Dance Institute which introduced dance to over a million children, beginning in the New York Public Schools. It was a huge success and he poured his soul into the endeavor. The book is also full of great insights into the genius of Balanchine as Amboise describes in detail what it was like to watch him choreograph.
June 14, 2013
Super fun and gossipy. D'Amboise's love of dance shines. I LOVE that he started teaching ballet classes just for boys so they wouldn't always be stuck in a class full of girls, and also that he gave free classes to kids all over the world.
This book also reinforces for me that Only Women Bleed. D'Amboise was one of Balanchine's few male proteges and received a lot of confidences you don't see in the women's memoirs. Luckily, D'Amboise tells us what he knows (when he asked Balanchine which of his ballerinas had the most talent, Balanchine actually named names without hesitation: Allegra Kent). The women had ballets made for them (made "on" them, ha ha) and inchoate, idealized romances before they were divorced and replaced. D'Amboise just got to dance with beautiful, talented dancers for decades, from Maria Tallchief to Gelsey Kirkland. He married young, had beautiful children who danced, and stayed with his wife until her death a few years ago. All the while, his book is peppered with things like, "Lucky Jacques, dancing with Tanny LeClercq!" and "Diana Adams, who could be more perfect as the Dew Drop?" and "Allegra, what a vision!" and "Suzanne's powerful feminine form!" etc. etc. Men. Hrmph.
Another standout of the book is Tanaquil LeClercq, the virtuosic dancer who was stricken with polio at 27 and never walked again. There is a documentary about LeClercq in development and I. cannot. wait.
This book also reinforces for me that Only Women Bleed. D'Amboise was one of Balanchine's few male proteges and received a lot of confidences you don't see in the women's memoirs. Luckily, D'Amboise tells us what he knows (when he asked Balanchine which of his ballerinas had the most talent, Balanchine actually named names without hesitation: Allegra Kent). The women had ballets made for them (made "on" them, ha ha) and inchoate, idealized romances before they were divorced and replaced. D'Amboise just got to dance with beautiful, talented dancers for decades, from Maria Tallchief to Gelsey Kirkland. He married young, had beautiful children who danced, and stayed with his wife until her death a few years ago. All the while, his book is peppered with things like, "Lucky Jacques, dancing with Tanny LeClercq!" and "Diana Adams, who could be more perfect as the Dew Drop?" and "Allegra, what a vision!" and "Suzanne's powerful feminine form!" etc. etc. Men. Hrmph.
Another standout of the book is Tanaquil LeClercq, the virtuosic dancer who was stricken with polio at 27 and never walked again. There is a documentary about LeClercq in development and I. cannot. wait.
January 10, 2015
Much of this book was fascinating, especially the chapters that covered Jacques D'Amboise's childhood and early years at NYCB. The last third of the book was a real slog to get through, however. Some judicious editing would have helped here, I think.
I know the title implies that the focus of this memoir is on D'Amboise's life as a dancer, but I find it strange that there is so little about his personal life, especially interesting events, such as his hike with his oldest son, George, on the Appalachian Trail in 1999. (They hiked it north to south, which is not the usual direction that most hikers take.) I also was puzzled that there was no mention of his wife's death in 2009, which occurred two full years before this book was published.
To summarize, there was much about this book that I enjoyed, but I wish it had been a better (and shorter) book.
I know the title implies that the focus of this memoir is on D'Amboise's life as a dancer, but I find it strange that there is so little about his personal life, especially interesting events, such as his hike with his oldest son, George, on the Appalachian Trail in 1999. (They hiked it north to south, which is not the usual direction that most hikers take.) I also was puzzled that there was no mention of his wife's death in 2009, which occurred two full years before this book was published.
To summarize, there was much about this book that I enjoyed, but I wish it had been a better (and shorter) book.
June 1, 2011
I loved the New York City Ballet in the late 70s and early 80s, and so I also loved D'Amboise' dancing. And I enjoyed his book. His career makes for a very engaging story as does his revelations on his colleagues, and Kirsten and Balanchine. In fact, it is also a profile of Balanchine. At times the chronology failed me...I wasn't sure where we were in his career; and I wish that he wrote more about his appearances in the early 80s. But that is a failure of the editing. D'Amboise is relentlessly cheerful and grateful, and that is a good thing!
October 17, 2011
This is a really interesting and fun memoir of the New York City Ballet's Jacques d'Amboise. Lots of stories about Balanchine and Lincoln Kirstein, as well as Stravinsky, Chagall, and many dancers. Jacques' mother, the Boss, is an especially
brilliant character. Maria, you must read this!
brilliant character. Maria, you must read this!
April 5, 2020
This is one of the best dance books I have ever read and I have read quite a few— I’ve even written one! How I wish I’d known about this one by New York City Ballet’s Jacques d’Amboise when I had mine before me . The former principal dancer and pedagogue provides an inside view of NYCB when George Balanchine was chief ballet master — and does so without apology, regret or venom, what you are used to getting in dance books written about Mr. B— mine included. D’Amboise doesn’t over analyze. He places himself firmly in the moment and that moment happens to be one of the most illustrious chapters of 20th century ballet. His book is a celebration, not a tell-all.
Through his eyes, you see what it was like to create and to take class with Balanchine, partner his great ballerinas, dine with him and watch him deal with difficulties with d World elegance and professionalism. Yes the pettiness and jealousies so often mentioned in books about Balanchine are there. NYCB cofounder Lincoln Kirstein adds his share of foibles. But flaws are not exaggerated to the point that the ballet world D’Amboise is describing appears to alienate the artists inhabiting it. The truth isn’t glossed over, more allowed to exist in context. The ugly and the good commingle in a book written by one who feels truly grateful for everything about that insular world he was privileged to have experienced.
That enthusiasm translate into a real feeling of being there. D’Amboise is a gifted observer as well as practitioner of dance and he gets right inside his own and other’s performances, explicating the energy, the artistry, thrill and also the precariousness of live performance. Rarely have I read a dancer speak so descriptively and passionately about his art form. This one of the book’s greatest assets. His chapters on dancing in the USSR with NYCB during the Cold War are also eye-opening.
D’Amboise speaks with equal vigour about himself, and upbringing. Many words are devoted to his indomitable Québécoise mother and not as ambitious American father, his equally talented siblings, his marriage to a fellow dancer and their family which included even more dancers, all with star billing. Dance is a way of life, a great way of life, and embodied here by an all-American guy who could hold his own I. A street fight even as he was showing his gang how to jeté over fire hydrants in the streets of Manhattan.
Through his eyes, you see what it was like to create and to take class with Balanchine, partner his great ballerinas, dine with him and watch him deal with difficulties with d World elegance and professionalism. Yes the pettiness and jealousies so often mentioned in books about Balanchine are there. NYCB cofounder Lincoln Kirstein adds his share of foibles. But flaws are not exaggerated to the point that the ballet world D’Amboise is describing appears to alienate the artists inhabiting it. The truth isn’t glossed over, more allowed to exist in context. The ugly and the good commingle in a book written by one who feels truly grateful for everything about that insular world he was privileged to have experienced.
That enthusiasm translate into a real feeling of being there. D’Amboise is a gifted observer as well as practitioner of dance and he gets right inside his own and other’s performances, explicating the energy, the artistry, thrill and also the precariousness of live performance. Rarely have I read a dancer speak so descriptively and passionately about his art form. This one of the book’s greatest assets. His chapters on dancing in the USSR with NYCB during the Cold War are also eye-opening.
D’Amboise speaks with equal vigour about himself, and upbringing. Many words are devoted to his indomitable Québécoise mother and not as ambitious American father, his equally talented siblings, his marriage to a fellow dancer and their family which included even more dancers, all with star billing. Dance is a way of life, a great way of life, and embodied here by an all-American guy who could hold his own I. A street fight even as he was showing his gang how to jeté over fire hydrants in the streets of Manhattan.
September 22, 2025
I don’t read memoirs for the most part, and I’m far from being a balletomane, but this book was sent to me by a friend. He was reading it because a great friend of his, a dancer (and singer) was reading it when he suddenly died of heart failure. Peter loved the book and when I expressed interest he sent me a copy. I have seen the NYCB only a handful of times and of course think they’re marvelous, but I don’t think I ever d’Amboise perform. I knew he taught at SUNY Purchase where my mother worked. Anyway, to get on with it, the book is highly entertaining and informative. I learned so much about Balanchine! D’Amboise is a warm, emotional man, and he pulls no punches—he couldn’t have written it if Ballanchine or Kirstein were still alive. I know so much about the NYCB now. The last chapter is very moving.
February 2, 2023
As others have complained, the book starts out with a really wonderful account of D'Amboise's childhood years, then the pacing gradually gets slower and the latter chapters are a real slog to get through. But overall this was a fascinating read that gives a lot of insight into Balanchine and the early history of NYCB, although what you get is more rough sketches of the people involved than anything truly in-depth. D'Amboise even admits in the end that those looking for juicy details about the dark side of ballet are going to be disappointed. This was more of a happy memoir, full of memorable stories and characters. I especially liked the story of how a very young D'Amboise wanted to fly, so he prayed to God to give him the ability, made himself a costume, and jumped off a roof!
July 3, 2018
A fantastic ballet memoir. His voice comes through clearly and he has a really fascinating story. A great book for anyone interested in ballet, and especially for boys who might want to hear about what it's like to have a career in dance. And if you're the parent of a boy interested in ballet this would provide a nice introduction to the ins and outs of the business.
Jacques D'Amboise worked closely with George Balanchine, one of the most important choreographers of the twentieth century, so his book has a lot of interesting insights on that front.
Jacques D'Amboise worked closely with George Balanchine, one of the most important choreographers of the twentieth century, so his book has a lot of interesting insights on that front.
October 15, 2023
D'Amboise's detailed, anecdotal, always positive memoir is as fun as a bowl of candy. (We just bought the Halloween candy.) I don't remember that he said anything negative about anyone, except for the two murderers he knew. If everyone in a family was murdered the night you were supposed to stay in the house, anyone would be negative. I found his mother, whom he obviously adored, so obnoxious I almost gave up on the book. Instead I just skipped any page that mentioned her.
May 16, 2020
Wow, a ballet biography without drama and tears. D’Amboise seems a cheerful, upbeat man who cheerfully navigated his way through decades with the NYCB. An anecdotal biography that seems oddly weighted to his pre-ballet and post-dancer years. I could have used more dates as the chronology gets muddled in a conversational style. Interesting.
July 25, 2021
Living through the history of NYCB
I love learning about the stories behind Balancine and NYCB. I was sad to learn that Jacques passed a couple months ago. His legacy continues in National dance institute. A good man with a great life!
I love learning about the stories behind Balancine and NYCB. I was sad to learn that Jacques passed a couple months ago. His legacy continues in National dance institute. A good man with a great life!
June 9, 2017
I like the emphasis on small details. Still reading so we'll see how I like it at the end.
May 16, 2020
This is an excellent dance autobiography; one of the best I’ve ever read. Well worth the read.
July 6, 2025
The book was great up until the point when it became yet another Balanchine biography. Boo.
September 21, 2025
Having followed Mr. D'Amboise since my earliest days as a ballet student, I was fascinated by his life and his memories of the life of a professional dancer.
December 30, 2021
Captivating memoir by one of the leading male dancers at NYCB. Doesn't spare a lot but was a bit confusing in terms of timeline. Still a wonderful read!
January 12, 2013
“When Madame Seda said, ‘There are better teachers than I,’ she sent me to a crucible, a laboratory of theater and dance that would shape and influence the performing arts in this country for the rest of the century. There, I would plié, changement, and pirouette my heart out, guided by some of the greatest artists and innovators residing in New York City, most of them from pre-Soviet Russia, role models who demanded the best of their students.”
Jacques d’Amboise began his dance career in a small Washington Heights studio prior to World War II. His mother and the teacher conspired to encourage Jacques to join in his sister’s dance classes through a dare. “See if you can jump as high as the girls.” Pretty soon, he was joining in the part of the class where they practice leaps. Then came another challenge: “Now leap in the air and change your feet so when you land, your left foot is in front.” That move is called a changement, and Madame Seda soon had Jacques doing thirty-two of them. It wasn’t long before he was taking the entire class and on his way to becoming a danseur. D’Amboise was eventually sent to the School of American Ballet and George Ballanchine, where he became a favorite student and friend of the master. D’Amboise became a corps member of the New York City Ballet at the age of fifteen, and eventually a principal dancer and star in his own right.
I admit I love the ballet and I love reading about dancers and their journeys. But, D’Amboise is such a natural story-teller, this memoir is much more than an autobiography. It is a glimpse into a perfect point in time – when the world of dance brought together the most amazing talents in one place, and achieved greatness that has yet to be matched. His stories are funny, fascinating and charming. And I loved every minute of this wonderful book. Even if you know nothing about the world of ballet, you will enjoy I Was a Dancer.
Jacques d’Amboise began his dance career in a small Washington Heights studio prior to World War II. His mother and the teacher conspired to encourage Jacques to join in his sister’s dance classes through a dare. “See if you can jump as high as the girls.” Pretty soon, he was joining in the part of the class where they practice leaps. Then came another challenge: “Now leap in the air and change your feet so when you land, your left foot is in front.” That move is called a changement, and Madame Seda soon had Jacques doing thirty-two of them. It wasn’t long before he was taking the entire class and on his way to becoming a danseur. D’Amboise was eventually sent to the School of American Ballet and George Ballanchine, where he became a favorite student and friend of the master. D’Amboise became a corps member of the New York City Ballet at the age of fifteen, and eventually a principal dancer and star in his own right.
I admit I love the ballet and I love reading about dancers and their journeys. But, D’Amboise is such a natural story-teller, this memoir is much more than an autobiography. It is a glimpse into a perfect point in time – when the world of dance brought together the most amazing talents in one place, and achieved greatness that has yet to be matched. His stories are funny, fascinating and charming. And I loved every minute of this wonderful book. Even if you know nothing about the world of ballet, you will enjoy I Was a Dancer.
May 6, 2011
I loved this, but I finished it with a sense of disquiet because I found a mean streak in it.
Mikhail Baryshnikov, who IMHO is one of the greatest dancers ever is mentioned ONCE. ONCE. And that is in passing, when D'Amboise is talking about how no male dancer--and he lists a bunch including "Misha" could ever had been as good as Balanchine.
One reference. Not even a footnote explaining who Baryshinkov is/was then, though D'Amboise gives lengthy footnotes about dozens of obscure characters the reader really cares nothing about. He gives more information about his kids' nanny and HER life than he does about a dancer who spent 18 months at NYCB, whose defection rocked the ballet world and whose tenure at NYCB was somewhat controversial.Someone who is one of the most recognizable dancers in the world.
This may seem minor. But it demonstrated a petty meanness that hung over the rest of the book for me, entertaining and interesting as it was.
Mikhail Baryshnikov, who IMHO is one of the greatest dancers ever is mentioned ONCE. ONCE. And that is in passing, when D'Amboise is talking about how no male dancer--and he lists a bunch including "Misha" could ever had been as good as Balanchine.
One reference. Not even a footnote explaining who Baryshinkov is/was then, though D'Amboise gives lengthy footnotes about dozens of obscure characters the reader really cares nothing about. He gives more information about his kids' nanny and HER life than he does about a dancer who spent 18 months at NYCB, whose defection rocked the ballet world and whose tenure at NYCB was somewhat controversial.Someone who is one of the most recognizable dancers in the world.
This may seem minor. But it demonstrated a petty meanness that hung over the rest of the book for me, entertaining and interesting as it was.
February 9, 2015
What a life Jacques D'Amboise has lived! He studied with George Balanchine at the New York City Ballet and became a premier dancer,partnering with some of the most famous ballerinas of the twentieth century. I particularly enjoyed his tales of touring the world and what the personalities of the various dancers he worked with were like, along with Balanchine and Lincoln Kerstein and a variety of other famous people and wealthy people. Lots of name dropping, but they were all interesting. I learned a lot about the history of the NYCB and ballet in the US in general. The latter part of the book was, I admit, not as interesting, as it dealt with D'Amboise's creation of the National Dance Institute, which is a noble organization, but just not very compelling to hear about in story form. Also, the book jumped all over the place in terms of chronology, which made it confusing at times.
July 2, 2012
This book reads as though the editor was asleep at the keyboard. It jumped all over the place and I couldn't get a sense of what was going on. I also agree with the previous reviewer...Baryshnikov was a contemporary and his defection was big news. And both men partnered some of the same ballerinas (Gelsey Kirkland comes to mind), so why didn't he get more than a mention? Also, I love memoirs written by talented people that give the reader a peek into their process, struggles, and what it's like to be so freaking genius...the creative fire, if you will. I agree that D'Amboise has a remarkable story to tell; he has gifted the world with his marvelous talent and endless enthusiasm for the arts. I was just left...wanting.
May 9, 2014
This is a great book because you get to meet a man who understands luck (a theme in Richard Russo's Elsewhere as well) - that he was a 'wild, untamed boy' and dancing opened his life to enormous possibility. His mother, the Boss, is funny and also rather terrifying. And what a storyteller - something he undoubtedly learned from his mother - and what an open and compassionate heart - which I think he developed on his own. I love reading about dancing and love Balanchine's choreography, but what was most memorable about this book was its radiant happiness (what a contrast to Gelsey Kirkland's memoir).
February 12, 2021
5 stars
An absolutely funny and magical book. Jacques was one of the best danseurs of the 20th C imo.
Bonuses: stories about Diana Adams (my Queen 😍), Balanchine, his mystical French Canadian family tree, touring with the company in bombed-out London in the early 50’s, filming Carousel & 7 Brides in Hollywood, what a talented genius of a dick Jerry Robbins was, & so much more.
Such a rich life, such a magical storyteller.
Must read if you’re as obsessed with the NYCB as I unabashedly am!
An absolutely funny and magical book. Jacques was one of the best danseurs of the 20th C imo.
Bonuses: stories about Diana Adams (my Queen 😍), Balanchine, his mystical French Canadian family tree, touring with the company in bombed-out London in the early 50’s, filming Carousel & 7 Brides in Hollywood, what a talented genius of a dick Jerry Robbins was, & so much more.
Such a rich life, such a magical storyteller.
Must read if you’re as obsessed with the NYCB as I unabashedly am!
June 22, 2013
I always admired Jacques d'Ambrose work with kids in NYC and bringing dance to those who might not otherwise experience it. I liked a lot of this book but it could have done with some editing. Much of the book is dedicated to Balanchine who he clearly admires but it started to sound like Balanchine's biography rather than Jacques d'Amboise's memoir. But I did find the world if the professional ballet dancer fascinating.
January 20, 2016
Really loved this book and the guy Jacques d'Ambrois. There should be more optimistic artists like him in the world. What a grand career he had in movie musicals, broadway, New York City Ballet, and guest starring around the world with famous ballerinas. He's a family man, a teacher who gets kids to dance that might not ever have had the opportunity to do so, and a great story teller! Loved this book.
April 20, 2015
Somewhat entertaining book by a dancer/story-teller who was close to Balanchine. Lots of name-dropping. And strange omissions, e.g., Baryshnikov was at NYCB and gets his name mentioned in passing just once that I noticed. The first part of the book, covering d'Amboise's youth and start in ballet is better. The last part is a jumble of anecdotes that might have been helped by some editing.
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