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Adrian Danchig-Waring

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Adrian Danchig-Waring is an American ballet dancer who has been a principal dancer with New York City Ballet since 2013. He is also Artistic Director of New York Choreographic Institute.

Early life

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Danchig-Waring was born in northern California and first studied ballet at Dance Theatre Seven under David Roxander.[1] He has written that "I was always dancing, so my parents enrolled me in Russian Folk Dance, because I have Russian blood on my mom’s side. I started doing gymnastics and Chinese acrobatics, and then we moved across the Golden Gate Bridge to Marin County and it just so happened there was a dance studio that had this pre-professional ballet program, but they also had tap and jazz and modern and Afro-Haitian and pantomime, and I did it all. The one thing I was really resistant to was ballet. It was too structured for me. Free-form hippie dance, that’s what I wanted to do when I was a kid. It took me a while to mature to appreciate the regimented nature of ballet.”[2]

Career

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Danchig-Waring entered the School of American Ballet in the fall of 2001. About a year later, he became an apprentice with New York City Ballet, and in June 2003 became a member of the corps de ballet. He was promoted to soloist in 2009 and to principal in 2013.[1] Since 2014, he has collaborated with NYCB’s education department and Columbia University’s Weinberg Family Cerebral Palsy Center on the development of movement workshops for children with cerebral palsy.[3]

Among the ballets in which his performances have received acclaim are George Balnchine's Apollo[4][5][6], Chaconne[7], Symphony in Three Movements[8], Agon[9][10], Serenade[11], Harlequinade[12], The Nutcracker[13], Kammermusik No. 2[14], Monumentum pro Gesualdo/Movements for Piano and Orchestra[15], and Episodes[16]; Jerome Robbins's Dances at a Gathering[17], Afternoon of a Faun[18], Concertino[19], and Glass Pieces[20]; Merce Cunningham Summerspace[21]; Alexei Ratmansky's Odesa[22], Justin Peck's Rotunda[23], Lar Lubovich's Each in Their Own Time[24], and Pam Tanowitz's Gustave le Gray No. 1[25] A round-up review of NYCB's 2018 winter season in The New York Times commented that "Mr. Danchig-Waring has been a standout all season"; the article ended with, "But what stuck out the most [during the season] was the newfound brilliance of Adrian Danchig-Waring. There’s a patience in the way he holds his body that seems to stretch time. He’s so clear, so refined yet not quite of this world. Something has broken free in him, and it feels like a whiff of the spring to come."[26]

He was a founding member of Morphoses (originally called Morphoses/The Chirstopher Wheeldon Company), for which he danced in Wheeldon's Mesmerics[27]; Luca Veggetti's Bacchae[28][29]; and Pontus Lidberg's Labyrinth (Labyrinth Within)[30][31].

Lar Lubovitch has called Danchig-Waring

a choreographer’s dancer. By that, I mean that he is able to transcend his formidable technique and use movement as a poet uses words; to describe music with his body and convey complex emotional conditions that call for arabesques and pirouettes to tell a human story beyond merely shapes and spins. That is the rarest kind of dancer.[32]  

Danchig-Waring is Artistic Director of the New York Choreographic Institute.[33]

References

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  1. 1 2 "Adrian Danchig-Waring". New York City Ballet. Retrieved 27 July 2026.
  2. ↑ "My Beauty: Adrian Danchig-Waring". MAC Cosmetics. Retrieved 27 July 2026.
  3. ↑ "Adrian Danchig-Waring".
  4. ↑ "Balanchine Black & White, Lincoln Center, New York — review".
  5. ↑ Kourlas, Gia. "Review: City Ballet's New Gods and Duos".
  6. ↑ Khadarina, Oksana. "Musing about Balanchine".
  7. ↑ "Critic's Notebook: New York City Ballet Wraps Up a Memorable Winter Season". The New York Times.
  8. ↑ "IMPRESSIONS: New York City Ballet's 2019 Spring Season — Week Three".
  9. ↑ "The Power of Three".
  10. ↑ Franko, Mark. "Late Style in Balanchine". The Massachusetts Review.
  11. ↑ "Review: With Balanchine and Confetti, City Ballet Is Back". The New York Times.
  12. ↑ Kisselgoff, Anna. "CITY BALLET REVIEW; Courtship Laced With Mischief Makes a Comic Comeback".
  13. ↑ Marija, Rose. "Review: 'Tis the Season for George Balanchine's THE NUTCRACKER".
  14. ↑ Hochman, Jerry. "New York City Ballet in Three Programs".
  15. ↑ Lin, Ivy. "Mira Nadon's Monumentum pro Gesualdo and Movements stuns".
  16. ↑ "IMPRESSIONS: New York City Ballet in "All Balanchine I and II"".
  17. ↑ Escoda, Carlos. "Understatement and spectacle at New York City Ballet".
  18. ↑ "More Balanchine and Robbins at NYCB".
  19. ↑ Seibert, Brian. "City Ballet Review: History, Rarity and an Odd, Fascinating Solo".
  20. ↑ "At City Ballet, Barbie Basics at the Gala, and a Glittering Revival". The New York Times.
  21. ↑ "Review: At City Ballet, Giving Voice to the Body, With Sneakers". The New York Times.
  22. ↑ Kourlas, Gia. "Review: At City Ballet, Tiler Peck Lets the Music Show the Way".
  23. ↑ "[Review] New York City Ballet in London – "A Stellar Return"".
  24. ↑ Kourlas, Gia. "A Ballerina Saves the Day, a Partnership Is Born. What's Next?".
  25. ↑ "[Review] New York City Ballet in London – "A Stellar Return"".
  26. ↑ "At New York City Ballet, Hits, Misses and Daring Dancers". The New York Times.
  27. ↑ "Tracing Evolution of Works and a Style". The New York Times.
  28. ↑ "Morphoses".
  29. ↑ "Starting Over".
  30. ↑ "Be It Live or Filmed, Movement Has a Partner In Dreamlike Settings". The New York Times.
  31. ↑ "Is My Wife Having an Affair?".
  32. ↑ Levine, Debra. "Of human desire: Adrian Danchig-Waring at Lake Tahoe Dance Festival".
  33. ↑ "NY Choreographic Institute About Us".
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