BWW Interviews: Debut of the Month - ON THE TOWN's Megan Fairchild

Megan Fairchild, a principal dancer with the New York City Ballet, is making her Broadway debut as Ivy Smith in the Broadway revival of the musical comedy classic On The Town, the story of three sailors on a whirlwind tour of the city that never sleeps. With just 24 hours of shore leave, they're eager to experience all that New York City has to offer... including a chance to discover love with the girl of their dreams.

Today, Fairchild speaks exclusively with BWW about the challenges and triumphs of making the crossover from the world of ballet to the Broadway stage.

This is such an unusual Broadway debut because it also marks a real career change for you - from the ballet world to the musical theater world. What were some of the biggest challenges you faced in taking on this new genre? Do you find there are similarities between the two?

It was definitely very difficult for me to transition from wearing pointe shoes all day to heels. My ankles and calves were much happier than usual, but my quads really took a beating. I was like a little Bambi in my shoes the first couple weeks, wobbly and totally ungraceful. It was kind of embarrassing, I kept feeling the need to explain that no, really I am a good dancer. Just give me a minute. Now, I surprise myself when I put the heels on. They have really become so comfy.

Similarities? Really only the professional work ethic that I have learned over the years at NYCB has transfered into this field. You know, general stuff like dealing with nerves before a live performance, and working till something is perfect. But the general energy backstage, the style of dancing, and the comradery within the cast are all very different. At the ballet, while we are all really close, there is a constant tension of future casting that will go up, and also just the formality of what we are doing. Ballet is dancing at it's most difficult, I think. It has the highest standard of what is correct. And also in the ballet world, you have less shows to "get it right." On Broadway, if I feel I have a bad show, there is always the silver lining of, well... you have another chance tomorrow!

I understand that you won't be the only ballet dancer in your family to be taking on musical theater this year as your brother, Robert also has a show coming up. What is it like to share this new experience together?

It has been amazing. He was here at my first preview and opening, both times meeting me after with tears of joy and pride. He has always looked up to me my whole life, but this is an interesting switching of roles in our relationship, because I really feel I followed him into this world. And because of that, his support means the world. I have a lot of people rooting for me, and excited for me, but I don't think anyone's excitement exceeds my brother's. He is over the moon that I am doing this. And I am equally excited and impressed for him. He has more responsibility in his show, he is the leading man, and he has a lot of singing. He sounds amazing. I look up to him now, just as much as he looked up to me when we were growing up. He's such a stud.

Were you familiar with the musical ON THE TOWN prior to your casting?

I had never watched the movie, but happened to own it. And I knew that the ballet, 'Fancy Free', that Jerome Robbins choreographed, was the inspiration for it. That is a ballet that my husband and brother both do at NYCB, and I love watching from the wings when they are two of the three sailors together. After getting the role in the audition, I immediately went home and watched the movie.

Can you talk about how your casting came about?

The casting director texted my brother, and asked if I would be interested. Robbie showed it to me, and I about died. And then I dismissed it. I figured you have to be able to sing. The next day I woke up and thought, what are you thinking, just go for it. I told them I would give it a whirl, but that I don't sing, and they said that didn't matter. My role did not require principal Broadway singing. So I thought, ok, go for it. I did the audition purely as an exercise to try something different and be out of my comfort zone.

Do you relate to your character Ivy? Are there similarities between the two of you that you bring to your performance?

In some respects I don't relate much to her, because she seems to be more ambitious than me. I am the kind of artist that has to be convinced by the director to even try a new part or role. I never think of myself for things until someone else suggests it. Same with this audition.

But I do relate to the fact that she feels that everyone might discover she is just a big phony. I felt that way for a long time in my ballet career because I was promoted to principal so young, without really having proved that I could do the hard roles yet. I never had a chance to try out the hard roles as the underdog. I was the rank that perfection was expected, only within a couple years of joining the company. It was a very overwhelming time in my life. Now experience has made up the difference, and I don't feel so out of place in that title anymore.

The show's choreographer, Josh Bergasse, is also making his Broadway debut. What has it been like to work with him in this show?

I knew Josh first as the boyfriend of my friend at NYCB. He is such a nice guy, and seriously talented. It was an absolute joy to work with him in this entire process. My favorite people in the world are the ones that are talented and nice. Josh is one of those people. It created such a nice work environment. And I love dancing his choreography. He helped me learn how to be more sexy, not something I am often called to do at the ballet. He is remarkably good at posing like a sexy girl when he is showing choreography. I just copied him.

It was such a delight to see a musical in which the big dance numbers were featured front and center. Do you hope this show will inspire the return of that big dance, golden age of Broadway?

I do, because I think that is what we all grew up watching... those old classic Broadway movies like 'Singing in the Rain' and 'Oklahoma.' The idea that Broadway could draw more elite dancers to do these roles is exciting. I think it bridges the two worlds of ballet and Broadway. It is a win win for both genres. Hopefully it brings some Broadway fans to the ballet, and ballet fans to Broadway. Broadway has a younger audience I think, and it would be great for the ballet to develop some new, younger fans. I don't think ballet should be an art form reserved only for an older generation. We have to get younger people excited about it!

Many of your scenes involve the hilarious Jackie Hoffman and I'm sure you had to quickly learn the art of musical comedy in addition to everything else. How did Jackie help you with that challenge?

By changing it up everyday. Our scene is always just a little bit different, so I have to stay on my toes. I really enjoyed the rehearsal process where she would try out different jokes. You never knew what was coming, and we, everyone in the room - director, stage managers, musicians - would just stop and laugh! It was fun for me to be part of such a relaxed environment.

Do you think you would want to return to Broadway now that you've had a taste of it?

I would love to, but I also recognize that this role was really perfect for me, and being able to find something as great as it, would be really hard to come by. Hopefully this will change the way I am viewed in the future, maybe I get to do some more sexy or comedic roles at the ballet. However, I will definitely never say never because if there is one thing this experience has taught me, it is that you can't predict what the universe might throw at you.

Can you share with us what making your Broadway debut was like?

The night of the first preview I literally was shaking the whole time. I do a headstand in our Carnegie Hall Scene, and my legs were a shaky mess. I love that the Broadway world celebrates moments in such a special way. At the ballet, it seems everyone holds their breath celebrating a "first" of something because they are waiting to see if it goes all right. But on Broadway there was this wonderful realization backstage with the cast, before our first preview and opening, where we all gathered together and our producer spoke and helped us recognize what a special moment it was. The Broadway debuters like me had to get into the middle of the circle and get special recognition. I love that they don't let these moments pass by. It is a time I will never forget!

About On The Town:

Directed by Tony® winner JOHN RANDO (Urinetown, A Christmas Story) and choreographed by Emmy® winner JOSHUA BERGASSE ("Smash"), this big, brassy musical comedy features LEONARD BERNSTEIN's score with lyrics by COMDEN AND GREEN, and breathtaking dancing inspired by the original JEROME ROBBINS choreography

For tickets and additional information visit: www.onthetownbroadway.com

About Megan Fairchild:

Megan Fairchild is a principal dancer with the New York City Ballet. Her featured roles include George Balanchine's Allegro Brillante, Coppélia, Donizetti Variations, Duo Concertant, Jewels, Raymonda Variations,Serenade, Tarantella, Theme and Variations, Tschaikovsky Pas; Jerome Robbins' Andantino, Dances at a Gathering, The Four Seasons; Peter Martins' Barber Violin Concerto, The Sleeping Beauty, Zakouski; Alexei Ratmansky's Russian Seasons, Namouna; Susan Stroman's Double Feature; Christopher Wheeldon's DGV. T

Her TV and film credits include Sugar Plum Fairy in PBS' Live From Lincoln Center telecast of George Balanchine's The Nutcracker (2011) also screened in movie theaters worldwide, AOL Original Series city.ballet.

For more visit: www.meganfairchild.com

Photo credit: Joan Marcus