The Tamesis
The School of American Ballet’s annual SAB Ball, “Step In Our Shoes,” kicked off Monday night at the David H. Koch Theater with a unique rhythm. Guests first gathered in the Koch Theater lobby for cocktails before entering the theater for three acts, followed by dinner and dancing—an evening designed to flow seamlessly between celebration, performance, and purpose.
SAB students kick off project with works by Balanchine Fantasy Waltzreturns later in the evening with an expanded performance Schubert symphony Author: SAB alumnus Laine Habony. Students appeared at the beginning and end of the performance, serving as a through-line of the evening – more pragmatic than symbolic – illustrating the beginnings and evolution of SAB training.
“The theme ‘Step In Our Shoes’ invites us all to experience what training at SAB is truly about,” said Liz Armstrong, Co-Chair of the Board of Directors, in her address from the stage. “It reflects not only the shoes our dancers wear, but the foundation they inherit and the legacy they carry forward.”
The middle section of the show provides the opportunity to view this legacy in real time. In the second of the evening’s three acts, New York City Ballet principals Tiler Peck and Roman Mejia performed Justin Peck’s dance. excavation theorya funk-inspired duo that premiered at the NYCB Spring Gala last year. Tiller may not be related to choreographer Justin Peck, but she yes She is part of the ballet family – sharing the stage with her husband and performing in between dance pieces that SAB students watch from the wings. Constructed in this way, the duet feels less like a centerpiece and more like a preview of what rigorous training can produce.
This sense of continuity extends beyond the stage, especially in the tributes to the Fendi family. Fe Fendi is elegant and confident in a 1985 Fendi Haute Couture gown designed by Karl Lagerfeld, first worn at the Palazzo Venezia at a gala celebrating the launch of the brand’s first fragrance. “Ballet is food for the soul,” she says simply of the art form.
Her connection with SAB runs deep. Fe’s daughter, Paola Fendi, was herself a student in SAB’s children’s department, an experience that shaped the family’s long-term commitment to the school. As SAB Executive Director Carrie Henricks pointed out on stage, ballet has become “a family affair” – from attending every performance to supporting institutions that train the next generation years later. Paola and her sister Alessia carry this dedication forward, and on this night, Fendi’s presence was palpable: parents and daughters each presided over their own tables, all impeccably dressed, a study in fashion and patronage.
In his remarks, SAB Board of Directors Co-Chairman Jim Brennan laid out the full scope of the school’s impact, noting that SAB alumni make up 95 percent of New York City Ballet, with former students now performing in approximately 80 professional companies around the world. The aim, he stresses, is not just to train dancers, but to “support the whole dancer” – on and off the stage.
Henricks also announced that the night raised more than $1.1 million and counting to support scholarships, initiatives and SAB’s new Arts Health and Wellness Center. More than $2 million in scholarships and financial aid are awarded annually, ensuring that talent, not circumstance, remains the sole criterion for admission.
The auditorium was full of familiar faces. Jill Kargman wore Saint Laurent black velvet; Paul Arnhold wore a brooch from Carolina Herrera, a discreet tribute to her husband, the brand’s creative director Wes Gordon. NYCB dancer Gilbert Bolden III arrived in a turquoise look of his own design, continuing his tradition of turning evening wear into personal expression. Longtime ballet fan Sonia Sotomayor was also spotted attending the performance.
As soon as dessert arrived, the crowd changed its attitude. As the invitation promised, it was time for guests to take over the SAB duties and the dance floor lit up.
