Inside Yuan Yuan Tan’s Final Performance with San Francisco Ballet
A shower of flowers and a sustained standing ovation marked the end of an era: Yuan Yuan Tan’s retirement from San Francisco Ballet after almost 30 years on February 14, her 48th birthday. A muse to choreographers, an inspiration to generations of dancers, and a deeply beloved audience favorite, Tan, known as YY to friends and colleagues, played a central role in the company’s success during Helgi Tomasson’s long tenure as artistic director. Her final performance (with SFB, at least—she is not yet retiring from dancing) was in Sir Frederick Ashton’s Marguerite and Armand partnered by Aaron Robison. While there were rumblings across the internet that her departure should have been celebrated with greater fanfare, Tan was radiant, sailing through the role with the musicality, lyricism, and technical brilliance that have defined her as a ballerina. Tan brought Dance Magazine backstage for her final performance, sharing her thoughts, emotions, and SFB memories throughout the milestone event.
“I have my routine to get ready for the show: I do my own makeup, I listen to music, and I return some texts. I have to be very quiet before I go onstage. So what I did was exactly the same. I told myself, ‘It’s okay, just enjoy every single moment.’ ”
“I was getting lots of flowers and notes and texts, and just nonstop congratulations and happy birthday. I thought I would be very nervous. It was surprising, because I usually get little butterflies in my stomach before the stage, but I didn’t that night.”
“I dedicated my entire life to this company. I don’t miss class. I don’t miss any rehearsals. I don’t want to miss a show. The young girls go, ‘YY, do you ever get injured?’ I’m like, ‘Hell, yeah.’ And a lot. Both labrum tears, I have fractures, and my vertebra was injured right before The Little Mermaid filming. I did cortisone and I went on. I’m not suggesting to do so. But I have a very strong will to push to the limit.”
“I have danced so many dramatic roles. [John Neumeier’s] The Little Mermaid, [Yuri Possokhov’s] RAkU, and [Lar Lubovitch’s] Othello were all highlights.”
“I was thinking back on a lot of things. Here at SFB, I saw the glory days. I really love the dancers here. It’s like my family.”
“Sometimes you don’t realize how good you [are]. Because dancers grow up being criticized by the teacher, schoolmates, colleagues, and then, when you get onstage, by critics, and rehearsal directors, and the artistic director. Sometimes it can get in the way; you believe what you hear. But now, when I look back, I say, ‘Wow, I did pretty good.’ ”
“Marguerite and Armand is new for me. It’s a very unique piece, created for Margot Fonteyn and Rudolf Nureyev.”
“It was very unique and very touching that Helgi did a speech onstage after my final bow. In front of all the company, he said, ‘Can you please come back? You are needed to pass down your legacy and your knowledge to the young dancers.’ ”
“I’m still taking class with the company—and I feel good. My body still functions and I have the flexibility. I still do the big jumps. So I say goodbye to SFB, and then it’s my choice to still keep dancing. Saying bye to SFB on my birthday and Valentine’s Day, it was also my choice. I chose that day because I think I will be reborn.”
