Yvonne Mounsey's Westside Academy of Dance - Santa Monica, CA dance school - Great Starts: American Teacher Series, part 2

Dance Magazine, August, 1994 by Donna Perlmutter

Mounsey funnels the talent from her advanced classes into a company, the Westside Ballet, which is nonprofit, in contrast to the school. But she does not use auditions for entry to class, taking "pride in how much students can develop rather than whether they can reach professional level." A three-month rehearsal period on Saturday afternoons begins in the fall. And while most of the works danced are by Balanchine--an annual spring weekend of performances and her own version of a yuletide Nutcracker--she occasionally choreographs a short, witty piece with in-jokes drawn from the known repertory.

But mostly Mounsey focuses on developing the talent in her studio. "It's something beyond virtuosity that these dancers get from training," she says. "Something that inspires me to pour my heart out for them."

Anna Liceica, for instance, a Romanian emigree who appeared one day in class, did not have the funds for continuous study. Mounsey, who "at first sight knew this girl had it," not only offered her a full scholarship but also-raised money for her expenses after Liceica won a tuition-free spot at NYCB's School of American Ballet.

Another alumna, Monique Meunier is currently doing principal roles at NYCB; and then there is Christina Gibbs, who, from age thirteen to sixteen, came every day from Newport (a two-hour drive, courtesy of her chauffeur-mother), then attended SAB, and recently joined American Ballet Theatre.

"It was Yvonne who molded me," says Gibbs. "She truly understands the art of dance. My whole foundation came from her. It is, of course, invaluable."

While Mounsey eagerly displays the photos of these and other successful dancers she has coached, and thrusts upon a visitor glowing notices of their New York performances, she harks back, with prodding, to another time: "I cherished every second of my dancing career--even though I may have cried to Mr. B for not giving me the Adagio of Symphony in C, choosing instead, in a perverse kind of way, the Allegro section which I did less well. But dancing is now experience. And what matters is the thing happening here, this moment. These dancers." She gestures grandly, indicating the class before her.