The Eglevsky Ballet

After finishing work with the Pittsburg Ballet Theater fall of 2010 staging Balanchine's Waltz Fantasie and Sylvia Pas de Deux for the company, she flew to Moscow where she staged Glinka Pas de Troix for the stars of the Bolshoi Ballet, working and coaching with Natalia Osipova, Ivan Vasiliev, Maria Kotchetkova, and Polina Semionova for the Bolshoi's Reflections Project where she returned in January 2011 to California's Segerstrom Center and Moscow's Bolshoi Theater to complete her work and where she was an honored guest at the premier and gala of the Reflections Project, which will eventually be traveling worldwide....In a January 21, 2011 review in the L.A. Times of 'Reflections' at the Segerstrom Center for the Arts in California, Marina's piece (Balanchine's Glinka Pas de Troix) was singled out in this review saying: "....this formal 1955 divertissement filled the stage with dancing: a blessed relief...."

The summer of 2010 & 2011 Eglevsky Ballet was priviledged to have Marina back home to direct our summer intensive workshop at Hofstra University. 

In 2010 she directed, staged and choreographed for our summer outreach performance at Morgan Park, and Port Washington, which garnered a wonderful review of her program, (which included the seldom done Balanchine ballet comedy "A La Francaix"), by the New York Times critic Alistair Macaulay. The performance also included her own  piece "Vivaldi", Balanchine's "Tarantella" and a contemporary ballet"Tango" by choreographer Katherine Posin.

Marina was born into a dance family of classical ballet. Marina has studied and performed with the leading luminaries of 20th Century Ballet. Her father the esteemed danseur-noble and her mother, pupil and protege' of Michael Fokine and former soloist with the New York City Ballet, Marina grew up backstage with the New York City Ballet and from an early age taking Mr. Balanchine's company class and later studying at both her parent's school, the Eglevsky Ballet School, as well as School of American Ballet and American Ballet Theater School. Her extensive performance credits include dancing in Balanchine's Nutcracker for several years and the Eglevsky Ballet, the former, a collaboration between Mr. Balanchine and Andre Eglevsky. Many of Mr. Balanchine's ballets were performed with the Eglevsky Ballet.

At fourteen years of age, Marina was taken into the New York City Ballet; by age 15 Marina had joined the Rebecca Harkness Ballet of New York as soloist. She later danced as a principal dancer with the Royal Winnipeg Ballet and Hamburg Ballet, dancing the role of Juliet in Romeo and Juliet, Marie in Nutcracker as well as other roles choreographed exclusively for her.

Throughout her career she found herself guest-performing and starring in international companies. Marina would dance the lead roles in ballets including Copellia, Cinderella, Swan Lake, Sleeping Beauty, Rodeo and Giselle, paired with such famed partners as Mikhail Baryshnikov, Helgi Tomasson, Fernando Bujones, Robert Weiss, and Lawrence Rhodes.

Other career highlights include being personally invited to dance in a festival with Rudolph Nureyev at Lincoln Center in New York and starring as Maggie in the Broadway production of Brigadoon at the Majestic Theater in New York under the direction of Agnes DeMille and Vivian Matalon (co-starring with Olympic champion ice skater, John Curry).

Marina inherited and continues to stage Balanchine ballets worldwide. She has staged these works for companies including American Ballet Theater, New York City Ballet, Bolshoi Ballet and Paris Opera Ballet. In 1998 Marina staged Mr. Balanchine's Sylvia Pas de Deuxfor the Kennedy Center Honors during the presidency of Bill Clinton. Marina also received the prestigious Issie Award for her outstanding work in staging ballets.

Marina's teaching career began at the University of North Carolina School of Arts. She has also taught at Pacific Northwest Ballet, San Francisco Ballet and has guest taught at other leading schools around the country. Trained in both Western and Eastern medicine as well as alternative healing modalities, Marina has a practice in medical and psychosomatic bodywork, with a focus on coaching professional dancers. She is also on the staff at the Shawl Anderson Dance Center in Berkeley, California.

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