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ROBERT CARTER a.k.a. OLGA SUPPHOZOVA
In The New York Observer, the renowned critic, Robert Gottleib, writes: ". . . the company's ballerina assoluta (is) Olga Supphozova (Robert Carter in real life). As has always been the case with entertainments like this, a series of duets, trios and ensemble pieces builds to the Queen's big solo -- all those flashy pirouettes and fouettés at which Olga S., as always, triumphs. Carter is an extraordinary dancer -- hefty yet delicate, with an enchanting Toni Morrison smile. He's not only a brilliant technician, he has the artistry of a major dancer: Every movement and gesture is full, and felt. Watching this performance is like being given a surprise look back into a world that's gone forever yet still has value. It's a happy reminder of what ballet was once like -- and of what we're missing today in terms of sheer competence and vitality." In The New Yorker, Joan Acocella says: "Carter's pride shows on the stage. His grand jetés in "Sylphides," and also his fabulous, showy gargouillades (the shaking-out-the-legs step) in the "Humpbacked Horse," fairly flame in the air . . . he has greater mastery of the female technique than most females I've seen." And, Susan Reiter in Newsday says: "Who can resist the fierce bravura of Olga Supphozova (aka Robert Carter), the troupe's feisty platinum blonde, who attacked three major roles on opening night with an air of gleeful wonder, making multiple pirouettes look like child's play?" Finis: You know those are reviews to die for, Bobby. Congratulations! What led you to join the Trocks? Robert: I began dancing when I was about eight years old. When I was ten, the Trocks came to Charleston, South Carolina and seeing male dancers on pointe solidified my interests. I already had had a fascination with pointe shoes, as the girls would give me their old pairs, which I began trying on. My teacher caught me dancing on pointe in an empty studio, and then had me take pointe class in addition to regular classes. Finis: Well, no wonder it all looks so easy for you on pointe. You had an early start. The first time I saw you in class, you tossed off a bunch of very impressive turns, and Olga is known for her dazzling multiple fouetté turns. This is no easy feat for female dancers, and for you it's a piece of cake. When did you first start doing pirouettes on pointe? Robert: After about a year of pointe classes, when I was eleven. I was always a natural turner, so I wasn't ever scared. I didn't have a problem trying things. However, when I got into the Trocks and put on a tutu, it took a while to get used to the tight bodice. Because I sweat so much when I dance, I shaved my head, but soon found out that wouldn't work, because without any hair to pin my wig to, it flew off my head when I turned. So, I let my hair grow, and that solved the problem. The wig stays on, I sweat. Finis: But, as the critics say, you do it with such "gleeful wonder." How were your first days with the Trocks? Robert: I joined the company in 1995, and around that time there were only two or three of us who were proficient enough to do the demanding pointe roles. The first company members were not all trained ballet dancers; in fact, some had never danced, they were theatre majors in college. As the company went on, it kind of became the place for guys at the end of their careers. By the time I joined, the company was attracting younger dancers anfd stronger dancers.
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He's the "hefty yet delicate" "master of female technique" "making multiple pirouettes look like child's play." Meet Robert Carter, known to audiences the world over as Olga Supphozova . . . 
