About Georgina

Who is Georgina Pazcoguin? Got your grain of salt? Read on. I see myself as a woman of many facets who wants to explore my highest potential in all of them. I’d ideally want to exist in a world where the beach is close, the work is passionate and respected, and great wine is always available.

Georgina Pazcoguin, photo © Matt Murphy.
Photo © Matt Murphy.

Also see my resume and head shot.

Why Ballet? It is a pursuit of perfection. I like the idea of striving to attain a seemingly unattainable ideal. I love the lessons it teaches that carry over to real life, some being the discipline, the dedication, the love. I like being called a Ballerina. Despite being lumped into this whole “Ballerina equals naive, slightly emotionally unhinged woman complete with body dysmorphia” stereotype of today. I view myself as the complete antithesis of that idea. Think of me as “The Rogue Ballerina.”

My home is New York City Ballet and I dance as a soloist woman in a company of nearly 100 dancers. I started as an apprentice in 2001 and — after spending ten amazing yet arduous, and sometimes downright grueling years in the corps de ballet — I was promoted to soloist with the company in February of 2013. For those of you who do not know me, that was a huge accomplishment. My journey was not necessarily uncomplicated or painless; in fact, quite the opposite. If you want that story, you’ll have to wait for the memoir.

I’m proud to say that I’m New York City Ballet’s first Asian American, let alone Filipina American woman, ever to be promoted to an upper tier. There are a few things I’m known for at New York City Ballet in addition to being one of the company’s on staff comedians, a high risk for falls, and really bad at doing my own hair. I’m really good at cutting the tension in a rehearsal room. For my dance repertoire, I suggest you click here.

Paul McCartney’s “Ocean’s Kingdom.” Costumes: Stella McCartney. Photo © Paul Kolnik.

C. Vitae

Georgina Pazcoguin

professional highlights:

  • New York City Ballet
    • apprentice (October 2002)
    • corps (October 2003)
    • soloist (February 2013)
  • American Dance Machine for the 21st Century, founding company member
  • Broadway
    • On the Town — Ivy Smith, replacement (2015)
    • Cats — OBC Victoria (2016)

Chita Rivera Awards, two-time nominee:
  Outstanding Female Dancer in a Broadway Show
  Outstanding Ensemble
Mae L. Wien Award for Outstanding Promise (2002)
Performed at The Jerome Robbins Awards (2013)
Dance Magazine, cover (June 2013)

New York City Ballet
Principal Repertoire


N.Y. Export: Opus Jazz (Statics, female)
West Side Story Suite (Anita)
The Concert
Fancy Free (Secretary)
Les Noces (Matchmaker)
Mr. Monotony


Nutcracker (Dew Drop, Sugarplum Fairy, Coffee, Hot Chocolate)
Coppélia (Spinner variation)
Cortège Hongrois
A Midsummer Night’s Dream (Hippolyta)
Scotch Symphony (First Movement)
Tschaikovsky Suite No. 3 (Scherzo)
La Valse
Vienna Waltzes (Polka Couple)


Carnival of the Animals
Carousel (A Dance)


Paul MacCartney’s Ocean’s Kingdom (Scala)
Romeo & Juliet (Nurse)
The Sleeping Beauty (Carabosse, Vivacity, Courage)
Swan Lake (Princess, Russian, Hungarian)
The Waltz Project
La Sylphide (Madge)


Pictures at an Exhibition
Russian Seasons (originated soloist role)


Luce Nascosta


Double Feature
Blossom Got Kissed


Cats — 2016 revival (Victoria)
On the Town (Ivy Smith)
A Chorus Line (Cassie, studied with Donna McKechnie)
Beale Street Blues (Chita Rivera role)
West Side Story (Anita)
Mr. Monotony
Oh! Calcutta


NY EXPORT: OPUS JAZZ (directors: Jody Lee Lipes and Henry Joost)
Alien Days (MGMT, music video)
Man on Fire (Edward Sharpe and the Magnetic Zeros, music video)

Concert Performances

Apollo (Calliope, Polyhymnia)
Who Cares (Jumping Girl, Turning Girl)
Coppélia (Swanhilda)