"_Tzigane_ is one of my favorite ballets, because it was the first one that Balanchine choreographed for me after I returned to the company in 1974." In 1969, Suzanne left the New York City Ballet and spent the next four seasons with Maurice Bejart's Ballet of the 20th Century in Brussels, Belgium. When she finally wrote to Balanchine to find out the chances of dancing with him again, he simply asked when she could start. "In Brussels, the type of ballet they're used to is different, so they react differently. If you were to give them a beautiful, wonderfully stark ballet, with little costume and scenery, they might not take to it as much. ... But it was a good thing to have in my career. I demand that I get something constructive out of any situation. Because life is so short that you can't afford to not give everything, every time you go out there." For the past 10 years she has been married to Paul Mejia, a former dancer who is today the artistic director and choreographer for the Ballet de Guatemala, one of Latin America's major companies. Although the couple must undergo some long separations, their marriage is a happy one. Spending time alone at her Lincoln Center area apartment does not bother Suzanne. With a steady diet of exercise classes, rehearsals and performances, and her nine pets (eight cats and a dog), Suzanne has little time to be lonely. "When I have a free night, it's terrible," she lamented, "because every time the phone rings, I think, 'Oh no, they want me for a performance.' I dance just about every night. By the time I go to bed, it's about 2 o'clock. I happen to get up about 6. ... On Monday, my free day, I teach at the American School of Ballet. It's such a shock to do two performances on Saturday and Sunday, and none on Monday. It's hardly worth it, because the body can't adjust. ... I have always thought that actors have it easier than dancers, because it doesn't matter so much how tired your body is: all you need is your mouth." A Westsider for most of her career, Suzanne lists reading and cooking as her preferred pastimes: "I'm a great short-order cook. I think if I weren't a dancer, I'd be a waitress." Two local restaurants she likes to frequent are Rikyu (210 Columbus Ave.) and Victor's Cafe (240 Columbus). Asked about her salary, Suzanne admitted that "you'll never make a lot of money in ballet. It's something we do because we love it, and we have to do it to be happy. ... The sole attraction is working for Balanchine and the New York City Ballet: that's something you can't put down in dollars and cents. I just assume that the company is paying us as much as they can." She smiled radiantly and added: "Most dancers wouldn't know what to do with a lot of money anyway, because they wouldn't have time to spend it." ******** WESTSIDER JULES FEIFFER Screenwriter for _Popeye the Sailor_ 11-5-77 Imagine a movie starring Dustin Hoffman as Popeye the Sailor and Lily Tomlin as his girlfriend Olive Oyl.