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"The Devil Ties My Tongue" SKETCH Series 2013 | photo: David DeSilva

DDP interviews with new & emerging talents as well as current leaders in the dance world: choreographers, art directors, journalists, dancers, set/lighting/costume designers, patrons, festival/venue programmers, etc.

Meet the Company: Richmond Ballet

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Within hours of being introduced to Stoner Winslett, and longtime Trustee Betsy Gayle, I knew that I wanted to make Richmond Ballet our first subject for the new DDP feature “Meet the Company.”

It is not just the landmark four decades that Stoner will mark this year as artistic director, but the extraordinary, highly-professional atmosphere at the company, as well as the sense of pride in tradition and place, that make Richmond Ballet exceptional.

Richmond Ballet Trustee Betsy Gayle (center) with her two daughters, Beth Clough (on the left)  and Sarah Carter (on the right).

In speaking with these two remarkable women, who together represent over a century of experience with the company, I was treated not only to a genuine wave of southern hospitality, but to a palpable sense of pride and ownership for the community that they have built, extending from within the building into the surrounding city. I kept thinking, “What a great place, I would love to hang out with these women all the time.” 

Then, meeting Brett Bonda, with his sense of humor, boundless energy, and constant search for innovation, simply cemented the idea that, though Richmond Ballet may be in a smaller city, the company represents the pursuit of excellence and recognition of the importance of each individual working together.

I saw that every student, teacher, or staff member was greeted warmly and personally. Clearly, Stoner knows every nook & cranny of the building, but I heard her ask over and over about everyone’s family, career ambitions, or his/her personal projects. Brett walks the walk in terms of community engagement and awareness. He realizes that for many Americans, dance is a luxury, coming well after immediate family concerns about enough money for rent, and children’s education and safety.

Stoner Winslett with the Company in 1999. Courtesy of Richmond Ballet.

Introduction to Richmond Ballet

Richmond Ballet was the first professional ballet company in Virginia, but its reach extends far beyond the southern state. Its leaders, artistic director Stoner Winslett and managing director Brett Bonda, have each been a part of the Ballet since its beginning and have each played unique roles in helping it grow.  Bonda affirmed, “What we determine to be integral to our mission and vision we ensure is done to the highest level possible. I truly believe this is why the organization has survived through the many challenging years to arts organizations.” 

Bonda and Winslett have worked together in varying capacities for 35 years. Their partnership could be a case study for successful management – and equitable management, at that. When asked about the success of their leadership, Bonda said, “We have a mutual respect for each other and the similar expectations and work ethic needed to run a successful organization.” It always comes back to the organization’s mission, Bonda added, writing, “We both strive to continue to support the mission and when we have difficult decisions to make, we always refer to the mission to make sure we are still in line with its original intent.”

DDP had the privilege of interviewing the two leaders to pick their minds about Richmond, their exceptional education and outreach program, Minds In Motion, gender equity, successful management, and 40 years (!!!) of Winslett’s programming and artistic leadership.

Stoner Winslett (center) with Agnes de Mille and Virginia Governor Dalton. Courtesy of Richmond Ballet.

Dance Data Project (DDP): This is Stoner’s 40th season with Richmond Ballet – you are the longest tenured artistic director of a major ballet company. What does the 40-year milestone mean to you?

Stoner Winslett (SW): Forty years is a long time –  2/3rds of my life – and it is frankly a time of reflection on how I have spent my professional life.  I have no regrets. I have worked really hard and given up a lot but I have gained more. I believe that many people come into the world wanting to leave it a better place than they found it.  Even on the darkest days, I know that, working with the other committed artists and our supportive community, Richmond Ballet has made a real difference not only in the Richmond community but in the ballet world as well.

Brett Bonda in Mobile by Tom Ruud. Courtesy of Richmond Ballet.

DDP: Brett, you were a dancer with Richmond Ballet beginning in 1985 (its second year as a professional company), danced for 10 years, and then transitioned into administrative roles – this is your thirty-fifth consecutive year with the company. How does your background as an artist influence you as a manager?

Brett Bonda (BB): I feel my background as a dancer/artist has given me a different perspective in approaching my role as Managing Director.  I also know that my experience as the first director of Minds In Motion provided me tools that were very similar to managing the entire organization, just in a “mini” version.  I’m fortunate that I have “street cred” with the organization, especially with the dancers, since they all know that I know what it was like to be a dancer in the company and when I make certain decisions, I do it in a holistic fashion, not just from a financial or operational view. I think this goes a long way in establishing support from all departments in the organization.

DDP: Tell us more about this initiative, Minds In Motion (MIM).

BB: In connection with the professional company celebrating its 10 year anniversary in 1994, Stoner wanted to give back to the community that had generously supported us over those 10 years, by creating a community engagement program for school students that might not have the interest or  inclination to be exposed to dance education. While she could have gone the route of creating a new Swan Lake, Sleeping Beauty, etc. for the Richmond community to celebrate this milestone, her desire to provide quality dance education to a diverse population, was, and still is, a true testament to her wanting to create a company that was truly unique in its culture.  She researched several programs around the country and decided to model ours after the National Dance Institute, founded by Jacques d’Amboise.

Brett Bonda (far right) dancing in Agnes de Mille’s Rodeo. Courtesy of Richmond Ballet.

Personally, deciding to retire from the professional company to start a new program was not an easy decision, but now looking back at the impact MIM has had on so many students, I know it was one of the best decisions I could have made.  While it is the piece de resistance to find an Ira White, who started dancing as a MIM 4th grader and is now a professional dancer with our company, it is just as rewarding to hear from the parents of students that tell me that MIM has given their children confidence and pride in other aspects of their lives. 

It’s not often that you know you have made a difference in someone’s life, but I know Richmond Ballet and MIM has had such a positive impact on so many children over the past 25 years.  And now with our MIM Israel program in its 10th year, the positive impact we are having bringing two diverse populations (Jewish-Israeli and Arab-Israeli) together for a unique, shared experience, is quite remarkable and relatively unheard of in Israel.

Learn more about Minds In Motion here.

A young Brett Bonda teaches. Courtesy of Richmond Ballet.

DDP: It seems like community is something that comes up again and again when talking about Richmond Ballet. Your vision statement mentions it multiple times, saying, “Through the work of Richmond Ballet, this community will continue to move towards one that universally respects the value of human life, both physical and emotional; the power of cooperation and mutual respect; the work ethic and discipline required to achieve anything truly meaningful; and the joy of existing in a compassionate community.” Have you seen your community in Richmond change over the years as a result of ballet’s presence? 

SW: I like to think that the ballet has been a positive influence in dramatic changes in Richmond. Big issues in our community have been and continue to be racial tension, quality of public schools, and the decay of the city’s downtown, and I believe we have been an instrumental force in helping all three.

In terms of racial equity, we have always had a dancer population in our school and company that looks like the faces in our community. We are also excited to be celebrating 25 years of MIM, reaching 4th graders in 20 Richmond area schools, and we have had three company members who are alums of MIM. We moved downtown to our Canal Street location in the year 2000 and have maintained an entire city block of real estate ever since.  Downtown Richmond has changed dramatically over the past 20 years and I am certain that our 135 faculty and staff, along with our 900 students and their families, coming in and out of the building every week, have been a positive force in that change.

Also, I feel that every time we take the stage with our mission to “uplift and awaken the human spirit” that we present an oasis which we hope gives a vision of the kind of world that Richmond, and the rest of the planet, can be when good human beings come together and work for the common good.

Brett Bonda leads Minds In Motion students in Israel during his time as director of the program. Courtesy of Richmond Ballet.

DDP: What additional programming and innovation can you as a company deliver to the community?

BB: We recently made a commitment to focusing more intently on transitioning students that we teach in our MIM program to more formalized ballet training in the School of Richmond Ballet.  This required more studios, so we recently dedicated over $2 million to expanding our basement into 3 additional ground floor dance studios. This has enabled us to provide ballet training to a more diverse population, thereby directly affecting diversity, inclusion and equity for years to come.

DDP: What are your aspirations for the company in years to come?

BB: The company’s artistic standards have risen to such a high level, that we have now turned our focus to enhancing the administrative team. Like most organizations our creative goals are not always within the means of available resources and staffing. We will continue to attract exceptional and creative leaders on our administrative teams, in order to provide the necessary support for the future growth of the organization.

Stoner Winslett watching rehearsal at Richmond Ballet. Courtesy of Richmond Ballet.

DDP: Choreographers from around the world regularly submit their work to be featured by the company. What do you look for in a choreographer for Richmond Ballet? Has that vision changed overtime?

SW: I enjoy commissioning works very much.  Commissions allow our dancers, artistic staff, and production staff to be part of the creative process.  The product that comes out is uniquely ours. I also love giving the opportunity for choreographers to work in our very special environment, which they universally report to be supportive and conducive to their best work.  I look for choreographers who use the basic line of the classical ballet heritage as part of their own unique language to be voices for today.

Stoner Winslett performing en pointe in her production of The Toy Shop (1974). Courtesy of Richmond Ballet.

DDP: You also said that you actively encourage your own dancers to explore choreography. You yourself choreographed your first full-length ballet at 17. Why do you think it is such a challenge for young female choreographers to receive commissions when there are young women out there who want to do it as badly as the young men?

SW: When I urge our dancers to choreograph, I seem to get similar interest from the men and the women.  Perhaps that is because the women in our company have grown up with a female artistic director who choreographs.

DDP: So, leadership from the top down is critical. As the former Vice Chair of Dance/USA, you’ve worked with the most important figures in the American dance scene and set a strong example of inclusivity. According to our research, in the last two seasons Richmond Ballet holds the distinction of being one of the top 15 companies programming work choreographed by women. Why do you think other leaders have not afforded women the same opportunities?

SW: I honestly do not know why there have not been more women choreographers and women directors.  I was aware of the small number of female artistic directors, but not the paucity of female choreographers, before I was exposed to DDP.  I do think that in the ballet training process, boys may feel more empowered than the girls because there are far fewer of them. Boys tend to get special treatment because they are scarce. Many of them also start later, so they have more in their lives than just ballet.  

Stoner Winslett in class with the Company. Courtesy of Richmond Ballet.

In addition, it is just a fact that being an artistic director and choreographer is very difficult, if you want to start a family.  Ten years ago, Richmond Ballet sponsored a conference hosted by Anna Kisselgoff called “The Glass Slipper Ceiling,” and the four female artistic directors of major ballet companies at the time were speakers.  It was on the occasion of my 30th anniversary here. The other three female artistic directors in the US at that time were Celia Fushille, Victoria Morgan, and Dorothy Gunther Pugh. 

Celia and Dorothy both had children but they were older and launched, and neither of them did their own choreography.  Victoria choreographs but she never had any children. I had a big realization that what I was trying to do – direct a company, stay involved in my own choreography, and raise a family – was not being attempted by any other woman in the country. It is not easy.

DDP: What tangible solution could you give to the female choreographer problem?

SW: I think all of us in the professional ballet world need to do a better job of encouraging female choreographers within our ranks.  It is tough because the dancer’s life is short and many dancers want to concentrate on their performing while that special gift is available to them but, if we can work it into their schedules, I think giving them a chance to create helps them develop their artistry on many levels.  Female dancers obviously may need a little extra encouragement because of the ballet world’s long-time gender dynamics.

Women Choreographers at Richmond Ballet. Courtesy of Richmond Ballet.

DDP: How might you encourage young women in your company to come forward and explore choreography (or if they are coming forward, how have you already supported them)?  

SW: We have had two of our company women and several of our trainee women choreograph for our New Works Festival II in the last several years.  After realizing the need for more female voices in the field, an understanding I came to from DDP research, I will redouble my efforts to jumpstart female choreographers here.  

I also have a more watchful eye on the repertory, in general, to be sure that there is a variety of voices represented.  There always have been but a little extra attention cannot hurt. We live in a world where groups who have felt underrepresented over decades, if not centuries, are feeling the courage to speak up.  I want Richmond Ballet to be responsive and to actively demonstrate on a daily basis that our art form is relative, inclusive and a powerful force for a positive world.

Stoner Winslett working with Nutcracker costume designer David Huevel. Courtesy of Richmond Ballet.

DDP: Brett, as these artistic decisions are made and Richmond Ballet’s programming reacts to the current climate, how do you act to ensure the company has the financial means to accomplish the commissions of new voices and diverse works?

BB: I believe all good managers should surround themselves with team members that can be relied upon to provide sound financial data that I can then use to make informed decisions.  Transparency is the key to maintaining the status and financial success of the company. Obviously, there are some financial details that need to remain confidential, however, most of our operations can be shared with other team leaders, so if everyone is on the same page on why a decision was made, that goes a long way in avoiding misunderstandings. 

I also have found that if I articulate financial implications to artistic decisions, the artistic staff might decide to move in a different direction than they would without this data.  I’m also fortunate that Stoner is the founding artistic director of the company and she has always had a wonderful grasp on the financial status of the organization, so her artistic direction for the company always factors in the financial implications to the organization.  

DDP: Richmond Ballet is known globally. Many companies that started under similar circumstances outside of NYC, San Francisco, etc. have not been so successful. You even saw this happen when you were first choosing between Richmond and Baltimore Ballet to begin your dancing career, Brett. What do you think has set Richmond apart to succeed?

BB: It comes down to Stoner and her vision many years ago to establish a company different than many others at that time. She led the organization with fiscal responsibility, which, combined with her artistic vision, has continued to garner success and growth. The respect that she earned in the community with powerful leaders, donors, and nationally in the arts world, have all made the organization thrive with their support of her and the company.

Stoner Winslett in class with the Company. Courtesy of Richmond Ballet.

Richmond Ballet’s 2019|2020 season continues in November with Studio One, a program that opens with Ancient Airs and Dances, a work choreographed by the artistic director early in her tenure at the company. The program will close with a world premiere by Ma Cong. Tickets can be purchased online at https://www.richmondballet.com/season-tickets/.


See a collection of images from the past 40 years at Richmond Ballet in the following gallery:

  • Stoner Winslett with the company in 1999.
  • Stoner Winslett in 1980.
  • Stoner Winslett accepts keys to new Reynolds Metals Building in 1999.
  • Brett Bonda in Ancient Airs and Dances, choreographed by Stoner Winslett.
  • Stoner Winslett in class.
  • Winslett in class.
  • Winslett in class.
  • Winslett in class.
  • Stoner Winslett watching rehearsal.
  • Stoner Winslett performing in Richmond Ballet’s production of Swan Lake in the early ’90s.
  • Stoner Winslett and friends dressed up for Halloween at North Carolina School of the Arts.
  • Stoner Winslett working with Nutracker costume designer David Heuvel.
  • Stoner Winslett with Agnes de Mille and Virginia Governor Dalton.
  • Stoner Winslett and Ballet Master Malcolm Burn in rehearsal with the company.
  • Stoner Winslett in rehearsal with the company.
  • Brett Bonda leads Minds In Motion students in Israel during his time as Director of the program.
  • Brett Bonda in Jubilee!, choreographed by Joseph Duell.
  • Brett Bonda in Mobile, choreographed by Tom Ruud.
  • Brett Bonda (far right) dancing in Agnes de Mille’s Rodeo.
  • Stoner Winslett’s first production of Swan Lake in 1973.
  • Richmond Ballet dancers in the company’s production of Swan Lake in 2013.
  • Stoner Winstell performing en pointe in her production of The Toy Shop in 1974.
  • The School of Richmond Ballet performing in Stoner Winslett’s production of The Toy Shop in 2018.
  • Stoner Winslett in class with the company.
  • Brett Bonda instructs the early years of Minds In Motion.









Pacific Northwest Ballet’s “NEW VOICES: Choreography and Process for Young Women in Dance”

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By Liza Yntema, DDP Founder and President

For DDP’s first post in the Initiatives Worth Following series, DDP Founder and President Liza Yntema had the pleasure of interviewing the team behind Pacific Northwest Ballet School’s New Voices: Choreography and Process for Young Women in Dance choreographic course, Pacific Northwest Ballet Artistic Director Peter Boal and Pacific Northwest Ballet School faculty member Eva L. Stone. Watch the video below for an introduction to this groundbreaking course before you read on! Visit the company’s website to learn more about Pacific Northwest Ballet.

Liza Yntema (LY): What inspired you to create the New Voices program?

Peter Boal (PNB Artistic Director, and Director of the PNB School): Eva Stone was the first to identify the need for a program like this, but from where I sit, I was seeing choreographers receive their first opportunities to create as young members of the company (between the ages of 20 and 28). So much of our sensibilities as creators has been shaped by this age.

We are well-schooled in what not to do, and some of the risk-taking and experimentation we might have harnessed at a younger age is already lost. We also may have missed opportunities to analyze and appreciate works we dance in and live in, because we are so focused on steps, balances and counts. To see our profession through a choreographer’s lens from the start is to open a whole new set of eyes and flex another creative muscle.

Eva Stone (PNB School faculty member): Since the course’s inception (for PNB’s 2017 Summer Course), approximately 300 students have participated (including students during our current five-week Summer Course.) For its inaugural run during the 38-week 2018/2019 academic school year, 19 young women were in the class.

LY: Eva, you have a decades-long background in dance pedagogy and choreographic theory. Can you tell us a bit more?

ES: I entered this journey in reverse; mastering choreography before technique. This allowed me to invent a self-generated movement language, one that continued to evolve as my dance training intensified. I had to create “survival tactics” in order to navigate an art form that often made demands that I could not meet. I share these tactics with my students, through the medium of dance technique, imagery, choreographic practice, mentorship, and coaching. 

Pacific Northwest Ballet School instructor Eva Stone with inaugural year students of PNB School’s “New Voices: Choreography and Process for Young Women in Dance” class. Photo © Lindsay Thomas.


LY: What is the impetus and what are you trying to accomplish?

PB: First and foremost, I want these students to find their voices as artists and creators. I know many may not choreograph later in life and they may not dance either, but the skills they will take away — expression, collaboration, communication, time management and more — will apply to everything in their futures.

I also like the idea of a deeper understanding of the working relationship in ballet studios. Taking on different roles builds respect, empowerment and understanding. I’m not opposed to finding the next generation of great choreographers for PNB and the stages of the world, either.

LY: Why this particular age group or cohort?

PB: The Level VII women (ages 14 – 16) are some of our most devoted students and quite proficient in dance and movement vocabulary. Same is true of our VIIIs, but they are also considering colleges and other paths and their attention is pulled in new directions during much of the year. Level VIIs are “all in.”

LY: What was your takeaway from the girls?

ES: I noticed two significant changes (among many) of note. First, their ability to look at work other than their own with a deeper understanding of how dance is deconstructed and examined: They became more insightful and articulate about work they viewed. And second, all of the girls demonstrated a significant increase in their confidence as students, dancers and dance-makers. 

LY: As noted in my dual presentation(s) in Cleveland [see note at end of article], what excites me most about New Voices is that it is geared towards the age group when girls start to lag behind boys in speaking up in class and excelling in math and science. Their confidence fades away. Was this a factor you had to tackle during the program?

ES: Only for the first or second week, and then things began to quickly shift. My opinion is that the all-female environment gave these young women equal opportunity to create, participate, and experiment without distraction or perceived judgement (as is often inherent with young teens in a mixed gender environment.) I also gave the students permission to create without concern for the outcome and asked that they make work that was significant to who they are as artists and creators. They are encouraged to understand that their creative opinion matters.

LY: What were the biggest successes of the first scholastic year of the program?

ES: The two presentations (solo work in January and group work in May) demonstrated their outstanding work and individuality as dance-makers.

What would you change for next year?

ES: Next year will see the course shift to two levels; repeat students that have had the course before, and those that are new.

ABOUT PETER BOAL & Eva L. STONE

Pacific Northwest Ballet School director Peter Boal. Photo © Angela Sterling.


Peter Boal serves as Artistic Director of Pacific Northwest Ballet and Pacific Northwest Ballet School. Mr. Boal assumed the directorship of Pacific Northwest Ballet in 2005 following a successful career with New York City Ballet as a principal dancer, and as a faculty member at The School of American Ballet. He received his dance training from SAB under the directorship of George Balanchine. His performance career spanned 22 years with New York City Ballet and he was a frequent guest artist with national and international companies. In 2002 he founded Peter Boal and Company, a critically acclaimed chamber ensemble. Mr. Boal joined the faculty of The School of American Ballet in 1997, teaching technique, variations, men’s and women’s classes and partnering. He has been a guest teacher at Central Pennsylvania Youth Ballet and Royal Danish Ballet School, among others.

Choreographer and PNB School instructor Eva Stone. Photo © Lindsay Thomas.


Eva L. Stone is a teaching artist, choreographer, and founder/producer of CHOP SHOP: Bodies of Work, an annual contemporary dance festival. She received her BFA in Performance & Choreography from Arizona State University, and later earned an MA in Choreography & Choreological Studies from Trinity Laban in the UK. She’s created work for Spectrum Dance Theater, Pacific Northwest Ballet/Seattle Art Museum’s Sculptured Dance, Seattle International Dance Festival, Bellingham Repertory Dance, and collaboratively with Seattle Dance Project for Project Orpheus, among others. Her work has been presented in New York, Los Angeles, London, Geneva, Montreal, and St. Petersburg. Most recently, Ms. Stone’s newest work will be among three world premieres by Seattle-based choreographers (Stone, Donald Byrd, and Miles Pertl) presented by Pacific Northwest Ballet in LOCALLY SOURCED, November 8 – 17, 2019.

Liza Yntema, Founder of Dance Data Project®, was invited to speak to Artistic and Executive Directors of mid-sized ballet companies at the Dance/USA Conference in Cleveland, Ohio in June of 2019. Yntema’s speech discussed her 2019 Listening Tour to companies leading the way to equity (the leaders of many of these companies were in attendance), the mission of DDP, and how companies of this size can best serve equity while becoming more financially successful. Specifically, Yntema recommended companies explore choreographic initiatives for girls/young women.

*Liza Yntema is a personal contributor to the New Voices initiative at Pacific Northwest Ballet, as she is The Women’s Movement at American Ballet Theatre and ChoreograpHER at Boston Ballet.

Learn more about the Pacific Northwest Ballet School here.

Read the press release for New Voices here.

Meet the Choreographer: Annabelle Lopez Ochoa

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By Liza Yntema, DDP Founder and President

DDP Founder and President Liza Yntema had the pleasure of interviewing choreographer Annabelle Lopez Ochoa for DDP’s latest Meet the Artist. Read the article below and learn more about Annabelle Lopez Ochoa on her website, here.

Liza Yntema (LY): Can you tell me about your background, both as a dancer and as a choreographer?

Annabelle Lopez Ochoa (ALO): I trained in the classical Vaganova technique at the Royal Ballet of Flanders for seven years, along with some Martha Graham technique, jazz, and flamenco. Then I danced in four different companies in Germany and The Netherlands for 12 years, going from a Dance Theatre based group in Germany, to a modern jazz troupe in Holland, and ending at the Scapino Ballet, a contemporary dance company in Rotterdam, where I choreographed my first pieces during the annual choreographers’ workshop. The company’s artistic director, Ed Wubbe, noticed my talent and subsequently commissioned a new work of mine for the company. The same happened after I made a short duet during the choreographers’ workshop at the Dutch National Ballet. After seeing the work, Ted Brandsen commissioned me to create a new work for the company – this would be my first ballet piece with the dancers en pointe.

LY: What was your first piece?

ALO: I started choreographing at the age of 11, so I’m not quite sure what I would count as my first piece. I suppose I could choose “Symbiosis,” my first creation for the 1997 choreographers’ workshop at Scapino Ballet. It was a short female duet based on a French rhyme that I had written during my daily commute on the train. The piece became very popular and was performed for a few years by the Codarts students.

Annabelle Lopez Ochoa, Liza Yntema, and BalletX artistic director Christine Cox together at the opening night of The Little Prince, Lopez Ochoa’s 2019 commission for the company.

LY: What obstacles have you had to overcome?

ALO: Obstacles are there for you to bounce back from average work you make or bad reviews you get. Finding solutions to problem tickles my creativity. I have had lots of average work, and I still get bad reviews! I keep learning and keep growing as an artist.

It just doesn’t take as long anymore to bounce back from a bad review. Each time I am reminded that I am lucky to be a choreographer instead of a dance reviewer in this life.

LY: Tell us about your 2019-2020 Schedule?

ALO: My 2019-20 season is jam-packed with 11 premieres and nine revivals, comprised of three full-length ballets:

  • Chamber Dance Project – Rondo ma Non Troppo (June 20, 2019)
  • BalletX- The Little Prince [world premiere] (July 10, 2019) and at Joyce Theater (Oct 1-6, 2019)
  • DTH – Balamouk [extended version] premiering at Jacob’s Pillow (July 9-14, 2019)
  • Incolballet – Memorias del Dorado (July 19, 2019)
  • Arnott Dance – Khepri (July 24, 2019)
  • Kansas City Ballet – Tulips and Lobster (Oct 11-13 & Oct 18-20, 2019)
  • The Washington Ballet – Delusional Beauty (Oct 23-27, 2019)
  • BalletMet- New World Premiere (Oct 25-27, 2019 & Oct 31- Nov 2, 2019)
  • Nashville Ballet- A Streetcar Name desire [US premiere] (Nov 1-3, 2019) 
  • Ballet Nacional de Cuba – Celeste (Nov 1-3, 2019)
  • Ballet Hispanico – New Work (Nov 22-23, 2019)
  • HNB – Frida (Feb 6-25, 2020)
  • Central School of Ballet – Requiem for a Rose (March 2020)
  • Cincinnati Ballet- Bloom [US premiere] (March 19-21, 2020) 
  • Tulsa Ballet – Vendetta [US premiere] (March 26-29, 2020) 
  • Smuin Ballet – Requiem for a Rose [revival] (April 24, 2020)
  • Diablo Ballet- Cylindrical Shadows [revival] (May 1-3, 2020) 
  • Josh Beamish – New Solo & Duet (May 5, 2020) 
  • Whim W’Him – New Work (May 29-30, 2020)
  • Jacob’s Pillow – New Work for the Contemporary Classical Summer School (June 13, 2020)

LY: Do you have any future commissions you can discuss?

ALO: The future doesn’t exist and has no certainty, so I rather not discuss it. What I am certain about is that the premiere of The Little Prince is approaching soon [DDP note: at the time of interview], and it has been a beautiful journey to work with BalletX and dig deep into the symbolism of Antoine de Saint-Exupery’s wonderful story.

LY: What motivates you? A piece of music, a story?

ALO: The concept usually comes first, then the music.

LY: Tell us about your relationship with BalletX: Christine Cox has supported so many emerging artists.

ALO: Christine invited me in 2008 to create a work for an all-female choreographers’ evening. I think I might have been the first overseas choreographer at the time. She is fearless- she didn’t let the whole visa application process phase her.

Since then, Christine has invited me three more times. BalletX has really grown as an art institution in Philadelphia, and I have grown and matured as a choreographer. The Little Prince will be my fourth piece for the company. I think that Christine focuses on the potential of artists and hence invites them back. I am forever grateful to her.

Program from BalletX’s world premiere of Lopez Ochoa’s The Little Prince . Photo of program by Liza Yntema. Image of Roderick Phifer of BalletX. Photo by Gabriel Bienczycki.

LY: What might change the culture of ballet to allow more talented women to emerge?

ALO: Parents should allow their daughter(s) to behave in a more “masculine” way. Why do we make a difference between games boys versus girls should play? Young girls, with their leadership instinct, should be allowed to pick their teams in gym class and be captains of a soccer team. We need to stop talking to young girls about the fact that marriage and becoming a mother is the highest form of success and happiness one can achieve. Our happiness should not depend on others.

In ballet school you are taught that if you get chosen for the main character, the princess or the ingenue who is cheated on by a prince, you made it. Seriously?

We should make the other roles just as important. Who are the villagers in Giselle? What is the backstory of the corps of swans? Please, let’s give the corps de ballet more identity instead of screaming at them to stand in line on the right count. Let’s inspire these young women.

That being said, you can’t impose choreography on a woman for the sake of creating more female choreographers. Unlike choreographers, some artists simply love being the vehicle of someone’s creation- and they’re great at it. However, if there is a female choreographer with potential, please don’t ditch them after their first work just because it wasn’t as amazing as you had hoped. Masterworks come much later in one’s life and career, and that is the difference between young male and female choreographers. Male choreographers are given a second opportunity much faster than their female counterparts. Hence, they grow faster at their craft.

Smuin Contemporary Ballet rehearses Annabelle Lopez Ochoa’s Requiem for a Rose (2016). Photo by Chris Hardy, courtesy of Smuin Contemporary Ballet.

LY: Do you have a dream ballet or an idea you carry around with you?

ALO: If I had, I wouldn’t tell it.

LY: So, what is home right now? You are on the road so much.

ALO: I’m a Buddhist, I don’t give much importance to material things. Home is the place where happiness is. It can be anywhere. But my fiscal address is in Amsterdam.

LY: Do you have a routine for preparing a piece? Thinking it through?

ALO: I think a lot, and I’m aware I should be writing more down. That being said, when I work on a narrative ballet, I usually start with the script six months in advance, and I update it as I rehearse. When it is an abstract ballet, I hardly write anything down (except my search for a title can be found in my notebooks). I find that creativity happens mostly in the studio with the dancers, but can also happen on the street, in the shower, at an exhibition, or while observing any human behavior.

LY: How about what restores you? Spending time with family? Meditation?

ALO: I try to disconnect once a year: turning off the internet, watching and listening to the sound of the waves, and reading books.

I always meditate for a hot second right before rehearsal starts – that’s why in that moment I can never hold a conversation.

LY: Are you still dancing yourself? 

ALO: I don’t dance anymore, except every now and then I’ll dance to salsa or 80’s music. Dancing is good for the soul!

LY: Any thoughts about how Dance Data Project can better serve women leaders in ballet and connect you with funders? the press?

ALO: Give women visibility. Have them be interviewed for magazines like Vogue, etc. to reach to a larger spectrum of young women. Make documentaries. Anything that receives exposure becomes a normalcy, and hopefully in 20 years we won’t be having this gender gap discussion anymore, and we will simply be talking about artists and leaders.

Tamara Rojo as Frida in Broken Wings by Annabelle Lopez Ochoa. Photo by Laurent Liotardo.

Find out more about The Little Prince here.

Get tickets to see it at Vail Dance Festival here.

Meet the Choreographer: Penny Saunders

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Originally from West Palm Beach, Penny graduated from the Harid Conservatory in 1995, and began her professional career with The American Repertory Ballet under the direction of Septime Webre. She went on to dance with Ballet Arizona, MOMIX Dance Theater, Cedar Lake Ensemble and in 2004 she joined Hubbard Street Dance Chicago. In 2011, Saunders won the International Commissioning Project which launched her choreographic career, creating pieces for Hubbard Streets’ main and second company, Whim W’Him, SFDancworks, Neos Dance Theater, Owen Cox Dance Group, and The Nexus Project.

Saunders is the choreographer-in residence at Grand Rapids Ballet and receives support from New York City Ballet Choreographic Commissions Initiative. She was the recipient of the 2016 Princess Grace Foundation Choreographic Fellowship. In the 2018-2019 season, she will collaborate with The Royal New Zealand Ballet, Sacramento Ballet, Ballet Idaho, Seattle Dance Collective, The Grand Rapids Ballet, and SALT Contemporary Dance in residency at The University of Utah (see her upcoming works following the interview).

Saunders and DDP Founder Liza Yntema in the studio at Grand Rapids Ballet.

LY: First let’s talk about Testimony. You mentioned this was your first truly political work, why now and what do you hope your audience takes away?

PS: When I was listening to the [Kavanaugh] hearings on the radio, I was immediately thinking, “Wow, this could make an interesting piece.” There were just so many overlapping elements to it. First of all, it seemed like such a show! Everyone involved knew there would be no resolution, no new evidence was coming out even with the additional FBI investigation, and there was missing information–a key person was not coming forward.

There we were though, all of us listening to their every word, watching their every action as they talked about their darkest and most vulnerable moments. I hated myself for listening so intently…it felt like one of those awful reality shows! Then the after discussions began: “Well, I found her to be really believable…” blah, blah, blah. [I thought] there has to be a better way than this! We had already experienced the Anita Hill/ Clarence Thomas hearings years before. So similar and so heartbreaking. I suppose making a piece about these hearings was my personal way of digesting it all, and ultimately, I am asking the audience to consider the way in which we hear women. Are we really listening well enough?   

LY: Any future works you are already choreographing in your head?

PS: I am constantly choreographing in my head. I wish I could get it to stop sometimes! But yes, I usually mull over ideas for future projects for a while and create little choreographic wish lists and playlists of music for each. I like to think of myself as a professional daydreamer.

LY: You said something fascinating when we were talking, that you prefer to find younger dancers who, “Haven’t decided what is beautiful yet,” so essentially, they don’t have a pre-existing notion of how they should look. Can you elaborate a bit more?

PS: Yes, what I find (in the ballet world especially) is that people hold on to their ideas of beauty and what looks good on their body because they have had to for many years. I find it hard to undo those things, those physical habits can be so ingrained, that I often find it easier to work with younger dancers who have had less time in the studio “perfecting” those ingrained physicalities so there is more room for my input. 

The relationship a dancer has with the floor is key to the unfolding of their story.

-Penny Saunders to Liza Yntema

LY: We also talked about pointe work; you have choreographed for it, although I haven’t seen any of your pieces en pointe. Can you describe why and how you choose to set a work with pointe shoes or not and how that changes technique and what you look for in dancers?

PS: I wouldn’t say it is my preference, but I have become more and more comfortable creating that type of vocabulary with every new commission that calls for that element.

At first, I found it intimidating because the last ten years of my career was spent at Hubbard Street where socks are the most common footwear. With time and some experimenting though, I have found that making work en pointe can be quite fun.

For me now, it becomes another tool in my tool box. For certain characters or certain stories, pointe shoes can make the most sense, and for others it might need to be barefoot, high-heeled, or what-have-you. It is just another option I appreciate having when I am trying to create distinct characters – the relationship a dancer has with the floor is key to the unfolding of their story.

LY: You mentioned Hubbard Street Dance Chicago. You came up through this company, with Glenn Edgerton, one of the most forward thinking and inclusive Artistic Directors. How do you think that shaped you as a dancer and choreographer? Have you experienced negative reaction to women taking on leadership positions? 

PS: You know, I think that I have been extremely lucky. In my dance career I jumped around a lot – different styles and companies – which gave me a sense of ownership over my own path. I loved experiencing new things and being creative, and the people I worked for loved that too. I had no idea that I would become a choreographer; it still surprises me some times, but I can’t imagine doing anything else at this point. I love it, and it drives me crazy–the perfect combo. I am so grateful that I always felt supported.

Dancers from Grand Rapids Ballet perform in Saunders’ Testimony. Photo by Jade Butler

LY: I am constantly amazed at just how hard physically and mentally everyone in the dance world works. Not just the dancers, but the choreographers, Artistic Directors, Ballet Masters, etc. How does the difficulty change when you are also mom – I know you and your husband trade off – are you provided tools: child care, places to nurse a baby, or flexible hours? 

PS: I think that being a mom adds to the experience in so many ways. Not only do you feel love more intensely, you feel everything more intensely! 

Now that my son is a little older, I am able to relax into it a bit more, but at first it was hell! Being a freelance choreographer is a job that takes me many places, where I have to spend quite a lot of time away from home. As a mom, I just can’t do that. I wouldn’t want to. Thank goodness my husband understands so completely the roles that I juggle – he juggles them too. Organizing our calendar is a ridiculous endeavor sometimes, but we love what we do and we whole heartedly understand and appreciate what it means to parent a child. We have had to set boundaries with our time, and we have had to learn to not say yes to everything. Being home, or at least together wherever we are is our biggest goal. Our 5-year-old son has more frequent flyer miles than most adults!

LY: The Big Question – How do you keep ballet relevant, important, and consistent to diverse audiences, or do you feel that’s not really your role? What is the future of ballet given the fact that government funding is dwindling and audiences are aging?

PS: I think that the role of the arts in this world is under-appreciated. It is one of those things that we think that we can live without, therefore we treat it as this extra expense reserved for the elite.

It is our job as artists to continue reengaging the world by making work that has relevance and shares an honest voice that invites the audience to participate and reconnect. There is a special type of magic that happens when a room full of people share an experience together –– by connecting to the art that they are witnessing, they are able to connect with one another. 

There is a special type of magic that happens when a room full of people share an experience together –– by connecting to the art that they are witnessing, they are able to connect with one another. 

-Penny Saunders to Liza Yntema

LY: The Other Big Question – How can DDP best serve you, women like you, and the little girls I saw in pink tutus in the studio with their noses pressed up against the door as Grand Rapids rehearsed? 

PS: Exposure is a big issue for me. I often make work on smaller companies, which I love, but very often there are no professional photographers/videographers or critics. This makes it difficult to share my work with the world. If more directors could see my pieces performed live, I think I would have a better chance at getting new commissions in larger companies.

Most companies I work for do not take their shows on the road either, so the one weekend of shows is all I get. If there are no good quality videos or photos to share with other directors or festivals, then my work goes relatively unseen. Emerging from this pattern is what I am working on now…

Dancers at Grand Rapids Ballet rehearse Penny Saunders’ Testimony.

Upcoming Projects for Penny:

April 11th – 21st :  SALT Contemporary Dance in residency at The University of Utah (premiere)
June 6th – 9th :  NWA Ballet Theater (remount)
July 12th – 14th :  Seattle Dance Collective (remount)
October 18th – 20th : The Grand Rapids Ballet (premiere)
October 11th – 13th : Indiana University (remount)
October 24th – 27th: The Dayton Ballet (remount)
November 1st – 3rd : Ballet Idaho (remount)
February 7th – 9th :  Diablo Ballet (remount)
April 2nd – 5th :   Dayton Ballet (remount)
April 16th – 19th :  Pointe Park University (remount)
April 17th – 19th :  Oklahoma City Ballet (premiere)
May 7th – 10th :  Tulsa Ballet (premiere)
May 22nd – 24th: Whim W’Him (premiere)
July 8th – 19th : BalletX (premiere)

Saunders’ biographical information was obtained from Grand Rapids Ballet and upcoming projects were provided by Saunders.

Meet the New Choreographer: Lia Cirio

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Lia Cirio is taking on a new role: choreographer. Cirio has joined Boston Ballet’s ChoreograpHER initiative, which gives female company members the opportunity to produce and present original works of choreography. Our Founder, Liza Yntema, recently signed on as Lead Sponsor of the program.

A principal dancer for the company, Ms. Cirio has danced her entire career with Boston Ballet’s, first joining the main company in 2004. As one of the inaugural participants, she has choreographed alongside dancers Hannah Bettes, Jessica Burrows, Lauren Flower, Sage Humphries, and Haley Schwan in the six-piece program.

Boston Ballet in Lia Cirio’s Sta(i)r(e)s; photo by Liza Voll; courtesy of Boston Ballet

Cirio’s work for the initiative is her choreographic debut, and diverges from the classical work she is often seen performing as a dancer. The piece, entitled Sta(i)r(e)s, is set to music by a female composer, Carolina Chocolate Drops. Four dancers perform in the piece, featuring a male couple and a mixed-gender couple.


Lia Cirio with Desean Taber ; photo by Brooke Trisolini; courtesy of Boston Ballet

In a promo video for ChoreograpHER, Cirio says it best:

“The future is female and this is one step to show that we can stand up and be powerful.”

Watch her discuss the process of creating Sta(i)r(e)s in the video below:

Meet the Company Director: Christine Cox

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The absolute first thing to know about Christine Cox is that she is incredibly kind, and the second that she has huge reserves of energy. The enthusiasm, optimism and genuine joy she brings to even the smallest detail or the briefest encounter, do much to explain the extraordinary success and outsized impact of her influential company, BalletX, which over the last 13 years has survived and prospered as the second, smaller company in Philadelphia, growing a fantastically loyal and energized audience base.

Artistic Director of BalletX, Christine Cox.

Cox has managed to create a legacy of groundbreaking work: by the end of the 2018-2019 season, BalletX will have premiered 75 new works, while also keeping the Company consistently in the black. This extraordinary combination of business acumen and artistic fearlessness, has resulted in a new $850,000 Ballet Center for World Premiere Choreography: a 5,000 square foot light filled studio,  as well as for the first time this season, the ability to pay health care costs for dancers who are on a 37 week contract and her full time staff.

Founded in 2005 with Matthew Neenan,  and now lead by Cox who is Artistic and Executive Director BalletX consistently pushes to the cutting edge by producing new works by choreographers who are at many stages of their development and from all over the world..  From Annabelle Lopez Ochoa to Penny Saunders, the Company under Cox’s steady hand, has provided a platform for some of the best and most innovative modern ballet choreographers, many of whom are women, including Gabrielle Lamb, Helen Pickett and many years ago her own work.

Oh, and yes, she also finds time to be a mom of 2 young boys.

Liza Yntema sat down with Christine Cox in early December:

LY: You mentioned in passing that you are dyslexic. It doesn’t seem to have slowed you down at all?

CC: I am absolutely a do-er, not a dreamer. Because school was a such a challenge for me, I learned that hard work is the only way to accomplish anything. For me moving felt like I was home and dance became a safe haven. What I gained from being a little slower in school was how  to navigate in society, How to communicate with people and to to team build.”

LY: You mention that it was challenging for you to fit into the ballet world, please explain?

CC: I started developing at age 10 and was a mature teenager. I was also a strong willed young lady who’s character and personality was much different than other dancers. I looked like a women and that did not serve me well as a professional ballet dancers. Directors wanted me to not have curves and as thin as possible.

BalletX dancers in Wubkje Kuindersma’s Yonder. Photo by Vikki Sloviter.

LY: You seem to be able to do it all, yet you made the decision not to choreograph any more?

CC:  In 2008 I was 9 months pregnant and choreographing, while also developing a company. My gut instincts told me to stop dancing and choreographing and focus on being a new Mom and growing BalletX. The first step was formalizing a company that offered annual contracts instead of gigs.I knew we needed to establish a home theater and our residency at The Wilma Theater was and is a great partnership. I wanted to build a passionate audience that fell in love with new ballets  

LY: You have assembled an incredible roster of talent over the years. How do you find choreographers?

CC: I find choreographers in all sorts of ways. Many pass along their work  through emails and sometimes I get to see it live when time permits.I love work that ignites my soul and touches my heart. I love work that surprises me and gets my brain flowing. I know quickly if a choreographer has something I am curious about. I am also looking for the dancers to grow and learn from the process. New ballets are in important and help the field stay relevant.

Dancers Richard Villaverde and Skyler Lubin rehearse with choreographer Katarzyna Skarpetowska for Off the Canvas. Photo by Vikki Sloviter.

LY: Do you see a difference in how women and men approach choreography?

CC: Well, one very basic differences is that  more men seem comfortable promoting themselves. They will reach out multiple times while I do not get a lot of submissions from women. Maybe they are just not as many out there? Haha – isn’t that part of the problem?

It’s hard for me to compare men and women because everyone is different. As I women I know I like to view work that has some meaning or purpose behind its development. I get tired of movement for movement’s sake unless it has a real intention.

LY:  In 2008, you hosted a panel with Helen Pickett and Annabelle Lopez Ochoa on the state of the dance industry and being a female choreographer.  If I asked you for an update today, what would you say?

CC: It really doesn’t feel much different. I have to seek out female choreographers and am making an effort to support their work at BalletX. This season I am commissioning 4 world Premieres by Women out of 7.

LY:  Finally, I was interested in where you see BalletX headed, back to the model of dancers in socks streaking across the stage at a dead run.

CC: I am tired of socks! I often ask choreographers to make work en pointe company because I am curious about what the shoe can do to help or hinder the dance vocabulary.

LY: And to that point, I am incredibly excited you are working with Annabelle Lopez Ochoa again, on a beautiful uplifting story?

CC: Yes, this summer Annabelle will be back working with us on a new full length ballet of The Little Prince by Saint-Exupéry.

LY:  I cannot wait! So much would rather see that than another Nutcracker.

CC: And we have another super talented choreographer working with the Company now, Katarzyna Skarpetowska is BalletX’s 2019 Choreographic Fellow. [See video below.]

LY: Ok, big picture, talk to me about the future of  ballet..

CC: I can have a dream for the company to grow but everything comes down to having the support. That is a challenge for all non profits. My goal is to continue to push our capabilities at BalletX, support the creation of new work with a minimum of 7 world premieres a year, making BalletX a hub/lab of dance creation.  Focus on the development of artist and open our home for the community to experience dance in a whole new way. Continue and expand our Dance eXchange program for 3rd and 4th grade students in Philadelphia Public schools, while training and supporting teaching artist. Continue to tour and bring programs that inspire new audiences to fall in love with contemporary ballet staff.

Bigger picture for the future of ballet is unclear. I think we have a lot of potential to touch and inspire people if we create opportunities to support new works.