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.

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.

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.

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.

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.

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 4^th 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 10^th 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.

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.

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.

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.

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.  

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.

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.

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.

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:

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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.

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.

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.

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.

Find out more about The Little Prince here.

Get tickets to see it at Vail Dance Festival here.

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.

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.

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: