As Ballet Arizona celebrates 40 years, how did you approach programming this milestone season?
Anniversaries give us an opportunity to stop, reflect on what has been accomplished, and recognize all the people who have helped make an organization what it is today. Forty years is an incredible milestone. I have only been here a little over two years, so I am a very small part of that history, but I think it is important to celebrate it and be grateful for everyone who has contributed to Ballet Arizona along the way.
Artistically, I wanted the season to honor that history while continuing to look forward. I wanted to return to some of the great classical ballets and of course include another work by Ib Andersen, whose artistic legacy remains an integral part of Ballet Arizona. That led us to Romeo & Juliet. We also have Don Quixote, which is very close to my heart and has not been performed by the company for over a decade.
In the spring, we really get to explore and take some risks. Pulse brings together works by George Balanchine, Christopher Wheeldon, and Juanjo Arqués, whose ballet Fingers in the Air gives the audience a role in shaping each performance. At Desert Botanical Garden, Nayon Iovino returns with a new commission created especially for a stage unlike any other. And I cannot wait to see what emerges from our new Choreography Lab, where our dancers will have the freedom to experiment, find their own choreographic voices, and create something that is entirely theirs
We open the season with Ib Andersen’s Romeo & Juliet. What makes this ballet so compelling?
I love Romeo & Juliet. It is one of the most beautiful ballets, and Ib’s production is so thoughtfully crafted. I had heard so many people speak about how beautiful his version was, and when I finally watched it, I understood why. Now, seeing it come to life in the studios, I feel even more strongly that it was the right work to bring back for this anniversary.
Additionally, Prokofiev’s score is a masterpiece. The greatest ballet scores do not simply accompany the choreography; they tell the story. In Romeo & Juliet, you can feel the tragedy, the tenderness, and the tension through the music alone. Then you have these enormous, iconic moments—the ballroom, the fight scenes—where the music completely transforms the atmosphere.
I performed Lady Capulet earlier in my career, and the scene after Tybalt’s death is still one I remember so vividly. Backstage, I would close my eyes and listen as the music built, feeling the tension of everything happening on the other side of the scenery. By the time I stepped on stage, I was already emotionally inside the scene. That is the power of Prokofiev’s score, it gives the dancers so much to draw from.
As Ballet Arizona enters its next chapter, what excites you most about where the company is headed?
Someone told me when I became Artistic Director that it takes two or three years to really get going. I understand that now. In my third season, the picture feels much clearer—not only what I want to strengthen, but where I see opportunities for growth.
What excites me most is being able to look further ahead and imagine what Ballet Arizona can become. We have wonderfully creative dancers, a team that continues to grow stronger and so much potential artistically. I feel like we have built a strong foundation, and now we can really start thinking about where we want to go next.
