What can audiences expect from the final two productions of the 2024–2025 season: All Balanchine and Eroica?
The All Balanchine program is going to be very dynamic and, most of all, fun for the audience. George Balanchine’s choreography is known for its breadth. His work can be poetic, bold, and witty. This program really highlights that range with three distinct ballets.
In Walpurgisnacht, we see 24 women dancing with wild abandon. It is a celebration of movement and perfectly embodies Balanchine’s quote “ballet is woman.” Western Symphony brings a playful twist. Set in the American Old West, it pairs traditional ballet technique with the spirit of folk dancing and cowboy charm. Scotch Symphony is new for Ballet Arizona! It is a romantic escape to the Scottish Highlands, full of musicality and brisk footwork. It’s a lovely nod to the classical ballets of the 19th century.
As a dancer, I’ve always felt an incredible sense of freedom in Balanchine’s choreography. His movement is expansive, it breathes with the body rather than containing it. The first Balanchine ballet I performed was Serenade. It was unlike anything I had experienced before, and it deepened my love for his work. I don’t think audiences can ever fully grasp the pure joy a dancer feels in these works, but I always hope that joy is felt from the stage.
As for Eroica, choreographed by Ib Andersen, it is truly a special experience. Set outdoors at the Desert Botanical Garden, the combination of Beethoven’s powerful symphony, the open air, and the natural desert landscape creates something unforgettable. I was able to see The Four Seasons last year as an audience member and I was in awe. It’s a beautiful way to close the season.
The 2025–2026 season was recently announced. What are some of the highlights?
Next season is all about balance – honoring the tradition of classical ballet while also looking forward with fresh, thought-provoking works. We open with The Sleeping Beauty, one of the great story ballets. It’s a timeless production, and I’ve added a few choreographic elements of my own while keeping the heart of Petipa’s masterpiece intact.
Then, in February, we take a whimsical turn with ALICE (in Wonderland) by Septime Webre. It’s imaginative, theatrical, and bursting with color and creativity. I think it will surprise people because it’s not your typical ballet.
In March, we’re offering a mixed program called Cacti & Other Works. It includes Balanchine’s Apollo, which is one of his most iconic pieces, and Concertante by Hans van Manen, a sleek, musical work with powerful energy. Then there’s Cacti by Alexander Ekman, which brings humor and a contemporary edge that’s both entertaining and refreshingly clever. It’s a diverse, engaging evening that will resonate with a wide audience.
One of the most exciting parts of the season will be our performances at Desert Botanical Garden, now presented as a double bill! First is Concerto Six Twenty-Two, a Mozart-scored masterpiece by renowned American choreographer, Lar Lubovitch. Second is the U.S. premiere of my contemporary ballet, Reset, set to a blend of classical and electronic music by Gabriel Prokofiev that really fuels the movement.
Any thoughts you want to share as you complete your first year?
I’m incredibly grateful for the warm welcome I’ve received from the community. Ballet Arizona has so much talent and heart, and I’m proud of what we’ve accomplished together… each production has been its own milestone this season. It’s been overwhelming in the best way and I can’t wait for what’s ahead!
