The longtime American Ballet Theatre star dancer is one of only a few female artistic directors.
It was a very thoughtful decision. ABT has a very small amount of time, space and money to create new works. Every year we have the opportunity to do one new full-length and one new one-act ballet. To have both by the same choreographer every year, whether they’re a genius or not, and I do think Alexei is a genius, is not sustainable when ABT is trying to expand into other choreographic voices. We’re focusing on finding new and innovative choreographers, more women and more artists of color.
I did ask Ratmansky to do a new work for us in 2026, and I think he also needed a new start, creatively. It’s a win-win situation for everyone.I do have women in the pipeline choreographing short works and full-length works, who are contracted. I don’t think I’m going to name them right now, but rest assured, you’re going to see full-length ballets by women.You choreographed a new version of “Swan Lake” during your time as artistic director of Pittsburgh Ballet Theatre.
If someone is really struggling with their mental health, then that’s a situation that has to be addressed individually. But as far as keeping people resilient, and positive, and having a life-affirming attitude toward themselves and the arts, we would like to offer workshops for the dancers.I would like to focus on bringing a richer education to our audiences and making it as simple as possible.
I would love to create a larger intellectual experience around ABT — even going into universities while we’re on tour, doing lectures. But that’s a bigger vision, the long game.Kenneth MacMillan’s “Romeo and Juliet” is one of the signature pieces that Ballet Theater performs just about every year and still gets full audiences. These are rich and meaty roles for our dancers to be able to sink their teeth into.
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