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Saying Goodbye To Atlanta Ballet’s John McFall

May 20, 2016 by 4dancers

John McFall with dancers
John McFall and dancers from Atlanta Ballet. Photo by Brian Wallenberg.

Dear John,

You are stepping down as Artistic Director of Atlanta Ballet this month after 21 years. How to describe what your tenure accomplished? How to distill such a career?

I could talk about the numbers. How the budget has nearly tripled since 1994 or the 1200 students enrolled in the school. I could talk about how Atlanta Ballet has transformed in your two decades from a regional dance troupe to a world-class institution. About the exciting collaborations- Big Boi from Outkast, the Indigo Girls. Or about the world premieres- Twyla Tharp’s first full length ballet, Helen Pickett’s Camino Real. I could talk about the tour to China, the opening of a beautiful new building, your own choreography including the record-breaking Nutcracker. I could talk about the cutting-edge choreographers like Ohad Naharin, Alexander Ekman and Jorma Elo that you convinced out of a sheer doggedness and passion for your dancers to come to a city in the Southeast and bring their work to us.

These things are astounding, valid and commendable. But you know all these things already.

And this letter isn’t about what you’ve done for Atlanta Ballet. It’s what you’ve done for me and your dancers. So I’d rather talk about the joy. [Read more…]

Filed Under: 4dancers Tagged With: alessa rogers, Alexandar Eckman, artistic director, atlanta ballet, Atlanta dance, Camino Real, helen pickett, john mcfall, jorma elo, Ohad Naharin, twyla tharp

Hidden Gems: Ballet’s Mixed Rep Programs

March 18, 2016 by 4dancers

MCV1
Atlanta Ballet dancers backstage at a performance of Yuri Possokhov’s Classical Symphony. Photo courtesy of Alessa Rogers.

by Alessa Rogers

Mixed repertory programs can be a tough sell for ballet companies. Audiences are more willing to shell out money and time to see something familiar; like the story ballets Sleeping Beauty and Swan Lake, of which they already know what to expect and are thus more comfortable. Marquis productions are what bring in the money with their splashy titles, character-driven works, happy or not so happy endings. But there is a younger sibling to the more traditional full-length narrative ballet that deserves just as much audience respect–the mixed repertory program.

Mixed rep defined

A mixed rep show is a stylistically diverse program of multiple shorter works–generally 3 or 4 pieces, each around 15-30 minutes in length, and usually all by different choreographers. Some follow a narrative arc where others are movement for movement’s sake. Unless an artistic director has chosen a unifying theme for the program the pieces stand-alone and are unrelated which leads to a surprising, fresh and exciting program.

Bite-sized dance

In this day and age of instant gratification, a mixed rep show may just be what an entry-level balletomane needs. A 20 minute piece followed by a break to check in to the theater on Facebook and send a few selfies in your theatre-going finery followed by another 15 minute burst of culture a couple more times? Yes this is what 21st century audiences can do at a mixed rep show! No need to buckle your seatbelt for a 3 and a half hour show of the same tortured heroine (though that is perfect for some people). The commitment is less but the pay off is still great. It’s like being served 3 of the most exquisite appetizers and not even needing to order an entrée because you are so satisfied from that.

But besides the practical logistics of maintaining your social life while gaining some culture cred, mixed reps offer something really special. I did a little bit of market research while writing this post, i.e., I asked my boyfriend what he thinks about mixed reps. He is a typical young American male engineer who likes watching basketball, playing chess and not going to ballets (until he met me that is–now he is horrified that he might have missed out on all those Nutcrackers!) Turns out, mixed rep programs are his favorite shows to go to. “They are good for people with short attention spans and there is more of a chance to see something you really like because there are three distinct pieces. Sometimes a piece might be weird and polarizing but in the end that makes it more exciting. And you are exposing yourself to the most density of dance experience in a short amount of time.” (Did I mention he has a Ph.D.? He is very smart and should be trusted.)

21st Century ballet

Mixed rep programs are fun because you never know quite what to expect. This is not stereotypical ballet. In a single show you might see classical ballet, neoclassical, contemporary, a blurring of all of these, or something completely different. There was one mixed rep at Atlanta Ballet that had not one single pointe shoe the entire evening. There were cowboy boots and jazz shoes and bare feet but nary a pointe shoe in sight. This is ballet? Yes, this is ballet in the 21st century and it is glorious. Mixed reps are where ballet evolves and grows up and changes with the times. This is where performers and audiences stretch themselves to the limits, breathing new life into an old art form.

MCV2
Atlanta Ballet dancers dressed for Ohad Naharin’s Minus 16 on tour in Toronto. Photo courtesy of Alessa Rogers.

In a mixed rep program at Atlanta Ballet the audience is treated to some of the world’s greatest choreographers, like Christopher Wheeldon, Wayne McGregor and Jorma Elo. These in-demand dance makers from all over the world are heading South with their ballets. Atlantans don’t have to travel to places like New York and Europe to see these masters. They are coming here. At the same time, many companies use mixed reps to foster their budding in-house choreographers. In a 2014 mixed rep program, I was fortunate enough to be in pieces by internationally acclaimed choreographers Alexei Ratmansky and Ohad Naharin, but it ended up being Atlanta Ballet dancer Tara Lee’s premiere that was most special to me. There is a different dynamic in being choreographed on by a fellow dancer. She knows everything about me as a dancer, what I’m good at, what I’m bad at (and still cast me!), and it formed a kind of trust between her and her cast that was so strong.

In the program Atlanta Ballet is currently preparing for, all three works were world premieres on Atlanta Ballet at one point or another. When new pieces are being created, the studio is fecund with creativity, energy and excitement. Mixed rep shows are where we get to work with choreographers we have always dreamed of working with. I think at Atlanta Ballet this is really where we shine–in collaboration and in versatility. Working with these choreographers in such varied styles is how dancers become versatile artists. Young dancers often get their first chances to be featured and shine alongside virtuosic veterans. It can be hard on a body to go from Possokhov’s Classical Symphony to Gustavo Ramirez Sansano’s El Beso in the same night because the qualities are completely different but we crave the challenge. It fills us up. Mixed reps are where we find and push our edges. Even if there is one piece we don’t particularly like or isn’t suited to us we can work on growing in that one and really enjoy the next. There are extremes and there is balance and there is, always, beauty and joy.


When it comes to mixed rep programs, there are plenty of reasons to attend. Choreographer Gustavo Ramírez Sansano shares some thoughts on the value of experiencing a range of different contemporary dances:


Atlanta Ballet’s 20/20: Visionary program is a mixed rep offering that runs from March 18th through March 20th, 2016. Tickets are still available.


Alessa RogersContributor Alessa Rogers began her dance training with Daphne Kendall and left home at fourteen to attend the North Carolina School of the Arts. Upon graduation she spent one season with North Carolina Dance Theatre II before joining Atlanta Ballet where she has been for the past eight years.

Favorite roles at Atlanta Ballet include Juliette in Jean-Christophe Maillot’s Romeo et Juliette, Margaret in the world premiere of Helen Pickett’s The Exiled, Lucy in Michael Pink’s Dracula, Ophelia in Stephen Mills’ Hamlet, Lover Girl in David Bintley’s Carmina Burana, and Princess Irene in the world premiere of Twyla Tharp’s The Princess and the Goblin.

She has performed works by Jorma Elo, Wayne McGregor, Ohad Naharin, Christopher Wheeldon, Christopher Hampson, Dwight Rhoden and Tara Lee. She has been a guest artist with the National Choreographers Initiative in California and Terpsicorps Theatre of Dance in Asheville, N.C.

In her spare time she likes to read, write, cook vegetables, meditate, travel and rock climb.

Filed Under: Editorial Tagged With: Alessa Ashley Rogers, Alexei Ratmansky, atlanta ballet, Ballet, christopher Wheeldon, Classical Symphony, gustavo ramirez sansano, jorma elo, Mixed rep program, mixed repertory, Ohad Naharin, Possokhov, swan lake, tara lee, Wayne McGregor

10 Questions With…Luke Willis

March 22, 2010 by 4dancers

This week we have 10 questions with Luke Willis of  San Francisco Ballet….enjoy!

Please tell me your name and your current job title. 

Luke Willis, San Francisco Ballet, Corps de Ballet

1. How did you get into ballet and what made you decide to do it for a living?

Well I’ve always danced.  I remember when I was a kid my dad was always very proud because I could do any dance moves that the fly girls did when we all watched in living color together. I used to create shows with my little brother and I ended up going to an arts high school for acting. I was at Boston University still studying acting when I fell in love with ballet. I was going to every performance of the Boston Ballet I could and I started taking open adult ballet classes around the city.  Eventually I enrolled in a dance minor at my university. I was given a scholarship to spend a summer at Jacob’s Pillow and two weeks later I withdrew from the university and enrolled in classes at Central Pennsylvania Youth Ballet. Now here I am.

2. How did you wind up at San Francisco Ballet?

I sent in a video tape and Helgi asked me to come audition in person. He offered me a job after two days of taking company class.

© David Allen

3. What is it like to dance with the company there?

It’s fantastic. I am living my dream. The hours are long. The emotional and physical stress is difficult. But, in the end I’m doing what I love for three thousand people every night.

4. Can you share an especially great moment from your career thus far?

Hmmm, so many. I have to say I really enjoyed dancing Nicolo Fonte’s Left Unsaid in Gucci suits on an outdoor stage, on an oceanside cliff in Greece. That was special, but there are so many moments like that that I have stored up in my memory bank. Every moment is special when I am dancing.

5. What tips would you give male dancers who are serious about doing this professionally?

The same advice I would give females, work hard, everyday, and stay positive. Also, watch dance as often as possible and form your own opinion of what you think is beautiful and what dance should be.

6. Who are some of your favorite dancers, and why do they appeal to you?

It’s a difficult question because I admire so many other dancers and Im always looking for something to love about each one so that I can incorporate those traits into my own self as a dancer. But, I admire all of my co-workers here in San Francisco.  They are all artists with strong commitment and something vital to share with an audience. I also love Katie Dehler of my former company, Aspen Santa Fe Ballet. Her dancing is cathartic for the audience members and her work ethic is incredible.

7. What about favorite ballets? Any that you just love performing or watching?

Anything by Jorma Elo. I love to watch and dance his ballets. They are all seamless journeys and they excite and inspire the dancers and the audience. As for full lengths, I have yet to dance the lead in a full length, but I dream of playing Romeo one day. I will be very good in that role. I’m also very excited about John Nuemeier’s the Little Mermaid which we are dancing this summer. I like dancing my role, but I think I would be fantastic as the Poet which is the character in the ballet that represents Hans Christian Anderson, the author of the fairytale.

8. You write about dance as well–can you tell readers a bit more about that?

I write for two different blogs. I recently started Dancing Raw where I talk about what I eat and how it relates to the demands I make on my body everyday. I also write for the San Francisco Ballet’s blog, called Open Studio 455.  That is a more general blog about dancing with San Francisco Ballet. I have entries about what I do on my lay off, or stories about when I was cast in a principal role and only had one week to learn it, etc.

9. Have you ever had an injury that sidelined you? If so, what was it and how did you deal with it?

So many. Mostly I have tendonitis. I rest and find cross training options that help prevent re-injury. Yoga is my favorite cross training for injury prevention.

10. Can you share a bit about any new projects you are working on?

The Little Mermaid is going to be really great. You should come see it.

Filed Under: 10 Questions With..., 4dancers, 4teachers Tagged With: boston ballet, jacob's pillow, john nuemeier, jorma elo, katie dehler, little mermaid, luke willis, nicolo fonte, san francisco ballet

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