On the Other Side of the Curtain
By James Weis
I first met Naomi Tanioka after her performance in Val Caniparoli’s much-anticipated Jekyll & Hyde. Even from my seat, I knew we’d be friends—I’ve always admired diligence, hard work, and unwavering dedication. Since that time, I have witnessed her artistry pouring fiery life into leading roles, including the Sugar Plum Fairy and Snow Queen in Devin Carney’s The Nutcracker, George Balanchine’s Rubies, Cinderella in Devon Carney’s Cinderella, Wendy in Carney’s Peter Pan, Nellie in Val Caniparoli’s Jekyll & Hyde, Lucy in Michael Pink’s Dracula and Alex Ekmann’s Cacti. Naomi began a prolific career in dance as a young child at the Chida Toshiko Ballet Studio, where she developed dedication, adventure, and artistry that would decide her future. She left her home in Sapporo, Japan, very young after being invited to train at the Royal Winnipeg Ballet School in Canada. Naomi dedicated herself entirely to the intense demands of professional training, pushing the limits of her technique while deepening her artistic expression. Through countless hours in the studio, she refined the precision of her movements and the emotional depth and presence I have seen her bring to the stage.
After training in Winnipeg, Naomi joined Ballet Arizona, where she refined her artistry in classical repertoire before moving to Cincinnati Ballet. With a distinctive style and unwavering dedication, she has earned numerous leading roles, bringing depth and elegance to productions such as The Sleeping Beauty, Rite of Spring, Coppélia, Peter Pan, and Romeo and Juliet. Her resilience and passion serve as an inspiration to dancers, proving that perseverance leads to brilliance. In one of those special, fortuitous moments, Naomi collided with one of the kindest artistic directors in America, Devon Carney, when he was creating a work for Cincinnati Ballet. A turn here and a jump there, and the rest, as the cliché goes, is history. Devon invited the petite powerhouse to join Kansas City Ballet, where she continues to bring precision and heartfelt expression to every performance, carrying the discipline and passion that have defined her path. Some of the world’s top choreographers—Alexander Ekman, Helen Pickett, Annabelle Lopez Ochoa, Edwaard Liang, Jiří Kylián, Lila York, Adam Hougland, Mark Morris, and Septime Webre—have entrusted her with roles that captivated audiences and brought them to their feet. Naomi brings joy to everyone around her, creating a backstage camaraderie that feels like family during the holidays. Her versatile talent and drive have made her a beloved artist at the Kansas City Ballet. In March 2025, Naomi reached another milestone, earning the coveted role of Kitri in Don Quixote—a dream come true and another well-earned mark on her pointe shoes. I caught up with the ever-humble star by phone to learn more a few weeks ago, and what follows is our delightful interaction. JW: Have you always wanted to dance? NT: No, I was very shy. My mother took me to a small school, and I was too shy to try. But I made friends who danced and tried it out, and I immediately fell in love with it. It was a very small studio, and for a long time, I didn’t even participate in performances. I was like a shy kid, so I didn’t think I would like being on stage, I just wanted to have some time with my friends, mostly. But then my teacher insisted, because everyone else was performing and entering competitions. So, I did my first competition. I don’t remember how old I was, but that really changed it all for me. JW: Did you feel less shy once you did that? NT: (Laughs) I was so nervous before going on stage, and I felt sick, you know, feeling the pressure. And then as soon as I stepped on stage, everything went away, and I was just in the happiest place. And I really felt then that this is what I want to do. And you know, it was the best feeling. So, from then on, it was like a switch turned on. I was so into ballet and performing, and I was working hard every day to give a good performance. JW: So, when you found yourself on stage, not being shy, when you were not on stage, were you still shy in other situations of other people? NT: Yes, yes, for sure. I would not be shy with friends I knew, but I’ve always been very shy in new situations and when meeting new people. I’m always very quiet, but performing on stage is the most freeing experience. JW: You had me when I saw you first step on the stage. I knew I was seeing something very special. Was there ever a time when you thought you would like to do something other than dancing? NT: Yes. I went to my very first professional ballet school in Canada, and it was very strict. I got to dance a lot. And it was great for sure, a great training for me, but it was super tough as well, especially being away from home, spending 24 hours every day with my classmates. Each year after exams, the number of classes got smaller, and it was a very competitive environment, and at that point, it started to feel like I wasn’t enjoying dance anymore. It was more like competing with each other, just so focused on the numbers from our evaluation that really didn’t matter. It’s not the school’s fault either, because they did try to tell us that. You know, it’s not about the numbers. There are comments, too. I remember not focusing on the comments but focused on the numbers and comparing my numbers to my classmates, and that was very hard for me, and I felt I couldn’t achieve in this profession. JW: How old were you when you went away to school? NT: Thirteen until nineteen—six years. JW: What made you reconsider and commit to a ballet career after having doubts? NT: So, I decided that I wasn’t going back after my fifth year, I told myself that I’m going back home to Japan to university and focus on academic studies. But then somehow, this ballet teacher, not my primary ballet teacher, would sometimes come to our studio and teach and make choreography for us to perform, maybe once in two years or something. He heard about my stopping dance and reached out to me. And he basically convinced me that, you know, it’s too early for me to decide that, and I should maybe try a little longer, because he thought I really loved this profession. NT: Yeah, I spoke no English when I first went to Canada by myself, and I had no classmates who spoke Japanese. So, it was hard. But also, because I was so young, and, you know, ballet language is mostly French, which is very much used in Japan as well. So, I could completely understand the terminology from the ballet class. And so that wasn’t really too hard, taking ballet class, and the teachers were very understanding. I could somehow understand their corrections. I felt like all the friends around me didn’t care that I didn’t speak perfect English, and I made friends just fine. The language wasn’t really that much of a problem for me. Everyone was very nice to me all the time. JW: What was your first professional role, and what do you remember feeling as you stepped on stage for that debut? NT: My very first job was with Ballet Arizona. It was an outside performance, like a free performance, to bring new people to watch ballet. So, it’s a more casual performance. We danced a classic Balanchine choreography with an all-woman core that was so powerful, and every dancer got to dance a lot, and I loved that ballet. But there’s the first entrance with a group of women on stage that immediately starts with a big jump. And because I’m short, I always tend to be at the very front on the stage. When I took my first step onto stage, I completely wiped out. I’m on the floor, and I have to just keep going. And I was just so embarrassed, and it felt like, I just, you know, everything ended at that point. My very first performance, and I knew my career was over. But after the performance, a principal dancer in the company came up to me, and she was so kind to me. She told me how that happened so often in a professional career. And it’s nothing that I should worry about. And you know, it’s nothing to be embarrassed about. It just happens that there’s this live art. That really made me feel better. JW: Is there a role especially meaningful to you so far in your career—and why? NT: My favorite role? This key role of Kitri that I just did for Don Q. It has definitely become my favorite role so far. It was such a big moment for me, and I love the style of dance. Kitri felt so natural, and I could relate to her, and just dance from my heart. But I also love Balanchine’s Rubies, and I got to dance with Gavin. That was a very fun role that I love dancing as well.
JW. I have seen you and Gavin Abercrombie dance together quite a lot. I was surprised he was not your partner in Don Q. NT: I love dancing with Gavin. He is definitely my favorite person and partner. But Devon Carney, our artistic director, paired me with Josh Keisel. I have danced with him often in the past, in Nutcracker when I was Sugar Plum and he was the Cavalier, Giselle, and other pas, and I am familiar and comfortable partnering with him.
Joshua Kiesel performing Devon Carney’s Nutcracker with Naomi Tanioka Don Q is a full-length ballet. So, you know, definitely the biggest of the things we’ve done, and I really enjoyed partnering with him. I trust him very much, and what I enjoyed the most, especially for Don Q, are the big partner sections. But compared to other classical full-length ballets, it’s more of dancing side by side, more than turning me, lifting me in the air, or placing me. Half of it is dancing side by side and always having that connection. It’s more about taking each other’s energy and making it a cohesive relationship. So, I think what made this work, what made Don Q work so well with him, was that he just has this burst of energy. The role Basilio was made for him. Josh is so great at these explosive tricks and just giving, you know, owning it, and having that fiery Spanish player—having his energy. It translated to me, and I think that was what worked particularly well in this ballet. JW: Are there any dream roles you still hope to dance one day? NT: To be completely honest, I’ve never, I shouldn’t say never, but through my career, at some point, I’ve kind of given up on wanting to do principal roles in a ballet. I’ve made peace with myself, dancing for the ballet for the rest of my career. I would still be happy being on stage and dancing. So, I kind of stopped expecting dream roles. It kind of helps me not to feel disappointed. I don’t really have anything I have to do before I end my career, just kind of, whatever comes to me, I’ll give my 100%, and hopefully I enjoy every single moment of it. And that’s what I do. I love all the classical ballets, and I honestly dream of doing anything, like Giselle, Romeo and Juliet, and Swan Lake. It’s been a dream since I was very little. I would be so honored to get to do any of those roles. JW: I know you, and I know your humility. I know your generosity, and you still get great roles anyway. I’ve seen you in so many beautiful roles. So, I think you know that being comfortable, being in the core, being happy dancing, just no matter what’s happening, has brought a lot. Is there a choreographer you’ve especially connected with—someone whose process or vision resonated with you? NT: I love all the Balanchine ballets. I never got to do them until I came to the United States and Ballet Arizona. I felt so powerful dancing each of his pieces. But I don’t have one specific choreographer that strikes me as I’ve enjoyed all the choreographers I’ve worked with. JW: What’s been the most challenging physical, emotional, or mental obstacle in your career? NT: Um, yeah, I think it’s hard because, you know, in this art form, we have pretty short careers, and it’s so subjective. There’s nothing that determines if you can do this step, if you have this much cardio, this much stamina, to get a role you are hoping for. I feel, I really, truly believe that every single dancer is capable of doing a principal role. There’s always someone who will love you as a dancer, and there’s always going to be someone who won’t like your dancing. So, you need to just focus on yourself. And do it for yourself. Do it because you love the art form and you know it’s so hard not to feel like you’re not enough—that you’re not cut out for this profession, because it is subjective and there’s no guarantee in your position, and so that’s very challenging mentally. And it’s a process too, that even if you are doing the principal role and you know you’re valued, the process can still make you feel like you’re not enough. It’s hard to know that for yourself and always try your best in every situation. But at the end of the day, you just have to focus on that and do it for your love and the art form, not for every little thing you can focus on.
Naomi Tanioka and Gavin Abercrombie JW: How do you stay physically and mentally ready for the demands of your roles? NT: Yeah, physically, especially in a company like ours, we’re not always doing a classical ballet. We’re sometimes doing a contemporary rep and sometimes doing a rep without any pointework, and then go into something super classical. It’s important to always train your body, no matter what, even if we’re having an easier rep. If I’m doing more contemporary, less pointe shoe work, I need to make sure that I’m doing more pointe work in class and maybe even outside of class, so when your workload is more, your body can still take it and not be in shock. For me, mentally, it’s taking care of myself. Outside of ballet, I think it’s important to take time and not be consumed by ballet. It’s hard not to think about work all the time. Right now, I’m in the middle, somewhat elevated by foresight, to watch a million videos online. I can watch them forever—different dancers doing the same ballet. I can do that all day long, but I need to have time away from that and just spend time with my dog and Gavin. We go on walks and shop. I like sewing. This has been a hobby of mine for 10 years, maybe more. It takes my mind away from everything else—like a meditation. When my brain goes blank, I can just work and use my fingers rather than overthink everything, I guess. JW: How do you approach nutrition and wellness to support your dance? NT: I’ve gone on a roller coaster trip with this, and at one point in my career, I cut out gluten and restricted myself from processed foods, going as natural as possible. Or, you know, I’ve been on quite a few different diets. I find the best diets are for athletes. And after going through all that, I’ve realized, you know, I was adding so much stress to my everyday life. And stress is the worst thing for me. Eating out sometimes, or eating bad foods—I try not to think about all that. And, of course, I like cooking. I cook my meals most of the time, honestly, mostly to save money more than a health reason, but I try not to overthink so much on, you know, perfect diet, and just listen to my body and my soul and what I need in those moments and just try to be as free as possible. JW: On another topic, have you and Gavin danced Romeo and Juliet together? NT: We have not, but I would definitely love to do that one day. That would be a dream, because this is a personal one.
JW: It seems like you have met your personal Romeo. Do you care to elaborate? Do I hear wedding bells in the not-too-distant future?
Gavin Abercrombie, principal dancer at Kansas City Ballet, with fiancé, Naomi Tanioka. NT: Yes, May 31 is going to be our wedding day. And it’ll be in his parents’ backyard in California. It’s just going to be his immediate family and my immediate family, and maybe like a couple of friends, but it’ll be like a 15-person party, and very, very small. JW: When audiences reflect on your career, what do you hope they’ll remember about you as a dancer? NT: I think I just want to show my love and joy for dance, and that’s all I ever want—for the audience to feel my deep love and joy for dance. JW: Is there something about you—on or off stage—that might surprise people? NT: I definitely try to keep my positive, happy face on during work, but I am a stress bomb. I worry about everything so much, and I’m always so anxious and Gavin’s the only guy that has to do with that side of me, but it’s I’m, yeah, I can have bad days, but I always try to remember that, you know, this is all worth it, and this is what I love to do. JW: What is your favorite trait in a person? NT: Compassion. Someone who can take whatever you have and just sit with you and feel with you. JW: What is your least favorite trait in a person? NT: Self-centered. Thank you, Naomi Tanioka, for sharing your thoughts and dreams with me. My column is devoted to all those folks on the Other Side of the Curtain who make it rise and thrill audiences. You certainly know how to thrill every time.
Check out Kansas City Ballet
Melissa Hamilton
Interview Q&A - By Simon O'Brien & Elizabeth O'Brien
Melissa Hamilton - Dante Project
1, From the beginning, what first inspired your interest into learning to be a Ballerina? I loved being able to apply myself so fully to something. A challenge for both mind and body. 2, How did you find learning the art of Ballet, was it quite challenging or did it come quite natural to you? I would say I am still learning the art of ballet and always will be. It is a beautifully consistent challenge that provides never ending growth and development if you pursue it. 3, Can you tell us your feelings and emotions before, during and after a performance? Each performance gives a completely unique experience. There is a sense of anticipation on a performance day and my energies are normally channeled with the show in mind. During a performance I aim to be focused and present - this is how I find I get most enjoyment and fulfilment out of what is happening on stage. After a performance, I am usually filled with adrenaline making my emotions heightened. It usually takes some time to get to sleep after a show. 4, In terms of performance what Ballet have you found the most pleasure in performing and also what one have you found the most technically challenging? I’ve had so many memorable experiences from performances but dancing the role of Manon never fails to give me an emotional rollercoaster and I look forward to revisiting this ballet in March 2024 at the Royal Opera House. The role of Odette / Odile is most definitely a technical mountain and also Nikiya from La Bayadere - the challenge of being the pliant and dramatic temple dancer in the first act to transform into the pure classicism of the Shades in Act 2 is a great challenge. 5, What are the Ballet Company’s other than, of course your own, do you admire and why? I think there is a wonderful sense of class, elegance and refinement in the Paris Opera Ballet, musicality and excitement in New York City Ballet and technical prowess in American Ballet Theatre. 6, What is your opinion of Modern / Contemporary Ballet and the Ballet Companies and Choreographers that produce such work? People who are seeking to explore new ideas and make new work, coming from a need to transmit their creativity can never be at fault in my eyes. New work always makes for compelling viewing because it is something fresh for the eye. 7, Who in the past and present do you admire in terms of Ballerinas, Choreographers, Teachers, etc.? In the Royal Ballet there is a real sense of heritage and knowledge has been passed down through generations. When we are staging productions there is always a lot of care to deliver the piece as authentically as possible - so we will usually have stagers from the different trusts come in who are wonderful to work with. i.e., Ashton, Macmillan, and Balanchine trust to set the ballets. We are also lucky to have Wayne McGregor and Christopher Wheeldon in house quite often for creation and re-staging of their pieces, both of whom I have worked extensively with throughout my career. I travel often and perform alongside international ballerinas in my career. Working closely with dancers from all over the world has kept my vision open and inspired to the varying styles alive within our art form. Each admirable in their own unique way. 8, Is there anybody or Ballet company, that you haven't worked or performed with, in which you would like to work with in the future? The ballet world is huge and there are too many people that I haven’t had the privilege of working with and I love new experiences. I really would love to do more of William Forsythe’s work having only performed his Neue Suite, guesting with Semperoper Ballett. 9, How do you see the future of Ballet, in terms of its appeal and participation in the world today? I think, for our art form to survive and thrive, it needs to be able to adapt to the current expectations and taste of the audience. That said, we must not lose the fact that there is an irreplaceable special connection created between performer and audience during live performance that we must fight to uphold in an ever increasing “on-line world.” Yes, we need to make what we do accessible to wider audiences, but also actively seek ways to encourage people to still come into the theatre to experience dance live. 10, What has been, in your career to date, a highlight that you most remember and are fond of? I have been very lucky to have had the opportunity to perform with Roberto Bolle around the world but in particular multiple times in the epic Arena di Verona. Two stand outs there for me would be a performance of Kenneth Macmillan’s Romeo and Juliet Balcony pas de deux with him and this past summer’s performance which was hit by a huge storm. We embraced the elements and continued performing Carmen pdd by Amedeo Amodio in torrential rain and thunder and lightning - an experience I shall never forget.
Dancer of the year!
STEVEN MCRAE
PRINCIPAL OF THE ROYAL BALLET