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.
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From the Other Side of the Curtain
Interview with Amy Seiwert, Artistic Director, Smuin Ballet, San Francisco, California.
Review by: James Weis
Author 404-775-6699 | jamesweis98@gmail.com 2215 Strathmoor Blvd. Louisville, KY 40205
I traveled to San Francisco to experience one of the most refreshing holiday ballets I’ve seen. While nearly every company stages The Nutcracker season after season, Smuin Ballet offers a lively, whimsical alternative—blending everything from medieval elegance to the energy of 1950s swing. Amy Seiwert became artistic director of Smuin Ballet this past summer. Over brunch at Trace Restaurant in the W Hotel, we discussed her vision, the company’s unique approach, and what’s next under her leadership.
JW: So, there's a quote in San Francisco Bay Guardian. "You are the Bay Area's most original dance thinker, taking what some consider a dead language and using it as a 21st-century lingo to tell us who we are." That's a great way to begin your tenure. AS: That's the nicest thing anyone's ever said about me (laughs). JW: This interview focuses on artistic direction, not choreography—though I’d love to discuss that with you another time. Right now, you’re leading this company into a new chapter. What inspired you to step into artistic direction after years as a performer? AS: As a performer, your world is laser-focused on your body, artistry, and technique. As a choreographer, that focus shifts to crafting the best ballet—collaborating, refining, and pushing dancers beyond their limits. Over time, my priorities evolved. I still love choreographing, but constant travel has become less appealing. More than ever, I feel a responsibility to the art form itself—to create environments where artists thrive, and ballet resonates with today’s audiences. Someone once told me, “You make ballet not boring.” I replied, “Then you’re watching the wrong show.” My journey—from dancer to choreographer to director—has been about broadening my perspective. The more I see, the more I feel responsible for shaping ballet’s future and keeping it vibrant and alive. JW: Few artists transition successfully from dancer to choreographer to artistic director, let alone into executive leadership. John McFall did that seamlessly when he was at Atlanta Ballet. Did you have mentors or role models who shaped your vision as an artistic director? Was there someone whose approach inspired you—whether to emulate or improve upon? AS: As a choreographer, I worked with many companies, each excelling in some areas while struggling in others. That experience gave me a broad education—seeing what worked, what didn’t, and where organizations fell short. I wanted to fix those pitfalls, even when I couldn’t. JW: What was the most valuable lesson you learned? AS: Ballet Austin has inspired me with its deep sense of responsibility—to the organization, the dancers, and the broader community. They’re not just advocates for ballet but embedded in Austin’s culture. Cookie Weis once spent an hour on the phone advising me on stepping into artistic direction, even though she’s an executive director. One piece of advice stuck with me: write down your core values and look at them daily. Return to those values when faced with tough decisions—they’ll guide you forward with grace, even in the most challenging moments. If you can go back to those values and you know why you made the decision you did, you can stand by it with your values. JW: You’ve moved between artistic direction and choreography, returning to a creative leadership role. What drew you back, and how has that journey shaped your perspective? AS: Celia Fushille approached me before her retirement, so this transition was intentional, not dramatic. Michael Smuin opened many doors for me as a choreographer—when I got a commission, he’d adjust the schedule to make it work. I once missed a day for a project at Ballet Met right before a New York tour, and when he asked if it was necessary, I said yes. He figured it out. Celia was equally supportive, making me a choreographer-in-residence right after I retired from dancing. She gave me an artistic home here, and I feel a profound responsibility to honor her and Michael’s legacies in leading the company forward. JW: Were you appointed directly to this role, or was there a broader search process? AS: I can’t comment on that. The board decided, and I’m unaware of the whole process or any resistance. JW: What challenges come with stepping into this leadership role after years under previous directors? AS: Rebuilding the community post-COVID has been the biggest challenge, especially in San Francisco, where the "doom loop" narrative hurts public perception. A tour group was even canceled because people were hesitant to visit. While that’s finally shifting, the impact lingers, and bringing audiences back remains a hurdle. JW: How are you going to select choreographers to create new works? AS: I've got Jennifer Archibald in the first group this year. JW: I love her work. She had a premier for my company, Terminus Modern Ballet Theater, in Atlanta, and the same night, she opened another premiere for the National Ballet of Canada and another for you at Smuin. AS: I am bringing in Jennifer, Matthew Neenan, and Trey McIntyre—friends and past collaborators from my Imagery and Sketch series. I know how they work and the environments they create, and that mattered for this first season. Some choreographers tear dancers down; I didn’t want that experience here. A dance studio is inherently vulnerable—there’s heartbreak, but there doesn’t have to be cruelty. JW: What do you look for when casting dancers in lead roles? AS: What I love about Smuin is that we’re a small company where every dancer gets lead roles. In Christmas Ballet, casting goes up late because it’s a puzzle—we balance experience and growth. If a duet needs work, those dancers get more chances while being supported by seasoned partners. Dancers need opportunities to grow. We’ve all seen companies where the same couple performs every night, but that’s not the most exciting experience. Here, it’s all-star, no star—everyone shines. Casting is a team effort, and my rehearsal director, Amy London, plays a key role. Ultimately, we’re here for the artistry, not the money. JW: As you recruit new company members, what qualities do you look for in a dancer who will thrive in a smaller company? AS: Smuin is unique, and dancers tend to self-select. If your dream is Odette or Giselle, this isn’t the company for you. We look for dancers with strong ballet techniques and the curiosity to explore where that technique can take them beyond the classical mold. JW: Is it hard to either fire or not renew a contract? Does it make you lose sleep? AS: A lot keeps me up at night—coffee is a lifeline—but creating a space where people thrive is my top priority. It’s tough when a dancer isn’t a good fit, but honesty is key. Sometimes, firing is necessary, and I do it compassionately, recognizing their potential elsewhere. During the pandemic, I taught many people, including Julia, who is now with us. We talked about trusting the person in the room—if you don’t trust their feedback, you’re in the wrong place. It’s about fostering an environment where everyone is aligned and growing together. JW: I know you've got AGMA members, yeah. And I wanted to know if there's ever resentment when an AGMA member comes to you and says the dancers are unhappy about something. AS: Though we’re not an AGMA company, communication is essential. The dancers have elected reps, and we hold quarterly meetings to stay aligned. These aren’t just for problem-solving—they’re proactive. After our first series, we all came prepared with feedback—what worked, what could improve, and where we could grow. It wasn’t just about addressing issues but also celebrating successes and identifying opportunities for the future. JW: You're unique as being a small company. You're about 16 dancers. You're lucky to be that small of a company with less than 48 dancers. AS: No one's anonymous, right? We have that additional uniqueness of being a close-knit family. JW: How closely do you collaborate with the executive director and the ballet board in shaping the company’s direction? In your previous role, did you ever face resistance to your ideas, or did you have the freedom to pursue your vision as long as the results were strong? AS: That’s a bit TBD because the season we're currently in is one that Celia and I did together. But it's coming to where it will only be me, and we’ll have to wait and see. JW: What are the most critical aspects of balancing the creative and business sides of running a ballet company? AS: I once had a computer case with one side black and white, entire typewriter-like fonts, and the other side a rainbow spilling out of a brain—representing the left and right sides of the brain. I think I balance both sides, which I’m told is rare. In the end, it’s about the big picture. I don’t make artistic decisions based solely on vision if it means overspending—like spending $40,000 for something that could go toward dancer payroll instead. I’m all about finding creative solutions within the budget. While more money would be nice, I know how to manage a spreadsheet in the nonprofit world. JW: Do donors ever give feedback on what they like or don’t like? For example, you mentioned one donor who wished for more color, while you preferred the all-white design. Given your long tenure with the company, do you have strong relationships with most donors? AS: I know many of our donors and am working to connect with all of them. We’re fortunate to have supporters who genuinely love the arts and what we do. One major donor once said, “Everyone should hate one ballet on a program,” to which I responded, “I don’t want anyone to hate anything.” The lesson that you can’t please everyone is one I’m continually learning. My goal is for people to leave energized, even if they didn’t like the ballet but appreciated the dancers’ performances. As long as they’re not indifferent, it’s a win. I remember when I first started drinking wine in my 20s, feeling intimidated and unsure of how to talk about it. Ballet can feel the same for many people, but I want to break that barrier. We once had a group watch a rehearsal, then sit around with coffee and discuss what they saw. Many people, especially with contemporary ballet, wonder if they “got it right.” But there’s no right or wrong in experiencing it—what you feel is valid. I encourage people to embrace those emotions and dig deeper into their experiences. That’s the exciting part. JW: What kind of ballet work keeps ballet moving forward and attracts new younger donors? AS: I don’t think the issue is with contemporary work itself—pieces like Cacti and last year’s collaboration with a DJ and AI elements showed that we can pull in huge, new audiences who might not usually see ballet. The challenge is the perception of ballet. With Mere Mortals, for example, there was no mystery; the audience knew precisely what they were getting: a contemporary piece with a DJ score. The problem with labels like "Dance Series One" is they don’t tell anyone what to expect. Ballet can often feel like a secret club; we need to break that down. Ballet should feel welcoming, engaging, and inspiring. There’s value in stepping away from the traditional proscenium setting and creating more immersive experiences. Art doesn’t just happen when the curtain’s up and down. The entire audience experience—before, during, and after the performance—matters, and programming should reflect that. JW: What do you hope your artistic legacy will be? AS: (Guffaws.) That’s a big, spontaneous question I’ve never considered. If I’ve helped, it would be by fostering an environment where dancers can trust themselves and feel free to fail. As Gordon Moore, co-founder of Intel, once said, “If everything you do is working, you’re not trying hard enough.” You must take risks to reach the next level, even if things don’t go perfectly. I once watched a dancer, usually so controlled and perfect, push herself beyond that. It didn’t work out perfectly, but I was thrilled. She made a great choice, and I realized that’s how we dance—not by calculating every move but by taking risks and trusting ourselves. JW: Although you've just stepped into a leadership role at a ballet company, if you could direct any company worldwide, which one would it be and why? AS: I'm doing what I love in one of my favorite cities. So, it's pretty dang good. JW: What is your favorite trait in a dancer? AS: Curiosity. JW: What's your least favorite trait in a dancer? AS: Arrogance.
Val Caniparoli is an internationally acclaimed choreographer whose work spans classical ballet, contemporary dance, opera, and theater. With a longstanding association with San Francisco Ballet, where he began as a dancer, Caniparoli has become one of the most prolific and sought-after choreographers in the performing arts. Since its debut, Val Caniparoli's latest creation, Jekyll & Hyde, has electrified American stages. Commissioned by the Finnish National Ballet in November 2020 during the height of the COVID-19 pandemic, the work delves into the psychological conflict between good and evil within its titular character and humanity. Developed in collaboration with Kansas City Ballet, Caniparoli worked closely with music director Ramona Pansegrau to create a captivating score featuring compositions by Polish composers. In addition to Jekyll & Hyde, Caniparoli is celebrated for choreographing over 250 works for companies worldwide, including five distinct productions of The Nutcracker for the Royal New Zealand Ballet, Louisville Ballet, and others. His career spans a remarkable range, from full-length ballets to innovative shorter works, solidifying his reputation as a dance, opera, and theater visionary. Recently, I sat down with Val in his hometown of San Francisco to uncover what drives his artistic brilliance—and let me tell you, the energy is palpable. Val Caniparoli (photo) James Weis: If you weren't a choreographer, what would you have done? Val Caniparoli: (Laughs) Oh, it would be performing arts. Because I studied music since I was seven or eight, I was in all the plays and musicals in my high school. I was in the music department at Renton High School in the state of Washington. We had an excellent, better-than-normal high school performing arts and music department. I would have pursued that area. I didn't know about dance until I went to college. JW: What drew you to choreography with all the other career paths you could have chosen? VC: The light bulb went on when I joined the San Francisco Ballet or even in the school. I was amazed by the diversity in the back end and the range of choreographers worldwide. Having studied music, theater, literature, acting, and directing, I realized I could bring all those elements together. Sitting in a ballet studio, I thought, "I can do that!" It felt almost natural like my background had led me to it in a way I couldn't have planned better. JW: Very few dancers can just switch to the skill set of choreography. VC: Right. JW: From what I have seen, it has to be an innate passion. From the very beginning when you watch other choreographers as a young dancer. VC: What I learned before becoming a choreographer is crucial—many don't know how to read music or follow a score, which I find surprising. My music, theater, and other arts background helped me without even realizing it. My parents taught me these things, and it naturally led me in this direction. It gave me a different approach as a choreographer compared to someone who only studied dance or came from a theater or art background. My varied experiences set me apart and shaped how I work. JW: As a choreographer, there's another important layer, one you have, which is the skill set of leadership. VC: Absolutely. It's like being an artistic director—you have to understand that not everyone is the same. People have different personalities and ways of learning. Knowing the room and how each person contributes to the process is crucial. Whether you're a choreographer or artistic director, recognizing these differences is key to making the work successful. JW: How did your experience as a dancer inform your choreography? VC: I appreciate choreographers who allow room for interpretation and encourage questions. I never liked working with those who were rigid and didn't listen. Collaboration is key to me, and I want dancers to feel invested in the process. I've made it a priority to ensure everyone's ideas are heard, as it leads to a more engaged and meaningful experience for everyone involved. JW: I agree. John McFall invited me to observe new choreographers at the Atlanta Ballet, and I loved seeing how some engaged dancers developed new works. Watching dancers share their ideas or suggest adjustments to movements highlighted the true essence of creative synergy for me. Seeing how collaboration shaped the work from start to stage was inspiring. VC: (Smiles) I love that! JW: When did you realize contemporary work's role in pushing ballet forward and engaging younger audiences? VC: (Laughs) I'm not sure what "contemporary work" even means. For me, it's always been the norm. When I joined San Francisco Ballet in the '70s, we were already incorporating contemporary pieces—probably more than classical. I've always expected it in any company I work with. JW: Have you faced resistance to introducing contemporary work in classical-focused companies? VC: Not really. Most companies already include contemporary works. The challenge can be the subject matter—especially if it's controversial. You have to gauge the audience and understand the climate. Some artistic directors may shy away from certain topics, but that's becoming less of an issue over time. JW: You pioneered works like Open Veins for Atlanta Ballet when others hesitated. How was that experience? VC: It was great, especially with John McFall. He was open to contemporary work, trusted me, and shared a similar background from San Francisco Ballet. He was willing to take risks, even when other companies were more cautious. JW: Have you faced challenges with artistic directors who didn't align with your vision? VC: Yes, but I'm always upfront. My concepts are clear, and companies know what they're getting before I arrive. Disagreements happen, but I'm prepared for them. JW: Do executive directors interfere with the artistic process? VC: Not usually. Any issues are more logistical, like contracts or travel. They don't affect the creative process. JW: What about pushback from boards? VC: Boards aren't typically a problem. I encourage transparency, especially if there's controversy. I keep everyone informed, no matter their political stance. JW: Given the trend towards adapting literary classics, how did you choose Jekyll & Hyde? VC: It's rooted in my love for classic monster movies like Frankenstein and The Mummy. I've always been drawn to the duality in characters, and I wanted to explore that with Jekyll & Hyde, focusing on their contrasting personalities rather than a romantic or abstract angle. JW: Is selling a full-length ballet like Jekyll & Hyde more challenging than shorter works? VC: Yes, full-length ballets are harder to market. Marketing teams prefer shorter works that fit into a broader repertoire. But Jekyll & Hyde has translated so well, and the dancers really brought it to life. JW: The dancers at Kansas City Ballet were incredible. VC: (Smiles) Yes, Gavin Abercrombie and Cameron Thomas really brought the characters to life. It was a great triumph. JW: What's the most challenging part of collaborating with a composer and costume designer? VC: It's actually the most fun part. Everyone—composer, costume designer, lighting—gets involved in shaping the concept. The tough part is commissioning a score, especially when I'm working with synthesized versions or piano reductions. I prefer using existing music like in Jekyll & Hyde, which guides the choreography. JW: What role does music play in your choreography? VC: Music is 95% of the success of my work. It has to support the choreography and the idea behind it. If the music doesn't work, nothing else will. JW: How do you approach dancers to help them understand your vision? VC: I'm good at reading the room and making dancers comfortable quickly. With Kansas City Ballet, their enthusiasm was contagious, which made it easier to connect. JW: What about navigating power dynamics in the studio, especially with core dancers and seasoned stars? VC: It's tricky. I don't focus on stars as vehicles for their own spotlight. If I use a star, it's a collaboration with everyone. I also love discovering hidden talent in the back of the room. That's how I got my start. JW: Has a dancer's interpretation of your direction ever surprised you? VC: Constantly. In Jekyll & Hyde, dancers at Ballet West brought fresh perspectives that made me think, "Why didn't I see that before?" It's exciting to see how they breathe new life into a concept. JW: Were the dancers already cast when you decided to make changes? VC: Yes, but I'm good at reading the room. If someone isn't quite hitting the mark, I give them time, and my intuition is usually right. JW: How do you work with classically trained dancers not yet comfortable with contemporary physicality? VC: I can spot them right away. If they're stuck in classicism and unwilling to move beyond it, they're not right for contemporary work. JW: Have there been moments when a dancer's interpretation made you reconsider their role? VC: Absolutely. Sometimes, a dancer needs more time to grow into their role, and I'm rarely disappointed when I give them that time. JW: Any dancers that stand out as particularly inspiring to collaborate with? VC: Yes, Joanna Berman, Tilt Helimets, Evelyn Cisneros—they had a beautiful freedom of movement and were committed to bringing the vision to life. JW: Have you ever encountered a dancer who seemed right for a role but then fought you once they were out there? VC: Not really. I can usually read through those moments. Some dancers may seem unsure at first, but they often deliver once given space to find their way. JW: What role do dancers play in shaping the final version of your choreography? VC: Dancers make or break the ballet, along with the music. I always invite their input from the beginning, which not every choreographer does. JW: Is there a hallmark to your work, or does each piece stand on its own? VC: The work is varied, but certain "Caniparoli-isms" pop up. I love working with a wide range of music. JW: What do you hope audiences will remember about your work in the future? VC: Honestly, I don't think anyone will care decades from now—and I won't either! (laughs) JW: How do you want to be remembered as a choreographer? VC: I want those I work with to remember the process fondly. When a dancer shares how a role changed them, that's the best feedback. JW: Do you have a favorite work, or do they each become your favorite during the creation? VC: They all blend together. I know which ballets I don't want to revisit because the process wasn't enjoyable, even if successful. But I always carry the choreography I loved from those pieces into others. JW: You studied music. How has that affected your choreography? VC: It's a major influence. I hear all the layers in music that others don't, and I choreograph to those nuances. Ramona at Kansas City Ballet even says I hear music differently, which makes my work unique. JW: A dancer shared that a choreographer created a solo but seemed disinterested, leaving the dancer to handle it. How do you feel about that? VC: That's lazy. If the choreographer isn't invested, how can the dancer be? I would never take on a commission I wasn't fully committed to. JW: How do you measure the success of your work? VC: Success is achieving my original intent. If I feel I've accomplished that, I'm happy. JW: Is there a piece you've always wanted to choreograph but haven't yet? VC: Probably a list of 40 pieces! (laughs) But time's ticking. JW: What traits do you value most in those you work with? VC: Openness. JW: What's your least favorite trait? VC: Resistance. James Weis (photo) As I wrap up this conversation with Val Caniparoli, I am struck by his refreshing candor and boundless creativity. Even after decades of leading dancers to captivate audiences around the globe, he remains brimming with ideas that promise to keep us—ticket buyers and dance lovers—cheering, crying, and falling deeper in love with the art form for years to come. I hope this glimpse into the passionate world of choreography has offered insight into the artistry and dedication behind the magic on stage.
Smuin's The Christmas Ballet
November 23 - December 24, 2024
Smuin Ballet's The Christmas Ballet is the ultimate holiday treat—it sparkles with elegance and mischief that delights audiences and had me mesmerized. We are all accustomed to ubiquitous Nutcrackers in every ballet. Although most are beautiful, I find them redundant. I have seen over 200 performances in the US and Europe since I was four. So please forgive me if I am a bit Nutcrackered out. I was primed and ready to be entertained and walk away whistling 'We Wish You a Merry Christmas'— and I still am this morning. Each year is different, and each show may not be the one from the day before. Choreographers have continually contributed a wide range of works interspersed in random performances. Smuin's artistic director, Amy Siewert, created seventeen of these scenarios alone. Divided into two acts, this delightful ode to Christmas, "Classical Christmas" and "Cool Christmas," offers something for everyone, from the lovers of tradition to those who prefer their holidays with a wink and a shimmy- and several hearty belly laughs.
"Classical Christmas"
This act is all about the timeless beauty of the season. Picture graceful dancers gliding through luminous snowflakes dressed in creamy white to the sounds of Handel and Bach. It's as if a Christmas card came to life—refined, elegant, and steeped in tradition. Whether it's the reverent hush of Ave Maria or the serene glow of candlelit choreography, this part feels like stepping into the magic of a silent winter's night.
"Cool Christmas"
With a jingle and a swing, the second act kicks off in style, trading solemnity for sass. Dancers strut, shimmy, and sparkle to jazzy takes on holiday classics like Santa Baby and Feliz Navidad. Think high-energy kicks, playful winks, and costumes with a cheeky holiday twist. It's a little naughty, a little nice, and a whole lot of fun. I could barely stay in my seat when three dancers dressed as fully decorated Christmas trees tap danced to "Winter Wonderland," eventually melting into the floor. Hysterical! The real magic of Smuin's The Christmas Ballet lies in its ability to balance tradition with modern-day pizzazz. It's heartwarming one moment and laugh-out-loud delightful the next—a perfect holiday confection. Whether you leave humming a carol or chuckling over a cheeky moment, this Christmas tradition makes even Scrooge smile. Not only am I returning today, but I will also return next year to get a dose of happiness. James Weis for danse.org
Venue: San Francisco
Date line: December 13, 2024