Over the past seven years, significant shifts have occurred among artistic and executive directors in the ballet world, marking the beginning of a new era of leadership. Many long-serving directors, such as John McFall (23 years with Atlanta Ballet), Victoria Morgan (25 years with Cincinnati Ballet), and Helgi Thomasson (37 years with San Francisco Ballet), have retired or transitioned to new ventures. These departures open doors for fresh perspectives, yet they also present challenges that demand careful consideration. Ballet companies now stand at a crossroads, with the opportunity to embrace change while preserving the heart of their art.
A dancer is not necessarily a choreographer, a choreographer is not necessarily an artistic director, and an artistic director is not necessarily an executive director. While there are rare individuals who seamlessly navigate all these roles, each requires a distinct set of skills. Acknowledging this difference is crucial to finding the right leaders. In this time of transition, companies must seek not just any available candidate but the best fit for their unique culture, values, and long-term vision.
One troubling trend I've observed is the tendency of some new artistic directors to dismiss established dancers to make room for their favorites—whether these newcomers are talented or merely familiar to them. This practice disrupts the emotional connection between companies and their audiences. We, the ticket buyers, donors, and mentors, don’t attend the ballet simply to support an institution; we come to see the dancers we’ve grown to admire. These artists are the faces of your company. By letting them go prematurely, you risk alienating your core audience.
Consider this: when you fire a thirty-year-old dancer without just cause, you may be ending their career. Ballet companies often aim to retain dancers throughout their careers, with many, like Friedemann Vogel and Steven McRae, remaining with their companies for their entire professional lives. However, once a dancer reaches their thirties, few companies are willing to take them on. Their years of dedication, sacrifice, and training are disregarded, and their future in ballet becomes uncertain. It is critical to weigh the long-term impact of such decisions, as they can have lasting consequences—both for the dancer and for the company.
Hope Muir, upon taking the helm at Charlotte Ballet, chose a different path. Instead of dismissing dancers, she reassessed their strengths, introduced them to new methods, and developed a new era of stars. This approach not only preserves the company’s artistic integrity but also demonstrates a commitment to nurturing talent.
To new directors: Be kind. Think long and hard before letting go of dancers who have already thrilled audiences and will continue to do so for many years. Recognizing potential in dancers you haven’t yet worked with is a hallmark of a great leader.
For executive directors and board members, hiring new artistic leadership should be a holistic process. Don’t be swayed solely by a compelling interview. Candidates must have a clear vision for fundraising, donor relations, and community engagement, and they should present at least a three-year operational and programming plan. Furthermore, they must be committed to involving dancers in public events, creating opportunities for the audience to connect with them. This personal interaction can deepen audience loyalty and inspire greater financial support.
An artistic director must also collaborate effectively with the board, donors, and patrons, while balancing the needs of ticket buyers. They should conduct thorough research on your city and its audience to understand how to bridge classical and contemporary tastes. The key lies in respecting the legacy of long-time patrons who favor classical works while introducing them to innovative ballet in a way that sparks curiosity rather than alienation.
In the past twenty-five years, ballet has evolved, and so must its leadership. We must support both seasoned and new patrons alike, ensuring that companies remain both timeless and relevant. Finally, beware of headhunter firms offering candidates based on availability rather than suitability. As stewards of this art form, we owe it to the future of ballet to make thoughtful, deliberate decisions that will benefit not only the companies but also the art form as a whole.
Change is inevitable, but with care, ballet can continue to flourish.