Pointe Stars

Julie Kent on Her First Year as an Artistic Director

Photo by Jayme Thornton for Dance Magazine

For former American Ballet Theatre star Julie Kent, this has not only been her first year at The Washington Ballet, but her first year as an artistic director. How has it been going? We caught up with her during the company's run at the Jacob's Pillow Dance Festival last week, its first visit since 1980. "It's a big change," says Kent. "There have been some exciting, wonderful aspects of that change—feeling embraced and excited—and the community is really eager to see what the next chapter for The Washington Ballet is."

"[It's also] my first year in a creative environment with a different group of people than American Ballet Theatre," she continues. This move away from ABT, where Kent was a dancer for 29 years, appears to have been a bigger transition for her than assuming the directorship. Kent, who had been adamant on her retirement from the company that she did not want to leave New York City, surprised all by moving her whole family to Washington, D.C., an area where she had grown up but had not lived in since the age of 16. Her husband, former ABT dancer and associate artistic director Victor Barbee has also joined TWB as associate artistic director, supporting his wife in this new endeavor.


Kent's vision for TWB is ambitious and fresh: to have a company that is locally supported, yet also to have a national and international reputation. "Excellence is not defined by size," Kent emphasizes. "It's not that you need to have a ballet company the size of ABT or New York City Ballet or The Bolshoi—but you need to have the works tailored and curated to scale that fits your venue and your budget."


The Washington Ballet at Jacob's Pillow. Photo by Brooke Trisolini, Courtesy Jacob's Pillow Dance Festival.

To be invited to the Pillow was, as Kent puts it, "exactly the kind of wind to put into our sail," and a vital step in showing and developing the company's national reputation. In selecting the works for the company's Pillow performance, Kent tried to choose pieces that would reflect her tenure, including Jiří Kylián's masterly Petite Mort, Alexei Ratmansky's technically demanding Seven Sonatas, (a new work for TWB and one for which Kent was an original cast member), and Annabelle Lopez Ochoa's SOMBREISIMO, a stunning work which highlights the company's men.

Kent has three main elements to her vision for TWB. The first concerns her own artistic voice as an "American artist, a woman, a mother, a ballerina" and the significance of this in shaping the artistic landscape of the nation's capital.


Secondly, she wants the company to be art focused. Kent aims to "create and curate an institution that produces excellent art" as well as to develop the "opportunity for the audiences and dancers to fulfill their potential."

Her third aim concerns arts education, including The Washington School of Ballet; this, she explains "shapes lives in such an important way and enables children to learn so many skills. Yes, it is about producing the next generation of dancers but," Kent stresses, "it is more about producing the next generation."

One year in Kent is, she explains, "excited to have turned the final page on chapter one, and to have started chapter two with this great experience at the Pillow."

popular

Rigorous program, check. Well-rounded technical training, check. Purposeful liberal arts curriculum, check. Study your craft abroad, check! If you are looking for all the above, the Joan Phelps Palladino School of Dance at Dean College truly has it all.

Keep reading... Show less
Photo by Theo Kossenas, Courtesy The Washington Ballet

You made a deal with your mom to take ballet classes in exchange for a ride to tryouts for the football team. How did that work?
I thought that I would take ballet for a couple months, become a master and then leave that alone and concentrate on football. Ballet had other ideas, which perplexed me, and ultimately, I think, made me fall in love with it.

How is The Washington Ballet evolving under Julie Kent's leadership?
It's still early, but I think that the company is growing stronger classically. And we have Julie, Victor Barbee, Xiomara Reyes and Rinat Imaev—a great team of people who are giving their input and expertise, which is quite helpful.

Mack in 'Swan Lake.' Photo by Theo Kossenas

Keep reading... Show less
Summer Study Advice
Summer intensive students at the School of American Ballet. Photo by Rosalie O'Conner, Courtesy SAB.

As a young student, Shea McAdoo's classes at the Master Ballet Academy in Scottsdale, Arizona, were “strict, straightforward, very classical and purely Vaganova." She appreciated the Russian rigor and precision, but when she was accepted to the School of American Ballet's summer course at 13, she leapt at the chance to learn something new. The vastly different emphasis on Balanchine technique at SAB was illuminating: “It changed my whole way of thinking about musicality and accents. I'd never known there were so many ways to do a tendu! And the épaulement—I loved how they talked about light hitting your face, tilting your chin to show off your diamond earring."

McAdoo's experience was transformative, even when she returned home. “Of course, I lowered my arms back down in second and didn't cross my wrists," she says, “but there were stylistic choices I brought back with me." Today, as an apprentice with Oregon Ballet Theatre rehearsing Balanchine's Serenade, she credits her ease with the ballet's fluid port de bras to her summer at SAB.

Learning about ballet's various styles and techniques is an important part of a dancer's development. With summer intensive auditions approaching, it's a perfect time to consider broadening your training. While it can be initially confusing, immersing yourself in a style outside your comfort zone can be eye-opening and influential for your future training and career. And the benefits of diversifying your training can last beyond a single summer.


Shea McAdoo in OBT's production of "Paquita." Photo by James McGrew.

Let Curiosity Be Your Guide

Keep reading... Show less
Summer Study Advice
Thinkstock

As summer intensive audition season starts up, I've been reminiscing about my own experience as a young dancer—way back in 1993—and how challenging it was to navigate. In fact, I think it's safe to say that my first summer program audition was a complete disaster.

I was almost 16—a little late by some standards—and was still pretty clueless as to how I compared to others outside my hometown. That weighed heavily on my mind as my parents and I made the hour-long drive to Milwaukee. The audition was for a school in Pennsylvania, and as I scanned the big-city studio, my mind slipped into exaggerated teenage self-consciousness. Dancers lined the barres stretching, showing off their flexibility as if doing some sort of war ritual. Many were chatting in groups, wearing trendy warm-up jumpers and donning perfectly shellacked buns. I tried to act like I knew what I was doing, but inside I was a wreck.

The teacher clapped his hands together to begin class. He was fast-paced, no-nonsense and not one for smiles. During pliés, he stopped in front of me with his clipboard as I emerged from a cambré back. He looked me up and down, frowned and kept going. I, of course, freaked out—what did that mean? I still had an entire hour and a half left of class to prove I was still capable, but instead I completely lost my concentration. I just couldn't shake that frown. I forgot combinations and even started with the wrong foot in front a few times in center. By jumps, the adjudicators had stopped watching me altogether. Needless to say, I spent the majority of the ride home trying not to cry.

Keep reading... Show less
popular
via YouTube

It's finally the weekend, and we're celebrating the best way we know how—a new ballet video. Juliet Doherty (who trained with San Francisco Ballet and Master Ballet Academy, and is set to star in the dance film, On Pointe), teamed up with Cartoon Network for her latest project.

"Cartoon Network contacted me about their show, Steven Universe, which was coming out with a new vinyl album of the soundtrack of the show," Doherty shared with Pointe. "They told me about one of the show's main characters named, Pearl, who is a strong-willed character but has the grace inspired by a ballerina."

Keep reading... Show less
Videos
Mr. Jeremy FIsher, from Sir Frederick Ashton's "The Tales of Beatrix Potter."

Animal roles might not typically be what dancers dream of performing…but they're oh-so-fun to watch. You can't help falling under their spell (and perhaps aspiring to dance one someday). Here's a round-up of some of our favorite furry and feathered roles.

Bunny Hop

Run. Dance in a circle. Pretend to be a rabbit. It might sound like a creative movement combo, but don't let that fool you. The role of Peter Rabbit in Sir Frederick Ashton's The Tales of Beatrix Potter requires fierce technique—not to mention the ability to project personality while wearing an animal head and fur suit.


Four-Legged Interlude

Who do you turn to for halftime entertainment during a quartet of fairy variations? Dancing lizards, mice and a frog of course! This charming quintet of creatures light up the stage in David Bintley's Cinderella.

Keep reading... Show less

Sponsored

Videos

Sponsored

mailbox

Get Pointe Magazine in your inbox

Sponsored

Win It!