Boston Ballet's Irlan Silva. Courtesy Boston Ballet.

2014 Stars of the Corps: Seven of Ballets Next Breakout Stars

This story originally appeared in the August/September 2014 issue of Pointe.

In every corps de ballet there are certain dancers who shine. Here are seven with bright futures ahead.


Amanda Assucena, Joffrey Ballet

Assucena in Krzystof Pastor's Romeo & Juliet

Cheryl Mann, Courtesy Joffrey Ballet

Not many first-year company members get the chance to perform a principal role, let alone two—but last season, the Joffrey Ballet's Amanda Assucena did just that. In addition to dancing the Sugar Plum Fairy in the company's production of The Nutcracker, Assucena, then 19, was cast as the lead in Krzysztof Pastor's Romeo & Juliet. "Dancing Juliet was something that I never expected my first year as a professional," she says.

Trained in her native Brazil, Assucena moved to the U.S. and spent four years at The Harid Conservatory before joining the trainee program at the Joffrey Academy of Dance in Chicago. After just one year, she received a company contract. With out-of-this-world extensions, spot-on technique and a delicate softness to her movement, it's easy to see why she's getting noticed. But it's her ability to embody characters honestly that sets her apart. With Joffrey's wide-ranging rep, Assucena hopes to absorb as much as she can from her fellow company members.

Now that Juliet and Sugar Plum are under her belt, what does she hope for next? "One of my dream roles is Giselle," she says. "After the Rain, Infra and Chroma are obsessions of mine, too." —Margaret Hermanson

Nicole Padilla, Sarasota Ballet

Padilla in Frederick Ashton's Birthday Offering

Gene Schiavone, Courtesy Sarasota Ballet

Before joining Sarasota Ballet, Nicole Padilla had barely heard of Frederick Ashton. But under directors Iain Webb and Margaret Barbieri—who have introduced a dozen of the British choreographer's works to the repertoire—Padilla has become not only an Ashton aficionado, but an accomplished interpreter of his work. During the company's recent Sir Frederick Ashton Festival, she triumphed in the peppy Elaine Fifield role in Birthday Offering, flawlessly executed the fouettés of the Blue Girl in Les Patineurs and showed off her range in both the polka solo and the "Scotch Rhapsody" in Façade.

The 26-year-old Texas native spent two years at the University of Oklahoma and another at the Joffrey Ballet School before joining Dayton Ballet. She came to Sarasota Ballet in 2011, but sat out most of her second season with a back injury. After recovering, she quickly made headway, dancing in the company's performances of Les Patineurs at the Kennedy Center's Ballet Across America festival last June (and drawing praise from several critics). "I'm more the athletic, jumping, turning type," she admits. Her dream role? "Kitri from Don Q," she says. "I'm just not a swan."

Padilla, who married in June, also teaches at the Margaret Barbieri Conservatory of Dance, and is pursuing an elementary education degree at the University of South Florida. "How do I do it all?" she asks. "I have no idea." ­—Carrie Seidman

Kathryn Hosier, National Ballet of Canada

National Ballet of Canada's Kathryn Hosier

Sian Richards, Courtesy NBoC

Kathryn Hosier's long legs, trousered in black, shimmer under a hyper-articulated torso as she executes the fast, angular, punctuated arm movements of Marco Goecke's reimagined version of Le Spectre de la Rose. This is the same dancer who in pure classical mode can portray a Sleeping Beauty fairy or Swan Lake Spanish princess.

"What I love about the National Ballet is the sheer range of repertoire," says 23-year-old Hosier, thrilled that Goecke plucked her from the corps to dance the female lead in the North American premiere of Spectre in May. "It was a huge technical challenge, but also a big career break."

Born and initially trained in Champaign, Illinois, Hosier spent three finishing years at Canada's National Ballet School. Hired into the company as an apprentice in 2009, she was taken into the corps within six months. While competition for roles is always intense, last year Hosier was center stage in No. 24, an ultra-physical duet choreographed by company member Guillaume Côté.

Hosier has no illusions about the waiting game that's often a corps member's lot. Still, landing an opening night lead has whetted her appetite. "Once you get a taste, you want more and more and more." —Michael Crabb

Julia Rowe, San Francisco Ballet

Rowe (left) in Helgi Tomasson's Giselle

Erik Tomasson, Courtesy SFB

There's a breezy sweetness to Julia Rowe's peasant pas de cinq variation in San Francisco Ballet's Giselle. Nothing in the intricate steps looks calculated and yet, there's a world of thoughtfulness behind the ease.

"So much of that variation for me is about finding nuances in the music and the phrasing," she says. "But there's also discovering more in what you can bring besides just steps. In order for Giselle's descent into madness to be heartbreaking, there has to be an overwhelming sense of joy beforehand."

A native of Elizabethtown, Pennsylvania, Rowe trained for 11 years at Central Pennsylvania Youth Ballet. In 2005, she attended SFB's summer program because it was the home of one of her idols, Tina LeBlanc, and by 2007 had enrolled in the school year-round. Afterwards she joined Oregon Ballet Theatre, where she was nominated for a Princess Grace Award in 2010. Five years later, however, she came back to SFB, attracted by the diverse repertoire and the artists with whom she'd get to work.

Since then she's charmed audiences with her fluid musicality and graceful épaulement, moving easily between the classicism of Giselle, the precision of Mark Morris' Maelstrom and the dazzle of Liam Scarlett's Hummingbird.
"It's intimidating, exciting and incredibly artistically fulfilling for me to be in this kind of environment," she says. "There's always something new and challenging." —Mary Ellen Hunt

Emily Bowen, Houston Ballet

Bowen and artists of Houston Ballet in Stanton Welch's The Ladies

Amitava Sarkar, Courtesy Houston Ballet

Watching Houston Ballet's petite Emily Bowen barrel downstage in a whirl of pirouettes, it's no wonder that artistic director Stanton Welch selected her as the "flute" for his recent The Young Person's Guide to the Orchestra. She excels at Welch's flair for flash, but never loses her razor-sharp punctuation. "Stanton tends to cast me in roles that test my ability to move lightning fast and be technically precise—all while covering large amounts of space," says Bowen.

Bowen trained under Patricia McBride and Jean-Pierre Bonnefoux at the North Carolina Dance Theatre School of Dance and at Houston Ballet Academy, where she competed in the Prix de Lausanne before joining the company in 2006.

A skilled chameleon, she can transition between a vintage, china-doll ballerina excelling in old-school delicacy one minute and a pocket-sized ball of fire in William Forsythe's The Vertiginous Thrill of Exactitude the next. Her extensive rep includes lead roles such as Lise in La Fille mal gardée and the pas de deux in "Rubies."

Next season, Bowen looks forward to reprising Edwaard Liang's Murmuration. "I was a part of the world premiere last season, and the response was so overwhelming," she says. "It holds a very special place in my heart." —Nancy Wozny

Meaghan Dutton-O'Hara, New York City Ballet

Dutton-O'Hara in Peter Martins' Jeu de Cartes

Paul Kolnik, Courtesy NYCB

It's not often that a corps member nabs your attention when there are principals onstage at New York City Ballet. But Meaghan Dutton-O'Hara has been stealing the spotlight since she joined the company as an apprentice in 2011. Last season, she maneuvered effortlessly through George Balanchine's Raymonda Variations, crisply elegant despite her long limbs. Even standing in a row of dancers framing the stage, a simple gesture of her arm can be arresting—as if the music plays from her port de bras.

Raised in Maryland, 20-year-old Dutton-O'Hara trained at the Frederick School of Classical Ballet. A summer intensive at the School of American Ballet in 2007 led to her staying on year-round. "NYCB had always been my dream," she says.
Since joining the company, Dutton-O'Hara has been pursuing an undergraduate degree at nearby Fordham University, taking classes in the morning before company class. (She wants to major in either math or economics.) "I knew if I took a break from my education, I wouldn't go back," she says.

Dutton-O'Hara's main focus, though, remains dancing, hoping to someday perform the leads in Serenade and Symphony in Three Movements. She's already begun to show the subtlety of phrasing that sets dancers apart in NYCB's repertoire. Her secret? "Remember to dance for you. I think that's most rewarding for the audience, as well." —Shannon Woods

Irlan Silva, Boston Ballet

Silva in Boston Ballet's The Nutcracker

Gene Schiavone, Courtesy Boston Ballet

Watching Irlan Silva dance, you see a prince: jumps soaring with regal abandon, innate noble carriage, gorgeous feet and extensions. But what you won't see is the poverty-stricken favela where the 24-year-old grew up in Rio de Janeiro, or the years of scholarships, training and ballet competitions that fueled his rise. "I'm always thinking about what I passed through to get here," he says. "I have to keep pushing myself to be one of the best."

At 10, Silva started out learning to tap. But his natural flexibility and coordination led to a jazz scholarship at the Centro de Dança Rio. When his teacher encouraged him to try classical ballet, he admitted he'd never seen it before. "We didn't have access to theaters or culture," he says, so she took him to see a performance. "I was so impressed. I thought, 'Yes! I want to do that!' "

Hard training and competitions followed. At 17, he won Best Contemporary Dancer at Youth America Grand Prix. That same year, his performance at Prix de Lausanne led him to a contract with American Ballet Theatre II. There, his inspiring story was documented in the 2009 film Only When I Dance.

Silva joined Boston Ballet in 2011, attracted to its combination of classical and contemporary work. "I feel more free doing contemporary," he says, although his goal is to excel at both. So far, he is excelling across the board; this spring, Silva danced his first principal role in Harald Lander's Etudes.

When it comes to the future, Silva knows what he wants. "My dream is to be a principal dancer with Boston Ballet," he says. If this past season is any measure, he is well on his way. —Ashley Rivers

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Chisako Oga photographed for Pointe by Jayme Thornton

Chisako Oga Is Soaring to New Heights at Boston Ballet

Chisako Oga is a dancer on the move—in more ways than one. From childhood training in Texas, California and Japan to a San Francisco Ballet apprenticeship to her first professional post with Cincinnati Ballet, where she quickly rose to principal dancer, she has rarely stood still for long.

But now the 24-year-old ballerina is right where she wants to be, as one of the most promising soloists at Boston Ballet. In 2019, Oga left her principal contract to join the company as a second soloist, rising to soloist the following year. "I knew I would have to take a step down to join a company of a different caliber, and Boston Ballet is one of the best companies in the country," she says. "The repertoire—Kylián, Forysthe, all the full-length ballets—is so appealing to me."

And the company has offered her major opportunities from the start. She danced the title role in Giselle in her very first performances with Boston Ballet, transforming a playful innocent into a woman haunted by betrayal with dramatic conviction and technical aplomb. But she also is making her mark in contemporary work. The last ballet she performed onstage before the pandemic hit was William Forsythe's demanding In the middle, somewhat elevated, which she says was a dream to perform. "The style really clicked, felt really comfortable. Bill drew something new out of me every rehearsal. As hard as it was, it was so much fun."

"Chisako is a very natural mover, pliable and strong," says artistic director Mikko Nissinen. "Dancing seems to come very easy for her. Not many have that quality. She's like a diamond—I'm curious to see how much we can polish that talent."

Chisako Oga, an Asian-American ballerina, does a pench\u00e9 on pointe towards the camera with her arms held out to the side and her long hair flying. Smiling confidently, she wears a blue leotard and a black and white ombr\u00e9 tutu.

Jayme Thornton for Pointe

A Life-Changing Opportunity

Oga began dancing at the age of 3. Born in Dallas, she and her family moved around to follow her father's job in IT. Before settling in Carlsbad, California, they landed in Japan for several years, where Oga began to take ballet very seriously. "I like the simplicity of ballet, the structure and the clear vocabulary," she says. "Dances that portray a story or have a message really drew me in. One of my favorite parts of a story ballet is diving into the role and becoming the character, putting it in my perspective."

In California, Oga studied with Victor and Tatiana Kasatsky and Maxim Tchernychev. Her teachers encouraged her to enter competitions, which she says broadened her outlook and fed her love of performing in front of an audience. Though highly motivated, she says she came to realize that winning medals wasn't everything. "Honestly, I feel like the times I got close and didn't place gave me perspective, made me realize being a dancer doesn't define you and helped me become the person and the dancer I am today."

At 15, Oga was a semifinalist at the Prix de Lausanne, resulting in a "life-changing" scholarship to the San Francisco Ballet School. There she trained with two of her most influential teachers, Tina LeBlanc and Patrick Armand. "She came in straightaway with strong basics," Armand recalls, "and working with her for two years, I realized how clever she is. She's super-smart, thoughtful, driven, always working."

She became a company apprentice in 2016. Then came the disappointing news—she was let go a few months later. Pushing 5' 2", she was simply too short for the company's needs, she was told. "It was really, really hard," says Oga. "I felt like I was on a good track, so to be let go was very shocking, especially since my height was not something I could improve or change."

Jayme Thornton for Pointe

Moving On and Up

Ironically, Oga's height proved an advantage in auditioning for Cincinnati Ballet, which was looking for a talented partner for some of their shorter men. She joined the company in 2016, was quickly promoted to soloist, and became a principal dancer for the 2017–18 season, garnering major roles like Swanilda and Juliet during her three years with the company. "There were times I felt insignificant and insecure, like I don't deserve this," Oga says about these early opportunities. "But I was mostly thrilled to be put in those shoes."

She was also thriving in contemporary work, like choreographer-in-residence Jennifer Archibald's MYOHO. Archibald cites her warmth, playfulness and sensitivity, adding, "There's also a powerful presence about her, and I was amazed at how fast she was at picking up choreography, able to find the transitions quickly. She's definitely a special talent. Boston Ballet will give her more exposure on a national level."

Chisako Oga, an Asian-American ballerina, poses in attitude derriere crois\u00e9 on her right leg, with her right arm out to the side and her left hand grazing her left shoulder. She smiles happily towards the camera, her black hair blowing in the breeze, and wears a blue leotard, black-and-white ombre tutu, and skin-colored pointe shoes.

Jayme Thornton for Pointe

That was Oga's plan. She knew going in that Cincinnati was more stepping-stone than final destination. She had her sights on a bigger company with a broader repertoire, and Boston Ballet seemed ideal.

As she continues to spread her wings at the company, Oga has developed a seemingly effortless artistic partnership with one of Boston Ballet's most dynamic male principals, Derek Dunn, who Oga calls "a kind-hearted, open person, so supportive when I've been hard on myself. He's taught me to believe in myself and trust that I'm capable of doing whatever the choreography needs." The two have developed an easy bond in the studio she likens to "a good conversation, back and forth."

Dunn agrees. "I knew the first time we danced together we had a special connection," he says. "She really takes on the artistic side of a role, which makes the connection really strong when we're dancing onstage. It's like being in a different world."

He adds, "She came into the company and a lot was thrown at her, which could have been daunting. She handled it with such grace and confidence."

Derek Dunn, shirtless and in blue tights, lunges slightly on his right leg and holds Chisako Oga's hand as she balances on her left leg on pointe with her right leg flicking behind her. She wears a yellow halter-top leotard and they dance onstage in front of a bright orange backdrop.

Oga with Derek Dunn in Helen Pickett's Petal

Liza Voll, Courtesy Boston Ballet

Perspective in a Pandemic

The pair were heading into Boston Ballet's busy spring season when the pandemic hit. "It was really a bummer," Oga says. "I was really looking forward to Swan Lake, Bella Figura, some new world premieres. When we found out the whole season was canceled, it was hard news to take in."

But she quickly determined to make the most of her time out of the studio and physically rest her body. "All the performances take a toll. Of course, I did stretches and exercised, but we never give ourselves enough time to rest as dancers."

She also resumed college courses toward a second career. Oga is one of many Boston Ballet dancers taking advantage of a special partnership with Northeastern University to help them earn bachelor's degrees. Focusing on finance and accounting, Oga upped her classes in economics, algebra, business and marketing. She also joined Boston Ballet's Color Our Future Mentoring Program to raise awareness and support diversity, equity and inclusion. "I am trying to have my voice inspire the next generation," she says.

Jayme Thornton for Pointe

One pandemic silver lining has been spending more time with her husband, Grand Rapids Ballet dancer James Cunningham. The two met at Cincinnati Ballet, dancing together in Adam Hougland's Cut to the Chase just after Oga's arrival, and got married shortly before her move to Boston. Cunningham took a position in Grand Rapids, so they've been navigating a long-distance marriage ever since. They spend a lot of time texting and on FaceTime, connecting in person during layoffs. "It's really hard," Oga admits, but adds, "We are both very passionate about the art form, so it's easy to support each other's goals."

Oga's best advice for young dancers? "Don't take any moment for granted," she says without hesitation. "It doesn't matter what rank you are, just do everything to the fullest—people will see the hard work you put in. Don't settle for anything less. Knowing [yourself] is also very important, not holding yourself to another's standards. No two paths are going to be the same."

And for the foreseeable future, Oga's path is to live life to the fullest, inside and outside ballet. "The pandemic put things in perspective. Dancing is my passion. I want to do it as long as I can, but it's only one portion of my life. I truly believe a healthy balance between social and work life is good for your mental health and helps me be a better dancer."

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