New San Francisco Ballet principal Wei Wang in Helgi Tomasson's Concerto Grosso. Photo by Erik Tomasson, Courtesy SFB.

These 6 Major Companies Have Promoted a Slew of Dancers

Promotions season is well underway. Earlier this spring we covered exciting changes at Boston Ballet and Pennsylvania Ballet; now we're back with news from six more companies—English National Ballet, San Francisco Ballet, National Ballet of Canada, Miami City Ballet, Ballet West and Pittsburgh Ballet Theatre. (Stay tuned throughout the summer as additional companies release their updated rosters.) Here's who's doing a happy dance.



Rina Kanehara in "The Nutcracker." Photo Courtesy ENB.

English National Ballet

American Ballet Theatre principal Jeffrey Cirio will be joining ENB as a lead principal for the 2018–19 season. Cirio had guested with the company a number of times over the past year, but now he's making his position official.

National Ballet of Canada's Francesco Gabriele Frola and Emma Hawes will join ENB as principal and first soloist respectively, while remaining members of NBoC.

ENB is also promoting from within: James Streeter is now a first soloist, and Rina Kanehara is a soloist. Henry Dowden, Sarah Kundi and Jia Zhang have been promoted to first artist, and Fernando Carratalá Coloma is now a fourth year artist of the company. New artists include Prix de Lausanne prize winners Shale Wagman, Miguel Angel Maidana and Carolyne Galval as well as Breanna Foad, Josue Moreno Lagarda, Rentaro Nakaaki, Maria Del Mar Bonet Sans, Rebecca Blenkinsopp and Ivana Buena.


Wei Wang in Val Caniparoli's "Lambarena." Photo by Erik Tomasson, Courtesy SFB.

San Francisco Ballet

SFB recently announced 10 promotions as well as four new company members. Soloist Wei Wang was promoted to principal mid-season, immediately after a performance of Jerome Robbins' Other Dances. Since arriving at the SFB School in 2011, Wang has quickly risen through the ranks.

SFB has also promoted corps dancers Benjamin Freemantle, Wona Park, Elizabeth Powell, Henry Sidford and Lonnie Weeks to soloist, and apprentices Ethan Chudnow, Anatalia Hordov, Carmela Mayo and Swane Messaoudi to the corps de ballet. Of the dancers new to SFB, Vladislav Kozlov joins as a soloist, and Cavan Conley, Lucas Erni, and Nicolai Gorodiskii join the corps.


Skylar Campbell. Photo by Karolina Kuras, Courtesy NBoC.

National Ballet of Canada

Earlier this week, NBoC announced that Skylar Campbell and Francesco Gabriele Frola will be promoted to principal. Cambell, a California native, recently danced in the world premiere of Frame by Frame and created the title role in Will Tuckett's brand-new Pinnochio last season. Italian-born Frola is best known for regal roles like Albrecht and Prince Florimund. NBoC also promoted Jack Bertinshaw to first soloist and Christopher Gerty, Spencer Hack and Miyoko Koyasu to second soloist. Brenna Flaherty, Hannah Galway, Larkin Miller, Teagan Richman-Taylor and Alexander Skinner join the corps de ballet from the the company's apprentice program.


Samantha Hope Galler in "Carousel Pas de Deux." Photo Courtesy MCB.

Miami City Ballet

Exciting updates at MCB include the return of principal Jeannette Delgado after a one-year leave of absence, and the promotion of Samantha Hope Galler to soloist. Galler has been with the company since 2014, and recently excelled in a number of Robbins ballets including The Cage, In the Night and more.

MCB also welcomes five new dancers into its corps: Gustavo Ribeiro joins from Kansas City Ballet, Madison McDonough from Los Angeles Ballet and Nina Fernandes from Houston Ballet. Satoki Habuchi and Petra Love are both recent graduates of Miami City Ballet School.


Katlyn Addison with Artists of Ballet West. Photo by Beau Pearson, Courtesy Ballet West.

Ballet West

Ballet West has promoted six dancers for the upcoming season: Soloists Katlyn Addison and Tyler Gum will becomefirst soloists, and Chelsea Keefer and Jordan Veit will graduate from demi-soloist to soloist. Corps artists Emily Neale and Hadriel Diniz will become demi-soloists. Supplemental artist Amber Miller becomes a full-time corps artists, and David Huffmire will join the corps from Ballet West's second company.

This season also marks two retirements: Senior corps artist Elizabeth Weldon will leave the company after nine years, and first soloist Beau Pearson will step down to join the staff as a videographer and photographer.


JoAnna Schmidt in "The Nutcracker." Photo by Rich Sofranko, Courtesy PBT.

Pittsburgh Ballet Theatre

Earlier in the spring, PBT announced that the promotion of three new soloists: Masahiro Haneji, William Moore and JoAnna Schmidt. Moore and Schmidt both tried their hand at choreography in March as part of PBT's New Works program. Two beloved dancers are also leaving the company. Soloist Alexandre Silva retired at the end of the 2017–18 season, and principal Julia Erickson will give her final performance with the company in October.

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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."

Students of International City School of Ballet in Marietta, Georgia. Karl Hoffman Photography, Courtesy International City Ballet

A Ballet Student’s Guide to Researching Pre-Professional Training Programs

Many dancers have goals of taking their training to the next level by attending full-time pre-professional programs next fall. But it's hard to get to know the organizations without physically experiencing them first. Even when the world isn't practicing social distancing, visiting a school or attending its summer program isn't always possible. So, what can students and their families do to research programs and know what might work best for them? Who do you reach out to, and what are the questions you and your parents should be asking?

Here, pre-professional-program leaders share some practical advice for taking the next step in your dance training.

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American Ballet Theatre corps member Rachel Richardson. NYC Dance Project, Courtesy Rachel Richardson

ABT’s Rachel Richardson on Performing With Her Hometown Company, Eugene Ballet

When I signed my first professional contract with Eugene Ballet, one of the last things I anticipated was the opportunity to dance beside a member of American Ballet Theatre. Flash forward to the start of our spring season this year, and suddenly I'm chatting in the hallway and rehearsing the Cinderella fairy variations next to luminous ABT corps member Rachel Richardson. When ABT announced it was canceling live performances for the 2020–21 season, Richardson traveled back home to Eugene, Oregon, to be with her family—and this spring joined the company as a guest artist.

Growing up, Richardson trained locally in Eugene before moving to The Rock School for Dance Education's year-round program in Philadelphia. After securing a spot in the ABT Studio Company in 2013, she was promoted to corps de ballet in 2015. This unconventional year marks her sixth season with the main company.

After having the privilege of dancing with her this spring, I sat down with Richardson to discuss her recent guesting experience, how the pandemic has helped her grow and her advice for young dancers.

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