5 Dancers and Their Cats You Need to Meet Right Meow

There's nothing more purrrrfect than some fabulous trinas and their feline friends. We're not kitten: these bonds are paw-sitively adorable! From hanging out backstage to working out together and more, these pairs will pas de chat their way straight into your heart.


1. New York City Ballet principal Gonzalo Garcia and Gordo

Posing above with NYCB principal Megan Fairchild, Gonazalo's cat Gordo is one of the most important (and, arguably, one of the fluffiest) things in his life. The pair do everything together like taking lazy Sunday naps and applying for dual citizenship. Gordo was was even featured on NYCB's Insta, casually living out a million dancers' dream.

2. Miami City Ballet corps member Ella Titus and Gatsby

Titus is a cat lady and proud. Her Insta is FILLED with glam shots of her cat Gatsby, who, if you take a peek, looks like one amazing cuddle buddy and a welcomed reprieve after a long day at dance. But when it matters, Gatsby's there egging Titus on in her dance career, acting as her dance partner, travel companion, and personal trainer.

3. New York City Ballet principal Lauren Lovette and Boon

A pink, sparkly, beautiful tutu covered in delicate, white lace? Forget about it. Boon just wanted the box. Lovette rescued her adorable feline friend last year, urging others to do the same. From cuddles with tutu boxes to pointe shoes, Boon now lives vicariously through Lovette and her incredible dance career.

4. Los Angeles Ballet principal Petra Conti and Misiu

There's only one thing that could make a White Swan tutu even better. And that's a cat to go with it. Conti and fellow LA Ballet Principal Eris Nezha are the proud parents of two Siberian cats, Misiu and Frida. Follow these two fluff balls on their very own Insta that they share with the couple's four parakeets.

5. American Ballet Theatre principal Herman Cornejo and Mila

Nothing says true love like letting a foot—let alone a dancer's foot—scratch your chin. And if this isn't a big enough testament to these two's relationship, their matching outfits for this year's World Cup definitely are.

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After 25 Years, Victoria Morgan to Step Down as Cincinnati Ballet's Artistic Director

Last month, Victoria Morgan announced that she will step down as Cincinnati Ballet's artistic director at the conclusion of the 2021-22 season. The organization's board of trustees has formed a committee to conduct a national search for her replacement.

Prior to coming to Cincinnati Ballet in 1997, the Salt Lake City native was a principal dancer with San Francisco Ballet and Ballet West, as well as resident choreographer for the San Francisco Opera. She graduated magna cum laude from University of Utah, where she also earned her MFA, and has judged several international ballet competitions.

Entering her 25th and final season as director, Morgan has accomplished a lot at Cincinnati Ballet, not the least erasing the $800,000 in company debt she inherited at the outset of her tenure. To right the organization's financial ship she had to make tough choices early on—the first task the company's executive committee gave her was to release a third of the company's dancers. In her continuing effort to overhaul how the organization did business, in 2008 she became both the artistic director and CEO and set about building the company's now $14.5 million endowment. For the 2016–17 season, with the arrival of new company president and CEO Scott Altman, Morgan returned to being full-time artistic director and helped lead the realization of the organization's new $31 million home, the Margaret and Michael Valentine Center for Dance.

A champion of female choreographers, Morgan has also choreographed numerous ballets for the company, including world premieres of King Arthur's Camelot and The Nutcracker. She has also helped orchestrate several company collaborations, including 2013's Frampton and Cincinnati Ballet Live and joint productions with BalletMet.

Pointe caught up with Morgan to talk about her recent announcement.

Victoria Morgan is shown from the side standing on stage right, turning to smile at a line of costumed dancers to her left during bows. She wears a patterned green dress with chunky green high heels and holds a red rose in her hand.

Peter Mueller, Courtesy Cincinnati Ballet

Why leave Cincinnati Ballet now?

It's been an amazing run and I have seen it all. I am not sure where I would go from here. I also feel there is a required stimulus and infusion of new ideas and energy that always needs to be a part of a growing, evolving and exciting arts organization.

What made you happiest at Cincinnati Ballet?

The people, from the devotion of patrons and donors to learning from and feeling the pride in work from the staff. It has also been so satisfying for me to choreograph on and watch so many dancers evolve in their dance careers and lives.

Were there things you wanted to do for the company that you weren't able to?

There were other collaborations I wanted us to explore and choreographers I wanted us to work with. It takes quite an investment to make those happen.

Your legacy includes actively creating opportunities for female choreographers. What motivated that?

I started realizing, in a profound way, the gender inequities in our art form. Because I was in a leadership position, I thought I could do something about this and try to get to a 50-50 balance of male and female choreographers. It took a little time to find women to step forward, but it happened. Now there are many more prominent female choreographers, including our resident choreographer Jennifer Archibald, and I am proud of that.

If you could handpick your successor, what qualities would you look for?

Somebody creative, charged up, and who can be visionary. Someone who has had a high-level experience in our art form. A leader who is demanding but also kind and supportive, and who opens doors to find new ideas while still embracing Cincinnati Ballet's philosophies.

What do you feel will be one of the biggest challenges for the new artistic director?

The important cause of DEIA (diversity, equity, inclusion, accessibility). Whoever steps into that position has to have awareness of the culture of today's conversation.

Do you plan to keep choreographing?

I am not being proactive about it, but if the opportunity presents itself, it would be fun.

What's next?

I feel my next calling is bringing movement to the biggest segment of our population, baby boomers. I want to be part of an initiative that makes moving and wellness enjoyable and enlivens people.

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