American Ballet Theatre's Jacqueline Kennedy Onassis School has come a long way in the short decade since it was founded. So far, in fact, that it's part of a select group of schools invited to perform at the Bolshoi Theatre in Moscow as part of the Bolshoi Ballet Academy's celebration of its 240th anniversary.
Last night, ABT hosted a special event to support and celebrate the dancers of the ABT Studio Company, who'll be making the trip to Moscow. (The troupe falls under the JKO umbrella.) Members of the ABT family who studied at the Bolshoi were on hand to comment on the similarities and (mostly) differences between Russian and American training. It was especially fascinating to hear Alexei Ratmansky—not only an alum of the Bolshoi Academy, but also a former artistic director of the Bolshoi Ballet—dig into the complicated history of Russian ballet. (And to hear that Ratmansky didn't see tapes of the works of Balanchine and Ashton, or of defectors Natalia Makarova and Mikhail Baryshnikov, until he graduated from the Academy in 1986.) I also never realized that, as ABT director Kevin McKenzie pointed out, Ballet Theatre only became American Ballet Theatre in 1960—at the request of President Eisenhower, who asked the company to add "American" to its name before its tour to the Soviet Union. ABT's Sascha Radetsky and Gabe Stone Shayer, who both spent some time training at the Bolshoi Academy, discussed not only the intensely physical nature of the Bolshoi style but also the warm welcome they received from their fellow students, who "treated them like minor celebrities."
But the best part of the night was watching the gifted members of the Studio Company perform some of the works they'll be dancing in Russia. While lithe, elegant Rachel Richardson and razor-sharp Joo Won Ahn were special standouts in multiple works, the whole group shone especially bright in Antony Tudor's Continuo, set to Pachelbel's Canon. Tudor's lucid choreography displayed the dancers' clean, unaffected lines to their best advantage—and made it clear that these young talents will more than hold their own on the Bolshoi stage.
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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."
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."
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."
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
What exactly do you want?
Before you start asking questions, think about the answers you're looking for. "Know what you want out of a program, so that when you do your research, you can be sure you're getting your boxes checked," says Georné Aucoin, artistic director of International City School of Ballet in Marietta, Georgia.
Raymond Rodriguez, director of The Joffrey Academy of Dance, Official School of The Joffrey Ballet, urges students to consider whether or not they can or want to relocate, as well as their family's budget. Think about what style of ballet you are interested in studying, too. "Russian? Balanchine? Generalized American? Only you and your family can determine your needs," says Rodriguez.
Runqiao Du, ballet artistic director of the Kirov Academy of Washington, DC, agrees, and says he even asks prospective students to list three reasons they want to attend. "Oftentimes they will tell me it's because they want to dance, or potentially tour with a company," says Du. "That's not a good enough reason. A pre-professional program is like going to graduate school. Nobody would go to graduate school without researching if the program is a good fit for them personally. It's up to dancers to know what they're looking for."
Conservatory students at The Joffrey Academy of Dance
Cheryl Mann, Courtesy Joffrey Ballet
What questions should you be asking?
There are so many details associated with choosing a pre-professional program that it can be overwhelming to know what to ask. Here are some starting points.
Day-to-day class structure: According to Aucoin, it's important to inquire about how many students will be in each class, the daily and weekly schedule (ask for their current schedule to get a general idea of hours), and how the program balances technique class with rehearsals.
Rodriguez also recommends asking about the curriculum. "How versatile is their training?" Rodriguez asks. "Is it strictly ballet classes, pointe, variations and pas de deux? Or will you get contemporary, modern and jazz, as well?"
A good program should have professional company vigor, says Du. "In a company, class is 90 minutes, followed by five or six hours of rehearsal," he says. "Your mind and body need to be prepared to do that by the time you join a company, so choose a school that has hours that will train you to be ready."
Nondance logistics: Tuition and housing should be among your first questions. "Inquire about the financial cost of the program up front to see if it's possible for your family," Aucoin says. If you're coming from out of town, ask if they provide living arrangements (and how far away these offerings are from the school), or to offer recommendations if they don't. "At our school, we typically make suggestions [to stay with] families who might be willing to host," she says.
You also want to research the program's approach to academics, to see if it matches your personal goals. Some offer academics on campus or are associated with a nearby high school, while others offer options for remote learning. "Is there a culture of taking education seriously, or is it lower down on their priority list?" asks Aucoin. She adds that she's even had parents ask if her faculty monitors their students' nondance education (they do not), as well as their stance on having a dance/life balance (they think it's very important.)
Students of the Kirov Academy of Washington, DC
Courtesy Kirov Academy
School-to-company statistics: If your goal is to eventually join the school's affiliated company, ask about how many dancers typically feed into it each year. "If the answer is only one or two students, you may be better off training elsewhere," Rodriguez says. "For example, half of Joffrey has come from the intensive and the academy, and it's only 11 years old at this point."
If the program isn't connected to a company, ask about the opportunities alumni have landed since graduating. Does the school regularly place dancers into companies, and do they appear to have strong connections with the ones you're most interested in?
Faculty backgrounds: Research the program's artistic staff, including the director, ballet masters and teachers. Look online for speeches or classes your presumptive teachers have previously given to see if they resonate. "Most directors have a real history," says Rodriguez. "Is his or her artistic career something intriguing to you? Do you think participating in an environment led by someone with their experience will help you grow?"
Getting your questions answered
In 2021, your best method for gathering information will always be the company's website. For example, on the Frequently Asked Questions page of Joffrey Academy's website, you will find a downloadable Parent and Student Handbook that covers many of the questions mentioned above.
You can also discover the school's stylistic and technical tendencies on their Instagram and YouTube pages. Plus, during a time when in-person tours are rare, exploring a school's feed can give you a sense of their facilities. You may also want to use social media to seek out former students to get deeper insight. "Ask them what the pros and cons of their experience was," Du says.
A student from International City School of Ballet
Karl Hoffman Photography, Courtesy International City School of Ballet
If you still have questions, Aucoin recommends emailing the school or requesting a phone conversation. "Sometimes, if there are a lot of inquiries, it's just easier to talk on the phone."
Of course, the best way to get to know a school is to visit in person, especially once travel restrictions are lifted and it's safer to take class with groups. Summer intensives are an ideal way to do that, but you could also try to schedule a visit during the school year. "In all honesty, it's the easiest way for students to get to know the program, and for us to get to know them, as well," says Aucoin.
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 you heard that ABT had to cancel its 2020–21 season performances, did you make any plans off the bat?
I definitely did not make any plans, mostly because we all thought this was going to be more of a short-term thing. It all felt very gradual, and there was almost never a significant shift all at once. It was a good lesson in taking things day by day and asking, "What would be fun or useful to do today?" And before you know it, a year has gone by!
Did many other ABT dancers guest with outside companies?
Yes. A lot of the international dancers found companies to guest with in their home countries or cities. I think seeing them and a few other colleagues dancing with local organizations helped spark the idea to do it myself. I've loved seeing dancers connect more with their communities.
Had you had much of a connection with Eugene Ballet?
Yes, I actually trained at the Eugene Ballet Academy, and when I came home after my time at The Rock School I took open classes here. I also danced in some company productions—I was a flamingo in their Alice in Wonderland in 2011. So I knew the dancers, and one of the ballet masters had coached me for Youth America Grand Prix that year. Three of the current principals were apprentices back then! It's been really fun to feel like I've grown up with the company.
Did you enjoy your time here as a guest artist?
I loved it! One of my favorite things, and what I've missed the most during the pandemic, was having peers to dance with and even just chat with in the hallways. To feel part of a community is truly valuable. In rehearsals, it felt so good to be among other people who were supporting each other. The company's new building, obviously, was amazing too.
ABT has about five times as many dancers as EB. What was it like dancing for a smaller company?
My dad actually asked me the same question! It's helpful and supportive to be reminded that what we're all doing is so much the same. It may seem like New York and Eugene are different in many ways, but we have so much in common. I was super impressed with everyone's talent and ability, the professionalism, and the way the company was run. When you're in two places where the environment is amazing, the amount of company dancers or any other variables seem to matter less.
While you were here you performed the Fairy Godmother variation from Cinderella and were also in the premiere of Suzanne Haag's Conduct, recorded for our upcoming virtual program (available here May 14–21). What was it like dancing for the camera?
During the pandemic I'd filmed one other piece for ABT Incubator, which recently came out. But that was my only other main experience with filming. I felt comfortable, and it felt normal—but in the sense that it's what's happening during the pandemic. I'm sure it's different for everyone, but I genuinely forgot the camera was there. It's funny, because technically you want to engage with the audience, so I'm sure there's an art to being filmed for dance. I'll have to keep that in mind for next time.
How has the pandemic changed you as a dancer?
Actually, I'm really grateful for this—it's widened the way I think about myself. Before the pandemic, I saw my life more linearly, and where I fit in the dance community felt smaller. But suddenly that line is gone, so I'm redeveloping the way I think of myself, and it's in a much more equal sense. Everyone's unique; you aren't comparable to anyone else.
Richardson and Antonio Lopez in rehearsal for Suzanne Haag's Conduct .
Courtesy Eugene Ballet
Do you have any advice for younger dancers or those new to company life?
It's so hard for me to know what professional life will even be like in, say, 10 years. Except that I think your character matters a lot. One of the things you realize is so much of your life is based on your interactions with others, even in terms of the opportunities you get. It's important to be just as focused on developing your character and who you are as a person as it is to develop your technique and artistry.
Also, dance is really self-focused, so it takes active effort to think outside of yourself. Find ways to give back and be aware of how you can be helping. Be willing to look outside of yourself and to add value to others. Admire and appreciate the beautiful dancers around you and spend time recognizing the good.
Any parting thoughts?
It's a big, wide world, and there's a lot to learn! Trust yourself. Everyone can listen to their own intuition and inspired ideas. The more I learn, the less I want to give advice, and the more I want my advice to be "I think you know the answer if you really listen to yourself."
