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Miko Fogarty. Photo by Andrew Ross, Courtesy Birmingham Royal Ballet.

Where in the world is Miko Fogarty? Just three years ago, she seemed unstoppable. After being featured in the 2011 ballet documentary First Position, she became a teenage social-media star, winning top prizes at competitions in Moscow and Varna and at Youth American Grand Prix, and dancing in galas around the world. Last most of us heard, it was 2015 and she had just joined the corps of Birmingham Royal Ballet. A year later, she dropped off the ballet radar.

Turns out Fogarty, now 21, was taking time off to reevaluate her life, including the role she wanted ballet to play in it. She is now starting her junior year as a biology major at University of California—Berkeley and is considering going to medical school. (Her brother and fellow First Position subject, 19-year-old Jules, is a junior in the Berkeley economics department.) On the side she teaches private ballet lessons and gives master classes, and is the part-time conservatory director at San Jose Dance International, a new school in the San Francisco Bay Area led by artistic director Yu Xin. We caught up with her by phone.


Last we heard, you were at Birmingham Royal Ballet. Where have you been over the last couple of years?

I've been kind of quiet on social media about what I'm up to. I hope in the future to be more open with my followers on my daily life. I'm kind of in the process. Right now I'm a premed student at Cal and I'm researching science, which is completely different from what I was doing a couple of years ago. I'm also teaching a lot. I love teaching ballet; it's definitely one of my passions.

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News
Natalia Osipova as Isadora with Emily Anderson as Terpsichore. Photo by Doug Gifford, Courtesy Segerstrom Center for the Arts.

Since stepping down as a Bolshoi Ballet principal in 2011, prima ballerina Natalia Osipova, now a principal with The Royal Ballet, has been on a quest to express her own artistic voice. This month she takes another stride on that path by starring in ISADORA, an evening-length narrative work about Isadora Duncan that premieres August 10–12 at the Segerstrom Center for the Arts in Costa Mesa, California.


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Ballet Stars
From left: Jennifer Stahl, Lonnie Weeks and Sasha De Sola in rehearsal for Trey McIntyre's new work. Photo by Christian Peacock for Pointe.

Photography by Christian Peacock

Summer is always a lively time at San Francisco Ballet, as the dancers return from vacation and launch into rehearsals for the upcoming season. But last July through September felt absolutely electric with creativity as the company created 12 world premieres for Unbound: A Festival of New Works, a cutting-edge program that will run April 20–May 6 at the War Memorial Opera House.

Artistic director Helgi Tomasson invited a wish list of international choreographers to participate: David Dawson, Alonzo King, Edwaard Liang, Annabelle Lopez Ochoa, Cathy Marston, Trey McIntyre, Justin Peck, Arthur Pita, Dwight Rhoden, Myles Thatcher, Stanton Welch and Christopher Wheeldon. Each got about 12 dancers, three weeks' studio time and, aside from a few general guidelines, total artistic freedom.

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Ballet Careers
Thompson was one of 23 American National Ballet dancers let go last fall. Photo by Giovanni Pizzino, Courtesy Thompson.

"All I want to do is dance," says Kimberly Thompson, 24. But because of her muscular physique, Thompson says, she struggled to find a company job. American National Ballet seemed like a dream come true: Founded in Charleston, South Carolina, in early 2017, the ambitious startup proclaimed itself as a home for dancers of diverse body types and ethnicities.

Thompson landed a corps contract with ANB and relocated from Maryland to Charleston. "September 18, 2017, was our first day," she recalls. On October 23, Thompson was one of 23 dancers (out of nearly 50) let go. And while the reasons for ANB's dramatic rise and fall have not been made fully public, the fallout for those artists is very real.

ANB, which officially dissolved a few months later, is only the most recent example of a company that's come and gone, leaving dancers in the lurch. Cedar Lake Contemporary Ballet shuttered in 2015, Silicon Valley Ballet closed mid-season in 2016, and Ballet Pacifica folded in 2007—after 42 years.

With ballet jobs scarce, getting an offer—any offer—can feel like the chance of a lifetime. But whether you're joining a startup like ANB or an established company, there is a lot to consider before you sign your contract and red flags to watch out for after you start work. Read on for advice from artists and executives with hard-won experience.

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Ballet Careers
Johnston rehearsing her ballet "Filamentous." Photo by Erik Tomasson, Courtesy SFB.

Blake Johnston couldn't have planned a better year to join San Francisco Ballet. Not only has she dreamt of dancing for SFB since entering the company school in 2013, but the first-year corps member is also an aspiring choreographer. For Johnston, rehearsals for SFB's Unbound: A Festival of New Works means diving into a deep pool of creativity.

"I get to see all these new people, the whole process," Johnston, 21, says between rehearsals. "If I have a five-minute break, I'll run into the hallway to see if anything is happening."

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Ballet Stars
Cauthorn and Strongin, two to watch at SFB, in "Frankenstein." Photo by Erik Tomasson. Courtesy SFB.

Max Cauthorn was an on-the-rise corps member when he stepped into the title role of Liam Scarlett's Frankenstein last February; when the curtain came down, he was San Francisco Ballet's newest leading man. In his first full-length starring role, he carried the physically and emotionally demanding three-hour ballet with fluent technique and a natural charisma. But he didn't do it alone: In her own lead-role debut with SFB, soloist Lauren Strongin brought tenderness and steely integrity to Frankenstein's true love, Elizabeth.

Photo by Erik Tomasson, Courtesy SFB.

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Fabrice Calmels and Anais Bueno in Anabelle Lopez Ochoa's "Mammatus." Photo by Cheryl Mann, Courtesy Cal Performances.

The Joffrey Ballet and University of California—Berkeley's Cal Performances have joined forces on a five-year residency series that offers the public in-depth, behind-the-scenes access to the art of ballet. The first installment runs Nov. 13–19 with repertory classes taught by Joffrey dancers, a panel discussion and open rehearsals as well as performances in Zellerbach Hall November 17–19.

"There is so much interesting work happening, and we want to share it," says Joffrey artistic director Ashley Wheater, whose Bay Area ties go back to his days as a San Francisco Ballet principal dancer and ballet master. He has slated Justin Peck's In Creases, Annabelle Lopez Ochoa's Mammatus, the West Coast premiere of Alexander Ekman's Joy and Joffrey ballet master Nicolas Blanc's Encounter for this year's bill.


Joffrey Ballet dancers in rehearsal for Alexsander Eckman's "Joy." Photo by Todd Rosenberg, Courtesy Cal Performances.

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Ballet Stars
World Ballet Day camera crew at The Australian Ballet. Photo by Kate Longley, Courtesy The Australian Ballet.

For some of us, every day feels like World Ballet Day LIVE. But the official event takes place on Thursday, October 5, with a free 22-hour live-stream relay showcasing The Australian Ballet, Bolshoi Ballet, The Royal Ballet, National Ballet of Canada and San Francisco Ballet. Each will welcome the world into company classes, rehearsals and behind-the-scenes extras.


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