Chyrstyn Fentroy and Francis Lawrence in "Tchaikovsky Pas de Deux" with Dance Theatre of Harlem. Photo by Renata Pavam, Courtesy Fentroy.

Lower Rank, Higher Reward: Three Dancers Who Flourished When They Took a Demotion at a Different Company

Taking a lower rank at a new company can feel risky. But whether you're breaking out of your comfort zone, yearning for bigger challenges or finding a better company fit, you can make a successful transition. Here are three ballerinas whose recent moves have advanced their growth and artistry.


Fentroy at DTH. Photo by Rachel Neville, Courtesy Fentroy.

Chyrstyn Mariah Fentroy: Dance Theatre of Harlem to Boston Ballet

Although Dance Theatre of Harlem isn't a ranked company, Chyrstyn Mariah Fentroy spent much of her five years there dancing principal roles. She loved the touring, the repertoire and dancing beside her boyfriend, but she longed to try her luck at a larger company with more variety. And with DTH's mainly neoclassical focus, Fentroy felt her chances of dancing in a classical story ballet getting slim: "I wanted to do a full-length before it was too late."


She's now in her first season as a corps member at the much larger Boston Ballet. "Here we're learning new ballets all the time, so I was discombobulated at first," says Fentroy. But, she's loving the new stuff, which includes Justin Peck's In Creases and William Forsythe's Pas/Parts 2016, along with Romeo and Juliet and a big company Nutcracker.

After years of dancing leading roles, Fentroy was completely on board with joining the corps de ballet. "I wanted to work on my classical technique, to start low and work up," she says.


Fadeley and Jovani Furlan in "Diamonds." Photo by Alberto Oviedo, Courtesy Miami City Ballet.

Lauren Fadeley: Pennsylvania Ballet to Miami City Ballet

After nine years with Pennsylvania Ballet, four as a principal, Lauren Fadeley felt that the company's recent change in leadership opened up space for her to consider a change, too. "I didn't see myself in the new environment of PAB," says Fadeley.

She considered her Balanchine roots as she looked for a new home, joining Miami City Ballet in 2016 as a soloist. "It was exciting and scary, but I owed it to myself to finish out my career in a Balanchine company." She didn't mind giving up principal status, either, treasuring the time to work on herself and regroup. "I needed to get my attack back."

Fadeley, who was promoted to principal soloist in 2017, is currently in the midst of her dream season, dancing the lead in "Diamonds" and the soloist role in "Rubies." "MCB has been a natural fit," she says. "Plus, it's two blocks from the beach. You can't beat that."


Keesler and Luke Willis in Helgi Tomasson's "Trio." Photo by Erik Tomasson, Courtesy San Francisco Ballet.

Madison Keesler: English National Ballet to San Francisco Ballet

After a season at Hamburg Ballet, Madison Keesler spent four years at San Francisco Ballet, where she mainly danced in the corps. While she treasured her time at SFB, she felt she needed a larger toolbox of skills to truly develop as an artist. "I also wanted to experience some coaching," Keesler says. She joined English National Ballet, where over four years, she danced solo and principal roles as a first artist, including the title character in Akram Khan's Giselle. She was also nominated for the company's Emerging Dancer Award twice.

Despite her success abroad, Keesler rejoined SFB last July. "I had gained strength and was ready to return." While she hoped to return as a soloist, there was not a position available. But she has no regrets. "It's great to be back," she says. "I have more experience and knowledge from my time at ENB."

Latest Posts


Peter Mueller, Courtesy Cincinnati Ballet

2020 Stars of the Corps: 10 Dancers Making Strides In and Out of the Spotlight

The corps de ballet make up the backbone of every company. In our Fall 2020 issue, we highlighted 10 ensemble standouts to keep your eye on. Click on their names and photos to learn more!

Dara Holmes, Joffrey Ballet

A male dancer catches a female dancer in his right arm as she wraps her left arm around his shoulder and executes a high arabesque on pointe. Both wear white costumes and dance in front of a blue backdrop onstage.

Dara Holmes and Edson Barbosa in Myles Thatcher's Body of Your Dreams

Cheryl Mann, Courtesy Joffrey Ballet

Wanyue Qiao, American Ballet Theatre

Wearing a powder blue tutu, cropped light yellow top and feather tiara, Wanyue Qiao does a piqu\u00e9 retir\u00e9 on pointe on her left leg and pulls her right arm in towards her.

Wanyue Qiao as an Odalisque in Konstantin Sergeyev's Le Corsaire

Gene Schiavone, Courtesy ABT

Joshua Guillemot-Rodgerson, Houston Ballet

Three male dancers in tight-fitting, multicolored costumes stand in positions of ascending height from left to right. All extend their right arms out in front of them.

Joshua Guillemot-Rodgerson (far right) with Saul Newport and Austen Acevedo in Oliver Halkowich's Following

Amitava Sarkar, Courtesy Houston Ballet

Leah McFadden, Colorado Ballet

Wearing a white pixie wig and a short light-pink tunic costume, a female ballet dancer poses in attitude front on pointe with her left arm bent across her ribs and her right hand held below her chin.

Leah McFadden as Amour in Colorado Ballet's production of Don Quixote

Mike Watson, Courtesy Colorado Ballet

Maria Coelho, Tulsa Ballet

Maria Coelho and Sasha Chernjavsky in Andy Blankenbuehler's Remember Our Song

Kate Lubar, Courtesy Tulsa Ballet

Alexander Reneff-Olson, San Francisco Ballet

A ballerina in a black feathered tutu stands triumphantly in sous-sus, holding the hand of a male dancer in a dark cloak with feathers underneath who raises his left hand in the air.

Alexander Reneff-Olson (right) as Von Rothbart with San Francisco Ballet principal Yuan Yuan Tan in Swan Lake

Erik Tomasson, Courtesy SFB

India Bradley, New York City Ballet

Wearing a blue dance dress with rhinestone embellishments and a sparkly tiara, India Bradley finishes a move with her arms out to the side and hands slightly flexed.

India Bradley practices backstage before a performance of Balanchine's Tschaikovsky Piano Concerto No. 2.

Erin Baiano, Courtesy NYCB

Bella Ureta, Cincinnati Ballet

Wearing a white dress with pink corset, Bella Ureta does a first arabesque on pointe in front of an onstage stone wall.

Bella Ureta performs the Act I Pas de Trois in Kirk Peterson's Swan Lake

Hiromi Platt, Courtesy Cincinnati Ballet

Alejándro Gonzales, Oklahoma City Ballet

Dressed in a green bell-boy costume and hat, Alejandro Gonz\u00e1lez does a saut\u00e9 with his left leg in retir\u00e9 and his arms in a long diagonal from right to left. Other dancers in late 19-century period costumes watch him around the stage.

Alejandro González in Michael Pink's Dracula at Oklahoma City Ballet.

Kate Luber, Courtesy Oklahoma City Ballet

Nina Fernandes, Miami CIty Ballet

Wearing a long white tutu and crown, Nina Fernandes does a saut de chat in front of a wintery backdrop as snow falls from the top of the stage.

Nina Fernandes in George Balanchine's The Nutcracker

Alexander Iziliaev, Courtesy Miami City Ballet

Evelyn Cisneros-Legate. Photo by Beau Pearson, Courtesy Ballet West

Ballet West Academy's New Director on Dream Building During COVID-19

Evelyn Cisneros-Legate is bringing her hard-earned expertise to Ballet West. The former San Francisco Ballet star is taking over all four campuses of The Frederick Quinney Lawson Ballet West Academy as the school's new director.

Cisneros-Legate, whose mother put her in ballet classes in an attempt to help her overcome her shyness, trained at the San Francisco Ballet School and School of American Ballet before joining San Francisco Ballet as a full company member in 1977. She danced with the company for 23 years, breaking barriers as the first Mexican American to become a principal dancer in the U.S., and has graced the cover of Dance Magazine no fewer than three times.

As an educator, Cisneros-Legate has served as ballet coordinator at San Francisco Ballet, principal of Boston Ballet School's North Shore Studio and artistic director of after-school programming at the National Dance Institute (NDI). Dance Teacher spoke with her about her new position, her plans for the academy and leading in the time of COVID-19.

Keep reading SHOW LESS

Complexions Contemporary Ballet's Tatiana Melendez Proves There's No One Way to Have a Ballet Career

This is Pointe's Fall 2020 cover story. Click here to purchase this issue.

Talk to anyone about rising contemporary ballerina Tatiana Melendez, and one word is bound to come up repeatedly: "Fierce." And fair enough, that's a perfectly apt way to describe the 20-year-old's stage presence, her technical prowess and her determination to succeed. But don't make the mistake of assuming that fierceness is Melendez's only (or even her most noteworthy) quality. At the core of her dancing is a beautiful versatility. She's just as much at ease when etching pure classical lines as she is when boldly throwing herself off-balance.

"Selfish choreographer that I am, I want Tatiana to stay with Complexions for all time," says her boss Dwight Rhoden, Complexions Contemporary Ballet's co-artistic director and resident choreographer. "She has a theatricality about her: When the music comes on, she gets swept away." Not too shabby for someone who thought just a few years ago that maybe ballet wasn't for her.

Keep reading SHOW LESS

Editors' Picks