Company Life: The Middleman

Sergei Danilian is a busy man. When he’s not producing star-filled programs like Kings of the Dance or presenting the Kirov’s U.S. tour, he’s managing the international careers of four of Russia’s biggest ballet stars: Natalia Osipova, Ivan Vasiliev, Diana Vishneva and Polina Semionova. “From one side it’s like being a matchmaker,” he says of his job, which includes securing their gala appearances, negotiating contracts and arranging flights. “From the other it’s like—you’re not quite a travel agent, but you’re a person looking out for them.” 

Agents may seem like a luxury reserved only for international superstars (which is true in Danilian’s case—he’s very selective). But an agent can be beneficial for any professional dancer who wants more performance opportunities. They’re a go-to person for companies, choreographers, festivals and dance schools searching for guest artists. Many also have access to private casting calls. “When you’re in one company, it’s hard to develop a good network with other companies and schools,” says Alfonso Martin, a principal dancer with Tulsa Ballet who secures gala engagements and Nutcracker guestings through his agent Mark Kappel. “I like the added exposure.”

Darren McIntyre, founder of DManagement, feels agents can also help those who haven’t yet achieved their desired rank and crave more challenging roles. “They can gain experience outside so that they can grow and move forward in their own company,” he says. “Every little opportunity helps.”

So what is it that agents do, exactly? “I send out bulk advertisements and e-mails promoting our dancers,” says McIntyre, who received 152 requests for a Nutcracker cavalier last year. Then he matches a client’s specifications with the right dancer: “With somebody else selling and marketing you, it’s easier to find opportunities.” Agents also deal with the business end of contracts—negotiating fees and per diems, reserving accommodations, booking flights, providing publicity—so that dancers don’t have to. “There’s someone to hold the full picture and be in touch with everyone,” says Danilian. “You just need to pack your bag and arrive in good physical condition.”

In addition to finding work, a few agencies provide work. Danilian’s Kings of the Dance and award-winning Diana Vishneva: Beauty in Motion give his dancers opportunities to explore new choreography outside of their home companies. This summer, DManagement dancers will collaborate with Montgomery Ballet for a full-length production of The Sleeping Beauty.

In exchange for their services, agents charge a percentage of the dancer’s earnings for each contract they arrange, anywhere from 10 to as much as 30 percent. Agents generally choose the dancers they want to represent, so finding one can be a bit of an audition process. Before Kappel signed Ballet Arizona’s Paola Hartley, he requested she send videos, articles and reviews for him to evaluate. “I sent as much information as I could to give him an overall look at my career and what I was capable of,” Hartley says.

Balancing guestings with your company’s production schedule gets a little sticky, so it’s best for dancers to communicate their availability with their agent up front. Hartley and Martin also talk openly with their directors about any outside opportunities their agent offers them.

How will getting an agent affect the way your company director sees you? It varies. “I think it’s great for a company member to go out and guest with other companies,” says Tulsa Ballet artistic director Marcello Angelini—especially, he says, during layoff periods. However, due to time constraints and the company’s size, he can’t afford to let dancers leave for more than a few days during the season. “Letting people go means we need to catch them up later, which slows down the process of putting any given work onstage.” Most directors share Angelini’s point of view, but some are less enthusiastic about agents than others, and some even forbid company dancers to work with them altogether. Finding out your director’s position on agents should be the first step in the process.

Hartley is relatively new to the agent experience, but she already has a Nutcracker possibility and a summer teaching position at the Goh Ballet Academy. “So far I’ve been very happy,” she says. “I can’t wait to go out there and show people what I can do!”

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Lydia Abarca Mitchell, Arthur Mitchell's First Ballerina, Builds On Her Mentor's Legacy in Atlanta

It is the urgency of going in a week or two before opening night that Lydia Abarca Mitchell loves most about coaching. But in her role as Ballethnic Dance Company's rehearsal director, she's not just getting the troupe ready for the stage. Abarca Mitchell—no relation to Arthur Mitchell—was Mitchell's first prima ballerina when he founded Dance Theatre of Harlem with Karel Shook; through her coaching, Abarca Mitchell works to pass her mentor's legacy to the next generation.

"She has the same sensibility" as Arthur Mitchell, says Ballethnic co-artistic director Nena Gilreath. "She's very direct, all about the mission and the excellence, but very caring."

Ballethnic is based in East Point, a suburban city bordering Atlanta. In a metropolitan area with a history of racism and where funding is hard-won, it is crucial for the Black-led ballet company to present polished, professional productions. "Ms. Lydia" provides the "hard last eye" before the curtain opens in front of an audience.


For more than 25 years, coaching at Ballethnic has been a lifeline back to Abarca Mitchell's days with DTH. She had a stellar career, both with the company and beyond, but left the stage at age 30 after an injury sustained performing in Dancin' on Broadway. Her husband's job transferred them to Atlanta, where she transitioned to a full-time job as a medical transcriptionist while raising a family. Now retired from her second career, Abarca Mitchell continues to forward Arthur Mitchell's legacy, not only through coaching but also by building community among DTH alumni and writing her memoirs—a fairy-tale story of a child who came from the Harlem public-housing projects and became a trailblazing Black ballerina.

Abarca Mitchell grew up during the 1950s and '60s, the oldest of seven in a tight-knit family. She always danced, taking cues from Hollywood figures until a fourth-grade teacher saw her talent and encouraged her to seek formal training. The family couldn't afford ballet lessons, but Abarca Mitchell earned a scholarship to attend The Juilliard School's Saturday youth program, and later the Harkness Ballet's professional training program. But for all of those ballet classes, Abarca Mitchell never had the opportunity to see or perform in a ballet production. She didn't understand the purpose behind ballet's tedious class exercises.

When the fast-growing Harkness Ballet moved its scholarship students to the June Taylor Studio on Broadway, Abarca Mitchell remembers hearing live drumming, clapping and laughter coming from the studio across the hall. It was a jazz class taught by Jaime Rogers, who'd played Loco in the West Side Story movie. Abarca Mitchell started sneaking into Rogers' classes.

When Harkness informed her that her scholarship was exclusively for ballet, Abarca Mitchell left the program. She saw no future for herself in the white-dominated ballet world, and focused on academics during her last two years of high school.

At 17, Abarca Mitchell met Arthur Mitchell. He had made history as the first Black principal dancer with New York City Ballet, which he had joined in 1955, and had just begun to shape what would become Dance Theatre of Harlem when he hired Abarca Mitchell in 1968. Within a month, she was back on pointe. Within two months, she was performing in Arthur Mitchell's Tones. "I didn't even know what ballet was until I was onstage," Abarca Mitchell says. "All of a sudden, it was my heart and soul."

Arthur Mitchell made sure his dancers saw NYCB perform, and subsequently brought Balanchine's Agon, Concerto Barocco and other NYCB works into the DTH repertoire. "Physically and emotionally, I felt the connection of jazz in Balanchine's choreography," Abarca Mitchell says. "His neoclassical style was just funky to me. I could totally relate."

For the first time, Abarca Mitchell danced with people who looked like her and shared the same aspirations, she says, with a leader who "saw us through his eyes of love and achievement."

In Abarca Mitchell's 30s, after a performing career that took her from DTH to the film version of The Wiz to Bob Fosse's Dancin' and beyond, her husband's job took their family to Atlanta. She soon connected with Gilreath and Waverly Lucas. The couple, also DTH alumni, were influenced by Arthur Mitchell's model when they founded Ballethnic, seeking to create access for dancers of all backgrounds to develop as classical dancers and perform a repertoire that represents the company's culturally diverse home city. Over time, Abarca Mitchell became a trusted advisor.

Abarca Mitchell goes in at least twice a year to coach Ballethnic's productions—such as Urban Nutcracker, set in Atlanta's historically Black Sweet Auburn neighborhood, and The Leopard Tale, which features the company's signature blend of classical pointe work with polyrhythmic dance forms of the African diaspora. These final rehearsals give Abarca Mitchell a way to fast-track the transfer of her mentor's values.

Two dancers in blue and black practice clothes and face masks, the woman in pointe shoes, pose together in a first arabesque tendu. Abarca Mitchell steps out of a mirrored pose as she adjusts the fingertips of the male dancer.

Lydia Abarca Mitchell works with Ballethnic's Calvin Gentry and Karla Tyson.

Courtesy Ballethnic Dance Company

She recalls that Arthur Mitchell taught his dancers to present themselves at their finest—to enter a room with their heads held high and shoulders back—and to dress, speak and walk with dignity and self-respect. He reminded them that they were pioneers and ambassadors for Blacks in ballet. As the company gained international stature—Abarca Mitchell was the first Black female ballerina to appear on the cover of Dance Magazine, in 1975—he insisted the dancers remain humble and in service to the greater mission. But he was also a taskmaster. "No nonsense, no excuses," Abarca Mitchell says. "There was no slack. If he was rehearsing something that you're not in, you'd better be on the side learning it."

"He didn't throw compliments around at all. You had to really kill yourself to get a smile from him." After a run-through, she says, "you didn't want to be singled out."

Abarca Mitchell takes a slightly different approach, though she doesn't compromise on the values her mentor instilled. When coaching large casts of all ages and different levels for Ballethnic, she has found ways to inspire people without tearing them down. She calls it a "tough love" approach.

"I've got to make them want to do it. I don't want to beat them into doing it," Abarca Mitchell says. "I tell them, 'You're here because you want to be, and because you auditioned and were accepted. Now, show me why I should keep you here.'"

"I tell them, 'I'm here to make sure you'll look good—you know: 'That looks fake. Let's make it look real. Think about what you're doing, so that it's not just a gesture.'"

Arthur Mitchell instilled this level of emotional honesty in his dancers, and it was key to the company's quick success. "We were bringing a thought forward," says Abarca Mitchell. "We were bringing a feeling forward, so that the audience could connect with us."

In addition to her position as rehearsal director for Ballethnic, Abarca Mitchell is today part of 152nd Street Black Ballet Legacy, a group of DTH alumni who seek to give voice to people responsible for the company's success in its early years. "It's incredible," she says, "how many people took something from DTH and applied it to their lives."

As Ballethnic prepares to co-host the International Association of Blacks in Dance Conference and Festival in January 2022, Abarca Mitchell hopes to help strengthen the network of dance companies associated with Ballethnic, such as Memphis' Collage Dance Collective. "The dream is for all of us to collaborate with each other," she says, "so that it becomes more normal to see a Black ballerina, so it's not just a token appearance."

Today's young dancers face different challenges from what Abarca Mitchell faced. She finds that they're more easily distracted, and sometimes act entitled, because they don't know or appreciate how hard earlier Black ballerinas like herself worked to clear a path for them. But what she's passing on will benefit them, whether they choose to pursue dance careers or become doctors, lawyers, professors or something else entirely. "The principles are the same," she says. "Work for what you want, and you will achieve it."

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