Lara O'Brien as Juliet in Robert Weiss' Romeo and Juliet

Denise Cerniglia, Courtesy Carolina Ballet

Carolina Ballet's Lara O'Brien Looks Ahead to Family and Her Growing Business

In addition to cancelled shows, the coronavirus pandemic has disrupted final performances for many retiring dancers. Pointe is giving several retiring principals and soloists a chance to reflect on their careers and offer advice to the next generation.

Carolina Ballet principal dancer Lara O'Brien planned to retire from the company she has spent her entire 19-year career with this spring. Her final onstage appearance, as Lady Macbeth in Robert Weiss' Macbeth, a role she originated in 2016, was supposed to happen in May but was cancelled due to COVID-19. Luckily, the production was rescheduled to November 19-22 in Raleigh and she will delay her retirement until then.

A native of Crystal Lake, Illinois, O'Brien trained at the School of Ballet Chicago and School of American Ballet before joining Carolina Ballet in 2001 as an apprentice. She was promoted to soloist in 2004 and principal in 2011, and is also a mother and the owner of two dance studios. The 38-year-old O'Brien spoke to Pointe about about her career in Raleigh, as well as what it takes to balance dance, family and a business.


Why are you planning to retire?

I am feeling called to some new adventures. I started a family two-and-a-half years ago and I want to have more time with them. I have had really long and healthy career, and knowing it had to end at some point I would like to go out while I am still dancing really well.

Nineteen years is a long time with one company. Did you ever think about dancing elsewhere?

Joining Carolina Ballet was such a blessing. I have been given opportunities to dance a lot. I was promoted fairly quickly and have done a lot of leading roles that I never dreamed I would dance. I never had a desire to leave.

Wearing a red leotard, Lara O'Brien stands in fourth position crois\u00e9 on pointe with her right arm held head height, as if lifting a tray.

O'Brien in Rite of Spring

Armes Photogrpahy, Courtesy Carolina Ballet

What do you feel are the advantages of dancing with a regional company such as Carolina Ballet for many years?

Staying rooted in one place for a long time has its advantages in that you build a confidence in, and loyalty to, the company and take ownership of it and the community. I meshed really well with Ricky Weiss' vision and felt from the start that I had an artistic home at Carolina Ballet. And it means a lot that Raleigh has embraced the company and that we are an important part of the city's growing cultural community.

Any disadvantages?

We didn't tour as much as maybe I would have liked to early in my career, and connecting with the larger dance community outside Raleigh proved more challenging.

For the past four years you have also been a ballet school owner. How have you juggled the demands of dancing and running a business?

I have two Tutu School franchises—one I started in Raleigh in 2015 and another in Cary in 2017—for students ages 18 months to 8 years old. I want to give young children a positive, nurturing introduction to what ballet is and what it can be. I marinated on opening the first Tutu School over months because I was really unsure if it would take focus away from my dancing. But as a principal dancer I had some flexibility in my schedule, I had help from two teachers I hired, and I let some things go in finding the right balance.

What's next?

I am very stimulated by business ownership and am looking forward to expanding and growing the business. I am looking forward to spending more time with my husband (Matthew Muñoz) and my son Theo, who loves taking ballet at Tutu School along with trucks, trains and tractors.

Lara O'Brien, wearing a pink dance dress and a chunky gold crown, makes a beckoning motion with her right arm and looks toward her right.

O'Brien as Lady MacBeth in Robert Weiss' Macbeth. The ballet, which was to be her swan song, has been rescheduled for next season.

Armes Photography, Courtesy Carolina Ballet

How has the COVID-19 pandemic affected your plans?

COVID-19 has certainly had an impact. The fact that I am now working on staying in performance shape through the summer and planning to be rehearsing and performing in the fall changes some of my focus and time that I was expecting to turn towards family and travel later this year. It also remains to be seen what will unfold with plans for a third Tutu School franchise this year. Nothing is lost, per se, but things are on hold with the delay in my retirement.

What advice would give to aspiring professional dancers?

Fall in love with ballet. Everything is built on that. It is not an easy career, so you want to ground what you are doing on something that really matters to you. Continue to cultivate that throughout; recognize why you are dancing, what is worth sharing and what all of the hard work and dedication means to you.

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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."

Chisako Oga, an Asian-American ballerina, does a pench\u00e9 on pointe towards the camera with her arms held out to the side and her long hair flying. Smiling confidently, she wears a blue leotard and a black and white ombr\u00e9 tutu.

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."

Chisako Oga, an Asian-American ballerina, poses in attitude derriere crois\u00e9 on her right leg, with her right arm out to the side and her left hand grazing her left shoulder. She smiles happily towards the camera, her black hair blowing in the breeze, and wears a blue leotard, black-and-white ombre tutu, and skin-colored pointe shoes.

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."

Derek Dunn, shirtless and in blue tights, lunges slightly on his right leg and holds Chisako Oga's hand as she balances on her left leg on pointe with her right leg flicking behind her. She wears a yellow halter-top leotard and they dance onstage in front of a bright orange backdrop.

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."

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