Photo by Chava Lansky, Courtesy of the American Ballet Theatre Archive at the Library of Congress.

These 1970s Dancer Recipes May Surprise You

Who says dancers don't eat?

In 1979, the corps of American Ballet Theatre went on strike in a fight to increase their wages (starting corps members made a measly $235 a week). "We're underpaid and overworked" said soloist Rebecca Wright in a People magazine article from the time. Though the nearly two-month long labor dispute ultimately gave dancers a 40 percent wage increase and better benefits, the months without work left dancers tightening their belts even further to make ends meet. Their solution? A benefit performance and auction organized by Gelsey Kirkland starring Natalia Makarova and former NYCB dancer Edward Villella, stars who spoke out on behalf of the corps. The benefit brought in $10,000. One of the items auctioned off was Ballet Theatre Belly-Busters, a cookbook compiled by the dancers of their favorite recipes, complete with a hand-drawn cover.

We got our hands on one of these original copies, and were surprised to see what an eclectic mix of delicacies the book contained, from hometown favorites to ballet-themed baked goods.


One of the quirkiest recipes is "Heating Pad Yogurt" submitted by Solange MacArthur. In true dancer fashion, MacArthur explains how to make yogurt in a glass bottle wrapped in your heating pad... yes, the same heating pad you use to tend to your aching muscles after class.

We always love a Nutcracker-themed treat. Francia Kovak submitted this recipe for Russian Tea Cakes, fondly named "Nutcracker Sweet." With just a few ingredients and easy instructions, these cakes can help whet your appetite for Nutcracker season.


Ballet companies bring together dancers from all different backgrounds and cultures. This recipe from renowned ballerina Marianna Tcherkassky emphasizes her Russian heritage (the current Pittsburgh Ballet Theatre ballet mistress is of both Russian and Japanese descent.)


Is your mouth watering yet? Here's one more: "Mom's Brunswick Stew" from former ABT associate artistic director and current associate artistic director of The Washington Ballet, Victor Barbee. We wonder if he's still making this hearty fare at home with his wife, ballet extraordinaire Julie Kent.


Though many of the roughly 100 recipes in this book feel a bit dated (canned vegetables, mayonnaise, and fruit cocktail anyone?), it's encouraging to see dancers defying the stereotype of consuming only a few sticks of celery each day. And even better, Ballet Theatre Belly-Busters shows the persistence of dancers who fought for the right to a more secure life.


Accessed from the American Ballet Theatre Archive of the Music Division at the Library of Congress.

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After 25 Years, Victoria Morgan to Step Down as Cincinnati Ballet's Artistic Director

Last month, Victoria Morgan announced that she will step down as Cincinnati Ballet's artistic director at the conclusion of the 2021-22 season. The organization's board of trustees has formed a committee to conduct a national search for her replacement.

Prior to coming to Cincinnati Ballet in 1997, the Salt Lake City native was a principal dancer with San Francisco Ballet and Ballet West, as well as resident choreographer for the San Francisco Opera. She graduated magna cum laude from University of Utah, where she also earned her MFA, and has judged several international ballet competitions.

Entering her 25th and final season as director, Morgan has accomplished a lot at Cincinnati Ballet, not the least erasing the $800,000 in company debt she inherited at the outset of her tenure. To right the organization's financial ship she had to make tough choices early on—the first task the company's executive committee gave her was to release a third of the company's dancers. In her continuing effort to overhaul how the organization did business, in 2008 she became both the artistic director and CEO and set about building the company's now $14.5 million endowment. For the 2016–17 season, with the arrival of new company president and CEO Scott Altman, Morgan returned to being full-time artistic director and helped lead the realization of the organization's new $31 million home, the Margaret and Michael Valentine Center for Dance.

A champion of female choreographers, Morgan has also choreographed numerous ballets for the company, including world premieres of King Arthur's Camelot and The Nutcracker. She has also helped orchestrate several company collaborations, including 2013's Frampton and Cincinnati Ballet Live and joint productions with BalletMet.

Pointe caught up with Morgan to talk about her recent announcement.

Victoria Morgan is shown from the side standing on stage right, turning to smile at a line of costumed dancers to her left during bows. She wears a patterned green dress with chunky green high heels and holds a red rose in her hand.

Peter Mueller, Courtesy Cincinnati Ballet

Why leave Cincinnati Ballet now?

It's been an amazing run and I have seen it all. I am not sure where I would go from here. I also feel there is a required stimulus and infusion of new ideas and energy that always needs to be a part of a growing, evolving and exciting arts organization.

What made you happiest at Cincinnati Ballet?

The people, from the devotion of patrons and donors to learning from and feeling the pride in work from the staff. It has also been so satisfying for me to choreograph on and watch so many dancers evolve in their dance careers and lives.

Were there things you wanted to do for the company that you weren't able to?

There were other collaborations I wanted us to explore and choreographers I wanted us to work with. It takes quite an investment to make those happen.

Your legacy includes actively creating opportunities for female choreographers. What motivated that?

I started realizing, in a profound way, the gender inequities in our art form. Because I was in a leadership position, I thought I could do something about this and try to get to a 50-50 balance of male and female choreographers. It took a little time to find women to step forward, but it happened. Now there are many more prominent female choreographers, including our resident choreographer Jennifer Archibald, and I am proud of that.

If you could handpick your successor, what qualities would you look for?

Somebody creative, charged up, and who can be visionary. Someone who has had a high-level experience in our art form. A leader who is demanding but also kind and supportive, and who opens doors to find new ideas while still embracing Cincinnati Ballet's philosophies.

What do you feel will be one of the biggest challenges for the new artistic director?

The important cause of DEIA (diversity, equity, inclusion, accessibility). Whoever steps into that position has to have awareness of the culture of today's conversation.

Do you plan to keep choreographing?

I am not being proactive about it, but if the opportunity presents itself, it would be fun.

What's next?

I feel my next calling is bringing movement to the biggest segment of our population, baby boomers. I want to be part of an initiative that makes moving and wellness enjoyable and enlivens people.

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