PA Ballet's Julie Diana: Inspirational On- and Offstage

Julie Diana and Zachary Hench in Christopher Wheeldon's After the Rain. Photo by Alexander Iziliaev.

Longtime Pennsylvania Ballet principal Julie Diana gave her retirement performance yesterday, dancing Christopher Wheeldon’s After the Rain with husband and fellow principal Zachary Hench.

Diana’s career spanned an impressive 21 years (she was a principal dancer at San Francisco Ballet before heading to Philadelphia in 2004).  But for me, what makes her career even more inspirational is her remarkably full life outside of ballet. While maintaining a grueling rehearsal and performance schedule, she also managed to pursue a college degree (she has a BA in English from the University of Pennsylvania). Since graduating, she’s embarked on an ardent and accomplished writing career—perhaps you’ve seen her articles on the pages of Pointe, Dance Magazine, or Dance Spirit. And, as if that weren’t enough, she’s a busy mother of two. Her children were in the audience yesterday for her last performance—which happened to coincide with Mother’s Day.

Often, young dancers think that the demands of a ballet career means giving up everything else: school, motherhood, outside interests. But Diana has somehow managed to fulfill all four. That deserves the term Superwoman, in my book! Luckily for Pointe readers, she’s not going anywhere far—she now intends to spend more time on her writing.

Latest Posts


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

#TBT: Gelsey Kirkland and Mikhail Baryshnikov in "Coppélia" (1976)

Gelsey Kirkland and Mikhail Baryshnikov share the unique experience of having danced at both American Ballet Theatre and New York City Ballet during their careers. The two overlapped at ABT in the mid-'70s, where they developed one of the best-known partnerships in ballet. They were both celebrated for their dynamism onstage; however, in this 1976 clip of the pas de deux from Coppélia, Kirkland and Baryshnikov prove they are also masters of control.

Keep reading SHOW LESS
Natalia Voronova, Courtesy Bolshoi Ballet

The Bolshoi Is Back Onstage: We Went Inside Bryan Arias' Latest Work

This summer, when parts of the world were slowly emerging from the COVID-19 lockdown, all live performing arts events having been canceled or postponed, choreographer Bryan Arias found himself in Moscow creating a brand-new work for the Bolshoi Ballet.

Arias, who was born in Puerto Rico, grew up in New York City's Spanish Harlem, and danced with Complexions Contemporary Ballet, Nederlands Dans Theater 2 and Kidd Pivot, had been invited by Bolshoi artistic director Makhar Vaziev to be part of an impromptu program of contemporary choreography titled Four Characters in Search of a Plot. Three other international choreographers—Martin Chaix (France), Dimo Milev (Bulgaria) and Simone Valastro (Italy)—had also been asked to participate. This program, unusual by all standards for Russia's esteemed classical ballet company, opened the Bolshoi's 245th ballet season on September 10. Eager to resume live events, the theater introduced a number of safety regulations for audience members, including limited and spaced-out seating, temperature checks upon entry and audio messages reminding patrons to wear masks and maintain social distance.

Below, Arias talks about his trip to Russia and his experience of creating his new piece, The Ninth Wave, on the Bolshoi Ballet dancers.

Keep reading SHOW LESS

Editors' Picks