Night owls may face their own unique challenges (San Francisco Ballet's Isabella DeVivo, photo via @ballerinaproject_)

The Real Reason You're Late For Your Morning Class

If you identify as a "night owl," then you're probably all too familiar with the feeling of running late. Maybe you've been trying to get into an early-morning cross-training routine for months, but when the alarm goes off, the struggle becomes all too real. Or you have no trouble performing until late at night, but find yourself sluggish during your morning rehearsals. Perhaps you're constantly scrambling to get to your first class on time, while others cheerfully boast that they've already been up for hours at the start of barre.

Most of the time, people will just tell you that you should be going to bed earlier, and getting more sleep per night. While this is good advice, it may not tell the whole story. A recent study published in the journal Pediatrics found that there really might be differences in the way night owls and early risers are "wired"—and that society tends to cater to the morning people.


The study surveyed thousands of high school and middle school students in Virginia (both "morning" and "night" people), who were expected to be at school by 7:20 am, and looked at things like their daytime sleepiness, alertness, and emotional and behavioral states. They found that even when the students were all getting the same amount of sleep, the night owls fared worse, suggesting that when they slept mattered—not just how much sleep they got. The idea is that we can be predisposed to be alert or tired at different times in a 24-hour cycle. Morning people might be at their most awake and functional in the early hours, but night people may naturally be on a later schedule. And trying to fit themselves into a schedule that's "unnatural" for them may present real challenges.

The results don't answer every question—after all, there are many factors that can affect sleeping habits. Still, getting a sense of when you're naturally most awake and productive may help you to use the information to your advantage. For the days that you do have early-morning commitments, here are a few tricks you can try to make the process a bit easier:

Set yourself up for success. If you plan your morning the night before—from prepping your dance bag and breakfast, to arranging to meet a friend for an early workout—it'll be that much easier to get up and go.

Avoid screens before bed. The type of light emitted from e-readers, phones or computer screens can be disruptive to sleep, and throw off your body's natural rhythms (though reading a good old-fashioned print book may help you wind down before bed).

Getting enough sleep is still important. While early morning may never be your most productive time, you'll still be better off if you get enough rest the night before (six hours a night may feel like enough, but one study found that it's as bad as depriving yourself of sleep altogether).

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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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