Gemma Bond, an ABT corps member, prefers choreographic opportunities over starring roles. Jim Lafferty.

Women to Watch: Three Rising Choreographers You Should Know

This story originally appeared in the April/May 2015 issue of Pointe.

If you've been keeping up on developments in the ballet world, you've probably had cause to ask: Where are the female choreographers?

“I get asked to do interviews a lot because of that question," says Emery LeCrone, a freelance choreographer and dancer based in New York City, “instead of just to talk about my work."


The skewed ratio of male to female ballet choreographers has long been established, inspiring countless distraught—and necessary—conversations and articles (including in this magazine). The reasons for this imbalance—why more men than women are making work at top companies like New York City Ballet and American Ballet Theatre—run deep, rooted in an ethos of conformity that follows female dancers from their first ballet class to the white acts of Swan Lake. Men, being a rarer breed in ballet, tend to get more specialized treatment from a young age. And at the professional level, women often rehearse longer hours (think of all the story ballets with multiple scenes for the female corps), giving them less time, energy and mental space to make their own work.

Yet in addition to women like Crystal Pite, Jessica Lang and Aszure Barton—who have choreographed for the likes of Pacific Northwest Ballet, the Joffrey and ABT—a young crop of female ballet choreographers is steadily gaining recognition. Pointe talked with three up-and-coming artists—Gabrielle Lamb, Gemma Bond and LeCrone—about their artistic paths, current projects and how they balance their dual lives as choreographers and dancers.

Gabrielle Lamb

Gabrielle Lamb (fair right) finds inspiration through improvisation. Photo by Jaqlin Medlock, Courtesy Lamb.

Gabrielle Lamb recalls a time, before she began to choreograph, when "improvisation" was a foreign concept. "I remember asking one of my colleagues, who was doing improv onstage, 'What if you don't know what to do next?' " she says.

At 39, having created pieces for Ballet Memphis, Milwaukee Ballet and Hubbard Street 2, among other companies, she's put that question behind her. Since choreographing her first solo in 2003, while dancing with Les Grands Ballets Canadiens de Montréal, Lamb has discovered the delights of making in the moment. It was improvising that initially drew her to choreography. "I realized that maybe my body had ideas that my head didn't understand," says Lamb, who received a 2014 Princess Grace Award for Choreography. "There's this spinal intelligence where certain things come from."

Now she often begins a process by filming her own improvisations. "I'm interested in how energy flows through the body," she says, "and how the body language we use everyday could be magnified or distorted into dance." As a freelance artist, she devotes most of her time to choreographing on others, though she continues to stay active as a dancer. Through a New York City Center fellowship last year, she commissioned a solo for herself, by Adam Barruch, while also creating new work for a group of dancers she auditioned and hired.

Her advice to young choreographers? "Don't feel like you have to have everything figured out before you start. I think that's what held me back for so long. I didn't understand that you have to start something without knowing where it will end."

Upcoming project: A premiere for Royal Winnipeg Ballet's Q Dance series, June 10–12.

​Gemma Bond

Gemma Bond rehearsing Cassandra Trenary for ABT's Innovation Initiative. Jim Lafferty.

Growing up as a student at The Royal Ballet School, Gemma Bond was, in her own words, "not very assertive"—except when it came to choreographing. Cast in her peers' work for the school's choreography competitions, she often found her 11-year-old self saying, "No, no, no—this way would be better."

"I thought, I'm becoming one of those really annoying people," she laughs, "so maybe I should just choreograph my own piece."

That creative spark has flourished during her time at ABT, where she joined the corps in 2008. She has participated several times in The Innovation Initiative, a series for emerging choreographers organized by David Hallberg and Kevin McKenzie, in addition to making pieces for New York Theatre Ballet, Youth America Grand Prix and Intermezzo Dance Company, a fledgling troupe founded by ABT soloist Craig Salstein. Her latest accolade is a fellowship from the New York Choreographic Institute—"the most exciting thing that's happened to me," she says—which comes with space, time and a stipend to do whatever she pleases. She's planning a ballet version of Shel Silverstein's The Giving Tree, which she'll unveil at an invite-only showing in April.

Bond, 32, describes herself as "very content to be in the corps de ballet." She pushes harder for choreographic opportunities than she does for star roles, and while some dancers spend the off-season guesting with other companies, she spends hers in the studio. Despite flirting with contemporary moves, she always comes back to a more classical vocabulary. In that vein, she aspires to create a large-scale work for a female corps. "I've always been extremely proud of the corps de ballet," she says. "I get very excited by dancing with my friends, when we're bang-on and our lines are amazing. It's an incredible feeling."

Upcoming project: A new work for New York Theatre Ballet, June 18–20.

​Emery LeCrone

LeCrone during NYCB's 2011 New York Choreographic Institute. Photo by Rosalie O'Connor, Courtesy NYCI.

At 28, Emery LeCrone has a chock-full resumé. Her crisp, geometrically inventive style has earned her commissions from Oregon Ballet Theatre, Colorado Ballet, Saint Louis Ballet, Charlotte Ballet, the National Choreographers Initiative, Juilliard and the Guggenheim's Works & Process series, to name just a few. She also dances with the Metropolitan Opera, a steady gig that gives her both the stability and flexibility to choreograph.

The challenges LeCrone faces, she says, have more to do with being a freelancer than with being female. "I'm just trying to get consistent work, and that has nothing to do with whether I'm a woman or a man."

LeCrone got an early start when, as a 19-year-old student at North Carolina Dance Theatre's Chautauqua Summer Dance Festival, she was required to choreograph. Quite simply, she says, "I loved it." Both she and Bond encourage young artists to generate as much work as possible—even if that means just noodling around in the studio and inviting friends to watch. "The number one thing is to keep making it and putting it out there, and things will happen," LeCrone says.

Having made a lot of "15-minute concert dance and 5-minute pas de deux," LeCrone wants to move toward creating longer works with larger casts. She also hopes to collaborate with a composer. While music is one inspiration for her, she gets most excited when talking about her dancers—their backgrounds, personalities, idiosyncrasies. "What inspires me most is being in the studio with them," she says. "When I choreograph a piece, it's about the people who are in it. It's about how we relate as human beings."

Upcoming projects: YAGP Gala, April 16; evening-length program for the Joyce Theater's Ballet Festival, Aug. 13–14.

Latest Posts


Peter Mueller, Courtesy Cincinnati Ballet

2020 Stars of the Corps: 10 Dancers Making Strides In and Out of the Spotlight

The corps de ballet make up the backbone of every company. In our Fall 2020 issue, we highlighted 10 ensemble standouts to keep your eye on. Click on their names to learn more!

Dara Holmes, Joffrey Ballet

A male dancer catches a female dancer in his right arm as she wraps her left arm around his shoulder and executes a high arabesque on pointe. Both wear white costumes and dance in front of a blue backdrop onstage.

Dara Holmes and Edson Barbosa in Myles Thatcher's Body of Your Dreams

Cheryl Mann, Courtesy Joffrey Ballet

Wanyue Qiao, American Ballet Theatre

Wearing a powder blue tutu, cropped light yellow top and feather tiara, Wanyue Qiao does a piqu\u00e9 retir\u00e9 on pointe on her left leg and pulls her right arm in towards her.

Wanyue Qiao as an Odalisque in Konstantin Sergeyev's Le Corsaire

Gene Schiavone, Courtesy ABT

Joshua Guillemot-Rodgerson, Houston Ballet

Three male dancers in tight-fitting, multicolored costumes stand in positions of ascending height from left to right. All extend their right arms out in front of them.

Joshua Guillemot-Rodgerson (far right) with Saul Newport and Austen Acevedo in Oliver Halkowich's Following

Amitava Sarkar, Courtesy Houston Ballet

Leah McFadden, Colorado Ballet

Wearing a white pixie wig and a short light-pink tunic costume, a female ballet dancer poses in attitude front on pointe with her left arm bent across her ribs and her right hand held below her chin.

Leah McFadden as Amour in Colorado Ballet's production of Don Quixote

Mike Watson, Courtesy Colorado Ballet

Maria Coelho, Tulsa Ballet

Maria Coelho and Sasha Chernjavsky in Andy Blankenbuehler's Remember Our Song

Kate Lubar, Courtesy Tulsa Ballet

Alexander Reneff-Olson, San Francisco Ballet

A ballerina in a black feathered tutu stands triumphantly in sous-sus, holding the hand of a male dancer in a dark cloak with feathers underneath who raises his left hand in the air.

Alexander Reneff-Olson (right) as Von Rothbart with San Francisco Ballet principal Yuan Yuan Tan in Swan Lake

Erik Tomasson, Courtesy SFB

India Bradley, New York City Ballet

Wearing a blue dance dress with rhinestone embellishments and a sparkly tiara, India Bradley finishes a move with her arms out to the side and hands slightly flexed.

India Bradley practices backstage before a performance of Balanchine's Tschaikovsky Piano Concerto No. 2.

Erin Baiano, Courtesy NYCB

Bella Ureta, Cincinnati Ballet

Wearing a white dress with pink corset, Bella Ureta does a first arabesque on pointe in front of an onstage stone wall.

Bella Ureta performs the Act I Pas de Trois in Kirk Peterson's Swan Lake

Hiromi Platt, Courtesy Cincinnati Ballet

Alejándro Gonzales, Oklahoma City Ballet

Dressed in a green bell-boy costume and hat, Alejandro Gonz\u00e1lez does a saut\u00e9 with his left leg in retir\u00e9 and his arms in a long diagonal from right to left. Other dancers in late 19-century period costumes watch him around the stage.

Alejandro González in Michael Pink's Dracula at Oklahoma City Ballet.

Kate Luber, Courtesy Oklahoma City Ballet

Nina Fernandes, Miami City Ballet

Wearing a long white tutu and crown, Nina Fernandes does a saut de chat in front of a wintery backdrop as snow falls from the top of the stage.

Nina Fernandes in George Balanchine's The Nutcracker

Alexander Iziliaev, Courtesy Miami City Ballet

Quinn Wharton

Pacific Northwest Ballet's Angelica Generosa Shares Her Classic, Comfy Style In and Out of the Studio

"I love the feeling and look of effortless fashion," says Angelica Generosa. Preferring a classic style, the Pacific Northwest Ballet soloist keeps her wardrobe stocked with blazers. But they serve a practical purpose, too. "It tends to get chilly in Seattle, so it's the perfect accessory for layering," Generosa explains.

She's also quite fond of designer handbags. "They're my go-to accessory, and they're also my weakness when shopping," she says, naming Chloé, Chanel and Dior as some of her favorite brands. "I really appreciate the craftsmanship it takes to produce one—they're so beautiful and each has its own story, in a way."

In the studio, Generosa prioritizes comfort, and she'll change up her look depending on the repertoire (leotards and tutus for classical works, breathable shirts with workout pants for contemporary). But she always arrives to work in style. "I really love putting together outfits for even just going to the studio," she says. "It's another way of expressing my mood and what kind of vibe I'm going for that day."

The Details: Street

Angelica Generosa, wearing a blue blazer, white blouse and gray jeans, is photographed from underneath as she walks and looks to the right.

Quinn Wharton

BCBG blazer: "It has some shoulder pads and a really cool pattern," says Generosa. "It reminds me of my mom and '80s fashion."

Zara blouse: She incorporate neutrals, like this white satin button-up, to balance bright pops of colors.

Angelica Generosa looks off to her right in front of a glass-windowed building. She wears a blue blazer, white blouse, gray jeans and carries a small green handbag.

Quinn Wharton

Madewell jeans: Comfort is a major factor for Generosa, who gets her fashion inspiration from her mom, friends and people she comes across day to day.

Chloé bag: "I tend to have smaller purses because I'm quite small. Bigger bags overwhelm me sometimes—unless it's my dance bag, of course!"

The Details: Studio

Angleica Generosa, wearing a blue tank leotard, black wool leggings and pink pointe shoes, balances in a lunge on pointe with her left leg in front, facing a wall of windows.

Quinn Wharton

Label Dancewear leotard: "This was designed by my good friend Elizabeth Murphy, a principal dancer here at PNB. Her leotards always fit me really well."

Mirella leggings: "I get cold easily," says Generosa, who wears leggings and vests to stay warm throughout the day.

Angelica Generosa, wearing a blue tank leotard, black wool tights and pink pointe shoes, jumps and crosses her right foot over her left shin while lifting her arms up to the right.

Quinn Wharton

Freed of London pointe shoes: "When sewing them, I crisscross my elastics and use an elasticized ribbon from Body Wrappers," which helps alleviate Achilles tendon issues, she says. She then trims the satin off of the tip of the shoe. "Then I bend the shank a bit to loosen it up and cut a bit off where my arch is."

Getty Images

This New "Nutcracker" Competition Wants Your Dance Studio to be Part of a Virtual Collaboration

Despite worldwide theater closures, the Universal Ballet Competition is keeping The Nutcracker tradition alive in 2020 with an online international competition. The event culminates in a streamed, full-length video of The Virtual Nutcracker consisting of winning entries on December 19. The competition is calling on studios, as well as dancers of all ages and levels, to submit videos by November 29 to be considered.

"Nutcracker is a tradition that is ingrained in our hearts," says UBC co-founder Lissette Salgado-Lucas, a former dancer with Royal Winnipeg Ballet and Joffrey Ballet. "We danced it for so long as professionals, we can't wait to pass it along to dancers through this competition."

Keep reading SHOW LESS

Editors' Picks