Xiomara Reyes to Head The Washington School of Ballet

Photo by Fabrizio Ferri, Courtesy TWB.

Just a year ago, Julie Kent and Xiomara Reyes took their final bows at American Ballet Theatre. Now, the two ABT stars will be working together even more closely. Kent, who was named artistic director of The Washington Ballet in March, announced today that she has appointed Reyes as head of The Washington School of Ballet, effective September 1. Reyes' husband, Rinat Imaev, a company teacher at ABT, will also join TWSB as senior faculty.

Outgoing school director Kee Juan Han announced his retirement in April, prompting a nationwide search. “I’ve always loved working with Julie at ABT, so I was very excited when she called and asked if we’d be interested in applying,” Reyes told Pointe in a phone interview. She and Imaev have been directing IBStage, a summer program in Barcelona, for four years, and the Cuban-born dancer is no stranger to Washington audiences: Last year she danced the role of Katrina Van Tassel  in the world premiere of Septime Webre’s Sleepy Hollow. Now, she’s getting better acquainted with the school’s workings. “Kee Juan has been amazing and very helpful in explaining everything that the position entails.”

Reyes and Jared Nelson in TWB's production of Sleepy Hollow. Photo by Theo Kassenas, Courtesy TWB.

As for any major changes, Reyes says that she and Kent want to focus on deepening the school’s relationship with TWB, “so that the school can nourish the company and so that the students can be inspired by the dancers.” There are no immediate plans to instill ABT’s National Training Curriculum. “It’s the kind of decision Julie and I need to talk about, because it’s a very big decision,” says Reyes. She is, however, excited to share aspects of her Cuban training with students. “I’m very influenced by what I call its ‘fearless approach,’” she says. “In Cuba, it was a wonderful way of making us work very hard and in friendly competition, but without putting people down. That’s one of the things I really cherish and that I look forward to implementing—that security of confidence in a dancer that allows you to be fearless.”

Latest Posts


Left to right: Dance Theatre of Harlem's Daphne Lee, Amanda Smith, Lindsey Donnell and Alexandra Hutchinson in a scene from Dancing Through Harlem. Derek Brockington, Courtesy Dance Theatre of Harlem

Dancers Share Their Key Takeaways After a Year of Dancing on Film

Creating dances specifically for film has become one of the most effective ways that ballet companies have connected with audiences and kept dancers employed during the pandemic. Around the world, dance organizations are finding opportunities through digital seasons, whether conceiving cinematic, site-specific pieces or filming works within a traditional theater. And while there is a consistent sentiment that nothing will ever substitute the thrill of a live show, dancers are embracing this new way of performing.

Keep reading SHOW LESS

#TBT: Mikhail Baryshnikov in "Fancy Free" (1981)

In Jerome Robbins's 1944 ballet Fancy Free, three sailors on leave spend the day at a bar, attempting to woo two young women by out-dancing and out-charming one another. In this clip from 1981, Mikhail Baryshnikov, who was then both the artistic director of American Ballet Theatre and a leading performer with the company, pulls out all the stops to win the ladies' affections.

Keep reading SHOW LESS
Bethany Kirby, Courtesy Tulsa Ballet

An Infectious-Disease Physician on What Vaccines Mean for Ballet

As the coronavirus pandemic grinds into its second year, the toll on ballet companies—and dancers—has been steep. How long before dancers can rehearse and perform as they once did?

Like most things, the return to normal for ballet seems to hinge on vaccinations. Just over 22 percent of people in the U.S. are now vaccinated, a way from the estimated 70 to 85 percent experts believe can bring back something similar to pre-pandemic life.

But what would it mean for 100 percent of a ballet company to be vaccinated? Tulsa Ballet artistic director Marcello Angelini is about to find out—and hopes it brings the return of big ballets on the big stage.

"I don't think companies like ours can survive doing work for eight dancers in masks," Angelini says. "If we want to work, dance, and be in front of an audience consistently and with the large works that pay the bills, immunization is the only road that leads there."

Keep reading SHOW LESS

Editors' Picks