Renowned for his dramatic portrayals, Val Caniparoli, Principal Character Dancer, discusses the role of the Father in Balanchine’s Prodigal Son. He emphasizes the dramatic importance of “stillness” in conveying deep emotion, and he stresses how vital a part it is, although the Father’s time on stage is very short. He relates memories of his early days as a dancer in the Company, including his pleasure in dancing Melancholic in Balanchine’s Four Temperaments.

Rising-star choreographer Myles Thatcher, a member of SF Ballet’s corps de ballet, discusses his 2017 world premiere, Ghost in the Machine and what it takes to juggle a dual career. In discussing Ghost in the Machine, he talks about his inspiration, creative approach, working relationship with his dancers, and music choices. He also touches on his early desire to create dances and his mentor and other choreographers he admires.

Thomas F. DeFrantz, dance researcher and Chair of African American Studies at Duke University, offers a history of the African-American presence in American ballet. Focusing on the historical moments that predicted a growing presence, DeFrantz considers how African-American audiences, dancemakers, and performing artists have shifted and revised ballet's possibilities as an art form. 

Choreographer Liam Scarlett mentions his early career as a choreographer, emphasizing the wide range of styles in his prolific catalogue of works. He speaks eloquently about the creation of the ballet, Frankenstein, from his first reading of the novel at age 11; through his collaboration with the production team—John Macfarlane, sets and costumes, and Lowell Liebermann, the composer of the commissioned score; to working with both the English and the San Francisco casts of this co-production. He discusses the prevailing themes of the work and the challenges of translating the novel into a non-verbal work for the stage.

Litquake, the Bay Area's literary festival and San Francisco Ballet co-present Frankenstein at the Ballet: Mary Shelley and Her "Hideous Progeny." Professor Ellen Peel from the Comparative and World Literature Department at SF State reflects on the origin of Frankenstein. Shelley was often asked, 'how I, then a young girl, came to think of...so very hideous an idea,' Peel will address that question by looking at cultural and scientific forces in her day, and by considering Shelly's early life. Peel will comment on how the novel has managed to play so powerfully on our wishes and fears for two centuries, becoming a myth continually reborn in new avatars, now including a ballet. 

Corps de Ballet member Max Cauthorn discusses his debut as Victor Frankenstein in Liam Scarlett’s Frankenstein—a coup for such a young dancer. He touches on his feelings after performing the role for the first time, the nuances of characterization, and the four very different—and demanding—pas de deux he dances (three with Soloist Lauren Strongin, as Elizabeth, and one with Principal Dancer Taras Domitro, as the Creature). Also discussed: the stage “business” of creating life and Max’s transition from Trainee to Company dancer.

Principal Dancer Luke Ingham discusses his role in Yuri Possokhov’s 2017 world premiere, Optimistic Tragedy, and the process of bringing this ballet to the stage; the demands of rehearsing multiple ballets simultaneously; the makeup and costuming for the Creature, his role as in Liam Scarlett’s Frankenstein; and balancing his dance career with a new role: fatherhood.

Soloist Julia Rowe begins by describing the responsibilities and challenges of her new status as a Soloist. She is enthusiastic about participating in the creation of new works, joining in the creative process with the choreographer. She is eloquent about working with William Forsythe, whom she calls a “genius”, as he re-created Pas/Parts 2016 on the company during the 2016 season.

How do production elements contribute to the overall look and feel of ballets? Dance Educator Mary Wood in conversation with Ballet Master Anita Paciotti, Production Director and Lighting Designer Christopher Dennis discuss Yuri Possokov's world premiere Optimistic Tragedy.