Christopher Stowell, Assistant to the Artistic Director and Ballet Master, brings the audience up to date on his career since retiring from SFB in 2001 after 16 years as a dancer. He places himself in the company’s heritage as the son of a former SFB dancer, Kent Stowell, then reflects on the excitement of joining the company during Artistic Director and Principal Choreographer Helgi Thomasson’s first season and being part of the company’s growth during that era. He describes how the experience of being the Artistic Director of the Oregon Ballet Theater helped to prepare him for his current duties as Assistant the the Artistic Director, particularly in areas of administration.

Artistic Administrator Caroline Giese interviews Principal Dancer Pascal Molat.

Artistic Administrator Caroline Giese interviews Principal Dancer Pascal Molat.

Soloist James Sofranko reflects on the trajectory of his career, which includes a degree from the Juilliard Conservatory, and significant training in dance disciplines outside of ballet. He cites this broad background while reviewing the range of roles in his repertoire, including time away from SFB performing the role of Eddie in the national tour of Movin’ Out, with choreography by Twyla Tharp. He currently enjoys time spent in the “front of the room”, as he is assuming the role of ballet master for select pieces entering the repertory.

Soloist James Sofranko reflects on the trajectory of his career, which includes a degree from the Juilliard Conservatory, and significant training in dance disciplines outside of ballet. He cites this broad background while reviewing the range of roles in his repertoire, including time away from SFB performing the role of Eddie in the national tour of Movin’ Out, with choreography by Twyla Tharp. He currently enjoys time spent in the “front of the room”, as he is assuming the role of ballet master for select pieces entering the repertory.

Celebrating his 30th season as Artistic Director and Principal Choreographer of SFB, Helgi Tomasson reflects with warmth and humor on his “discovery” by Jerome Robbins, and subsequent mentorship by the great 20th century choreographer. He includes delightful anecdotes from his experience competing in the First International Ballet Competition in Moscow in 1969, from which he took home the Silver Medal. He outlines some of his hopes and ambitions for the Company as its new Director, and observes what has exceeded those expectations.

Celebrating his 30th season as Artistic Director and Principal Choreographer of SFB, Helgi Tomasson reflects with warmth and humor on his “discovery” by Jerome Robbins, and subsequent mentorship by the great 20th century choreographer. He includes delightful anecdotes from his experience competing in the First International Ballet Competition in Moscow in 1969, from which he took home the Silver Medal. He outlines some of his hopes and ambitions for the Company as its new Director, and observes what has exceeded those expectations.

In 2013, Ms. Froustey left the Paris Opera Ballet to join SFB. In this interview, she discusses what she has learned since then—about dance and about herself. She describes the can-do spirit of this diverse American company and reflects on her sources of inspiration. She also provides insight into the ballet La Bayadere.

In 2013, Ms. Froustey left the Paris Opera Ballet to join SFB. In this interview, she discusses what she has learned since then—about dance and about herself. She describes the can-do spirit of this diverse American company and reflects on her sources of inspiration. She also provides insight into the ballet La Bayadere.

As he reflects on Manifesto, his first commission for the San Francisco Ballet, Myles Thatcher speaks about being a choreographer, as he reviews his career to date. He views his continuing roll as a dancer in the corps de ballet as important to his formation as a maker of dances, and he cites his relationships with his colleagues as particularly valuable to his work.