Principal Dancer, Damian Smith, reminisces about his 18-year career with San Francisco Ballet. He speaks eloquently about his partnership with Yuan Yuan Tan; about preparing the wide variety of character roles he performed—elaborating about how he found the way to portray the villain Iago in Othello. He offers insights into the work of many of the renowned choreographers who have set works on him. He describes the future projects, many in the world of visual arts, in which he will be involved following his retirement at the end of the 2014 season.

Martin West discusses his childhood start in music, his studies in music and mathematics, and his “sink-or-swim” debut as a ballet orchestra conductor at English National Ballet. Also included are his conducting teacher’s connection to Dmitri Shostakovich, preparations for the Company’s upcoming Paris tour, and the orchestra’s activities outside of the pit, such as the CD recordings done at Skywalker Ranch.

Ricardo Bustamante, Ballet Master and Assistant to the Director, provides an enthusiastic review of the season, reviewing the importance of the company’s 2-week residency at the New York Center for the Performing Arts in the Fall of 2013. He offers comments on the world premiere Hummingbird, calling it “one of his favorites”, and the challenging Suite en Blanc, a contrast in style. He looks forward to the company’s return to Paris in the summer of 2014, performing in “Les Été de la Danse” Festival during its 10th anniversary. He concludes the lively Q&A session with a description of a “day in the life” of a Ballet Master.

Elyse Borne, a former dancer with New York City Ballet and a former ballet master at SF Ballet, discusses the role of a stager and the methods used to ensure that a restaged work is as close to the choreographer’s original intent as possible. She touches on the music challenges of Balanchine’s Agon, dancing in his Brahms-Schoenberg Quartet, and working with Robbins.

Choreographers Val Caniparoli, Liam Scarlett, and Myles Thatcher discuss their craft with dance scholar Carrie Gaiser Casey. Topics include their influences, challenges, and inspirations, and discussions of works such as Lambarena (Caniparoli), Hummingbird (Scarlett).

Scenic & Costume Designer, John Macfarlane, and Lighting Designer, David Finn discuss the creation of Hummingbird, choreographed by Liam Scarlett, on the eve of its premiere. Their long-standing collaboration provides the opportunity for them to elaborate on the creative contributions of the design team, and they offer insights into production of Scarlett’s first work for San Francisco Ballet.

Former Board Relations Manager Jennifer French Kovacevich interviews Soloist James Sofranko.

Esteban Hernandez, a member of the corps de ballet since 2013, discusses his first year at SF Ballet and performing in Johan Kobborg’s Les Lutins at the 2014 Opening Night Gala and the male variation from Le Crosaire at the “Get in Front” performance. He also talks about his early training in Mexico, at The Rock School in Philadelphia, and at The Royal Ballet School in London.

Roy Malan, Concert Master with the San Francisco Ballet Orchestra since its inaugural season 40 years ago, reminisces about the challenges and high points of this significant career. Facing retirement at the end of the 2014 repertory season, he discusses in his witty and engaging manner the projects that will continue to keep him busy contributing to the world or music as he teaches, plays chamber music, and directs ensembles in the Bay Area and beyond.

SF Ballet Visiting Scholar Dr. Stephanie Jordan presents “Meeting Beethoven: Mark Morris and Maelstrom.” What happens when you make a ballet out of Beethoven’s so-called “Ghost” Trio? In Maelstrom, Morris responds to a model of large musical form while adding his own suggestions of an unearthly narrative.