In her seven years with the Company before she became a soloist, Courtney Elizabeth danced many soloist and principal roles. She discusses her transition from a San Francisco Ballet School student watching performances in standing room, to a corps de ballet dancer who danced in every performance in 2010, to her promotion to soloist in 2011. In discussing the 2012 Repertory Season, she relates her experiences in working on Onegin, Trio, Symphonic Dances, Glass Pieces, and Raymonda. Also touched on are her bachelor’s degree from St. Mary’s LEAP program; what it’s like to work with her husband, fellow dancer Matthew Stewart; and her volunteer efforts for Children of Uganda.

Principal dancers Sarah Van Patten and Pierre Francois Villanoba described their growth in the title roles of Romeo & Juliet. They referenced their experiences of the ballet prior to performing Artistic Director Helgi Tomasson's version. Pierre Francois described the challenges of learning, rehearsing, and performing the spectacular sword fights.

Fight Director Martino (Marty) Pistone describes the creation of the sword fights and other stage combat in Helgi Tomasson’s Romeo and Juliet. He discusses the styles of fencing and the weapons used, as well as the process of teaching dancers the fight choreography. He also discusses working with the dancers for the crowd scenes during the fights, and his performing role as the Prince of Verona.

Ashley Page talks about the world premiere of his newly commissioned work, Guide to Strange Places. Page reveals his motivation and inspiration for this ballet, and distills his unique approach to the creative process. He discusses the intricate process of selecting dancers and choosing the right music for new works.

Ballet Master Ricardo Bustamante describes his role in working with a choreographer or stager in teaching a ballet to the Company and rehearsing it later on his own. He talks specifically about his work with Ashley Page in creating the Program 6 world premiere, Guide to Strange Places, focusing on the challenges of learning unconventional movement and working with a complex, difficult musical score. Later in the interview he outlines his responsibilities as assistant to Artistic Director Helgi Tomasson, discusses his history as director of two companies in South America, and talks about his favorite role as a character dancer.

Ruben talks about why he likes his job, what it feels like to dance in contemporary works like Christopher Wheeldon's Number Nine and Morris' Beaux, and how he likes to spend his time when he's not dancing. He also describes how he sees the character of Eugene Onegin and why it is his "dream role."

Dana describes her ballet training at three very different schools prior to her arrival at SF Ballet in 2000. She discusses her role in Helgi Tomasson’s Trio and describes what it is like to work with Helgi in the studio. She also talks about the challenges of learning new ballets and balancing her on-stage career with her role as a mother.

Principal Dancer Vito Mazzeo danced in five of six ballets in Programs 2 and 3, and in this interview he goes into detail about rehearsing and performing Yuri Possokhov’s Francesa da Rimini, Helgi Tomasson’s Trio, and Mark Morris’ Beaux. After explaining how seeing Sir Kenneth MacMillan’s Winter Dreams as a young boy inspired him to dance, he describes his training at Milan’s La Scala Ballet School and his transition to San Francisco Ballet after dancing in Britain and Italy. Drawn to the Company because of its excellence and varied repertory, he talks about what it means to him as an artist to experience such range and opportunities for growth.

Mr. Mc Neal and Mungamba discuss Francisco’s auspicious beginnings in his native Spain, and his transition to the San Francisco Ballet School. Mungamba further discusses his ascent from the school to the Company, a journey that includes his successful competition in the Prix de Lausanne (2010 Silver Medal Winner), and much more.

Dance Educator Mary Wood interviews Principal Dancers Maria Kochetkova and Vitor Luiz