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episodes

  • Episode 70: Madison Keesler

    Madison discusses her excellent training at Central Pennsylvania Youth Ballet and her move to San Francisco Ballet School to complete her training. She also divulges the fascinating story of her apprenticeship with Hamburg Ballet, and later, her transition to the San Francisco Ballet Company.

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  • Episode 71: Christopher Dennis, Production Director

    Technical Director Christopher Dennis begins by describing his journey from being a student of theater to his current position overseeing the technical aspects of all SFB productions. Through a discussion of the season's varied repertoire, he highlights the challenging problems to be solved in bringing the designer's vision to the stage.


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  • Episode 69: Jacques d’Amboise

    Jacques d’Amboise discusses his career as a principal dancer with the New York City Ballet working with George Balanchine, and his connections to San Francisco Ballet and former artistic directors Willam and Lew Christensen as well as current artistic director and principal choreographer Helgi Tomasson. He describes Balanchine’s Apollo, which he coached at San Francisco Ballet, and tells how he was scouted for the film Seven Brides for Seven Brothers while performing at the War Memorial Opera House. He talks about why he founded the National Dance Institute and the importance of arts education.

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  • Episode 68: Holly Hynes, Costume designer for Christopher Wheeldon’s Number Nine

    Ms. Hynes offers a lively account of her rise to prominence as Director of Costumes for New York City Ballet and a leading authority in the reproduction of important ballet works. She describes her commission to design costumes for Wheeldon, elaborating on the process from inception to premiere performance. During a spirited Q&A with the audience, she shares anecdotes from her rich experience.

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  • Episode 67: Principal Dancers Sofiane Sylve and Pascal Molat

    Guests: Sofiane Sylve and Pascal Molat



    Principal dancers Sofiane Sylve and Pascal Molat describe their career journeys from their French training through performing in other companies, and being attracted to SFB by the diverse and varied repertoire. They each discuss the challenges and satisfactions of performing the classics, Balanchine works, and the contemporary ballets of Forsythe and McGregor. Sofiane Sylve comments on her commitment to transmitting the art form as a teacher in the SFB School.

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  • Episode 66: Doug Fullington, Dance Historian

    Guest Speaker: Doug Fullington





    San Francisco Ballet’s 2011 Visiting Scholar Doug Fullington, gives a lecture and detailed history of Coppélia. He traces the ballet’s lineage from its origins in France, on into Russia and, finally, over to America, culminating in George Balanchine’s brilliant 1974 production for New York City Ballet.

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  • Episode 63: Ricardo Bustamante

    Assistant to the Artistic Director and Ballet Master, Ricardo Bustamante.

    Ricardo describes the rich history of the ballet, Coppélia, and its value in a company's repertoire, both from the audience's and the dancers' point of view. He discusses the place that character roles have in a dancer's career as well as in a company's repertoire, and elaborates on his own interpretation of the role of Dr. Coppélius.

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  • Episode 64: Doug Fullington

    San Francisco Ballet’s 2011 Visiting Scholar Doug Fullington.

    Doug Fullington, dance scholar and historian gives a detailed history of Coppélia tracing the ballet’s lineage from its origins in France, on into Russia and, finally, over to America, culminating in George Balanchine’s brilliant 1974 production for New York City Ballet. Doug also talks about his role at Pacific Northwest Ballet and how his knowledge of Stepanov notation is informing a new production of the ballet Giselle.

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  • Episode 62: Anita Paciotti

    Registrar Kirsten Gamb interviews Ballet Master and Principal Character Dancer, Anita Paciotti.


    Kirsten and Anita discuss some of Anita’s favorite memories in her early years after joining the company in 1968. She gives us an overview of the changes and evolution of the Company to present. Ms. Paciotti tells the audience about the role and process of restaging and rehearsing ballet works. Anita concludes with an overview of Balanchine’sCoppelia and the inclusion of San Francisco Ballet School’s students in the performance.

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