Conversations on Dance | Ballet & Dance Careers

This week we are happy to welcome José Mateo, Founder & Artistic Director of the José Mateo Ballet Theatre. José holds a BA in Art History from Princeton University where he began his formal training in ballet and modern techniques.  After a New York-based career as a dancer, Mateo moved to Boston where he worked as an administrator at Harvard University’s Fogg Art Museum and quickly gained a reputation as a teacher and choreographer.  In 1985 he founded his own company and school. For over 30 years José Mateo Ballet Theatre’s highly acclaimed Company has presented repertory work representing Mateo’s artistic achievement in choreography. Mateo is also widely respected for his civic contribution as innovator of community programs that broaden the reach of ballet and make dance an effective community building force.  Last week Mateo was awarded the esteemed Commonwealth Award for Achievement, the highest honor in arts, humanities, and sciences in the State of Massachusetts.  Today we talk with him about his time at Princeton, the process of building a company and school from the ground up, and about receiving this distinguished award.

This week we are happy to welcome José Mateo, Founder & Artistic Director of the José Mateo Ballet Theatre. José holds a BA in Art History from Princeton University where he began his formal training in ballet and modern techniques.  After a New York-based career as a dancer, Mateo moved to Boston where he worked as an administrator at Harvard University’s Fogg Art Museum and quickly gained a reputation as a teacher and choreographer.  In 1985 he founded his own company and school. For over 30 years José Mateo Ballet Theatre’s highly acclaimed Company has presented repertory work representing Mateo’s artistic achievement in choreography. Mateo is also widely respected for his civic contribution as innovator of community programs that broaden the reach of ballet and make dance an effective community building force.  Last week Mateo was awarded the esteemed Commonwealth Award for Achievement, the highest honor in arts, humanities, and sciences in the State of Massachusetts.  Today we talk with him about his time at Princeton, the process of building a company and school from the ground up, and about receiving this distinguished award.

This week happy to welcome back Doug Fullington, assistant to the artistic director at Pacific Northwest Ballet and the company’s education program’s manager. Mr. Fullington is a lauded dance historian, capable of reading Stepanov notation, a classical ballet notation system developed in Russia. He’s contributed to the reconstruction of many 19th century works, including ‘The Daughter of Pharaoh’, ‘Le Corsaire’, and recently, PNB’s ‘Giselle’. In 2000, he was named principal researcher for the George Balanchine Foundation’s  project entitled ’Popular Balanchine’.  A few weeks after the recording of this episode, Alexei Ratmansky, Lourdes Lopez, and a small group of Miami City Ballet Dancers joined Doug at the Guggenheim Museum in New York City for their Works and Process performing arts series.  Doug was the moderator for this event which delved deeper into Alexei Ratmansky’s World Premiere for Miami City Ballet, “The Fairy’s Kiss,”  set to the Stravinsky score, entitled “Le Baiser de la Fée.” Today we chat with Doug, who offers us a behind the scenes look into the Works and Process event and provides a fascinating examination of the history of this score that has challeneged choreographers since it’s inception.

For a link to the full video of the Works and Process event at the Guggenheim with Doug, Alexei, and Miami City Ballet, check out our Facebook page facebook.com/conversationsondance.

This week happy to welcome back Doug Fullington, assistant to the artistic director at Pacific Northwest Ballet and the company’s education program’s manager. Mr. Fullington is a lauded dance historian, capable of reading Stepanov notation, a classical ballet notation system developed in Russia. He’s contributed to the reconstruction of many 19th century works, including ‘The Daughter of Pharaoh’, ‘Le Corsaire’, and recently, PNB’s ‘Giselle’. In 2000, he was named principal researcher for the George Balanchine Foundation’s  project entitled ’Popular Balanchine’.  A few weeks after the recording of this episode, Alexei Ratmansky, Lourdes Lopez, and a small group of Miami City Ballet Dancers joined Doug at the Guggenheim Museum in New York City for their Works and Process performing arts series.  Doug was the moderator for this event which delved deeper into Alexei Ratmansky’s World Premiere for Miami City Ballet, “The Fairy’s Kiss,”  set to the Stravinsky score, entitled “Le Baiser de la Fée.” Today we chat with Doug, who offers us a behind the scenes look into the Works and Process event and provides a fascinating examination of the history of this score that has challeneged choreographers since it’s inception.

For a link to the full video of the Works and Process event at the Guggenheim with Doug, Alexei, and Miami City Ballet, check out our Facebook page facebook.com/conversationsondance.

Today we are thrilled to welcome Misty Copeland.  Born in Kansas City, Missouri, and raised in San Pedro California, Misty began her training at the age of 13.  In 2000, she joined American Ballet Theater’s Studio Company, and was promoted to the Corps de Ballet a year later.  In June 2015, Misty made history when she became the first African American woman at ABT to join the rank of Principal Dancer.  Misty Copeland has become a household name with dozens of appearances in the mainstream media and is the face of major brands such as Under Armour.  We had the honor of speaking with her about her career, her position as a role model, and the work she is doing to give back and inspire a new generation of dancers.

Be sure to check out our new website, at conversationsondancepod.com.

Today we are thrilled to welcome Misty Copeland.  Born in Kansas City, Missouri, and raised in San Pedro California, Misty began her training at the age of 13.  In 2000, she joined American Ballet Theater’s Studio Company, and was promoted to the Corps de Ballet a year later.  In June 2015, Misty made history when she became the first African American woman at ABT to join the rank of Principal Dancer.  Misty Copeland has become a household name with dozens of appearances in the mainstream media and is the face of major brands such as Under Armour.  We had the honor of speaking with her about her career, her position as a role model, and the work she is doing to give back and inspire a new generation of dancers.

Be sure to check out our new website, at conversationsondancepod.com.

This week we welcome Miami City Ballet soloist, Lauren Fadeley.  After completing a year of training at SAB, Lauren was asked by Peter Martins to join New York City Ballet at the age of 16.  After two years with the company, Lauren decided to pursue a higher education at Indiana University.  She danced throughout college and graduated  with a Bachelor of Science in Ballet Performance with an outside field in Kinesiology.  In 2007, Lauren went on the join the Pennsylvania Ballet where she rose through the ranks to Principal.  In 2016, she made another career change and joined Miami City Ballet as a Soloist.  Today we talk with Lauren about her unique career path, her college education, especially her time working with Balanchine Ballerina, Violet Verdy, and ask her advice for young dancers looking to choose between college and a professional career in dance.  As Lauren proves, sometimes you don’t have to choose.

This week we welcome Miami City Ballet soloist, Lauren Fadeley.  After completing a year of training at SAB, Lauren was asked by Peter Martins to join New York City Ballet at the age of 16.  After two years with the company, Lauren decided to pursue a higher education at Indiana University.  She danced throughout college and graduated  with a Bachelor of Science in Ballet Performance with an outside field in Kinesiology.  In 2007, Lauren went on the join the Pennsylvania Ballet where she rose through the ranks to Principal.  In 2016, she made another career change and joined Miami City Ballet as a Soloist.  Today we talk with Lauren about her unique career path, her college education, especially her time working with Balanchine Ballerina, Violet Verdy, and ask her advice for young dancers looking to choose between college and a professional career in dance.  As Lauren proves, sometimes you don’t have to choose.

Today we have the distinct pleasure of welcoming New York Times Chief Dance Critic, Alastair Macaulay. Alastair has been the Chief Dance critic with the Times since 2007.  Before that time, he worked as the Chief Theater Critic of the Financial Times in London, was the Chief Dance Critic for The Literary Supplement, the founding editor of the British Quarterly Dance Theater Journal, and a guest dance critic for The New Yorker.   For the past 30 years Alastair has been researching George Balanchine’s ’Serenade’ and has recently complied his work into a Symposium  at the New York Public Library entitled “Balanchine’s Serenade: An Evening of Films, Commentary, and Memories.”

For a list of supplemental information to accompany this episode, visit us on Facebook, at Facebook.com/conversationsondance.

Today we have the distinct pleasure of welcoming New York Times Chief Dance Critic, Alastair Macaulay. Alastair has been the Chief Dance critic with the Times since 2007.  Before that time, he worked as the Chief Theater Critic of the Financial Times in London, was the Chief Dance Critic for The Literary Supplement, the founding editor of the British Quarterly Dance Theater Journal, and a guest dance critic for The New Yorker.   For the past 30 years Alastair has been researching George Balanchine’s ’Serenade’ and has recently complied his work into a Symposium  at the New York Public Library entitled “Balanchine’s Serenade: An Evening of Films, Commentary, and Memories.”

For a list of supplemental information to accompany this episode, visit us on Facebook, at Facebook.com/conversationsondance.