Conversations on Dance

This week we are joined by Kathryn Morgan, former soloist with the New York City Ballet.  Born and raised in Mobile Alabama, Kathryn moved to New York City in 2004 to train at the School of American Ballet to continue her ballet education. In June 2006 she joined NYCB as an Apprentice and was promoted to Corps member the following year. In 2012 an autoimmune illness forced her to leave the company in order to regain her health.  After leaving, she built a wildly popular YouTube channel and has developed a loyal social media following.  Kathryn is back to dancing now and in addition is teaching master classes, speaking around the country, has her own podcast and app, and has more in the works.  Today we speak with Katie about her time with New York City Ballet, her meteoric rise, the difficult decision to leave the company, and what she loves about her career as it is today.

This week we are joined by Kathryn Morgan, former soloist with the New York City Ballet.  Born and raised in Mobile Alabama, Kathryn moved to New York City in 2004 to train at the School of American Ballet to continue her ballet education. In June 2006 she joined NYCB as an Apprentice and was promoted to Corps member the following year. In 2012 an autoimmune illness forced her to leave the company in order to regain her health.  After leaving, she built a wildly popular YouTube channel and has developed a loyal social media following.  Kathryn is back to dancing now and in addition is teaching master classes, speaking around the country, has her own podcast and app, and has more in the works.  Today we speak with Katie about her time with New York City Ballet, her meteoric rise, the difficult decision to leave the company, and what she loves about her career as it is today.

Today we are joined by Peter Boal, Artistic Director of Pacific Northwest Ballet.  After completing his training at the School of American Ballet, Peter became a member of the New York City Ballet in 1983 and was promoted in Principal in 1989. While still dancing with the companu dancing, from 1997-2005 Mr. Boal also served as a full-time teacher at SAB and was in fact one of Michael’s teachers during this time.  In 2005 he retired from New York City Ballet after 22-years, and immediately became Artistic Director of Pacific Northwest Ballet and Director of the Pacific Northwest Ballet School.   Join PNB on March 17th-26th for their Director’s Choice program, an evening designed by Mr. Boal to bring the audiences and the dancers new works each season.  For ticket information visit pnb.org.

Today we are joined by Peter Boal, Artistic Director of Pacific Northwest Ballet.  After completing his training at the School of American Ballet, Peter became a member of the New York City Ballet in 1983 and was promoted in Principal in 1989. While still dancing with the companu dancing, from 1997-2005 Mr. Boal also served as a full-time teacher at SAB and was in fact one of Michael’s teachers during this time.  In 2005 he retired from New York City Ballet after 22-years, and immediately became Artistic Director of Pacific Northwest Ballet and Director of the Pacific Northwest Ballet School.   Join PNB on March 17th-26th for their Director’s Choice program, an evening designed by Mr. Boal to bring the audiences and the dancers new works each season.  For ticket information visit pnb.org.

This week we are delighted to welcome Fabrice Camels, Joffrey Ballet Principal Dancer.  Fabrice was born in France and began dancing at the age of three.  He completed his ballet training at the Paris Opera Ballet school before venturing the the United States where he trained at the Rock School and danced with Pennsylvania Ballet. In 2002, he joined the Joffrey Ballet under the direction of Gerald Arpino. Mr. Calmels holds the Guiness World Record for The Tallest Ballet Dancer in the world at 6’ 6”.  Today we talk with Fabrice about his decision to come dance in the states, the challenges that come with his impressive height, his outside projects, and how he came to be an IMG model.

This week we are delighted to welcome Fabrice Camels, Joffrey Ballet Principal Dancer.  Fabrice was born in France and began dancing at the age of three.  He completed his ballet training at the Paris Opera Ballet school before venturing the the United States where he trained at the Rock School and danced with Pennsylvania Ballet. In 2002, he joined the Joffrey Ballet under the direction of Gerald Arpino. Mr. Calmels holds the Guiness World Record for The Tallest Ballet Dancer in the world at 6’ 6”.  Today we talk with Fabrice about his decision to come dance in the states, the challenges that come with his impressive height, his outside projects, and how he came to be an IMG model.

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.