Originally choreographed by Marius Petipa and Lev Ivanov in Russia in 1895, Swan Lake tells the story of Prince Siegfried, who falls in love with Odette, a princess cursed by the evil sorcerer von Rothbart to become a swan by daylight. While Siegfried’s love of Odette could break the spell, he is tricked into instead pledging his love to Odile, the sorcerer’s daughter, who is disguised as Odette. What unfolds is a tale of love, transformation, and ultimate forgiveness.

ABT premiered its first full-length Swan Lake in 1967 with a version choreographed by David Blair. Blair’s rendition of the classic tale blazed the trail for what would become ABT’s most popular ballet.

It was in 2000 when then Artistic Director Kevin McKenzie’s Swan Lake came to life. Featuring Julie Kent as Odette/Odile and Angel Corella as Prince Siegfried in its March 2000 World Premiere at the Kennedy Center for the Performing Arts in Washington, D.C., McKenzie’s Swan Lake was based on the 1895 version while also including changes that made the show uniquely ABT’s own.

The New York Times outlined the changes in an article leading up to the New York Premiere of the production, which included the addition of a prologue to give Odette’s backstory. Evil sorcerer von Rothbart was reimagined as a split personality, with two dancers sharing the role. McKenzie even positioned Prince Siegfried as the focus of the story, rather than Odette, the Swan Queen.

”In my mind, the Swan’s story is done.The story happens to Siegfried, not the Swan. He can’t marry his ideal to reality. That is the tragedy,” McKenzie explained.

Upon its Kennedy Center debut, The Wall Street Journal said McKenzie’s Swan Lake gave “the 123-year-old ballet fresh splendor, depth and momentum” and that it glided “to the forefront of stagings all over the world.” When the ballet debuted in New York, The New York Times declared McKenzie’s Swan Lake “the blockbuster production of the dance season” and said that “all its new and traditional components fell into place” when Nina Ananiashvili and Julio Bocca danced the leading roles. The production was a true spectacle, with more than 300 costumes, forty-four Swan tutus, and wide acclaim for both sets and lighting.

Since then, McKenzie’s Swan Lake has been a staple in ABT’s repertoire, playing to packed houses year after year. Experience the ballet during ABT’s 2025 Summer season at the Metropolitan Opera House and enjoy the photos of this magical ballet from over the years at ABT.

Giselle, the heartbreaking love story of a village maiden and a handsome young nobleman betrothed to another, holds a special place in the hearts of ballet aficionados all around the world. But fandom isn’t the only reason it’s particularly special at American Ballet Theatre: It’s also one of the first ballets that Company ever performed.

American Ballet Theatre, known as Ballet Theatre at the time, raised the curtain on its first performance ever on January 11, 1940, with a production of Les Sylphides at The Center Theatre in New York City. The very next day, the Company took the stage for its very first performance of Giselle, starring Annabelle Lyon in the title role and Anton Dolin, the production’s choreographer, as Albrecht.

Several renowned choreographers and Artistic Directors went on to stage renditions of Giselle at ABT over the years, including Dimitri Romanoff (with contributions from George Balanchine) in 1946, David Blair in 1968, Mikhail Baryshnikov in 1980 and 1987, and Kevin McKenzie in 1998. Now, 85 years later, Giselle is on the roster once again for ABT’s Summer 2025 season at the Metropolitan Opera House June 21 – 28.

Enjoy these photos of ABT’s Giselle over the years, featuring some of ballet history’s most iconic dancers (and ABT stars) in the leading roles.

Performing in mesmerizing unison, the corps de ballet embody dedicated hours of training. From the studio until the curtain drops, corps members work together to showcase beautiful productions for the season. With a passionate love of dance are exemplary corps members who inspire and lead their team.

Each year, American Ballet Theatre recognizes an outstanding senior female corps dancer with the title of Jennifer Alexander Dancer. This dancer displays professionalism, dedication, and perseverance as the late Jennifer Alexander exemplified. Jennifer passed away in December 2007, and the title and Jennifer Alexander Memorial Fund are in memory of this beloved corps de ballet member.

This year ABT honors Leah Baylin as the 2025 Jennifer Alexander Dancer.

Leah began dancing ballet at four years old and from her first performance fell in love with the art form. “I lived for the moments I got to go to class and be onstage,” said Leah. Since then, Leah continued to pursue her love of ballet professionally.

Joining the American Ballet Theatre Jacqueline Kennedy Onassis School in September 2017 was the start of Leah’s ABT journey. In January the following year, Leah joined ABT Studio Company. She became an apprentice with the main Company in December 2019, then joined the corps de ballet in September 2021.

Nearing her fourth year as a corps de ballet member, dancing in the iconic swans corps at the end of Swan Lake is one of Leah’s favorite ABT moments. “The sun rises and we’re all onstage moving and breathing together one last time,” said Leah. Since joining ABT, Leah has danced every Swan Lake performance and each time gives her chills saying, “the beauty of breathing as one, the accomplishment of finishing the ballet, and the music transcend anything I’ve felt before.” She highlights the “camaraderie of the Company, especially the corps women,” as the best part of ABT.

Both on and off the stage, Leah uplifts and engages with the ABT community. An alumni of the ABT JKO School, Leah joined their fall semester Meet the Artist session in 2024 to answer the questions of excited young dancers and shared her own experiences. “To have a small hand in the output and an influence on younger dancers feels like I have given back to the art form in some way,” said Leah.

During the Summer of 2021, Leah contributed to “Dancer Diaries” for SideBarre, when the Company toured to her home state of Colorado. She shared fond moments during ABT “ballet bubbles” and the fulfilling but extensive rehearsal process. Her thoughtful stories created connectivity between ABT members in a period of separation.

As her work as a dancer never ends, Leah’s motto “practice like you’re the worst, perform like you’re the best,” summarizes her committed mindset. Leah said, “I’ve always enjoyed savoring the work I’ve put in and then being able to let go when I perform.” Her diligence and love for dance shine from practice to the stage.

Leah’s advice to young dancers is, “to not shy away from your qualities. Knowing your weaknesses is always a way to improve, but knowing and honing your strengths is a way to become an artist true to yourself and cultivate genuine confidence.”

The Jennifer Alexander Dancer honors Leah as part of the amazing women who continue to inspire and cultivate unity beyond the stage. Leah said, “Receiving this award makes me feel proud to be among the generations of amazing women, including Jennifer Alexander.”

In this installment of Behind the Ballet, Elizabeth Kaye dives into the complexities of Helen Pickett’s Crime and Punishment, which will make its World Premiere during ABT’s 2024 Fall season. Kaye explores the creatives, characters, and synopsis of this literary classic, including Pickett’s intentional decision to double-cast her protagonist as both a man and woman. This decision invites viewers to consider the protagonist’s identity as a volatile and remarkably complicated human being rather than focusing on their gender.

In this episode of Behind the Ballet, Elizabeth Kaye examines Signature Works through the marriage of works by two disparate yet irretrievably linked artists, Twyla Tharp and Marius Petipa. Kaye describes how Tharp, who turned classical ballet on its head in the 20^th century by fusing it with other dance elements, weds grace with athleticism in The Upper Room. In contrast to Tharp’s dynamic work is The Kingdom of the Shades, one of ballet’s most beloved classical gems. Created by Marius Petipa, the father of classical ballet, and later staged for American Ballet Theatre by Natalia Makarova in 1974, this extended scene from the ballet La Bayadère demonstrates the essence of classical ballet’s purity and precision. Finally, Kaye highlights the iconic pas de deux selected as part of the Signature Works program, including from George Balanchine’s Sylvia Pas de Deux, Twyla Tharp’s Sinatra Suite, and Lynne Taylor Corbett’s Great Galloping Gottschalk. 

Elizabeth Kaye explores Choreographers of the 20^th and 21^st Centuries in this installment of Behind the Ballet, focusing on landmark ballets from two iconic choreographers, George Balanchine’s Ballet Imperial and Twyla Tharp’s In the Upper Room, during ABT’s 2024 Fall season. Kaye describes how Ballet Imperial, one of the first plotless ballets, carries a rich graciousness that permeated the grand 19^th century ballets such as Swan Lake. Unique to this year’s Fall season are the new sets and costumes that establish a world and mood before a single step is performed. Kaye then describes how Tharp, who turned classical ballet on its head in the 20^th century by fusing it with other dance elements, weds grace with athleticism in The Upper Room.

Discussing the first program in the 2024 Fall season, Elizabeth Kaye looks at Innovation Past and Present, which features the World Premieres of Gemma Bond’s La Boutique and Kyle Abraham’s Mercurial Son, and the return of Harald Lander’s Études during ABT’s 2024 Fall season. Kaye describes Bond’s La Boutique as “an abstract tutu ballet, blending classical attire with modern, plotless movement.” Though Abraham has remained secretive of his Mercurial Son, Kaye shares that the work draws on hip-hop, West African movement, and the songs of British composer James Blake, offering force and emotion to the tumultuous beauty of the work. Finally, Kaye explores Études as a tribute to the artistry of technique, alchemizing the steps dancers practice every day into art.

In August, American Ballet Theatre Soloist Jake Roxander was awarded the prestigious 2024 Princess Grace Award Honoraria, a recognition of his remarkable talent and unwavering commitment to his craft. The Princess Grace Foundation-USA, dedicated to promoting the legacy of Princess Grace of Monaco (née Grace Kelly), elevates extraordinary emerging artists in theater, dance, and film through career-advancing grants.

American Ballet Theatre shares a rich history with the Princess Grace Foundation, having nominated several dancers for the award since its inception, approximately one per year.

Roxander began his dance training at the age of eight, studying with his parents at their school, Studio Roxander in his hometown of Medford, Oregon. He participated in YAGP during this time, receiving the Grand Prix Award four consecutive years from 2016-2019 as well as numerous full scholarships. Roxander joined Pennsylvania Ballet II in 2019 and joined ABT Studio Company in September 2020. He became an apprentice with ABT’s main Company in May 2022, joined the corps de ballet in September 2022, and was promoted to soloist in March 2024.

In 2023, he was recognized as one of The New York Times’ “8 Breakout Stars of 2023” as well as Dance Magazine’s “Top 25 to Watch.” He was also awarded the Clive Barnes Award for dance in 2024.

His repertoire with ABT is vast and varied, including roles as Puck (The Dream), peasant pas de deux (Giselle), Mercutio (Romeo and Juliet), Lensky (Onegin), Juan Alejándrez (Like Water for Chocolate), Benno and the Neapolitan Dance (Swan Lake), and leading roles in Études, Piano Concerto No. 1, and Woolf Works.

A Legacy of Excellence

Current ABT Dancers 

To be honored with a Princess Grace Award is an impressive achievement, and we are proud to have so many dancers from this respected group at ABT.

Current ABT dancers who have received the Princess Grace Award include corps de ballet member Andrew Robare (2023), Principal Dancer Catherine Hurlin (2018), Principal Dancer Skylar Brandt (2013), and Principal Dancer Isabella Boylston (2009).

In 1998, Principal Dancer Gillian Murphy was honored with the Princess Grace Award. Later, in 2009, Gillian was awarded the Princess Grace Foundation’s highest honor, the Statue Award.

Former ABT Dancers

Although no longer dancing with ABT, our former dancers contribute to the rich history of ABT dancers honored by the Princess Grace Foundation—a list of past ABT honorees includes:

Former Soloists Joseph Gorak and Blaine Hoven were honored in 2011 and 2008, respectively.

Former Principal Dancer Jeffrey Cirio was recognized in 2009.

Ricardo Torres, a former member of the corps de ballet, received the award in 2001.

Roxander’s recognition as a 2024 Princess Grace Award honoree marks a significant milestone in his incredible journey. As he joins the distinguished ranks of ABT dancers who have made significant contributions both to our Company and the world of ballet, this award solidifies his growing impact on the art form.

The writer, Madi Schaaf, is an ABT Press Intern for Fall 2024.

French for “a step for two,” the pas de deux has long been revered as one of the most intimate and expressive sequences of a ballet, where two dancers paint a visual dialogue through their interconnected movements. Traditionally, ballet partnering practices require the male dancer to take on a supportive role, providing the ballerina with a solid foundation to spotlight her impressive pointe work. But as ballet evolves, so too does the roles of the male dancer, transforming the dynamics of partnering in newer works. Soloist Patrick Frenette offers a fresh perspective on how his partnering roles vary across repertoires, as well as the deeper meaning behind these pairings.  

The Quiet Mastery of Male Partners in Classical Ballet 

In classical ballets like Swan Lake or Giselle, the adagio of the grand pas de deux, along with other duet choreography, is marked by a clear delineation of roles: the ballerina captivates the audience with her graceful, ethereal movements, while the male dancer delivers the strength and steadiness needed to execute each lift, turn, and landing with precision. The resulting illusion is that of the ballerina floating effortlessly, light as air.  

“A notable male partner in classical ballet should not detract from the ballerina’s lines and should strive to make every landing silent, every turn crisp and centered,” explains Frenette. He describes his role as a “pillar of stability and dependability” in classical partnering sequences, underscoring that the male dancer’s artistry lies in his ability to provide crucial support to elevate the ballerina’s performance, without overshadowing it. This delicate balance of strength and elegance between both dancers is what gives these passes their distinctive beauty.  

New Partnerships in Contemporary Ballet 

Contemporary works often require a more dynamic and fluid partnership. Modern choreography encourages both dancers to explore a wider range of expression, blurring the traditional boundaries of movement associated with male and female roles. 

Wayne McGregor’s Woolf Works exemplifies this evolution, featuring duets of various pairings. Frenette embodies this shift in Act II, “Becomings,” where he engages in a whirlwind sequence with Principal Dancer Chloe Misseldine, supporting her through acrobatic lifts and turns, only to find himself flipped upside down and stretched into bold positions in another duet with corps dancer Andrew Robare moments later. 

In similar contexts, the male dancer gains greater freedom of movement, with the connection between partners taking priority over the constraints of individual character roles. “The personal relationships we have with one another tend to transfer much more visibly through abstract works, where characters are loosely defined,” says Frenette. “Many times, in contemporary repertoire, who we are outside the studio and theater is on display for the audience.” 

Dancing Dialogues 

Cultivating the trust necessary for these intricate partnerships, whether in classical or contemporary ballet, starts with receptivity fostered through both verbal and non-verbal open communication. Building a relationship rooted in a mutual understanding of each dancer’s unique approaches to the choreography is crucial, as this foundational connection translates into a compelling emotional and physical synergy onstage.  

“With partnering sequences, there is a conversation between two parties: an action and a reaction, a statement and a response,” says Frenette, highlighting how these interactions add a natural layer of human dialogue to ballet. In contrast, solos only convey a singular emotion or perspective. The interplay of duets and solos throughout a ballet thus crafts a richly nuanced narrative, capturing individual expression and revealing how that expression is then deepened through the dynamic of partnership.  

For Frenette, it is sometimes those moments of stillness or pause that can often convey profound meaning between partners, enhancing the emotional connection visible to the audience. He describes a gesture from the pas de trois in Swan Lake, where, on the final musical note, he’ll gaze at his partner and gently tilt his head toward her after supporting her through a triple pirouette. “It’s a very touching gesture of affection I like to share with all the ballerinas I dance with,” he explains, “a way to say, ‘I’ve got you. We did that. Now, onto our variations!’” 

The writer, Jackeline Fernandes, was an ABT Press Intern for Summer 2024.