Taking audiences back to ancient Greece, Sylvia tells the story of a nymph of huntress goddess Diana. Along with their fellow huntresses, Sylvia and Diana find kinship through their shared values of maidenhood, independence, and the hunt. Sylvia takes on a vow of chastity like Diana and the huntresses, which she staunchly lives by, until she is struck by the bow of the god of love, Eros. Like any Greek tragedy, fate upends plans. In a tumultuous swirl of mutual and unrequited love, Sylvia must save herself from a tragic hero ending.  

The 2025 Summer season is not the first time the mythological goddess of the hunt has taken to the ABT stage. Sylvia was last performed by ABT in 2016 and made its Company Premiere in 2005. There exists a resonance within ancient and classical themes that leads ABT to revisit them time and time again.  

After all, the foundations of Western theater as we know it today were made in ancient Greece. Ballet originated during the Renaissance, a time when a return to classical motifs was encouraged. In fact, Sylvia itself was based on a play written in the 1500s Italian Renaissance, with its roots deriviving from Greek mythology. In the 1950s, choreographer Frederick Ashton was inspired by the premise and created the ballet. It is particularly resonant for America’s National Ballet Company® to bring a tale that has transcended centuries and lineages to the Metropolitan Opera House stage. It is the drama of forbidden love, power, and divinity that continues to grapple audiences and reverberates in ABT’s Sylvia.  

One of the core elements of this production is its demonstration of feminine strength. Ballerinas can be misinterpreted as weak or airy due to their undeniable gracefulness. In this production, ballerinas carry bows and arrows while floating in mid-air in pointe shoes. It is a visual juxtaposition seldom seen. While battling stereotypes and rigid ideas for what a ballet should look like, this production does not sacrifice beauty for brawns. Rather, it poses them as one. The athleticism of ballet is pushed to the forefront of the audience’s view.  

Of course, with antique themes come new beginnings. Skylar Brandt, Catherine Hurlin, Chloe Misseldine, and Christine Shevchenko will be performing the titular role for the first time. Though the Company brought this production to the Metropolitan Opera House during the 2016 Summer season, the only Principal Dancer returning to the role of Sylvia will be Isabella Boylston. This leaves unique precedents set every night of performances.  

Sylvia is a show that is as mythical as it is tangibly transformative. It defies the idea of a heroine saved by a hero. Rather, Sylvia’s wits, demonstrated in her dexterity, are what truly enable her freedom, and ultimately, her pathway to love. Modernity and tradition blend in this ballet to form a tale that will continue to reverberate in our audiences’ mind long after the curtains close.  

The writer, Suha Khan, is an ABT Press Intern for Summer 2025.

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.

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.

As part of ABT’s Pride Month initiatives, the ABT RISE Legacy Committee is honored to feature Leopold Samuel Allen (1945-1989), the first resident Hair and Makeup Artist for American Ballet Theatre and a cornerstone of the Company from 1978 to 1988.

From tying satin ribbons to wearing dazzling sequined tutus, what a dancer wears on stage captivates the audience’s attention as much as their flawless pirouette or stunning penché. As the world of ballet enters a contemporary era of storytelling, costuming is living beyond the tulle tutus of Swan Lake to a statement of inclusivity with Wayne McGregor’s Woolf Works.

Before the creation of modern tutus and pointe shoes in the seventeenth century, male dancers wore tonnelets or fabric wired skirts, while female dancers wore costumes that resembled court dresses. No matter the gender, both males and females danced in heeled shoes. By the eighteenth century, costuming began to shift with everyday fashion trends. Male dancers wore vests and breeches while female dancers began to shorten their court style dresses for more flexibility to dance.

In 1832, there was a substantial change in costuming with Marie Taglioni debuting the Romantic tutu and the first version of pointe shoes at the Paris Opera. In the ballet La Sylphide, Taglioni’s multilayer below the knee-above the midcalf tutu caught the attention of other dancers who wanted to dress in the same style on stage, thus creating a future for costuming in ballet. Today, versions of the Romantic tutu are worn by current ABT corps de ballet members in Giselle.

During the1880s, the Romantic tutu was shortened as footwork became more intricate. From the cut of the Romantic tutu, the Classic tutu that is seen in Swan Lake was created. There are four versions of the Classic tutu that vary in different framing, netting, hoops, and pleats, with all tutus protruding from the hip and shorter in length. The pancake tutu is short, has a wired hoop, pleated, and has layers of tulle. The platter tutu is like the pancake tutu but has a flat top layer that is decorated instead of pleats. On the other hand, the bell tutu has layers of netting and does not have a wired hoop allowing for the tutu to fall into a bell shape. Finally, the powder-puff tutu does not have a wired hoop and has layers of netting allowing it to be more free forming. These tutus are seen in majority of classical ballets worn by female dancers.

Both the Romantic and Classic tutus have become a universal symbol to represent ballerinas. Along with their stunning designs and the ability to display complex footwork, their original intent was for female dancers to look weightless to connect with the femineity of the characters they portrayed on stage. When male dancers switched from tonnelets to vest and breeches in the hopes of matching fashion trends, they were trying to distance themselves from the connotation between long skirts and womanhood. Once this distinction was made, using gender fluid costuming became a storytelling element, as it is used in Woolf Works to focus on versality of character.

Inspired by the life and work of Virigina Woolf, Wayne McGregor’s full-length ballet, Woolf Works, does not limit costuming by gender when paying homage to the novel Orlando. Written in honor of the romance of Virginia Woolf and Vita Sackville-West, Orlando is the story of discovering one’s identity across centuries and gender.

From Orlando, McGregor created “Becomings,” during which costume designer Moritz Junge uses costuming inspired by the seventeenth century to remind the audience of internal identity being genderless. One example of this being: in the act, both male and female cast members are draped in a solid gold dress that has similar properties as the classic tutu by protruding from the hip but with a skirt that extends to the floor level further than a romantic tutu. To allow for movement the costume’s seam is backed with elastic fabric.

Additionally, as “Becomings” is performed, the cast is seen in gender androgynous costuming that includes calf level leggings and miniature tutus in solid gold fabric. The fabric of the tutu is folded on top of itself, creating its own structural support. Both types of costumes include Elizabethan style collar that are tributed to the seventeenth century. Additionally, some of the female characters in the scene wear black, platter tutus that have an addition of black sheer like fabric that is in between the length of the gold dress and a Romantic tutu.

The costume’s color gold is used as a reflective element for dancers to stand out on stage against the dark background. Ninety percent of the fabric is metal and is from a fabric manufacture based in Switzerland. This fabric stylistically complements the use of lasers throughout the ballet. These lasers are used during Woolf Works to show a change in time.

Woolf Works’s innovative costuming makes a statement on character and casting in the ballet industry. The beautiful collaboration between choreographer Wayne McGregor, costume designer Mortiz Junge, and lighting designer Lucy Carter shows how the future of ballet can explore gender identity.

The evolution of court dresses to Romantic tutus to Classic tutus for female dancers and from tonnelets to vest and breeches for male dancers is disregarded as “Becomings” in Wayne McGregor’s Woolf Works highlights the styles of the seventeenth century while using Virigina Woolf’s influence of gender androgyny.

The writer, Camron Wright, was the ABT Press Intern for Spring 2024.

2023 marks the 50th anniversary of the Prix de Lausanne. An international ballet competition for young dancers, the Prix de Lausanne provides participants the opportunity to develop their skills and showcase their potential to leading ballet companies around the world.

Dancers perform and compete in front of the Prix de Lausanne Jury of renown dance personalities for scholarship opportunities, apprenticeships, medals, and cash prizes.

American Ballet Theatre has been a close partner of the Prix de Lausanne, sending a number of dancers, faculty, and staff to the competition over the years. The ABT Jacqueline Kennedy Onassis School is a Partner School of the Prix de Lausanne, while ABT Studio Company is a Partner Company.

2023 Competition 

ABT sent three members of the ABT family to Lausanne this year: Aleisha Walker, Madison Brown, and Lilia Greyeyes.

As friends, colleagues, and a stellar choreographic-dancer duo, ABT apprentice Aleisha Walker and ABT Studio Company member Madison Brown competed in the Young Creation Award competition for which Aleisha’s Do You Care? was one of five worldwide finalists out of over 80 entrants. Madison performed Aleisha’s solo in front of the Prix de Lausanne Jury and a live-streamed audience on Wednesday, February 1. Later that evening, Aleisha was honored with one of two coveted Young Creation Awards.

Aleisha’s solo Do You Care? set to “Nocturnal Waltz” by Johannes Bornlöf will now become part of the competition’s contemporary repertoire.

Representing the ABT JKO School in the Partner School Choreographic Project at the 2023 Prix de Lausanne, Lilia Greyeyes was part of a new work by Goyo Montero and performed with other representative students from Prix de Lausanne Partner Schools around the world. Lilia was recently promoted from the ABT JKO School to ABT Studio Company – congratulations!