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Photo: Patrick Frenette.


It takes more than pliés to lift a ballet company to great heights. From dancers to conductors, teachers to makeup artists, this series features fascinating insight from ABT experts and an intimate look inside America’s National Ballet Company®. Take a spot at the SideBarre to get to know the incredible people behind each bourrée of American Ballet Theatre.

Posts in: I Would Be...View All Posts
August 4, 2020
If I weren't a Conductor, I would be...

"I think my true calling might be in geology and paleontology."

By Charles Barker

Way back in November of 1986, I got a call from the General Manager of ABT asking if I would be interested in conducting some shows of The Nutcracker for the Company at the Shrine Auditorium in Los Angeles. I’ve been here ever since, and how could I not? ABT is a fabulous company with amazing theatrical experiences every year.

If I weren’t a conductor, there would be several other occupations I’d like. I adore Homer and all things ancient Greek and Latin. I plan to pursue that in retirement. But I think my true calling might be in geology and paleontology. Last summer, my family and I took a road trip from the Black Hills to Yellowstone, and we detoured off the highway onto an obscure mining road to a place called Devil’s Kitchen near the town of Greybull, Wyoming. After passing a sign that warned, “Enter at your own risk,” we pulled off that road to the brink of a half-moon shaped, half-mile deep canyon of sandstone, mudstone and calcedony, with white gypsum covering the base. Because of its shape and location, it’s a giant natural oven.

It took us a while to find our way down into the canyon as there were no trails or paths, but once we got to the gypsum and poked around for a bit in the sweltering 110-degree sunshine, we found what I had come for – a gastrolith. It is a walnut-sized piece of well-worn porphyry that had once been in the gizzard of a 1,000-pound Cretaceous-era sauropod to aid with its digestion. My family was not as impressed as I was to find a stone that had been in a dinosaur’s stomach, but I still carry the gastrolith with me all the time and am all too willing to talk about it to any interested party.

While on tour with ABT in Oman a few years ago, I had the opportunity to explore something most geologists never see: the most dramatic ophiolite sequence on earth. Undersea vulcanism created massive amounts of pillow lava, automobile-sized balls of lava hardened under millions of pounds of pressure, which are now exposed in the hills of northwestern Oman due to a geological anomaly 90 million years ago in the Gulf of Oman. Nearby, walking the dry creek bed, I found a large outcrop of Hawasinah formation, a rumpled rug of allochthonous, deep-water sediments that were thrust onto the Arabian continental margin beneath the ophiolite.

And it’s not all just rocks – part of the ophiolite sequence, peridotite, actually absorbs atmospheric CO2. There is a tremendous amount of peridotite in Oman, and several geologists are exploring the possibility of CO2 sequestration. It would be fun to join their team one day.

July 21, 2020
If I weren't a ballet dancer, I would be...

"All I've ever wanted to do is ballet."

By Chloe Misseldine

What would I do if I weren’t a ballet dancer? This is a tough question, but if I had to pick something other than ballet, I would go into international relations or global development. I really like to travel and experience other cultures.

Both of my parents are immigrants from different countries, so I grew up with exposure to a wide range of cultures and perspectives. I’m fortunate to have traveled to numerous countries, which has helped me to develop an appreciation for other ways of life. However, all I’ve ever wanted to do is ballet.

When I was young, most of my days were spent exploring the halls of Orlando Ballet, where my mother worked as a teacher. I still remember peeking into the studio and watching her teach class, imagining what it would be like to one day be a part of that. I started taking dance classes and eventually enrolled full-time in the Orlando Ballet School.

By the time I was 14, I had been given opportunities to perform solos and attend competitions such as Youth America Grand Prix and American Dance Competition. It was a great experience to get this type of exposure, especially at such a young age. A few years later, I competed at the prestigious Prix de Lausanne ballet competition in Switzerland. The Prix was the most high-pressure competition for which I had ever prepared. It is impossible to describe that initial feeling I experienced when the music began and all eyes were on me.

Chloe Misseldine in the <i>Pas d'Esclave</i> from <i>Le Corsaire</i> with ABT Studio Company. Photo: Jojo Mamangun.
Chloe Misseldine in the Pas d'Esclave from Le Corsaire with ABT Studio Company. Photo: Jojo Mamangun.

At the Prix, I was offered a contract with American Ballet Theatre Studio Company, and I was absolutely thrilled. My mother danced with ABT when she was younger, so as you can imagine, it had always been a dream of mine to be a part of the Company. At the age of 16, I left my family and moved to New York City. My time with ABT Studio Company was an amazing experience and was vital to both my professional and personal development.

My mother has been my biggest inspiration in life. She has taught me the importance of strength, determination and hard work. Her stories about her time as a student training in China and as a professional dancer with ABT are very motivating. She continues to push me towards becoming my best, not only as better dancer, but also as a better person every day.

Chloe Misseldine joined ABT Studio Company in 2018 and became an apprentice with the main Company in 2019.
Chloe’s mother, Yan Chen, joined ABT in 1993 and was appointed a Soloist in 1994. She retired from the stage and is now on faculty for ABT’s Summer Intensive.

Read Chloe's 2019 cover story in Dance Spirit Magazine
July 9, 2020
What is your favorite ballet to conduct?

"There is one ballet that seems to fit me like a glove."

By David LaMarche

I find pleasure, wholly, or intermittently, in all of ABT’s ballets.  Some are more challenging for the conductor, and some more so for the dancers, but they all have their moments!  However, there is one ballet that seems to fit me like a glove, and that is Frederick Ashton’s Sylvia.  It’s not for everyone, but it suits me and my temperament.  The score is so beautifully orchestrated.  There are wonderful tunes – lyrical, grand, comedic – and Ashton understood it because his choreography finds the balance between pathos and humor, intimacy and distance.  I look forward to it every time it returns to the repertoire, and I have enjoyed every single performance.  There are orchestra members who chide me about my affection for the composer, Léo Delibes, but what can I say? It’s in my French heritage!

If I hadn’t stumbled into this profession (and believe me, I had no plan), I can only speculate about what would have happened to me. Something with language, maybe. A writer, a translator (I love languages), or (and this is a stretch), a dancer! I studied ballet for a year in college at a private studio, and my teacher, who had a small company, asked me to join. I think it’s because she was desperate for men to join the troupe, but who knows? I could have ended up on the other side of the proscenium!