HOW DID YOU TWO BECOME A BALLET COUPLE?
I (Stephanie) was in New Orleans preparing for a ballet competition in Russia and my American partner couldn't perform the day I needed to do my rep. My coach, who was from the Bolshoi Theatre, knew Daniil from the Jackson company in Mississippi, and said he'd found a partner for me. Daniil and I met in Jackson and performed in New Orleans. After that we both joined Charleston Ballet Theatre, and then the Sarasota Ballet, where we stayed as principal couple for eleven years. Our coach there was Pavel Fomin. He made me the ballerina I am today, and he made Daniil and me a real ballet couple. We also spent six months with Ballet de Santiago in Chile as a principal couple. After Sarasota we danced freelance for a year, before coming to Amarillo in August, 2005. So we've been together more than twelve years now. We got married in 1995 in Florida, and we have a son, Nikolas.
I (Stephanie) was in New Orleans preparing for a ballet competition in Russia and my American partner couldn't perform the day I needed to do my rep. My coach, who was from the Bolshoi Theatre, knew Daniil from the Jackson company in Mississippi, and said he'd found a partner for me. Daniil and I met in Jackson and performed in New Orleans. After that we both joined Charleston Ballet Theatre, and then the Sarasota Ballet, where we stayed as principal couple for eleven years. Our coach there was Pavel Fomin. He made me the ballerina I am today, and he made Daniil and me a real ballet couple. We also spent six months with Ballet de Santiago in Chile as a principal couple. After Sarasota we danced freelance for a year, before coming to Amarillo in August, 2005. So we've been together more than twelve years now. We got married in 1995 in Florida, and we have a son, Nikolas.
TELL US ABOUT YOUR DANCE BACKGROUND, STEPHANIE, BEFORE MEETING DANIIL.
I grew up in New Orleans and started ballet at 14 – very late. My first year was basically wasted without a good teacher. So I really began with Harvey Hysell the following year, and then privately with maestro Vincenzo Celli, the last protege of Cecchetti. I trained with him one-on-one from morning till evening. From there I studied with Gayle Parmelee at Loyola University, and she prepared me for the Prix Lausanne competition. I was given a scholarship at the Prix Lausanne to study at the Stedelijk Instituut voor Ballet in Antwerp, Belgium with Stefan Schuller and Maria Metchkarova under Director Madame Jos Brabants. I came back to the States and studied at the Nutmeg Ballet with Sharon Dante and Donna Bonasera. Donna prepared me for the 1987 New York International Ballet Competition, in which I was a finalist. Sunday Morning with Charles Kuralt did a nationally aired segment that followed me through the entire competition. Afterwards I joined the Cincinnati Ballet and became a soloist with that company, directed by Ivan Nagy. After Cincinnati I took a year off from ballet completely. My next thing was the competition where I met Daniil.
I grew up in New Orleans and started ballet at 14 – very late. My first year was basically wasted without a good teacher. So I really began with Harvey Hysell the following year, and then privately with maestro Vincenzo Celli, the last protege of Cecchetti. I trained with him one-on-one from morning till evening. From there I studied with Gayle Parmelee at Loyola University, and she prepared me for the Prix Lausanne competition. I was given a scholarship at the Prix Lausanne to study at the Stedelijk Instituut voor Ballet in Antwerp, Belgium with Stefan Schuller and Maria Metchkarova under Director Madame Jos Brabants. I came back to the States and studied at the Nutmeg Ballet with Sharon Dante and Donna Bonasera. Donna prepared me for the 1987 New York International Ballet Competition, in which I was a finalist. Sunday Morning with Charles Kuralt did a nationally aired segment that followed me through the entire competition. Afterwards I joined the Cincinnati Ballet and became a soloist with that company, directed by Ivan Nagy. After Cincinnati I took a year off from ballet completely. My next thing was the competition where I met Daniil.
COMING FROM RUSSIA, DANIIL, YOUR DANCE CAREER MUST HAVE BEEN QUITE DIFFERENT. WAS IT?
I was born in Okha on Sakhalin Island, north of Japan. I started dance when I was five. I entered the Okha Folk Dance company ensemble and spent five years there, learning the basics. My teacher recommended me at age 10 for one of the serious ballet academies in Moscow or St. Petersburg. We went to Moscow and there were something like 200 students for just five places. There were exams; you had to pass three tests. First came physical exams; next medical. Last was an evaluation of what you can do as a dancer. I passed those tests and was entered in the Academy. My mom was so thrilled. After graduation I spent three years in Ukraine as a principal dancer with Donetsk Ballet. Then I came to Jackson, Mississippi as a non-competing partner, and was offered a contract with Mississippi Ballet. I went back to Russia and, after three months getting all the documents, returned to the U.S. to dance with the Mississippi Ballet. Stephanie and I met in Jackson.
I was born in Okha on Sakhalin Island, north of Japan. I started dance when I was five. I entered the Okha Folk Dance company ensemble and spent five years there, learning the basics. My teacher recommended me at age 10 for one of the serious ballet academies in Moscow or St. Petersburg. We went to Moscow and there were something like 200 students for just five places. There were exams; you had to pass three tests. First came physical exams; next medical. Last was an evaluation of what you can do as a dancer. I passed those tests and was entered in the Academy. My mom was so thrilled. After graduation I spent three years in Ukraine as a principal dancer with Donetsk Ballet. Then I came to Jackson, Mississippi as a non-competing partner, and was offered a contract with Mississippi Ballet. I went back to Russia and, after three months getting all the documents, returned to the U.S. to dance with the Mississippi Ballet. Stephanie and I met in Jackson.
HOW DID YOUR APPOINTMENT TO LONE STAR AS ARTISTIC/ACADEMY DIRECTORS COME ABOUT?
We were guest dancers planning the season and sending out resumes and bios to different places. We got an email from Melody Alexander at Lone Star and she said she wanted to talk to us. We thought it was just to confirm a guesting date. She started talking about Nutcracker and all that, and then out of the blue she asked, "Would you like to apply for artistic directorship?" It was very quick, how this all happened. We had a phone interview. Ten minutes later they called back to arrange our travel here for a week of interviewing and classes. We had an obligation in Georgia for a workshop, and Melody called us there to tell us we got the job. It was one of our biggest goals in life. God gave us – when we were ready – what we were asking for. This opportunity is a gift. You have to remember what is was like as a young dancer – the things that were done to you that you don't want to do to others, and to help to bring up this generation remembering what ballet is all about. It's very important that we pass on what we were taught so the tradition continues.
We were guest dancers planning the season and sending out resumes and bios to different places. We got an email from Melody Alexander at Lone Star and she said she wanted to talk to us. We thought it was just to confirm a guesting date. She started talking about Nutcracker and all that, and then out of the blue she asked, "Would you like to apply for artistic directorship?" It was very quick, how this all happened. We had a phone interview. Ten minutes later they called back to arrange our travel here for a week of interviewing and classes. We had an obligation in Georgia for a workshop, and Melody called us there to tell us we got the job. It was one of our biggest goals in life. God gave us – when we were ready – what we were asking for. This opportunity is a gift. You have to remember what is was like as a young dancer – the things that were done to you that you don't want to do to others, and to help to bring up this generation remembering what ballet is all about. It's very important that we pass on what we were taught so the tradition continues.
WHAT ARE YOU HOPING TO - AND STARTING TO - ACCOMPLISH AT LONE STAR?
Since we got here -- we stepped into the office and studios -- and we haven't stopped working. We've instituted a different syllabus - a real classical ballet syllabus. We've been able to bring in a couple of guest teachers. This will be the first year we're bringing a group to competition. We have an ensemble group of thirteen and eight or nine soloists going to Denver. That's brand new. We want people to see them. We want them to be exposed to the world of ballet. And if we can open doors for them, we're going to do it. Whenever they come into the studio, there's a ballet video playing on the TV. So they're always hearing good things, seeing good things. We've focused on the overall work ethic and respect for the integrity of classical ballet. It doesn't matter if someone is going to be a professional or not. They're still going to learn the syllabus and how to dance correctly. These students who may not dance are our future patrons. They'll know for their children what proper training is.
Since we got here -- we stepped into the office and studios -- and we haven't stopped working. We've instituted a different syllabus - a real classical ballet syllabus. We've been able to bring in a couple of guest teachers. This will be the first year we're bringing a group to competition. We have an ensemble group of thirteen and eight or nine soloists going to Denver. That's brand new. We want people to see them. We want them to be exposed to the world of ballet. And if we can open doors for them, we're going to do it. Whenever they come into the studio, there's a ballet video playing on the TV. So they're always hearing good things, seeing good things. We've focused on the overall work ethic and respect for the integrity of classical ballet. It doesn't matter if someone is going to be a professional or not. They're still going to learn the syllabus and how to dance correctly. These students who may not dance are our future patrons. They'll know for their children what proper training is.
WHAT CAN YOU TELL US ABOUT THE LONE STAR BALLET GUILD?
The Lone Star Ballet Guild is a separate organization of really fantastic ladies who help take care of our needs. They were able to supply for our Nutcracker a pair of pointe shoes for every single company girl dancing en pointe. They help take care of dancers. They help take care of company needs, administrative needs. They do lots of fundraising for the company. During Nutcracker this year they were able to provide at our request meals between performances and breakfast prior to in-school performances. They're a real blessing.
The Lone Star Ballet Guild is a separate organization of really fantastic ladies who help take care of our needs. They were able to supply for our Nutcracker a pair of pointe shoes for every single company girl dancing en pointe. They help take care of dancers. They help take care of company needs, administrative needs. They do lots of fundraising for the company. During Nutcracker this year they were able to provide at our request meals between performances and breakfast prior to in-school performances. They're a real blessing.
HOW HAVE YOU SET UP YOUR NEW PROGRAM?
We don't have a national school here in the U.S. where everyone is working with one syllabus. It's rare that academic and dance study can be provided at the same school, or that we can offer a separate class to accommodate just 10-year-olds, for example. Here, using the same training philosophy, we work with slightly broader age groups. We consider ourselves a "pre-professional" rather than professional company. Our emphasis is on training, and we offer three different training programs. Our Company Intensive Program for ages 6 and up is for students on a pre-professional track, and a feeder program for the company. Our Enjoyment of Dance Program is also for students 6 and up without professional aspirations at this time. For kids age 3 through 5, as well as teen and adult beginners, we have an Introduction to Dance Program. Everyone is free to audition for company productions. We manage to be inclusive and accommodate dancers of different abilities and interests, but we always take a serious approach to training. We have our ongoing classes. We have our rehearsals. It's a unique situation for the kids here, and we treat them with respect. We don't talk down to them. If you treat them like they're professionals to a certain extent, I think they respond better. And we've seen such progress in the short time we've been here. We're so proud of them.
We don't have a national school here in the U.S. where everyone is working with one syllabus. It's rare that academic and dance study can be provided at the same school, or that we can offer a separate class to accommodate just 10-year-olds, for example. Here, using the same training philosophy, we work with slightly broader age groups. We consider ourselves a "pre-professional" rather than professional company. Our emphasis is on training, and we offer three different training programs. Our Company Intensive Program for ages 6 and up is for students on a pre-professional track, and a feeder program for the company. Our Enjoyment of Dance Program is also for students 6 and up without professional aspirations at this time. For kids age 3 through 5, as well as teen and adult beginners, we have an Introduction to Dance Program. Everyone is free to audition for company productions. We manage to be inclusive and accommodate dancers of different abilities and interests, but we always take a serious approach to training. We have our ongoing classes. We have our rehearsals. It's a unique situation for the kids here, and we treat them with respect. We don't talk down to them. If you treat them like they're professionals to a certain extent, I think they respond better. And we've seen such progress in the short time we've been here. We're so proud of them.
IS IT TRUE THAT YOU HAVE A YOUNG SON IN THE PROGRAM AT LONE STAR?
Our son Nikolas is in the Beginning Academy. He's very serious. The ballet is in his blood. That's one thing that we were praying so hard for because it's crucial – especially for boys – to get started at 10 years old if they're serious. We didn't know where we were going to place him. We didn't know whose hands we were going to put him in. This is just an added blessing that we're here because he's in our hands. He was just at the Youth American Grand Prix – his first competition. He had no clue what it was about and at 9 years old he did Corsaire like a professional dancer – double tours, pirouettes, saut de basque. The phrasing, musicality, style. It's very unusual for his age. It doesn't matter what he decides to do in life. We'll help him the best we can.
Our son Nikolas is in the Beginning Academy. He's very serious. The ballet is in his blood. That's one thing that we were praying so hard for because it's crucial – especially for boys – to get started at 10 years old if they're serious. We didn't know where we were going to place him. We didn't know whose hands we were going to put him in. This is just an added blessing that we're here because he's in our hands. He was just at the Youth American Grand Prix – his first competition. He had no clue what it was about and at 9 years old he did Corsaire like a professional dancer – double tours, pirouettes, saut de basque. The phrasing, musicality, style. It's very unusual for his age. It doesn't matter what he decides to do in life. We'll help him the best we can.
WHAT ARE YOUR PRIMARY OBJECTIVES AS BALLET EDUCATORS?
We try to get our kids to understand that ballet is one of the great art forms. We are very strong believers in and followers of the classical syllabus and teaching method as refined by Vaganova. We're trying to develop in our kids, regardless of their age, the strength to have their body weight over their legs, and to foster the "aplomb" a dancer needs to succeed as an artist. It's all about the harmony of the body parts. All ballet schools pay attention to the legs. Vaganova took the best from the French and Italian systems and established a final form for the arms and hands, as well as the legs. This is not just for "style" and "line," but the arms are also used to facilitate the movement. Unfortunately, the kids often don't know how to use their hands and arms. So it's very important to teach how they must be coordinated with the entire body.
We try to get our kids to understand that ballet is one of the great art forms. We are very strong believers in and followers of the classical syllabus and teaching method as refined by Vaganova. We're trying to develop in our kids, regardless of their age, the strength to have their body weight over their legs, and to foster the "aplomb" a dancer needs to succeed as an artist. It's all about the harmony of the body parts. All ballet schools pay attention to the legs. Vaganova took the best from the French and Italian systems and established a final form for the arms and hands, as well as the legs. This is not just for "style" and "line," but the arms are also used to facilitate the movement. Unfortunately, the kids often don't know how to use their hands and arms. So it's very important to teach how they must be coordinated with the entire body.
WHAT SPECIAL INSIGHTS CAN YOU SHARE AS A BALLET COUPLE?
We cannot overstate the importance of ballet dancers training and developing as a couple. We trained as individual dancers, of course, but we were also trained by Pavel Fomin as a ballet couple. Many of our idols and role models today are the great partners – Maximova and Vasiliev, Fonteyn and Nureyev. But in this generation you no longer see this emphasis on the couple. It means years of working together, like pair skaters. You wouldn't separate a pair skater couple every other rehearsal. They must work together to perfect every movement – so the line makes one body. Starting with Sleeping Beauty, we were blessed to work with Pavel, who prepared us for our entire repertoire. It doesn't happen overnight. We're still seeing the results of working with Pavel all those years. If one of us is off, we instinctively know how to recover. We don't have to think. We're one person when we're dancing together. And we're blessed to have a chemistry together that's very rare. We're with each other 24 hours a day. We spend all our time together. What more could you ask?
We cannot overstate the importance of ballet dancers training and developing as a couple. We trained as individual dancers, of course, but we were also trained by Pavel Fomin as a ballet couple. Many of our idols and role models today are the great partners – Maximova and Vasiliev, Fonteyn and Nureyev. But in this generation you no longer see this emphasis on the couple. It means years of working together, like pair skaters. You wouldn't separate a pair skater couple every other rehearsal. They must work together to perfect every movement – so the line makes one body. Starting with Sleeping Beauty, we were blessed to work with Pavel, who prepared us for our entire repertoire. It doesn't happen overnight. We're still seeing the results of working with Pavel all those years. If one of us is off, we instinctively know how to recover. We don't have to think. We're one person when we're dancing together. And we're blessed to have a chemistry together that's very rare. We're with each other 24 hours a day. We spend all our time together. What more could you ask?
