Programming a ballet season is an art itself – balancing tradition, innovation and financial realities. It demands vision, adaptability and no small amount of creativity.
‘It’s not something anyone is trained to do,’ says Assis Carreiro, co-founder of the Positioning Ballet Foundation and facilitator of a recent global conference in Toronto. Held at the Walter Carsen Centre for the National Ballet of Canada, the event brought together 34 artistic directors from 17 countries to exchange ideas on programming and explore how ballet companies can thrive in today’s world. I asked some of the directors for their insights into curating seasons that honour tradition while embracing change.
‘Never be so stubborn that you can’t learn from your mistakes’
Assis Carreiro
What does your company need?
Assis Carreiro has spent decades helping artistic directors navigate the complexities of programming. A former artistic director of Royal Ballet Flanders, she understands how programming shapes not only a season but also a company’s identity. ‘You have to look at who your audience is, what the repertoire has been, and what your company needs to grow,’ she says.
Carreiro is a strong advocate for curated themed programs, which she believes are key to engaging audiences while expanding their understanding of ballet’s possibilities. ‘People say mixed programmes don’t sell – but they do if you know how to do them,’ she asserts.
Her belief in tactical programming informed many of the discussions she facilitated at the Positioning Ballet conference. Weyni Mengesha, artistic director of Soulpepper Theatre Company, emphasised the importance of data-driven strategies to attract younger audiences, while Caroline Ohrt, executive producer of dance at Canada’s National Arts Centre, encouraged directors to ask themselves one essential question: ‘Why are you doing this?’
Still, even with careful planning, challenges are inevitable. ‘You make mistakes all the time – programmes that are too long or too short or that don’t please the public,’ Carreiro admits. But these missteps are part of the process. ‘Never be so stubborn that you can’t learn from your mistakes.’
Bringing cultural heritage to life in Beijing
Feng Ying’s programming philosophy at the National Ballet of China is built on three interconnected pillars: classical ballet, original Chinese creations and contemporary works. As one of the world’s largest ballet companies with 140 dancers and a 65-year legacy, its foundation lies in the Russian school of classical ballet, which remains central to its repertoire. Canonical works such as Swan Lake, Le Corsaire and La Bayadère account for 45 percent of its programming, reflecting Feng’s dedication to preserving classical traditions while meeting audience demand.
The second pillar celebrates Chinese storytelling. Works like The Red Detachment of Women merge revolutionary themes with traditional music and western ballet technique, while The Light of Heart, inspired by ancient Dunhuang murals, and Nine-Coloured Deer, a reimagining of a beloved folktale, bring cultural heritage to life through choreography.
The third pillar focuses on expanding the repertoire with works by both international and domestic choreographers. This includes seminal ballets by renowned western choreographers, such as Roland Petit’s Carmen, while creating original productions that reflect the company’s artistic vision.
A recent standout is Ode to Joy, choreographed by company dancer Li Yang to Beethoven’s Ninth Symphony. Feng describes it as an opportunity to interpret western classical music through a distinctly Chinese lens. ‘While narrative ballets are traditionally preferred,’ she says, ‘symphonic ballet allows us to explore contemporary choreography and themes relevant to modern society.’
Building a legacy in Oslo
Since becoming artistic director in 2012, Ingrid Lorentzen – a former company ballerina – has grown the Norwegian National Ballet from 54 to 75 dancers, transforming it into a fearless leader in artistic experimentation. Founded in 1958, it remains Norway’s only classical ballet company and performs at the striking Oslo Opera House, its home since 2008.
Under Lorentzen’s leadership, the company’s ambitious projects include Alexander Ekman’s water-filled A Swan Lake and Alan Lucien Øye’s Ibsen-inspired ballets. She has also prioritised gender parity in choreography, resulting in a rare 50/50 balance between male and female choreographers in recent seasons.
This emphasis on inclusivity led her to commission Canadian choreographer Emma Portner for Islands, a duet recently nominated for an Olivier Award in London. Portner brought a fresh perspective to ballet despite having no prior experience in the form – a chance Lorentzen took to elevate underrepresented voices. This commitment to innovation has resonated with audiences: the company now boasts an extraordinary 95 per cent attendance.
Although Lorentzen admits that not every programme can be wholly satisfying (she mentions ‘a mixed bill which included some pieces that were postponed and perhaps did not organically complement or contrast each other’), she believes that ‘as artistic directors, we are not just creating performances. We are building a legacy that will outlive us.’
‘Respect the past, herald the future, but concentrate on the present’
Kevin O’Hare
Risk and tradition in London
Since becoming artistic director of the Royal Ballet in 2012, Kevin O’Hare has championed a repertoire that balances an illustrious heritage with bold contemporary commissions. Like his peers, he frames his programming around three pillars: heritage works, classical repertoire and new creations. This triadic approach ensures audiences experience the full spectrum of ballet, from The Sleeping Beauty to groundbreaking works by choreographers like Wayne McGregor and Crystal Pite.
O’Hare’s programming reflects a balance between risk and tradition. His predecessor, Monica Mason, had commissioned Christopher Wheeldon’s Alice’s Adventures in Wonderland – the company’s first full-length ballet in 17 years. O’Hare’s subsequent commissions such as McGregor’s Woolf Works and Pite’s Flight Pattern have expanded the company’s contemporary repertoire while maintaining its classical foundations.
Mixed programmes pairing heritage works by Frederick Ashton and Kenneth MacMillan with modern creations have been pivotal in engaging audiences while giving dancers opportunities to explore new styles. Collaborations with artists like Joseph Toonga, whose hip-hop-infused choreography brings fresh energy to classical pointe work, highlight O’Hare’s focus on introducing diverse perspectives into the repertoire.
‘Respect the past, herald the future, but concentrate on the present,’ O’Hare says, quoting founder Ninette de Valois – an approach that continues to guide his vision for the Royal Ballet.
‘We are not just creating performances, but building a legacy’
Ingrid Lorentzen
Telling new stories in Winnipeg
Christopher Stowell, incoming Artistic Director of the Royal Winnipeg Ballet (RWB), brings a fresh perspective to one of Canada’s most storied cultural institutions. Officially beginning his tenure in June 2025, Stowell has already started shaping the company’s artistic direction by refining André Lewis’s final season and planning for years ahead. As Canada’s oldest classical ballet company, the RWB holds a unique place in Canadian arts history, known for pushing the boundaries of classical dance while maintaining its roots.
At the RWB, Stowell envisions programming that includes expanding outreach through outdoor performances and exploring unconventional venues to connect with diverse audiences. ‘The RWB has always been a pioneer in redefining classical dance,’ he says, ‘and I see tremendous potential to continue telling new stories that resonate with both local and global audiences.’
Community engagement is central to his vision. ‘I’m eager to know my colleagues and explore collaborations,’ he adds, pointing to Winnipeg’s vibrant arts scene as fertile ground for partnerships across music, theatre and visual arts. While acknowledging that change must be gradual (‘you can’t just go in and flip a switch’), Stowell is optimistic that Winnipeg audiences, who take great pride in their ballet company, will support thoughtful evolution as he leads the RWB into its next chapter.
‘You need a plan A, B and C. People don’t understand just how complex it is’
Hope Muir
Choreographing change in Toronto
Since becoming Joan and Jerry Lozinski Artistic Director of the National Ballet of Canada in 2022, Toronto-born Hope Muir approaches programming with adaptability and long-term planning. ‘We look at the cadence of an entire year,’ she says, describing how she views a season as a cohesive whole.
Seasons are planned three to five years in advance, with early years providing structure while later seasons allow room to respond to evolving trends or audience preferences. Full-lengths such as Swan Lake and Cinderella provide financial stability, enabling Muir to explore more experimental programming. Mixed programmes have become central to her strategy, pairing contemporary works with heritage pieces to engage audiences while challenging dancers.
Creative partnerships also allow the company to expand its repertoire while pushing boundaries, as in collaborations with international figures such as David Dawson. His 2018 work, The Four Seasons, made its Canadian debut in a mixed programme presented in Toronto in February; immediately afterward, the company appointed Dawson as its first choreographer-in-residence in over 20 years, solidifying its focus on forging strong artistic relationships.
This collaborative spirit demands flexibility. Sharing productions with other companies, accommodating different stage sizes or managing tight rehearsal schedules often requires quick adjustments. ‘You have to have a plan A, B and C,’ Muir says. ‘I don’t think people really understand just how complex it is – all the demands that go into creating a season.’
Deirdre Kelly is a Toronto-based dance critic and author of Ballerina and Fashioning the Beatles. She has twice won the Nathan Cohen Award for criticism.
