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Ballet West's 'Innovations' helps dancers take the leap

By Heather Hayes

For the Deseret News

Published: Saturday, May 11 2013 3:00 p.m. MDT

SALT LAKE CITY — At an age when most folks are still working their way up the ladder, ballet dancers are retiring.

Their career track usually begins before they own a driver’s license, embarking on an all-consuming occupation that will lead them to the sparkle of the stage but will expire sometime in their 30s.

A retiring dancer faces a crossroads. Some continue in the field, helping to run ballet companies, teach or choreograph. But knowing if they’re cut out for a life behind the curtain can be tough to determine.

Ballet West’s annual “Innovations” program helps dancers answer those soul-searching questions as they plot second careers.

“I started ‘Innovations’ six years ago as a way for my dancers to test the waters and their own abilities long before they retire,” says artistic director Adam Sklute of the program, which this year will open May 17 at the Rose Wagner Theatre.

Featuring fresh-faced pieces by a handful of company dancers who show promise in choreography, it seems everybody wins. The company says audience response has been overwhelmingly positive.

“The Rose Wagner is an intimate venue, which gives the audience an up-close-and-personal experience,” Sklute says. “It’s also a bit of a window into a dancer’s soul, which fans love.”

Soloist Adrian Frye won a commission with the company for his work “Spun,” one of four premieres during the program.

“I hope to be able to stay in the field after I retire,” says the 26-year-old, who’s danced in professional capacities for 15 years. Sklute describes Frye’s abstract work as “inventive” and believes Frye is heading in the right direction by flexing some new muscles.

Also on the docket for the season-closer is Easton Smith’s “Mechanism,” Christopher Anderson’s “Behind Closed Doors” and a revival of Christopher Ruud’s “Trapped,” as well as a work by guest choreographer Jodie Gates titled “Mercurial.”

“Some have strong themes but all are ultimately abstract,” says Sklute of the bill.

For these hopeful choreographers, it’s often more than just testing the waters, it’s a foot in the door for life after the stage.

But what of the many dancers who reach retirement and aspire to something new?

Recently retired principal dancer Michael Bearden is a self-described planner. Although his course seems to be set — he’s helping grow Ballet Arkansas part time while teaching in Utah, for many years he watched the uncertain path of colleagues interested in working outside the dance world.

“We have these back-breaking work habits, this fierce sense of discipline, but we’ve been totally focused on ballet. It’s a little scary to leave that,” says Bearden. Several years ago he assisted in creating the Artists Resource Fund to help fellow dancers offset the cost of college while still in the thick of their careers, attending classes incrementally in order to earn a degree.

Former principal dancers Seth Olson and Tonia Stefiuk retired from Ballet West in 2007 with degrees from the University of Utah. Now living in Stefiuk’s hometown of Saskatoon, Saskatchewan, in Canada, both husband and wife work in health care, Stefiuk as a registered nurse in a postpartum unit and Olson now in pursuit of a similar degree.

“I was always interested in science and I wanted to do something valuable to help people. It just seems like a good match,” says Olson. Stefiuk agrees.

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