Mission & History

Since 1963, Cincinnati Ballet has been the cornerstone professional ballet company of the region, presenting a bold and adventurous array of classical, full-length ballets and contemporary works, regularly with live orchestral accompaniment. Under the artistic direction of Victoria Morgan, Cincinnati Ballet has become a creative force within the larger dance community, commissioning world premiere works and exploring unique collaborations with artists as diverse as Grammy winning guitarist Peter Frampton and popular, Ohio-based band Over the Rhine. With a mission to inspire hope and joy in our community and beyond through the power and passion of dance, Cincinnati Ballet reaches beyond the stage in programs that allow every person in the region to be part of the continued evolution of dance. To that end, Cincinnati Ballet presents exhilarating performances, extensive education outreach programs and offers top level professional ballet training at Cincinnati Ballet Otto M. Budig Academy.

Our Purpose: We exist to move you ­­­­– profoundly and joyfully!

Our Beliefs:

  • We believe dance expresses a humanity that can be felt by everyone
  • We believe collaboration ignites new possibilities
  • We believe a disciplined approach is essential to success and creativity

Our Mission: To inspire hope and joy in our community and beyond through the power and passion of dance. 

Founding of Cincinnati Ballet: 1963-1968

In the 2008-2009 Season, Cincinnati Ballet celebrated its 45th anniversary. The first official auditions were in 1963 at the YMCA, where 41 dancers were chosen from the 200 hopefuls. Debut performances took place at the University of Cincinnati’s Wilson Auditorium in 1964 and 1965. In 1966, the directorship passed on to a young visionary named David McLain, who at the time also headed the Dance Division of CCM. CCM gave the new company great advantages; studio space for classes and rehearsals, access to talented students, and the use of Wilson Auditorium for performances. As the organization matured, McLain’s vision grew more ambitious. The company was re-named “Cincinnati Ballet Company” in 1968 and gained the talented Carmon DeLeone as music director.

Building Professional Status: 1970-1989

In 1970 true professional status was achieved when ten salaried dancers were hired. James Truitte began to train the dancers in the contemporary technique created by the American choreographer Lester Horton. Cincinnati Ballet Company earned national recognition for keeping this respected Horton technique alive. However, CBC was still first and foremost a ballet company with classical works in the repertoire. Performances of the classics like Sleeping Beauty and the Balanchine repertoire now took place at the Taft Theatre. In 1975, tours were added in Ohio, Puerto Rico, the Virgin Islands and at New York City’s Dance Festival. The Nutcracker, which premiered in 1974 at Music Hall, was sponsored by Frisch’s Restaurants. To the everlasting gratitude of ballet audiences, Frisch’s has continued to do so for the past 35 years.

Beginning in 1978, performances were also held at Music Hall. The schedule expanded from three series to five by 1980. The company’s name was shortened to “Cincinnati Ballet,” and in 1983 a sister-city arrangement had begun with New Orleans to further increase performing opportunities.

With David McLain's sad passing in 1984, the Board of Trustees turned to the legendary Frederic Franklin as interim artistic director. In 1986 Ivan Nagy, was appointed and under his leadership the company moved out of CCM, although it was still designated the official school. It was Nagy’s intention to have Cincinnati Ballet stand alone as a professional company. The company performed full time at Music Hall and rehearsals were in the Emery Building. A Hungarian native who had danced all over the world, Nagy knew many foreign dancers, and brought a number of them to Cincinnati. The arrival of highly experienced dancers began to raise the company to a new standard of performance. It joined the American Guild of Musical Artists and added the SCPA Dance Department, along with the CCM Children’s Dance Division, as “feeder” institutions to provide apprentices and child performers.

A new Nutcracker, choreographed by Ben Stevenson of the Houston Ballet, was added and Cincinnati Ballet performed every year in Knoxville as part of another sister-city arrangement. The repertoire included a full-length La Sylphide and Balanchine’s Four Temperaments as well as pieces by contemporary choreographers such as Andre Prokovsky, Mauricio Wainrot and Ronald Hynd.

Nagy left in 1989 and three artistic directors came and went in quick succession. Richard Collins, a British-trained dancer, and a director of great promise, was tragically killed in a car accident. Nigel Burgoine succeeded him in 1992 and Peter Anastos in 1994. During his two years in Cincinnati, Anastos created the very successful ballet Peter Pan with an original score by Carmon DeLeone.

Making a Home: 1990-1996

The 1990’s were memorable for a number of special events. Through the great generosity of the Kaplan and Budig foundations, a permanent home was built for the company on Central Parkway at Liberty Street in 1994. Cincinnati Ballet Otto M. Budig Academy was launched in 1996. At last, offices, dance studios, a training school, wardrobe/costume storage, and rehearsal space were all in the same complex. The intimate Mickey Jarson Kaplan Performance Studio was added in 2005.

Changes continued. The Aronoff Center for the Arts became the permanent home for the repertoire series of performances and a number of spectacular ballets were acquired. “Americana” ballets such as Agnes DeMille’s Rodeo, and modern dance pieces by Paul Taylor challenged the dancers and intrigued audiences. In 1996, in an exciting premiere, Balanchine’s full-length Jewels, was performed by the company.

Set to Soar: 1997-Present

Victoria Morgan was appointed Artistic Director in 1997 and CEO in 2008. Also in 2008, Devon Carney, a former principal dancer with Boston Ballet, was appointed Associate Artistic Director. Morgan has honored the Cincinnati Ballet tradition of performing not only new works, but also keeping the historic repertoire alive and vibrant. A tribute to Frederic Franklin and the Ballet Russe de Monte Carlo in 2002 inspired The New York Times to call the production one of the top ten dance events in the country that season.

To date there have been three groundbreaking collaborations between Cincinnati Ballet and BalletMet Columbus. Together, to great acclaim, the combined companies presented Jewels (2003), Stars and Stripes (2006) and Swan Lake (2009). Cincinnati Ballet has attracted top dancers from all over the United States and world. The innovation and originality of the new repertoire has molded this exciting group of versatile performers, who approach both traditional and contemporary roles with individual fair and sensational technique. They have performed at The Aronoff Center for over a decade to enthusiastic audiences and continue to tour in American cities, including Anchorage, Detroit, Indianapolis and Cleveland and in Europe as well. In the 2007-2008 Season, a collaboration with The Suzanne Farrell Ballet in the production of Chaconne, resulted in the presentation of a joint program, both at The Aronoff Center and Washington, D.C.’s Kennedy Center in 2008.

As Cincinnati Ballet prepares for the 50th Anniversary during the 2013-2014 Season, it is acknowledged as one of the country's leading midrange ballet companies. Cincinnati Ballet is set to soar.

Photo credit: Sarah Hairston & Romel Frometa | Photography: Peter Mueller 

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