Behind the Curtain: Lessons from My Ballet Career by Michael Cornell

I remember vividly the first day at my ballet school, The National Academy of Arts, where the Director sat us down and recommended we all become doctors, lawyers, or accountants instead of pursuing a career in ballet. His blunt warning that ballet is among the most difficult professions didn’t deter me—it set the tone for a career full of challenges and rewards.

My first day as a professional ballet company member was a shocker. The newly appointed Artistic Director, John McFall, a former dancer with San Francisco Ballet and a choreographer with a recent success for Mikhail Baryshnikov, strode into the studio with confidence. He handed us a sheet of paper covered in what seemed like a bizarre computer code: a sequence of random numbers like 4, 7, 9, 3, and 2. He then played a complex orchestral composition, counting the music in phrases that matched the mysterious code. Unlike the eights and sixes I was accustomed to counting, this felt completely alien.

To make matters worse, McFall assigned me the opening moment of the ballet. After the curtain rose, I was to execute a grand jeté into fourth position, a triple back attitude pirouette, all while wearing a mesh costume mask on my face and gazing at the ceiling. I questioned if I had made the correct career choice. It remains one of the most challenging steps I’ve ever performed, and as they say, “it got ugly early.”

Lessons from Great Collaborations

If I could offer any advice, it would be this: work with talented people, John McFall had a special ability for identifying and attracting extraordinary choreographers, and through his vision, I had the privilege of working with some of the most creative minds in dance.

David Parsons

In the mid-1980s, David Parsons was one of the hottest choreographers in the world. A former dancer with the Paul Taylor Dance Company, he created the iconic solo Caught, which used strobe lighting to make the dancer appear to fly. David personally coached me in this solo, and working with him was transformative.

David had an unparalleled physicality—tall, broad-shouldered, athletic, yet fluid, as if quaterback Tom Brady and Twyla Tharp had a baby. Months later when he invited me to audition for his company’s world tour, I was honored. Though I didn’t go, I carried the experience with me throughout my career.

James Kudelka

At the time, James Kudelka was the Artistic Director of the National Ballet of Canada. McFall secured permission for us to perform his masterpiece In Paradisum, based on the death of Kudelka’s mother. James advised me to read Elisabeth Kübler-Ross’s On Death and Dying to understand the material fully.

The piece explored the five stages of grief and was one of the most intellectually and emotionally demanding works I’ve ever performed. Later, Kudelka returned to create There, Below, which became a signature work for our company and one of my favorite ballets to dance. James’s choreography often pushed dancers to their physical limits, yet somehow, we always achieved the impossible.

Alonzo King

Alonzo King, now an icon in contemporary ballet, created a three-minute solo for me that felt organic and deeply personal. Alonzo’s process was uniquely collaborative—he would suggest a movement, and I would interpret and refine it until the solo came together. While from what I know no video of this work exists, a photo of me in the costume appeared as a two-page spread in Dance Magazine.

Liz Lerman

Working with Liz Lerman, a MacArthur “Genius Grant” Fellow and founder of the Dance Exchange, was a highlight of my career. Liz created a piece about the American Civil War that was both deeply intellectual and artistically compelling. Her innovative approach to dance earned her a later residency at Harvard University.

Other Memorable Works

Throughout my career, I had the privilege of performing iconic works by legendary choreographers:

• Lew Christensen’s Filling Station and Con Amore: These hilarious ballets combined physical comedy and intricate characterization.
• José Limón’s Unsung: Dancing Limón is a spiritual experience, and this work was no exception.
• Paul Taylor’s Cloven Kingdom: A brilliantly awkward yet delightful masterpiece.
• George Balanchine’s Tarantella: Set on us by Patricia McBride, the original cast member, this piece was pure joy. I also danced in Serenade and Pas de Dix.
• Lou Conte’s The 40s: The founder of Hubbard Street Dance Company brought American swing and big band music to life with this thrilling piece.

A Unique Russian Influence

One of the most significant influences on my career was Violetta Boft, a Russian ballet icon. After immigrating to Columbus, Ohio, she became our ballet mistess. Despite her legendary status, Violetta was kind and soft-spoken, offering guidance with the utmost care.

Reflections on a Career

Ballet is a grueling, often underappreciated art form. While I didn’t have the “perfect” facility to join companies like American Ballet Theatre, I brought something unique to the stage. My ability to adapt, innovate, and inspire choreographers helped me create a fulfilling career.

As an instructor, I bring decades of experience to the studio. I understand that dance is a process—a journey of experimentation that requires patience and dedication. So when I coach, I say, “Try this. If it doesn’t work, we’ll try something else.”

Thank you for indulging me in this trip down memory lane. I hope to see you in class soon!

Michael