Every season, Artistic Director Devon Carney brings new artists into the Kansas City Ballet family after months of travel and observation. This year, three dancers join the Main Company for the first time, and two more step up from KCB II. We talked with Devon about this year’s search, who caught his eye, and what he’s noticing in the dance world at large.

“We no longer use the word ‘apprentice’ in our hiring practices for company artists,” Devon says. “We bring dancers in as full company artists, at a much more attractive financial level, right from the start.” The shift resonated everywhere he traveled this season. “One of the dancers new to us this year told me it was one of the deciding factors. He had an offer for an apprentice contract elsewhere, and he chose us instead.” That dancer, Michael Dadlez, had been a Boston Ballet II dancer.

Devon also handed part of the tour to Second Company Manager & Rehearsal Director Christopher Ruud, who ran the Miami audition solo this year, a step toward developing his own leadership skills. “One of our summer program students came from that audition and has become a Trainee as well.”

“Michael Dadlez and the dancers who came from other places were the unexpected finds,” Devon says. “That’s how it always happens. Somebody presents themselves, and it’s not hard to make the decision.”

For Devon, real performers, not just strong technicians, remain hardest to find. “I always look for a performer, someone who practices their craft every day in class, not just in the more expected areas of rehearsals and performances,” he says. He also points to how much broader the artform has become: “Ballet is continuing to move outside the box it used to live in. We’re expected to do so much more than that.” He looks for dancers who can move between styles: “I want dancers who come out of school like a blank canvas prepared for many different colors to be applied, with a strong foundation to build from.”

Anya Chiu trained at The Washington School of Ballet and spent two years as an apprentice with Pittsburgh Ballet Theatre. “She has nice, dynamic energy and good technique,” Devon says. She’s also already performed in The Wizard of Oz, giving the company another dancer who already knows the piece heading into this fall: “She learned the choreography quickly, which is helpful going into the staging process.”

Michael Dadlez trained at Houston Ballet Academy before joining Boston Ballet II, and Devon has followed his progress for years. “He’s well trained. I saw him dance at Jacob’s Pillow this summer. Good energy on stage, and for his height, he moves really well.” At a height approaching 6’3″, he also fills a practical need: “We need some tall guys. We don’t have enough of them. Plus, it’s very important for our taller company women when it comes to partnering.”

Jordan Long, another Houston Ballet alum, trained in their academy and then spent a year as a company dancer there before joining Kansas City Ballet. “He has a proven track record of being dependable, like other dancers who’ve come to us from Houston,” Devon says. “His jumps are big.” Devon has known him for three years and is excited to bring him into the fold.

Ben Workman came to Kansas City by way of Houston Ballet Academy. “He was a diamond in the rough when I first saw him,” Devon says. “He’s worked incredibly hard over two years, and he’s a completely different dancer now.”

Audrey Lynn, also promoted from KCB II, has grown just as much, Devon says, pointing to her stage presence. “She’s always sparkly and alive on stage, with a real desire to connect with an audience.” Both dancers took on lead roles in the Family Series launched last year. “They carried the entire show on their shoulders,” Devon says. “That’s exactly the kind of opportunity that helps us see what our dancers are capable of.”

“It’s the very beginning, so it’s hard to say exactly how they’ll do with us,” Devon says. “But I have to make a judgment call, and most of the time my instincts are good.” And this year, he’s especially optimistic. “There’s a tremendous amount of talent out there, and we’ve acquired some really good ones. It would be great to have 40 dancers in the Company. But we’ve built a group who work well together and put excellent work on stage, and I can’t wait to see what these five bring to it.”

That kind of excitement doesn’t happen without support behind the scenes. These five dancers are already part of the Company, but their story with Kansas City Ballet is just getting started, and so is yours.

Kansas City Ballet’s Chief Philanthropy Officer Kristin Castle asks: “When you watch a ballet, what inspires you: the costumes, the live music, the dancers themselves? Maybe it’s the school that nurtured their talent, or the community program that sparked a love of dance in a young child. Each is a chance to support what you care about most.”

These new dancers are a new opportunity to put your passion behind ballet’s future. To learn more, contact Kristin Castle at 816.216.5585 or kcastle@kcballet.org.

Header image: Kansas City Ballet Artistic Director Devon Carney with The Joffrey Ballet Studio Company Dancers and Granger Academy of The Joffrey Ballet Trainees and Contemporary Ballet Trainees. This photo was taken following a class Devon taught as part of his dancer audition tour this year. Photo courtesy of Devon Carney.