The Royal Ballet’s production of Swan Lake  ¨*•♫♪

Death and Life by Gustav Klimt

Michaela DePrince

“I believe that my race has played a part in not getting contracts. North American companies tend to shy away from black female dancers who are darker than a brown paper bag. I couldn’t get into classical companies in the U.S. and Canada. I would make the cuts in auditions and would be one of the last five dancers standing when the audition ended. I’d expect to get an offer, but I never would. After enough of these auditions I began to think that I was truly a dreadful dancer. Then, when I was 17, I auditioned for the Dutch National Ballet. After the audition, when [DNO Director] Ted Brandsen walked over to me and invited me to join the company, I said, “Really?” He sort of chuckled and said, “Yes, why didn’t you think you were good enough?” The truth was that by that point, I didn’t.

In the Dutch National Ballet, my race doesn’t affect my casting. I dance in both classical and contemporary ballets. I danced a solo in both Back to Bach and Swan Lake! I don’t know if it’s this way in other European classical companies, but in the Dutch National Ballet you are cast according to your dancing, not according to your color. I was thrilled when the English National Ballet offered a contract to Precious Adams, and I am delighted by the direction Benjamin Millepied is leading the Paris Opera Ballet. I think that North American companies need to jump on the bandwagon. For like Bob Dylan sang, “The times they are a-changin’…”

How do you want to feel this summer fit or jealous?

Black Swan