Auditorium Theatre 2019-2020 American Ballet Theatre

12 | AUDITORIUM THEATRE 2019-20 | March 10 - May 5, 2020 A Fond Farewell to Stella Abrera as She Takes Her Last Bow in Chicago This March, American Ballet Theatre Principal Dancer Stella Abrera performs in front of Chicago audiences for the last time. Abrera, who has been a dancer with ABT for 24 years, has performed on the Auditorium stage in productions such as Alexei Ratmansky’s Whipped Cream , Giselle , and the All-American repertory program — if you've seen ABT at the Auditorium in the past few years, you've probably seen Abrera dance! Ahead of ABT’s performances March 19-22 at the Auditorium , Abrera answered some questions about her incredible career with the company, her favorite ABT memories, what she loves about Chicago, and what’s next for her. JADE YOUNG ( cont. on pg. 14 Auditorium Theatre [AUD]: You joined American Ballet Theatre in 1996 when you were 17 years old. How has the company changed over the years, in your opinion? Stella Abrera [SA]: I would say that I’ve noticed how much the company has expanded within the historic walls of 890 Broadway in New York City. Since joining, I’ve seen the founding of ABT JKO School [the training and associate school of American Ballet Theatre], the re-establishment of the ABT Studio Company, the implementing of a large, highly-functional physical therapy room and in-house gym, a gorgeous lounge where the whole company can connect and utilize for professional use — and that’s just the physical expansion. I’ve always loved how ABT has been able to expand its reach internationally in being a touring company. I’ve been on countless tours and have always found them to be culturally enriching and educational, and the hope is that audience members in those cities find the experience to be reciprocated. I know that I have changed within the company. I’ve had the opportunity to evolve and develop as an artist and as a contributor to the arts world, and felt the encouragement and support from people in all departments of ABT — and for that I’m truly grateful. AUD: What are some of your favorite memories of performing with ABT? SA: There are so many! Dancing in the “Kingdom of the Shades” corps de ballet on an outdoor stage that was built on the beach in Rio de Janeiro, Brazil. Seeing the sea of thousands of people in the audience, as well as the Corcovado Mountain and the iconic sculpture [atop it] was an incredible sight to behold. Dancing at the foot of the Parthenon at the Odeon of Herodes Atticus, again an outdoor amphitheatre. The amount of history on that stage was mind-boggling. Dancing my Giselle debut at the Metropolitan Opera House, ABT’s New York City home. It is a magnificent stage on which to dance, and I know how lucky I have been to call it home for 24 years. AUD: In 2015, you were promoted to Principal Dancer, making you the company’s first-ever Filipino American Principal Dancer. Can you describe how this has made you feel, both at the time you were promoted and over the years since? SA: Being promoted to Principal Dancer after 19 years felt like unbelievable achievement. The feelings of gratitude, joy, and disbelief were overwhelming. At first, the distinction “First Filipino American principal dancer at ABT” came as a surprise to me. From those first moments of earning that distinction to now has been an enormous learning process for me. I have learned the immense importance of representation in our country. There have been so many young women of color who have reached out to me, telling me that I inspire them to work hard to make their dreams come true. This responsibility is one of my biggest sources of pride and honor. AUD: You’ve performed in the Philippines, in Manila, to help benefit the Center for Excellence in Public Education (CENTEX). Why is it important to you to help the next generation of ballet dancers (in the Philippines and elsewhere)?