The Washington Post: This ballerina played the role of a stripper, and she owned it (February 21, 2020)
“The legs, the attitude: They belonged to Sona Kharatian, the Washington Ballet’s dark-eyed slayer of souls. Her unfurling kicks, carefree arms and air of easy triumph turned the spoofy Balanchine ballet “Slaughter on Tenth Avenue” into her private playground. Kharatian’s performance as the Striptease Girl in this 1968 parody of brawling mobsters and showbiz capped the Washington Ballet’s “Balanchine + Ashton” program at the Eisenhower Theater.” – Sarah Kaufman

The DC Line: Washington Ballet pianists enhance the artistry of dancers – in rehearsal and onstage (February 19, 2020)
“Glenn Sales, a veteran musician who debuted with the National Symphony Orchestra at age 14 and has played at the White House, is the music supervisor of The Washington Ballet (TWB). He plays live music for the dance company’s performances — and for classes and rehearsals at its Wisconsin Avenue NW school.” – Ilena Peng

Pointe Magazine: Behind the Seams: Ballet Costumes Carry an Embodied History (February 19, 2020)
“Julie Kent still owns several custom-made costumes, which she used for galas and other events outside ABT, and often loans them to other dancers. Her Odette tutu from Swan Lake was recently borrowed by Misty Copeland, and then Washington Ballet’s Katherine Barkman, who confesses that she was “super-nervous to even wear it.” As for whether it affected her performance, Barkman says, “I’m not one for magical superstitions. However, I feel that what the costume itself represents inspires you to be a better dancer. I really felt a difference wearing and stepping into the costume of a great ballerina.” – Caroline Hamilton

The Georgetowner: The Washington Ballet’s Balanchine + Ashton (February 18, 2020)
“From Feb. 19 to 23, the Washington Ballet will present two works by Balanchine, “Allegro Brillante” and “Slaughter on Tenth Avenue,” and two by Ashton, “Birthday Offering” and “Méditation from Thaïs,” with the Washington Ballet Orchestra in the Kennedy Center Eisenhower Theater.” – Richard Seldon

MetroWeekly: Spotlight: Dan Roberge of The Washington Ballet (February 13, 2020)
“After a months-long injury, one of the Washington Ballet’s finest dancers is back with a tap-dancing vengeance.” – Randy Shulman

Dance Spirit: The Washington Ballet’s Maki Onuki Describes Her Path from Injury to Recovery (January 31, 2020)
“I’m glad I took time off when I got hurt. It was definitely the smarter choice. I think if I’d pushed myself, I could have done the fall program, but I wouldn’t have been able to do it full-out, and then I would probably have needed a longer break before Nutcracker. It’s sad to miss a performance, but for your body, it’s a better choice.”

Dance Magazine: This Ballet Summer Program Emphasizes Artistry Over Technique (January 2020)
“If you’re in an excellent summer program with great teachers, of course your legs will get higher, your adagio less wobbly, jumps bigger—to me that’s a given,” she says. But, Kent asks, “have students enjoyed the experience? Have they expanded their knowledge and understanding of the art form?”


The Washington Post: Video: How to pack like a touring ballet dancer (December 12, 2019)

WJLA: ABC 7’s Alison Starling & Kidd O’Shea Appear in Nutcracker (December 12, 2019)

DC Theatre Scene – The Nutcracker (December 3, 2019)
“If you haven’t experienced it yet, give yourself, your family, and your friends a real treat and see it this season. The Nutcracker is a holiday tradition that has stood the test of time; and this Washington Ballet production is one that is aging wonderfully well.”

VIP Alexandria – The Nutcracker(December 2019)
“There’s something incredibly beautiful about ballet that commands attention; something unique and romantic that no over-engineered technically enhanced screen production can replicate or replace. When computer generated entertainment takes over our senses at every turn its inspiring to know that the art of ballet is as captivating as ever.”

WUSA9: ‘The Growth Has Surpassed My Expectation’ | Washington Ballet Rises On Pointe (November 2019)

The Washington Post: The Washington Ballet Opens its New Season with Three Eye-Catching Premieres (October 25, 2019)
“There was no shortage of vision in the Washington Ballet’s program, aptly titled “NEXTsteps.” Each piece, commissioned by the company, carried a sense of forward thrust and newness. Each was striking to the eye, in bold and unexpected ways.” – Sarah Kaufman

Dance View Times: Ambition’s – The Washington Ballet’s NEXTsteps Program(October 24, 2019)
“With three of these new pieces, The Washington Ballet has indicated its ambition to participate in the on-going dialogue about what is significant in dance.” – George Jackson

WTOP: Washington Ballet Kicks Off 2019-20 Season with NEXTsteps (October 23, 2019)
“From “The Nutcracker” to “Swan Lake,” “Balanchine + Ashton” to “Coppélia,” it’s going to be an exciting 2019-2020 season for The Washington Ballet.”

Washington City Paper: A Look at How a New Ballet Came Together in 14 Days(October 17, 2019)
“Many ballet works performed today are familiar and faithful stalwarts, like Swan Lake, Giselle, and The Nutcracker. With NEXTsteps, The Washington Ballet is doing something fresh—and taking a risk. As of Labor Day, “RACECAR” did not exist. The last of three pieces to be finished for NEXTsteps, it was choreographed in just 14 business days, from Sept. 3 to 20. From a stageside vantage point at a handful of rehearsals, the whirlwind creation of the ballet unfolds.”

WJLA: Washington Ballet’s Artistic Director Julie Kent Has Defied All Odds (October 11, 2019)
“The Washington Ballet Theatre officially opens its new season in October. At the helm of the company is a woman who is known as one of the premier dancers in America, Julie Kent.”

MetroWeekly: Mark Zappone spins flowers and butterflies into surrealist costumes for The Washington Ballet(October 11, 2019)
“When you’re a globetrotting, in-demand costume designer for dance companies and choreographers worldwide, calls to collaborate might come from anywhere.”

Washingtonian: 17 Things to do Around DC This October (October 2019)
“Going to see The Nutcracker every year is nice, but it’s also important to support ballets created in the current century. The Washington Ballet’s season-opening NEXTsteps focuses on internationally known choreographers whose works will be enjoyed by future generations.”

Pointe Magazine: 2019 Stars of the Corps: The Washington Ballet’s Adelaide Clauss (Fall 2019)
“Watching Adelaide Clauss dance intoxicates the senses, a visual equivalent of a flower’s perfume. Her melding of grace and technique revealed her to be an artist of great promise.”

Dance Magazine: The Washington Ballet Professional Training Program – Chiara Valle Fighting Cancer(August 19, 2019)
“This Dancer almost lost her leg to cancer. Now she’s heading back to The Washington Ballet. Chiara Valle is just one of many dancers heading back to the studio this fall as companies ramp up for the season. But her journey back has been far more difficult than most.”

Pointe Magazine: Washington Ballet Trainee Gianna Forte’s Journey Back to Ballet After Life-Threatening Health Problems(July 2019)
“During one of our last shows of Nutcracker, Julie came down to the dressing room and promoted me to trainee, saying how brave and courageous I was. I’d just done the snow scene and was getting ready to go on for “Waltz of the Flowers.” It was a really special moment.”

DCTheatreScene.com: The Washington Ballet’s 2019-2020 Season Offers the Best of Classical and Contemporary Works(May 17, 2019)
“The Washington Ballet’s 2019-2020 season promises to be an interesting mix of classical and contemporary ballets, and will without a doubt delight both hard-core traditionalists and dance lovers seeking adventurous contemporary works.”

The Wall Street Journal: A Master of Dance at 100. Merce Cunningham, whose centenary was last week, is being celebrated in several programs that draw from his catalog of nearly 200 works(April 22, 2019)
“Duets” (1980), a playful outing for six alert couples from the Washington Ballet, colorfully dressed by Mark Lancaster and accompanied by Cage’s infectious percussive “Improvisation III,” capped the Joyce bill. – Robert Greskovic

SHE SAID/SHE SAID: Leadership Through Dance: Julie Kent, Artistic Director, The Washington Ballet (April 16, 2019)
“Julie talks about the importance of pushing yourself to do better and to improve every single day, the joy of serving something you love, the pain of saying goodbye to the stage and transitioning her expertise and experiences to serve her art in a different way, and the value in pushing yourself to take on new risks and challenges (especially when they scare you).”

The Washington Post: The ballet dancers dived into a ball pit. That’s when the evening really took off (April 5, 2019)
“Until Thursday night, I’d never seen a ball pit in a ballet, but now that I’ve watched dancers dive into one, whip up waves of plastic orbs, bean one another with them, juggle them and spit them out of their mouths, I never need to see another. It was that much fun. May the wonderful, wacky ball pit in Trey McIntyre’s new ballet remain his alone, an inimitable choreographic device that in his hands produces pure joy.” – Sarah Kaufman

Critical Dance: The Washington Ballet – Three World Premieres (April 5, 2019)
“Indeed, Stiefel’s Wood Work was not only my favorite of the three world premieres, it’s an accomplished ballet that I’d like to see again and hope TWB repeats. The dancers looked fabulous, composed and yet joyfully springy. Stiefel’s choreographic skills shined through in this one. I liked everything about it. The Danish String Quartet’s modern renditions of traditional Nordic folk music played splendidly by Regino Madrid (violin), Armine Graham (violin), Stephanie Knutsen (viola), and Sean Neidlinger (cello) run from somber to sweet.” – Carmel Morgan

DanceTabs: Washington Ballet – The Sleeping Beauty(March 7, 2019)
“This sparkling production, staged with skill and care by the company’s artistic director Julie Kent and her husband, associate artistic director Victor Barbee, proved not only an important milestone in the troupe’s history but also a testament to the Washington Ballet’s growing artistic excellence.” – Oksana Khadarina, DanceTabs.com

The Washington Post: The Washington Ballet Awakens with a Lavish, Triumphant Sleeping Beauty; The ‘Sleeping Beauty’ of Our Dreams (March 1, 2019)
“The Washington Ballet awakens with a lavish, triumphant ‘Sleeping Beauty’ one beautifully detailed scene after another, masses of sumptuous costumes and a breakout, starmaking showcase for dazzling new Company member Katherine Barkman. It is every bit the show of refinement it was destined to be.” – Sarah Kaufman

Dance Magazine: For Katherine Barkman, Falling Onstage Led to Her Latest Job Offer (February 26, 2019)
“Katherine Barkman’s career reads like a storybook: At 18, she left Pennsylvania and moved to the Philippines to become a principal at Ballet Manila. She danced Juliet, Giselle, Odette/Odile and Kitri, but three years in, it was time for new challenges. Late last year, Barkman joined The Washington Ballet, bringing her scintillating, pure Vaganova technique and her warm stage persona to U.S. audiences.” – Lisa Traiger, Dance Magazine

DanceTeacher Magazine: Monica Stephenson Leads the Path to a More Diverse Future for Ballet (February 21, 2019)
“In the summer of 2018, Stephenson, now 35, became associate head of school for The Washington School of Ballet’s Southeast Campus at THEARC (Town Hall Education Arts Recreation Campus), a community center that serves an under-resourced neighborhood in DC. Eighty-four percent of the students in The Washington Ballet’s program there are students of color, 75 percent of whom are African-American.”

Washington City Paper: Gian Carlo Perez is Making Ballet Relevant Again (February 21, 2019)
“Ballet—a centuries-old performance art form—has endured much death and rebirth. And it’s artists like Perez, who can reach the heart of the dance night after night, that can reignite the popularity of ballet.” – Mary Scott Manning, Washington City Paper

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The Georgetowner: Julie Kent Takes Center Stage (December 7, 2018)
“If “The Nutcracker” is the ballet as icon, Kent — tall, sometimes regal, with the halo of legend around her history and career — is the ballerina as icon. If you had to close your eyes and try to picture the most ballerina-like person you could, you’d open your eyes and, more often than not, see Kent in a classic pose, en pointe, not far removed from the fluttering sky, safe on the stage but ready for flight. As a prima ballerina, an artist of classical dance, she is up there among the big names: Suzanne Farrell, Gelsey Kirkland and the like.” – Gary Tischler, The Georgetowner

The Washington Post: Washington Ballet Dancers Are Tested by Contemporary Works (November 2, 2018)
“There’s buoyancy and wit in each of the works, with a spirit of breezy playfulness in Morris’s; the circusy colors and bold, unexpected corporeal shapes in Cunningham’s; and the swing-era sass of Taylor’s.”- Sarah Kaufman, The Washington Post

DCTheatreScene.com: The Washington Ballet’s Modern Dance Program Shines a Light on Venerable Works (November 1, 2018)
“The Washington Ballet’s Contemporary Masters program, which opened Wednesday night at the Harman Center for the Arts and continues through Sunday, is a master class in late 20th Century modern dance works that is both thought-provoking and awfully fun to watch.” – Maria Di Mento, DCTheatreScene.com

Brightest Young Things: Dream Jobs: Julie Kent, The Washington Ballet (September 20, 2018)
“Julie Kent’s office walls are a peak inside her past. They’re covered with the teachers she loved, the dancers who inspired her and the roles she adored. It’s a greek chorus of lovely black and white faces. When I ask her about her inspiration, as at the director of The Washington Ballet and as a dancer, she throws a hand up in the air and gestures to all of them in one fell swoop.” – Kaylee Dugan and Nicholas Karlin, BYTz

Washington City Paper: Aesthetics and Athletics Come Together in Ballet (September 6, 2018)
“I think it’s all about your intention,” Kent says. “The intention of a dancer is to create art, to create beauty. The intention of an athlete is to win a game or win a contest. So, while the preparation and the actual physical body of work may be very similar, the intentions are completely different. We are artists and we are athletes, but we are artists first.” 

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