Cincinnati Ballet - Early History

Early History

In 1966, the directorship passed on to David McLain. He also headed the Dance Division of CCM. CCM gave the young company the advantages of studio space for classes and rehearsals, access to talented students, and the use of the Wilson Auditorium for performances. As the organization outgrew the profile of a non-professional civic company, the company was re-named “Cincinnati Ballet Company” in 1968 and gained Carmon DeLeone as music director.

By 1970, professional status was achieved when ten salaried dancers were hired. CCM faculty member James Truitte began to train dancers in the contemporary technique created by the American choreographer Lester Horton. As the company dancers became proficient in Horton technique, they began to perform Horton’s choreography. As a result, Cincinnati Ballet Company earned national recognition for keeping this historic work alive.

However, by the mid-1970s, CBC was still first and foremost a ballet company with classical works in the repertoire, including Les Patineurs, Pas de Quatre and variations from The Sleeping Beauty, along with two Balanchine ballets, Concerto Barocco and Serenade. Performances took place at the Taft Theatre and tours were added in Ohio, Puerto Rico, the Virgin Islands, and at New York City’s Dance Festival in 1975.

The Nutcracker was premiered in 1974 at Music Hall. Frisch’s Restaurants from Cincinnati sponsored the performances and have continued to do so. Today Frisch’s presents: The Nutcracker is a Cincinnati tradition.

Beginning in 1978, regular repertoire performances were also held at Music Hall, and the schedule expanded from three series to five by 1980. The company’s name was shortened to “Cincinnati Ballet”, and in 1983 a sister-city arrangement begun with New Orleans to further increase performing opportunities.

McLain died in 1984 and Frederic Franklin became interim director. A permanent artistic director, Ivan Nagy, was appointed in 1986. The company moved out of CCM, although it was still designated the official school. It was Nagy’s intention to have Cincinnati Ballet stand alone as a professional company. The company continued to perform at Music Hall but rehearsals were now in the Emery Building. A Hungarian native who had danced all over the world, Nagy knew many foreign dancers, and brought a number of them to Cincinnati. The arrival of highly experienced dancers began to raise the company to a new standard of performance. The company expanded to include five principals, nine soloists and twenty-three corps members. It joined the American Guild of Musical Artists and added the SCPA Dance Department, along with the CCM Children’s Dance Division, as “feeder” institutions to provide apprentices and child performers.

A new Nutcracker, choreographed by Ben Stevenson of the Houston Ballet, was also performed every year in Knoxville as part of another sister-city arrangement. Repertoire included a full-length La Sylphide and Balanchine’s Four Temperaments as well as pieces by contemporary choreographers such as Andre Prokovsky, Mauricio Wainrot, and Ronald Hynd.

Nagy left in 1989 and three artistic directors came and went in quick succession. Richard Collins was the first. A British-trained dancer, and a director of promise, he was killed in a car accident. Nigel Burgoine succeeded him in 1992 and Peter Anastos in 1994. During his two years in Cincinnati, Anastos created the very successful ballet Peter Pan with an original score by DeLeone. The ballet (now with the 2001 choreography by Septime Webre) was last performed in 2009, which also marked DeLeone’s 40th anniversary with Cincinnati Ballet.