My Career Choice – Annie Johnson – American Repertory Ballet
Annie Johnson says that playing the Sugar Plum Fairy in American Repertory Ballet’s production of The Nutcracker is – so far – the highlight of her career. But that high point came after a lot of hard work.
Annie began her early training at Ballet Technique, under the direction of Julie Caprio, in Hamilton, NJ. She then attended Butler University, graduating cum laude in 2015 with a Bachelor of Fine Arts degree in dance performances, as well as studying strategic communications. In the summer of 2014 she toured Eastern Europe with members of Butler Ballet to teach and perform at various schools in Poland, Austria, Slovakia, and the Czech Republic.
After graduation, Johnson joined American Repertory Ballet as a trainee and became a member of ARB2 in 2017, and then was promoted to the company in 2018. Since joining ARB, Johnson has performed various roles in productions such as Kirk Peterson’s Carmen, Beauty and The Beast, and Lombardi Variations; Jose Limon’s There is a Time; Paul Taylor’s Airs; and many, many more.
Annie Johnson in “Compasso,” choreography by Luis Napoles (Photo by Rosalie O’Connor Photography)
Can you point to one event that triggered your interest in your career?
As a young girl I was very active. If there was an after school sport or activity, you can bet I tried it at least once. But dance always held a special place in my heart and I stuck with it. I decided pretty late in my training that this is something that I wanted to make a career out of. I was around 16 or 17 when I set my heart on becoming a professional. I credit a lot of my passion for dance to one of my first dance teachers, Julie Caprio. So while there wasn’t an “a-ha” moment for me, I think my years of learning from her how special this art form is is what ultimately launched my decision to pursue it professionally.
What about this career choice did you find most appealing?
I hate to be a cliche, but the idea of being paid for my passion is something that I don’t take for granted. So while I am able to provide for myself, I’m able to perform up there on stage for audiences. It’s crazy to think that something I’ve been doing since I was four years old is now my job. I loved it then, and I love it even more now.
What steps did you take to begin your education or training?
When I began seriously considering dance as a full time profession, I started auditioning for summer programs. Professional companies host weeks-long training sessions in the summer for young dancers to take class from different teachers and start making connections within the dance world. This is the first glimpse into what it takes to be a professional dancer. The days are long and filled with classes and rehearsals, which ultimately reflects how your days would look like if you choose that career path. I ended up attending Alvin Ailey, Complexions Contemporary Ballet, American Ballet Theatre, Boca Ballet Theatre, and City Ballet of San Diego’s intensives.
ARB Dancers Gavin Hounslow and Annie Johnson in “Something About Night,” choreography by Lar Lubovitch. Photo by Rosalie O’Connor Photography
While a lot of aspiring professionals immediately audition for companies after high school, I decided to attend Butler University to pursue a degree in dance performance. I didn’t feel completely ready to jump into the audition process. I could not be happier with my decision. I grew exponentially as a person and artist while at Butler. After my time at college, I was accepted into Princeton Ballet School’s Trainee Program. This is an entry level position that many companies offer young dancers to continue refining their technique, but also have the opportunity to be considered for the main company. After spending a year in that program, I was given a contract with American Repertory Ballet. The Trainee Program was an important stepping stone for me. I was able to slowly be incorporated into professional life while still being given rigorous classes to better my dancing. Many people are at a place in their own journey to dive into professional auditions earlier, but with that extra time that I granted myself, I was able to figure out my strengths and what I could offer to a company, which set me up for success in the long run.
Along the way, were people encouraging or discouraging?
I have been incredibly lucky with my support system throughout my career. I remember how shocked my mom was when I told her that I wanted to be a professional dancer. But, she was the one who started diving into research for various summer programs, college programs, trainee programs, etc. She never discouraged my dreams, and I never felt pressure to become something else. Like most artists, I am my biggest critic, but my circle of friends and family have been nothing but supportive, and they’re always the ones in the audience cheering the loudest.
Did you ever doubt your decision and attempt a career change?
Nope. I never doubted my decision to pursue this career. I approached it incredibly open-minded. I simply trusted the process. I figured if I was always true to myself and never lost who I was throughout it all, everything would turn out the way it should. I can’t lie, there are tough days where things can be emotionally and physically draining, but the pay-off is beyond worth it. When you are up on that stage, out of breath, sweating like crazy, taking that final bow, hearing the audience’s applause….there is nothing like it. In the midst of those difficult days, that is a feeling I can cling to and it reminds me of why I chose this path.
Can you describe a challenge you had to overcome?
A challenge that I’m sure every dancer has dealt with at least once in their life is an injury. A few years ago I developed a stress fracture in my shin. This took me out of commission for about six months. It was emotionally very difficult because of how stagnant I felt, as if I was wasting time. Time that could have been spent improving my technique or preparing for a performance. Ultimately, I ended up becoming a better dancer because of it. While working with a physical therapist I was able to target why I developed it in the first place. I started dancing more intelligently, and now I listen to my body when it starts telling me “I need a break.” So while I can’t say I’m happy that I was injured, I have grown because of it.
Annie Johnson in “If,” Choreography by Ethan Stiefel (Photo by Rosalie O’Connor Photography)
What single skill has proven to be most useful?
Versatility is a skill that will benefit any dancer. These days most companies incoporate different genres of dance in performances like contemporary, modern, or jazz. It’s important to be a chameleon that can adapt to whatever the choreography requires. This provides more casting opportunities in performances and is, simply, fun. I absolutely love when we have contemporary repertoire. Classical ballet is my first love but moving in different ways is so healthy for a dancer’s body and brain. It keeps things fresh. My advice to someone looking to join a ballet company is to get themselves in other dance classes that pushes them out of their comfort zone.
What accomplishment are you most proud of?
I feel like every season there’s a new accomplishment I’m proud of. This year I think it would have to be when I had my debut of the Sugar Plum Fairy in The Nutcracker. I have been performing American Repertory Ballet’s version of The Nutcracker for about ten years now, and I was given the chance to take an, excuse the pun, crack at it. Sugar Plum is a demanding role that requires an immense amount of stamina and strength. I’ll tell you, it challenged me more than any other role. I couldn’t have made it through the grueling rehearsal process without the support of my amazing colleagues. I was able to connect with the women who were veterans of the role and they flooded me with advice.
I’ll never forget the first day my partner and I ran the entire pas de deux in front of the company, and while it wasn’t perfect, the cheers from my friends was deafening. I felt so supported by these beautiful artists that I get to share the studio with every day.
Then, when my partner and I took it to the stage for my first performance, the graciousness from the audience was overwhelming. It was a huge feat for my personal journey. It’s a part of my professional career that I won’t forget.
Any advice for others entering your profession?
Comparison will be your worst enemy. I spent too much time comparing myself to other dancers. Maybe their extensions were higher than mine, maybe they turned more than me, maybe they could balance longer than me…and all of those negatives did were make me a less happy dancer. You are not just an athlete, you are an artist, and more importantly, a person. While tackling the technical training of it all, don’t forget to let who you are shine through. Authenticity will take you far.
Top Photo Credit: Harald Schrader
