Imagine a world where art defies all odds, leaping gracefully over financial hurdles and societal shifts to celebrate six decades of beauty and resilience. That’s the story of the Oakland Ballet, a company that has not only survived but thrived through challenges that would have broken lesser institutions. But here’s where it gets controversial: In an era where funding for the arts is often the first to be slashed, how does a ballet company like Oakland’s continue to inspire and innovate? And this is the part most people miss—it’s not just about the dance; it’s about the community, the heritage, and the unyielding spirit of those who refuse to let the curtain fall.
On a crisp December afternoon, the Malonga Arts Center in downtown Oakland buzzes with energy. Inside, the ballet studio is alive with the rhythmic thuds of feet and the graceful spins of dancers perfecting their pirouettes. It’s the fourth rehearsal of the week for the Oakland Ballet’s Graham Lustig’s The Nutcracker, set to dazzle audiences at the Paramount Theatre on December 20 and 21. This year marks a milestone: the company’s 60th anniversary and Graham Lustig’s 15th season as artistic director. As Lustig guides the dancers, his words echo through the studio: ‘This is about jumping to show those beautiful shapes in the air…’
The room is a testament to dedication. Sweat glistens on the dancers’ foreheads, visible from every angle, as they rehearse scenes they’ve perfected over 28 weeks, five days a week. Among them is 25-year-old Jazmine Quezada, now in her seventh season with the company. For her, Lustig’s influence goes beyond technique. ‘He helped me find the artist within me, not just the precision, but the artistry in every movement,’ she reflects. This year, Quezada reprises her role as the Sugar Plum Fairy, a character she describes as ‘fun, challenging, and incredibly rewarding.’
Quezada’s journey with the Oakland Ballet is deeply personal. As a Mexican-American, she cherishes her role in Luna Mexicana, a production that celebrates Mexican culture—a rarity in the ballet world. ‘It’s a part of my heritage, and I love sharing it,’ she says. But her story is just one thread in the rich tapestry of the Oakland Ballet’s history.
From Humble Beginnings to International Recognition
Founded in 1965 by Oakland-born dancer Ronn Guidi, the Oakland Ballet emerged from the Oakland Civic Ballet with a classical focus. By the late 1960s, it had expanded significantly, boasting 24 to 28 full-time dancers and a robust repertory season. Ron Thiele, who joined in 1969, recalls Guidi’s philosophy: ‘It wasn’t about becoming a dancer; it was about the excitement and artistic commitment to dancing.’ Under Guidi’s leadership, the company gained international acclaim, attracting substantial funding from the National Endowment for the Arts and performing across the country.
But here’s where it gets controversial: While the ballet flourished in the 1980s and 1990s, with unique collaborations like Oakland A’s players joining The Nutcracker productions, the company faced its darkest hour in the early 2000s. Financial struggles forced its closure in 2006, and costumes were liquidated to repay debts. How could a company with such a storied past teeter on the brink of extinction? And why did it take a community’s relentless effort to bring it back?
A New Era, New Challenges
Enter Graham Lustig, who took the helm in 2010 with a progressive vision. His Nutcracker reimagines the classic tale, setting it in the early 20th century and empowering the protagonist, Marie, to take charge of her destiny. Lustig’s commitment extends beyond the stage; he brings ballet to schools, introducing over 2,000 students annually to the art form. Yet, despite his efforts, the company operates on a fraction of its former budget, with Lustig working 15-hour days to keep the magic alive.
And this is the part most people miss: The Oakland Ballet isn’t just a dance company; it’s a cultural cornerstone. Productions like Luna Mexicana and the Dancing Moons Festival celebrate diversity and heritage, showcasing stories rarely told in ballet. But with expenses exceeding revenue, the question looms: Can this legacy survive another 60 years?
As the Oakland Ballet prepares for its 60th anniversary performances, the stakes are higher than ever. Lustig’s call for artistic philanthropy resonates deeply: ‘We give our art, our love to the community, but it costs money.’ Will the community answer? And what does it say about our society if we let such a treasure fade away?
Thought-Provoking Question: In a world where art is often undervalued, what responsibility do we have to preserve institutions like the Oakland Ballet? Is it enough to applaud their resilience, or must we actively invest in their future? Share your thoughts in the comments—let’s spark a conversation that could shape the next chapter of this remarkable story.
