Being On Pointe

She thinks about the space of the stage.

She thinks about the corrections she’s made since rehearsal. 

She thinks about her ankle.

She thinks about connecting with the audience.

She thinks her feet kinda hurt.

She thinks about her “Prince,” and grins.

“And, oh, yeah,” she tells herself, “don’t forget to smile!”

Sheridan Guerin takes a deep, reassuring breath as the curtain rises. She calms her rapid-fire thoughts because she’s confident and en pointe, literally.

Colorado Ballet cast Guerin as Clara, the lead in their annual production of The Nutcracker, making her the first Black dancer to hold a principal role in the company’s 62-year history of the classic holiday presentation. It is a responsibility she takes seriously.

“It’s special to know that the Black kids in the audience can see representation on stage and hopefully want to be there someday,” she says.

Between rehearsals and performances, she’s done this dance hundreds of times. She hopes her appearance as Clara will inspire Black and Brown girls to enter ballet.

“I’m used to being only one of the few Blacks,” Guerin admits. “The pressure comes from being in the [Colorado Ballet] company; not from being Black.” Most dancers know the importance of dancing in a place where you can grow, thrive and get specialized attention. She’s found that with Colorado Ballet.

Guerin began her training at 11-years old under Lisa Slagle at Ballet Academy of Texas. She has repeatedly attended American Ballet Theatre’s summer intensive in New York, and was nominated to be their National Training Scholar twice. She placed 1st overall in both contemporary and classical divisions at Youth America Grand Prix (YAGP). In 2017, she was accepted as a Studio Company member at Oklahoma City Ballet where she performed in ballets such as Swan Lake, The Nutcracker and The Little Mermaid. In 2018, Sheridan went on to join Atlanta Ballet’s school under the leadership of Sharon Story.

Guerin was hired with Colorado Ballet for the 2019-2020 season and was promoted to the role of apprentice in the main company in 2020. As an apprentice, she was at the first level of the ballet hierarchy, which goes on to include corps de ballet, demi-soloist, soloist and principal.

As an apprentice, she was awarded the principal role as Clara in the 2023 production of The Nutcracker, a feat that speaks to her incredible skill and celebrates diversity.  In the second act – a fan-favorite – the meeting of the Sugar Plum Fairy highlights diversity from all over the world with Spanish, Arabian, Chinese, and Russian style dances. Colorado Ballet Demi-Soloist, Ariel McCarty, 26, will play Clara’s mother and other characters in The Nutcracker alongside Guerin.

“I remember that seeing a Black ballerina on stage live – not on a video – was exciting,” she exclaims. “It made my dream real!” McCarty is cast as the Tall Girl in George Balanchine’s Rubies in the April 2024 contemporary showcase, “Ballet Masterworks.”

Guerin currently dances with the corps de ballet with her long-time partner, Alexander Roy, who plays the Nutcracker Prince.

“Playing Clara is a really big deal. I’m very happy for her and proud of her,” he says. “It’s really awesome for me to get to be a tiny part in this awesome legacy she’s writing for herself.”

Guerin and McCarty acknowledge that they are standing on the shoulders of Black excellence. They pay homage to those who came before by refusing to feed into ignorant prejudices or perpetuating stereotypes.

Ballet hasn’t been the most progressive art form throughout the years. Though some things are slow to change, there are dancers who sacrificed and worked hard to create more advancement and opportunity. “There are many women that set an example. They made being a Black ballerina a reality,” says McCarty.

The cast members know that Blacks in ballet shouldn’t be a one-off, but that representation should continue to increase. Casting underrepresented people as principals in ballet enables dynamic conversations about race, diversity, equity and inclusion within the art.

In June 2015, Misty Copeland was named a principal dancer in the prestigious American Ballet Theatre for the first time in its 75-year history. While Copland made headlines, it should be noted that many came before her; for example, Lauren Anderson became the first principal dancer for Houston Ballet in 1990. Anderson danced with the Houston-based company from 1983-2006.

In the 1950s, Raven Wilkinson was one of the first Black ballerinas permitted to join the Ballets Russes de Monte Carlo – under the condition that she pose as a white woman by painting her face. In 1956, Carmen De Lavallade danced as the prima ballerina at the Metropolitan Opera performances of Samson and Delilah, and Aida.

Black men have had their fair share of issues within the ballet world. Arthur Mitchell was not only the first Black male dancer in a major ballet company, he was the first Black principal dancer of a major ballet company, elevated to the role at New York City Ballet in 1956. Most recently, in its 90-year history, the San Francisco Ballet smashed stereotypes with the debut of the company’s first Black principal ballerina, Nikisha Fog in 2022.

As ballet developed, dancers became increasingly unsatisfied by their specialty footwear. However, it wasn’t until 2018 that Freed of London – one of the largest suppliers of ballet shoes – began making pointe shoes for people of color. Now their line features brown and bronze tones and other manufacturers are following suit.

Colorado Ballet supplies 40 shoes per year to their dancers; and if you think ballet dancers are hard on their shoes, wait until you see their feet. A lot of the wear and tear comes from the multitude of rehearsals and complicated positions, including the popular “en pointe.” En pointe (pronounced “on point”) is a French term. In ballet, dancers moving around gracefully on the tips of their toes are in the en pointe position. Standing en pointe is akin to being on the tips of your toes.

Studies show that on average, dancers in the en pointe position place a pressure of 220 pounds per square inch (psi), which is equivalent to a column of water extending over 95 feet, atop the toe box, with the majority of the pressure concentrated on the first toe. Even more dramatic results are a 132 lb ballerina landing en pointe from a height of one meter, generating an impact force of approximately 700 psi.

Historically, the pressure of being a Black ballerina has been amplified by reminders each time a ballerina looks at their feet. For hundreds of years, pointe shoes were made with pale skin tone fabrics because it was assumed that dancers were white. Black and Brown dancers used makeup on their shoes, a process called “pancake,” to complement their skin tone. It was cumbersome and became messy on stage.

Earlier this season, Guerin performed in Swan Lake, which was very physically and mentally challenging. “I had to stand in one position for nearly three minutes on one leg,” she says. It’s no wonder her feet ache.

At just under 100 pounds and an inch over five feet, Guerin fits the stature of Clara; but it takes more than being petite to convince the audience that the 24-year old is a child full of undiminished trust, unfeigned excitement and organic curiosity at the cusp of Christmas.

“While I may not be in school anymore studying technique, I’m always learning,” she explains. “I’m developing my stage presence through productions and that’s huge as a performer. Being with Colorado Ballet helps me grow.”

Colorado Ballet will present 28 performances of The Nutcracker, including a matinee sensory performance designed for individuals with intellectual or developmental disabilities, autism spectrum disorder and other sensory sensitivities on Nov. 26 at 1pm. The sensory performance includes softer lights, reduced startling effects and sounds, and relaxed theater rules allowing patrons to use earmuffs, stand and move about during the performance. There’s even a tutu-petting station in the lobby.

The 1892 two-act classical ballet by Pyotr Ilyich Tchaikovsky is an adaptation of E.T.A. Hoffmann’s 1816 short story The Nutcracker and the Mouse King. The actual story follows Marie Stahbaum in a dream as her favorite toy – the nutcracker – comes to life. The Nutcracker made its debut in 1892 in St. Petersburg, Russia, and it was a dud. Critics complained it was too long, the score was boring and it was unbearable to have children on stage.

But when George Balanchine re-choreographed it for the New York City Ballet (NYCB) in the mid-twentieth century, it took hold and hasn’t let go. Scored by Tchaikovsky’s “The Nutcracker Suite, Op. 71” the production consists of eight movements with colorful costumes and characters. The popular and memorable dance of the “Sugar Plum Fairy,” and the “March of the Wooden Soldiers” have made it a holiday favorite.

Local native, Toya Brame, shares her excitement “to see a Black ballerina that gets to dream, hope and dance beautifully.” She plans to take her 8-year old niece, anticipating the opportunity to expose her to someone that looks like her in the lead role of a fantastic story. She recalls taking her daughter to the play nearly 20 years ago. “To be able to see and finally acknowledge that We get to witness and participate in wonderful and beautiful things too! Who wouldn’t love a fabulous dream during Christmas time? I’m very excited about this!”

She’s not alone in her enthusiasm for the 131-year old The Nutcracker. Its popularity has made it a staple for ballet companies around the world, with many companies owing their sustainability to sales generated from The Nutcracker alone. On average, more than half of performance ticket revenue comes from ticket sales from The Nutcracker.

Colorado Ballet’s 31 professional dancers and 21 studio dancers present more than 50 classical and contemporary ballet performances each year under the leadership of artistic director, Gil Boggs. Additionally, they offer training through Colorado Ballet Academy, the official school of Colorado Ballet.

“It’s special to know that the Black kids in the audience can see representation on stage and hopefully want to be there someday,” Guerin says, with a smile.

Editor’s Note: The Nutcracker will play at the Ellie Caulkins Opera House from Nov. 25 to Dec. 24. Tickets range from $20 to $195 and are available for purchase at www.ColoradoBallet.org.