One of San Francisco Ballet's newest principal dancers, Harrison James, may not be familiar to local audiences yet, but he's no stranger to our city. Having grown up in a small coastal town north of Wellington, New Zealand, James started dancing at age five and in his mid-teens began serious training at the New Zealand School of Dance. His talent quickly emerged and within two years, he had secured a position in San Francisco Ballet's pre-professional Trainee Program, from 2008-2010.
Since then, he's performed on stages around the world, including with The National Ballet of Canada, where he was promoted to the rank of principal dancer in just three years.
Last summer, it was announced that James, who identifies as gay, would return to San Francisco Ballet as a principal dancer while continuing to perform with National Ballet of Canada. We recently caught up with James on a rare day off at the height of both companies' repertory seasons.
Philip Mayard: Welcome back to San Francisco! Are you off today?
Harrison James: Yes, today is our day off, which is much needed.
I bet! You danced this past Saturday, right?
Yes, and I'm dancing Thursday, Friday, and Saturday this week as well.
That's a lot. How are you managing your responsibilities as a principal dancer with both The National Ballet of Canada and San Francisco Ballet?
It is a lot! It's my first time doing a season like this with two companies and nonstop shows. I have one more trip to Toronto this season. I'm not dancing in "Frankenstein" [at SF Ballet] so I'm headed to Toronto to do "Swan Lake." Just an easy little break!
But my base is in San Francisco. I have a beautiful, sunny apartment, which I love, it's my oasis. When I go back to Toronto, I stay with a close friend, since I built a solid base of support there over the past decade.
What initially drew you to San Francisco Ballet's Trainee Program?
Originally, I was given a scholarship to the summer program at Jacob's Pillow in Massachusetts. The director of my dance school in New Zealand said, "Well, if you're going all the way over there, you might as well audition for the summer program at San Francisco Ballet."
I got in, and ended up spending seven weeks in the U.S. From there, I was offered the traineeship at SF Ballet. It was an amazing opportunity, especially because they covered tuition, housing, and I got a small monthly stipend, which was the only way I could have attended, because I come from a larger family. My mom was raising four kids alone at the time.
What was it like moving to San Francisco at such a young age?
I absolutely fell in love with the city. My first weekend here was actually Pride weekend, and it was my first-ever Pride. As a "budding gay" at 17, it was so moving to experience that massive celebration of LGBTQ culture. Even today, just walking through the Castro, to see couples who have clearly spent a lifetime together, it just makes my heart sing.
Do you have any other memories from your time as a trainee at SF Ballet that stand out?
Walking the streets and the hills of San Francisco, everywhere you turn there is a vista. The city's energy, the ocean air; it all felt a little like home since I'm from a harbor city in New Zealand. Also, getting to watch the company perform was so inspiring. I used my student badge to watch performances from "standing room" almost every night, and I was just starry-eyed at the dancers. I loved just soaking it all in.
You've been out for most of your career. How has that experience been for you in the ballet world?
While high school wasn't always necessarily a safe space, the dance world has never judged me for my sexuality or being too effeminate. In fact, my femininity was often seen as an asset. However, ballet narratives are traditionally very straight, and there's a reward system for being able to "play straight" on stage. That dynamic can be challenging for gay dancers. For some, the ballet world can reinforce that internal homophobia.
Do you think change is happening for LGBTQ people in the ballet world?
I do, but it's slow. There is sometimes an expectation for dancers to represent the ballet field even when they aren't working, on social media and out in the public. That's the older framework and I think that's changed a lot.
Personally, I've tried to use my social media to be unapologetically myself and proud of it. And there are other dancers and choreographers pushing the envelope. People like [American Ballet Theatre Principal Dancer] James Whiteside and other gay dancers, who have also been great role models in that regard. We're seeing more LGBTQ stories being told too, like Christopher Wheeldon's new full-length ballet based on Oscar Wilde. That's real progress.
This season SF Ballet is presenting the U.S. premiere of Artistic Director Tamara Rojo's "Raymonda." What has that been like?
It's one of the hardest classical ballets I've ever done in my life! Tamara always wants to push the art form forward, so the dancing, from principals to corps de ballet, is incredibly challenging. It really showcases the high level of skill that SF Ballet has across the company. Everyone is learning it together, which is a rare and exciting experience.
Have you had any role models in the ballet world?
Surprisingly, I've found so much allyship from straight male dancers. They face their own challenges, but even when I was an effeminate 10-year-old, straight male dancers have always been incredibly supportive and inclusive of me. That's been a nice surprise.
What message would you want to share with young LGBTQ dancers?
That self-love is a journey, but it's worth it. I'm in my thirties now, and I love myself in a way I never used to. I'm trying to be as out and proud as I can, and celebrate who I am. I hope young dancers can see how happy I am being myself and know that they can feel the same.
San Francisco Ballet's 'Raymonda,' $35-525, March 1-8, War Memorial Opera House, 301 Van Ness Ave. www.sfballet.org
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