Year in review: The biggest San Diego dance stories of 2025

Author Charles Dickens aptly described this year’s dance season in the opening sentence of “A Tale of Two Cities.” It was the best of times, it was the worst of times.

The best times included the dance concerts accompanied by live music, a synergy that elevates the experience for the audience, as well as for the performers.

Another best? In November, Anna Hay, an 11-year-old student of the Ballet Institute of San Diego, earned first place (classical pre-competitive dance) in the Youth American Grand Prix Semi-Finals for her solo from “The Nutcracker.”  And two internationally renowned dance companies made a tour stop here and provided inspiration for the dance community.

The worst of times was losing city and federal arts funding, which many nonprofit organizations depend on to survive. The year ended on a high note, however, when San Diego’s the Prebys Foundation rescued six dance companies with a generous financial gift.

Here’s a look at some of the highlights of 2025:

The Rosin Box Project: ‘Unified Harmonies’

The Rosin Box Project, a contemporary ballet company headed by Carly Topazio, danced to chamber music, performed live by Art of Elan in La Jolla last May. Topazio choreographed “F-Stop” for six dancers, accompanied by “Family Photos,” a three-movement work by composer Kian Ravaei. It’s unusual to see humor in contemporary ballet, but with mime, props and skillful pacing, Topazio’s dance had the audience amused by a dancer holding a camera and trying to organize a reluctant group to pose for a photograph. The movement was athletic, with scenes that were sculptural and graceful. The dance ended with the “photographer” aiming the camera at the audience, prompting more laughter. “So Close,” was another dance by Emily Adams, a 2023 recipient of the Princess Grace Honoraria for Choreography. She explored the way we confront the barriers that divide us, both the physical and psychological. A train of dancers used their bodies to block and confront, but it was the duet by Jeremy Zapanta and Danielle Archuleta that stood out, with their flawless lifts and movement that reflected tension and release with a fluid, captivating grace.

City Ballet of San Diego: ‘Carmen’

The superior skill level of the City Ballet dancers makes its productions predictably high quality. But the acting demonstrated in this show, enhanced by the City Ballet Orchestra, was a pleasant surprise. The role of Carmen was played with fiery promiscuity by ballerina Ariana Gonzalez, who was flirtatious with a fan in one scene and brandishing a knife in another. The Georges Bizet score accentuated the dramatic physicality, which included a female floor brawl, a knife attack, a poignant death scene, and a passionate kiss on the lips – all performed with breathtaking believability. The square-jawed Iago Breschi, one of the most technically proficient classical dancers in San Diego, was in his element as the torero Escamillo, strutting with a devil-may-care swagger. Brian Heil played Don Jose with angst and ultimately, revengeful rage as Carmen’s spurned lover. George Balanchine’s Divertimento No. 15 opened the concert, showcasing synchronized ballerinas and a flirty, technically perfect pas de deux by Lucas Ataide and Sumire Ito. The show last May in Escondido received an enthusiastic standing ovation.

San Diego Ballet: ‘Carnival of the Animals’ and ‘Tangata’

Two memorable and highly original Latin-infused ballet performances packed The Conrad Prebys Performing Arts Center in La Jolla last February. Artistic director Javier Velasco had presented “Carnival of the Animals” before as a family-friendly production. His reimagined adult version was danced to a sizzling score by jazz trumpeter and resident composer Gilbert Castellanos, who performed on stage with his quartet. Dancer Marshall Whiteley rose to new heights, literally, as a leaping lion and there was an engaging pas de deux with Stephanie Maiorano (a pink flamingo) and Jonas Oliveras (the rhino). In “Tangata,” music by Astor Piazzolla accompanied the dance and Maiorano, in a swirling red dress, performed a seductive balletic tango with her husband, company dancer Tonatiuh Gomez. The couple demonstrated their charming and obvious chemistry, seamlessly integrating the grace of ballet with the swivels and kicks of the tango.

Ballet Collective San Diego: ‘Idioma’

Ballet artists have few choices in that they must master a strict movement style and perform specific roles and repertoire chosen by others. That’s why the annual concert by the collective is so joyful. It offers a platform for professional ballet dancers to create and have fun. This show, presented in September in La Jolla, included an impressive vocal performance by local recording artist Aimee Jacobs, 10 original choreographic works, and a bit of comedy. Choreographer/dancer Tylor Bradshaw’s “Stockholm Syndrome” opened the show. The dance, with its sculptural shapes and striking lines, took inspiration from architect Norman Foster and put into motion the concepts of form and shape. Emily Miller’s choreography to “Me Hace Daño Verte” by Fresto Music prompted resounding applause. Her side project is taking salsa and bachata classes, and she combined the partnering skills of Latin dances with ballet movement. Ballet dancer Sona Jaeger, who performs with The Rosin Box Project, was particularly graceful at navigating the range of dance ideas.

San Diego Dance Theater: ‘Resilient Skies I’

Artistic director Terry Wilson’s “Hiding in the Open” was the most emotionally potent of the four dances, staged at San Diego City College’s Saville Theatre in June. Clever lighting created a cinematic scene and accompaniment by Rufus Wainwright’s haunting “Agnus Dei” accentuated Wilson’s theme: the chronic experience of feeling unsafe, contrasted with compassion and support. The dance, inspired by the way humanity responded to the 9/11 attacks, had a riveting segment, when the male dancers carried women horizontally, resembling a human cross, while they covered their faces with their hands. Light streamed from above and illuminated two large doorways, so that the dancer’s shadows provided a backdrop. The company also performed to the popular “Canopy,” created in 1991 by former artistic director Jean Isaacs. It’s an athletic, full-company dance portraying dependence and connectedness, with a set made to look like a rainforest, with tree trunks and low-hanging vines. Dancers Lauren Christie, who also served as rehearsal director, and Cecily Holcombe were especially proficient in the works, and demonstrated an impressive athleticism.

La Jolla Music Society: Dance Series 

There was a buzz in the dance community when the La Jolla Music Society brought the Martha Graham Dance Company and Twyla Tharp Dance to the San Diego Civic Theatre. Both shows represented iconic American dance pioneers who continue to influence movement styles and there was great interest in attending those shows. The LJMS’s innovative Dance Series included the quirky “Alice,” by MOMIX, Mexico’s Ballet Folklórico de México de Amalia Hernández and from France, Ballet Preljocaj. It’s expansive programming brought to the stage entertainment, culture and the opportunity to be inspired by artists exhibiting the highest form of their life’s work.

Pointeworks II: ‘Ballet Nights’

The “female-forward” contemporary ballet company that stages an annual summer concert during the off season returned with dancers from San Diego, Cincinnati Ballet, Texas Ballet Theater, Ballet Arizona, Philadelphia Ballet and Atlanta Ballet. Founded by San Diego dancer Sophie Williams, the company boasted a successful show in New York before touring the West Coast. “Pointeworks II,” presented in June in La Jolla, featured the charming “Chasing Shadows.” Choreographed by New York City Ballet artist Laine Habony, the dance was created for three sisters and accompanied by pianist Joshua Mhoon. The spirited “Transcendence,” by San Diego choreographer Reka Gyulai Garcia, included five couples who appeared to enjoy being pushed to their physical limits. The dance was well received and will be showcased again when Pointeworks returns for a June 2026 concert.

Prebys Foundation

A dance production requires more than the physical effort and expertise seen on the stage. Behind the scenes, there are exorbitant venue costs and a myriad of expenses for musical accompaniment, costumes and sets, along with administrative, marketing and dancer salaries. The loss of this year’s federal and state funding threatened the survival of our local arts organizations and dance nonprofits sent out donation requests with the urgency of a fire alarm. In September, the Prebys Foundation came to the rescue and awarded San Diego arts and culture organizations, which included six dance companies, a combined $13.375 million.