For decades, Gen Horiuchi has been an integral part of some of the most-watched dance productions in the world. The Tokyo native created the opening ceremony choreography at the 1998 Nagano Winter Olympics, and before that, he played the role of Mr. Mistoffelees in the Broadway, London and Tokyo productions of Andrew Lloyd Webber’s Cats. For more than two decades, he has served as the executive and artistic director of the Saint Louis Ballet. With his 25th anniversary season beginning in October, Horiuchi spoke with T&S about how the ballet has grown under his leadership and how he hopes to continue inspiring a love of dance in the region moving forward.
How does it feel to be celebrating your 25th season with the Saint Louis Ballet?
It went by very quickly. Looking back, I started with only seven company dancers. I didn’t even have a training program with senior students—there were maybe 40 students in the ballet school to support the company. After we really started growing, the ballet had to pause due to the pandemic. Now, we’re back on track. It’s been a bit of a roller coaster over the last 25 seasons.
What were some of the challenges you faced growing the company?
There was no precedent for a professional ballet company in the region. I really had to build everything from scratch. The St. Louis community was supportive, but I had to establish that we were offering professional productions with professional dancers. I don’t know how many times I heard something like, “I’m looking forward to watching your recital.” My first 15 years at Saint Louis Ballet were spent trying to establish who we are.
You’ve brought the work of amazing choreographers to St. Louis during your tenure.
I danced with the New York City Ballet for years. One of the greatest things about New York is the richness of people coming into the city. I got to know so many amazing artists. I wanted to bring that to St. Louis. The Saint Louis Ballet has presented the works of Susan Stroman who has choreographed so many amazing musicals, Jerome Robbins who choreographed West Side Story and Justin Peck who just won the Tony Award for his work in Buena Vista Social Club. It’s great to bring their work here and introduce it to audiences. It’s been very well received by the community.
What was the impact of COVID-19?
It forced the Saint Louis Ballet to pause. With nothing else to do, I got the opportunity to work on a long-term strategic plan. One of the first things I wanted to do was integrate live music into the performances. We never really had a music organization accompany us. I formed partnerships with the Springfield Symphony Orchestra and the Chamber Music Society of St. Louis, and we’ve had the opportunity to perform with them as well as a jazz band. Now that it’s happening, I’m really proud of the accomplishment.
How do you continue to evolve the Saint Louis Ballet?
I’ve established a new professional training program. It’s for students between the ages of 18 and 24 who have graduated from high school and want to pursue a career in dance. It’s like a dance program at a university but with a much lower tuition. Students will have the opportunity to train and perform with professional dancers. Right now, we have 33 trainees enrolled in the program. It’s a way to enrich the dance community, not just in St. Louis but around the country as well.
What can people look forward to from your 25th anniversary season?
We’re presenting four productions. In October, Take 5… More or Less will include works by Susan Stroman and the founder of the New York City Ballet, George Balanchine. The Nutcracker will return for 17 performances during the holiday season. My original ballet St. Louis Blues will be presented in February alongside works by Christopher Wheeldon and Peter Martins. The season will conclude in April with Cinderella, performed alongside the Springfield Symphony Orchestra. We’re very excited to bring new works alongside audience favorites for this anniversary season.
For more information, visit stlouisballet.org.