Artist Spotlight
 | | | Frances Chung |
10/12/2005
Frances Chung, originally from Vancouver, British Columbia, joined San Francisco Ballet as a corps de ballet member in 2001. This past season she was promoted to soloist after a break-out year dancing. Her roles last season included a first principal couple part in Lubovitch's ". . . smile with my heart," and a part created for her in Lubovitch's Elemental Brubeck. Recently, Chung sat down to discuss growing up in Vancouver, becoming a dancer, and being promoted.
Who or what influenced you to become a professional dancer?
Asian families frequently enroll their children in ballet or piano and I think it was my dad who enrolled me in a community ballet class in Vancouver. Ballet was something natural to my body and from an early age it was something I enjoyed better than school.
But there wasn’t any one point that I decided to become a professional dancer. It was gradual. I didn’t watch a lot of ballet when I was young. I just enjoyed moving and being crazy and running around the studio. My dad played a lot of classical music at home and I was always dancing around. So I’m sure music had a lot to do with my early interest in ballet.
When I went to high school I went half time so I could focus more energy on ballet. I also became more serious when I began participating in dance competitions. It was about the time that I realized that I probably wouldn’t be going to college. I had a big group of friends at school. My best friend went to ABT and another friend went to dance for National Ballet of Canada, but I also had friends going away to college.
Did you come directly to San Francisco Ballet from Vancouver?
Elyse Borne came and set [Balanchine’s] Serenade on our school, Goh Ballet Academy. One of my teachers at Goh called Elyse and asked if I could come and audition at SF Ballet. I was very close to going to Boston Ballet. I had already signed the contract and then the day I was planning to send it off San Francisco Ballet called and offered me a contract.
Let’s talk about last year. You had quite the busy season.
Last year was really hard. I danced a lot. In program two, I danced all three ballets: “. . . smile with my heart,” 7 for Eight, and Theme and Variations. Going from flat shoes and big hair to tights, tutu, and pointe shoes was crazy . . . but fun.
Did you think soloist was on the horizon last season?
I had already signed my corps contract so I didn’t think I would be promoted. But dancers kept asking me whether Helgi had talked to me. That felt a bit odd. But Helgi likes to surprise you. One day I was in the studio and Regina [Bustillos, assistant to the artistic director] told me Helgi wanted to talk to me. My hair was a mess and I was in warm up clothes, but I headed to his office anyway. It was pretty exciting.
What’s it like to work with Helgi?
It’s scary at first. He’s the artistic director and he’s in control of everything. But when you get to work with him one-on-one he’s very personable, warm, and kindest man.
So now that you’re a soloist, what’s it like?
The odd adjustment after being promoted to soloist is that so far I have a lot more time. It’s the fourth week of rehearsals and so far I haven’t been called to rehearse anything. So the most important thing for me right now is to stay in shape in my own way either by taking extra dance classes on my own or exercising or going hiking.
Right now I’m taking school classes a lot. It’s great because it’s so hard. You feel this energy that’s quite different from Company Class. Class in the School is very disciplined and it motivates and inspires me. It’s a different way of working. I grew up with more Russian-style training whereas the school here is more Balanchine oriented. While I work my own way, I take what I think is beneficial. I like going down to the School for the energy.
Last season Lar Lubovitch chose you to dance in two of his works, “. . . smile with my heart” and Elemental Brubeck which premiered in Paris. What was that like?
I thoroughly enjoyed the whole process. I got to be up close and personal with Lar and I learned a lot more. It’s definitely better than standing in the back of the room and trying to learn it. It’s harder that way too when you’re standing in the back. Trying to learn what’s not made for you is also difficult.
It was challenging working with Lar because he would repeat what he wanted over and over again and then he would repeat it again! It was probably something more you would experience in the School. Lar won’t move on until it’s perfect.
Would you want your own children to be ballet dancers?
No, it’s too hard. It’s very physical and emotional. Supposedly ballet is more stressful on your body and mind than football or boxing. I really don’t want to put my children through that though I wouldn’t discourage them if this is what they want to do. What gets me through the difficulty of ballet is laughing at myself. I’m a pretty happy, optimistic person.
Who do you look up to in the Company?
I like taking a little bit from everyone I watch. Muriel Maffre excels in her presence, and her quality of dancing is amazing. I just stand there in awe of her. And then Tina LeBlanc inspires me to keep on pushing hard.
Outside of dance, what are your other interests?
I like hanging out with friends. I like being outside. Recently I hiked the half dome at Yosemite National Park. I was coming back from an injury so I was in good shape.
What will you do after dancing?
I’m enrolled in the LEAP program. I don’t think I want to remain dancing until I retire. I’m excited about some day making a career transition. When I was injured I got to hang out with people going to college and it was amazing to see what’s out there to do.