Corps de Ballet
School of Oregon Ballet Theatre
San Francisco Ballet School
Named an apprentice in 2014
Joined the Company as a member of the corps de ballet in 2015
Maggie Weirich has danced featured roles in Tomasson’s Nutcracker (French), Balanchine’s Coppélia (War and Discord soloist), Robbins’ Fancy Free (Last Girl), and Wheeldon’s Cinderella (Stepmother Hortensia). She created corps de ballet roles in King’s The Collective Agreement and Thatcher’s Otherness.
Her repertory includes Balanchine’s Brahms-Schoenberg Quartet (4th movement), Diamonds, The Four Temperaments (Phlegmatic corps), Serenade, 4th movement and finale from Symphony in C, and Theme and Variations; Lifar’s Suite en Blanc; Makarova’s (after Petipa) “The Kingdom of the Shades” from La Bayadère, Act II; Peck’s In the Countenance of Kings; Possokhov’s Magrittomania and Swimmer; Ratmansky’s Shostakovich Trilogy (Symphony #9); Robbins’ The Cage, Glass Pieces, and Opus 19/The Dreamer; Scarlett’s Frankenstein; Tomasson’s Giselle (Peasants and Wilis), On a Theme of Paganini, Prism, Romeo & Juliet (Citizens of Verona and Ballroom), The Sleeping Beauty (Garland Dance, Ladies of the Court, and Polonaise), and Swan Lake (Peasants, Swans, and Act 3/4 corps de ballet); Tomasson/Possokhov’s Don Quixote (Seguidilla, Gypsies, Driads, and Fandango); and Wheeldon’s Rush.
WHAT BALLET OR ROLE WOULD YOU LIKE TO DANCE BUT HAVEN'T YET?
Onegin: the male principal role.
WHAT HAS BEEN YOUR PROUDEST MOMENT AS A DANCER? WHY?
Opening night of Balanchine's The Four Temperaments. After performing our section, we were so surprised by the thunderous applause because it had been so long since we performed it in front of an audience. I can remember everyone’s faces as we came off-stage—so energized by the audience's enthusiasm.
IF I WEREN'T A DANCER I'D BE...
A graduate of the Stanford class of 2017. I was accepted my senior year of high school but deferred to study in the school at SF Ballet and then turned them down when I joined the Company.