Margo Clifford Ging
The Harid Conservatory
Edward Ellison Professional Training Program
San Francisco Ballet School Trainee Program, 2008–2009
San Francisco Ballet
Named an apprentice in 2009
Joined the Company as a member of the corps de ballet in 2010
Promoted to soloist in 2020
Photo: Myles Thatcher in Cranko's Onegin // © Erik Tomasson
Don Quixote (Gamache, Toreador)
Giselle (Wilfred, Servant to the Duke, and Peasants)
Le Quattro Stagioni (Winter)
Nutcracker (Dr. Stahlbaum, Party Guests, Jack-in-the-Box, King of the Snow, Spanish, Arabian, and Russian)
On a Theme of Paganini
Romeo & Juliet (Paris and Capulet Men)
Swan Lake (Aristocrats, Peasants, Spanish, Russian, and Czardas lead)
Coppélia (Villagers and War and Discord corps)
Diamonds (Demis and Corps)
The Four Temperaments (3rd Theme)
A Midsummer Night’s Dream (Lysander)
Stars & Stripes (Men’s Regiment)
Stravinsky Violin Concerto
Symphony in C (2nd movement demi-soloist)
Symphony in Three Movements (Demi-soloist)
Theme and Variations (soloist and corps)
Ibsen’s House (Captain Alving/Oswald Alving in “Ghosts”)
Tears (originated a soloist role)
Onegin (Lensky and corps)
Fragile Vessels (originated)
The Collective Agreement (originated)
Etudes (excerpt) (Gentlemen)
The Infinite Ocean
Suite en Blanc (Pas de cinq and corps)
Guernica (originated a principal couples’ role)
Mrs. Robinson (originated ensemble)
The Big Hunger (originated)
Drink to Me Only With Thine Eyes
The Little Mermaid
Rodeo: Four Dance Episodes
Salome (originated a Hostages role)
created in Optimistic Tragedy (originated a Four Sailors role)
The Rite of Spring (soloist)
Swimmer (Waiters and corps)
From Foreign Lands (German, Polish, and Hungarian)
Chamber Symphony and Piano Concerto #1 in Shostakovich Trilogy
The Seasons (Fauns)
In The Night
Opus 19/The Dreamer
Hummingbird (Soloist and originated a corps role)
Cinderella (Benjamin, Fates, Summer corps, and Courtiers)
Within the Golden Hour (principal, soloist, and corps)
- Choreographed Redbird for Charlotte Ballet in Charlotte, North Carolina, July 2018.
- Choreographed Otherness for SF Ballet’s Unbound festival, April 2018.
- Nominated for an Isadora Duncan Dance Award for Outstanding Achievement in Choreography for Ghost in the Machine, 2018.
- Choreographed Ghost in the Machine for the 2017 Repertory Season, April 2017.
- Choreographed Panorama for SF Ballet School, March 2017.
- Nominated for an Isadora Duncan Dance Award for Outstanding Achievement in Choreography for Manifesto, 2016.
- Choreographed Foragers for The International Competition for the Erik Bruhn Prize in Toronto, Canada, November 2016.
- Choreographed Body of Your Dreams for the Rolex Arts Weekend in Mexico City, Mexico, December 2015.
- Chosen as one of seven artists in the 2014–15 Rolex Mentor & Protégé Arts Initiative, selected and mentored by American Ballet Theatre Artist in Residence Alexei Ratmansky.
- Choreographed Polaris for New York City Ballet in New York, September 2015.
- Choreographed Passengers for Joffrey Ballet in Chicago, Illinois, September 2015.
- Danced the role of Paris in the 2015 film of Tomasson’s Romeo & Juliet in the inaugural season of Lincoln Center at the Movies: Great American Dance.
- Commissioned by Artistic Director and Principal Choreographer Helgi Tomasson to create a ballet for the 2015 Repertory Season, Manifesto.
- Choreographed Spectrum for SF Ballet School Student Showcase, 2014.
- Choreographed In the Passerine’s Clutch for SF Ballet’s 2013 Repertory Season Gala.
- Choreographed Stone and Steel for SF Ballet School Student Showcase, 2013.
- Choreographed Spinae for SF Ballet School Student Showcase, 2012.
- Choreographed for Le Martyre de Saint Sébastien for the San Francisco Symphony, 2012.
- Choreographed Timepiece for Assemblée Internationale at Canada’s National Ballet School in Toronto, Canada, 2009.
WHAT'S YOUR FAVORITE COSTUME? WHY?
The men's Classical Symphony (Possokhov) costumes designed by Sandra Woodall might be the most flattering and comfortable things I've worn on stage.
WHAT HAS BEEN YOUR PROUDEST MOMENT AS A DANCER? WHY?
I feel it’s hard for dancers to feel personally proud of their work. I feel most proud when our Company collectively pulls off a hard tour, or puts together a full-length ballet that we all care about.
IF I WEREN'T A DANCER I'D BE...
A dance maker, I'd hope. I guess I caught the ballet bug...