Danielle Tolmie joined Eugene Ballet in 2008 as an Apprentice and was promoted to the Company in 2011 and Principal in 2015. During her time with EB, she has performed many lead roles including Aurora, Juliet, Cinderella, Myrtha in Giselle, Odette/Odile, the Sugar Plum Fairy, Carmen, and the Snow Queen. She has also been showcased in numerous works by Toni Pimble and guest choreographers Edwaard Liang, Stephanie Martinez, Amy Seiwert, Jessica Lang, and Val Caniparoli. Most recently she premiered the role of Katherine in Toni Pimble’s latest full-length ballet, Taming of the Shrew. She is an instructor for Eugene Ballet Academy and performs and teaches throughout the northwest. She has performed as a guest artist with Ballet Hawaii in Septime Webre’s Alice in Wonderland, Cinderella, Peter Pan, and as the Dark Angel and Waltz Girl in George Balanchine’s Serenade.
Danielle’s thoughts and reflections:
How long have you been dancing professionally? Do you have a favorite choreographer you like to dance?
I’ve been dancing professionally for 15 years, all of them with Eugene Ballet. My favorite choreographer is Toni Pimble, Eugene Ballet’s artistic director. What I love so much about her work is that she has a way of making you feel an incredible sense of ownership over your role. Toni’s choreography feels very natural in your body, and there is clear purpose and intention in the movement. She wants it to feel good for the dancer.
Is there anything in particular that you found joyful, interesting or challenging in Mr. Arpino’s choreography?
I have had the privilege of dancing two other Arpino ballets during my career, Light Rain and Italian Suite. I really appreciate the level of energy his work demands from the dancer and the sanctity of what being on stage means and the commitment it requires.
What is one thing you learned about yourself while learning past Arpino works you’ve performed?
Throughout my career I have prided myself on being a “strong dancer,” and I use that strength to find control within the movement and choreography. And while Arpino’s work demands both of those things, it also required me to push past my comfort zone, pushing the edges of my balance, dancing more expansively, and finding new limits to what I thought I was capable of.
If you were to meet Arpino today, what would you ask him?
I would be interested to hear his thoughts on the state of the dance world, where he thinks choreography is going, and what he appreciates most about the art form.