Ep. 44: Dancing into her destiny, with Alexandra Hutchinson

Summary

Podcast Summary: The Leadership Dance – Ep. 44: Dancing into her Destiny, with Alexandra Hutchinson

Host: Alissa Hsu Lynch
Guest: Alexandra Hutchinson
Release Date: June 22, 2026

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Episode Overview

This episode of The Leadership Dance features Alexandra Hutchinson, a principal ballerina in her eighth season with the Dance Theatre of Harlem (DTH). Host Alissa Hsu Lynch delves into Alexandra’s inspiring journey from her ballet beginnings in Wilmington, Delaware, to headlining iconic roles on world stages. The conversation explores themes of resilience, representation, the power of mentorship, developing one’s star power in a tradition-bound art form, and leading with authenticity and gratitude—both on and off the stage.

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Key Discussion Points & Insights

Early Inspirations & Family Heritage

• Family & Miracle Beginnings (03:39–06:13)

  • Alexandra’s parents’ story of perseverance to have a child, culminating in her being called their “miracle baby.”
  • Her mother’s own childhood love of dance and near-miss with Arthur Mitchell, founder of DTH, which planted early seeds for Alexandra’s path.
  • “All of the experiences that I had come together to be who I am now. And also, I’m beautiful. Like the things that make me different are why I am who I am.” (Alexandra, 01:05)

• Immersed in Ballet from Early Childhood (06:13–08:03)

  • Starting ballet at Academy of the Dance in Wilmington under Victor Wesley and Arthur Hutchinson.
  • Fond memories of Nutcracker performances and being excited about new roles.

Training & Transition to Professionalism

• Moving to Washington, D.C., & Broadening Training (07:34–08:37)

  • At age 11, Alexandra moved to Washington, D.C., trained at The Washington School of Ballet, and benefited from diverse methods (Russian, Balanchine, etc).

• The College vs. Company Decision (08:37–14:27)

  • Struggled in high school with the choice between going professional immediately or pursuing higher education.
  • Sought sage advice from mentors like Septime Webre (Washington Ballet) and Alicia Graf Mack (via the Pyarians Foundation for women of color in the arts).
    • Alicia’s cards: “Always have options.”
    • Alexandra’s reflection: “If things don’t actually align, because a lot of times it’s not in our control…having options was a really great thing.” (11:45)
  • Ultimately attended Indiana University, combining ballet training with arts management.

• Networking & Mentorship (13:09–13:27)

  • Credits meaningful networking initiated by her parents and learning under mentors like Violette Verdy.

Early Career & Breakthroughs

• Auditioning for DTH, Detours, and Perseverance (16:03–19:46)

  • First audition for DTH out of IU didn’t succeed; recommends IABD (International Association of Blacks in Dance) auditions to aspiring dancers of color.
  • Temporary detour to Nashville Ballet 2—where she gained new skills and met her (future) fiancé.
  • “If I hadn’t gone to Nashville, I wouldn’t have met my fiancé…I probably wouldn’t have as many skills that I have today…that hunger for being in the first company is something that’s really…it’s hard to measure.” (Alexandra, 18:46)

• The Importance of Representation & Identity (19:36–19:47)

  • Wearing brown tights and shoes for her third DTH audition: “Thank you for wearing the brown tights…It is a big part of our history, and just knowing that it was the environment that I wanted to walk into and wearing the correct attire was part of that.” (19:36)

Achieving the Dream: Dancing Firebird

• Landing and Preparing for Firebird (19:58–26:12)
  • Dream come true to be cast as Firebird—her mother’s favorite piece and inspiration since birth.
  • Coaching from DTH veteran Charmaine Han, and drawing inspiration from previous Firebirds and even bird documentaries:
    • “I actually watched a bunch of documentaries on Netflix and YouTube and was like watching them and almost like copying their movements…ultimately I ended up choosing a hummingbird.” (25:16–25:47)
  • Emphasis on bringing her own interpretation, not just technique: “You have to do more than just the choreography. …I don’t have to fit into this mold.”

Rapid Fire Questions — Alexandra’s Personality & Passions (26:20–29:28)

• Bucket-list roles: Kitri (Don Quixote), Balanchine’s Sugar Plum Fairy
• Dance essentials: Stick roller for muscle recovery
• Pre-performance feeling: “Gratitude. I always knock the floor and I look up and I say, thank you for this opportunity.” (27:18)
• Off-stage hobbies: Thrift shopping—especially on tour.
• Favorite Harlem eatery: Red Rooster
• Music: 70’s funk & soul—Stevie Wonder, The Jacksons

Personal Life: Love & Balance

• Fiancé & Relationship Story (29:31–33:45)
  • Met her fiancé in Nashville; he’s a dentist, not a dancer.
  • Six years of long-distance during the pandemic.
  • Romantic Eiffel Tower proposal after her Paris Firebird debut: “He started talking about our time together and how I had this glow that I’ve always had since we first met…” (32:42)

Navigating Barriers & Embracing Identity

• Resilience and Self-Acceptance (34:08–37:33)
  • Navigating being one of the few brown dancers; feeling different due to body type, skin tone.
  • “If I had, like, rubbed the pot and the genie came out, and I said, okay, I want to look like everyone else, then I would not be where I am.”
  • The importance of representation: “Seeing someone on stage that looks like you is unreal…That feeling of, like, being a trailblazer…it can be really scary…But representation and having the example already there kind of gives you hope.”

Leadership, Mentorship, and Community

• Guiding the Next Generation (37:39–44:57)
  • On inspiration for young dancers: “Work from within and then go out. …A really big part of it is from within.” (38:43)
  • Navigating ballet’s body conformity: “Being in an environment that is brand new…it’s kind of, like, uncharted territory…But it’s still important to be able to cheer others on when they have their opportunity to.”
  • Sees herself as a leader by building community, sharing history, and reminding everyone that ballet is for everyone.

Historic Performances & Self-Belief

• Historic New York City Ballet Principal Casting (44:57–49:13)
  • First Black ballerina to perform lead (Dewdrop) with New York City Ballet.
  • On imposter syndrome and self-worth:
    • “That was a big point of me, like, doing the internal work of—you earned this. Imposter syndrome, stay away. …I still know that I’ve done all I can do to get to this point.” (47:45)

Advice to Her Younger Self & Others

• On Confidence and Pushing Limits (49:28–51:00)
  • “Be confident…All of that time that I spent questioning, I could have just been in that secure spot…You are worth it, work hard, never stay complacent. But that glow is what confidence is.”
  • Encourages young dancers to focus on personal growth, both inside and outside the studio.

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Notable Quotes & Memorable Moments

• On body and identity:
  • “If I had gotten my wish…that I looked like everyone else, then I would not be where I am. All of the experiences that I had come together to be who I am now. And also, I’m beautiful.” (01:05)
• On roles and inspiration:
  • “When I think of Dance Theater of Harlem, I think of Firebird.” (20:13)
• On self-worth:
  • “Work from within and then go out. …When you love yourself, that is what makes you more attractive, actually. And, like, that confidence radiating from within is that glow that people are going to look at you.” (38:43)
• On representation:
  • “Seeing someone on stage that looks like you is unreal.” (36:28)
• On gratitude:
  • “I always knock the floor and I look up and I say, thank you for this opportunity…I'm really grateful to be where I am.” (27:18)
• On leadership:
  • “With leadership…really, I feel like it’s about community…There needs to be, like, an ultimate goal for that community in order to have a leader.” (42:36)

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Timestamps for Important Segments

• Alexandra’s beginnings and family background: 03:39–06:13
• Dance training in Wilmington & Washington, D.C.: 06:13–08:37
• Decision to attend college: 08:37–14:27
• Mentorship and advice from Alicia Graf Mack: 13:09–14:27
• First DTH audition(s) and detour to Nashville: 16:03–19:33
• Landing Firebird and artistic preparation: 19:58–26:12
• Rapid fire questions (Alexandra’s personality): 26:20–29:28
• Relationship & proposal story: 29:31–33:45
• On resilience, identity, and representation: 34:08–37:33
• Advice for young dancers and approach to leadership: 37:39–44:57
• Historic NYCB casting and overcoming imposter syndrome: 44:57–49:13
• Advice to younger self and closing thoughts: 49:28–51:00

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Conclusion

Alexandra Hutchinson’s journey, as shared in this episode, is a testament to overcoming barriers in the ballet world through perseverance, mentorship, self-acceptance, and authentic leadership. She embodies the message that difference is a superpower and that gratitude, confidence, and community can “choreograph” an inspiring career—on stage and off.

Transcript

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[Elisa Sue Lynch]

o o.com so becoming a professional dancer requires resilience, discipline as well as talent. Of course. Did you face any barriers or challenges that you had to overcome to get to where you are today?

[Alexandra Hutchinson]

Definitely. I always was one of the few brown dancers in the studio, so that was really hard because when you're looking around and we're all in pink tights and my legs are more muscular, I just felt like my body wasn't exactly the same as everyone else. And that feeling that you get where you're like, ah, if I just looked like everyone else and just fit in, that would be so nice. It would feel so comfortable. So if I had gotten my wish, if I had like rubbed the pot and the genie came out and I said, okay, I want to look like everyone else, then I would not be where I am. All of the experiences that I had come together to be who I am now. And also I'm beautiful. Like the things that make me different are why I am who I am.

[Elisa Sue Lynch]

Hello and welcome to the Leadership Dance Podcast where we explore the art of leadership with trailblazers in business and the arts. If you enjoy this show, please share, subscribe and give it a five star rating. And if you're listening to this episode right now, also check out our YouTube channel, Heladership Dance. I'm your host, Elisa sue lynch, and today I'm joined by Alexandra Hutchinson. Alexandra, born in Wilmington, Delaware, is a professional ballerina. In her eighth season with the Dance Theater of Harlem. She earned a Bachelor of Science in Ballet with an outside field in Arts Management from Indiana University Jacobs School of Music and trained at the Washington School of Ballet and Academy of the Dance and Wilmington Ballet. Hutchinson previously danced with Nashville Ballet 2 and has performed principal and originating roles in works by George Balanchine, William Forsyth, Robert Garland, and more. She performed the title role in John Terrace's the Firebird in Paris and New York City center and appeared as a principal guest artist with New York City Ballet as Dewdrop in George Balanchine's the Nutcracker and Gustave Le Gray by Pam Tanowitz. I'm so thrilled that you've joined me here today, Alexandra.

[Alexandra Hutchinson]

Thank you so much for having me.

[Elisa Sue Lynch]

Okay, this is crazy, but I am also from Wilmington, Delaware, and I studied ballet at Academy of the Dance and danced with Wilmington Ballet. I just couldn't believe that when I read that about you. I want to start by having you tell us more about your childhood and how you discovered your love for dance, and then maybe we can reminisce a little bit about Academy of the Dance.

[Alexandra Hutchinson]

That sounds great. So, I mean, I can't start without going back before I was born with my parents. And so they both met at Williams College. They're college sweethearts. And my mom, actually, before that, before they met, used to dance when she was young. So she actually met Arthur Mitchell when she was in school in Baltimore, Maryland.

[Elisa Sue Lynch]

Amazing.

[Alexandra Hutchinson]

He came and he was looking to start his first school with Dance Theatre of Harlem, and he actually came to her school and gave a lecture demonstration. And so he danced to James Brown, he did ballet. And my mom was just entranced, and she actually was one of the few chosen to be able to come to New York City. Unfortunately, my grandparents said, absolutely not. You can't go to New York City. How would you even feel without finishing school, without getting your degree? We can't have that. And so even though she was heartbroken in that time, I feel like it planted the seed early on. And. And so then she met my dad. They got married after graduating, and they Both tried for 13 years to have a baby. And so that was really challenging for them. And actually, seven doctors told them when she got pregnant with me that it wasn't going to be a successful pregnancy, that there would be several complications with having me. And so when I was born, I was basically called the miracle baby. And another thing when I was born was that my mom listened to the Firebird. She actually was entranced and just captivated by Dance Theater of Harlem. When she saw the firebird in the 80s and the music just, like, transcended her, and she felt like she could do anything. And 36 hours of labor was one of the things that.

[Elisa Sue Lynch]

Was she listening to Stravinsky while she was trying to give birth in labor?

[Alexandra Hutchinson]

She was.

[Elisa Sue Lynch]

That's amazing.

[Alexandra Hutchinson]

That's amazing. It's actually the craziest thing ever. And so then later on I was like 12 years old. I was dancing since I was 3 years old. And my mom, one day I was in the kitchen dancing and just doing something and she corrected me. And I remember thinking, okay, what do you know about ballet? And so that was the first time I actually heard the story of her meeting Arthur Mitchell of Dance Theatre of Harlem, of all these things that she used to really love and cherish. And so I painted this picture of Dance Theatre of Harlem in my mind from a young age. So I feel like that's like a really, really big part of my childhood. Just knowing like my parents history and how I was introduced to ballet.

[Elisa Sue Lynch]

That is an incredible story. So you were meant to be in Dance Theatre of Harlem, starring in Firebird, how many years later?

[Alexandra Hutchinson]

It's wild.

[Elisa Sue Lynch]

Yeah. So tell me about. Did you start dancing at Academy of the Dance in Wilmington?

[Alexandra Hutchinson]

Yes, I did. So I took a few classes beforehand at like a local school, but it wasn't anything serious. So the first, like school school that I attended was Academ of the Dance. And so I was there with Arthur Hutchinson and Victor Wesley.

[Elisa Sue Lynch]

Okay.

[Alexandra Hutchinson]

Yes, yes.

[Elisa Sue Lynch]

So when I was there, which was many years before you, it was led by James Jameson, who founded Academy of the Dance. And Victor Wesley was there as well.

[Alexandra Hutchinson]

Yes. I even actually have a video that my parents sent me of us dancing at the Austrian Ball during my time there. So that was really cool to be able to perform. I remember a big part that I loved was Nutcracker.

[Elisa Sue Lynch]

Every year.

[Alexandra Hutchinson]

Every year, yeah. Getting to go to the dupont Theater and just getting excited about a new role, a new character. I was always dancing around the house even as I got older. So that was something that was really incredible to be able to do what I loved on stage.

[Elisa Sue Lynch]

Do you remember some of the Nutcracker roles you performed?

[Alexandra Hutchinson]

Yeah, actually it was like point and a point and a backside front. That was like some of the choreography from Party Scene.

[Elisa Sue Lynch]

But you didn't stay in Wilmington. You moved to Washington, dc. So how old were you when you moved?

[Alexandra Hutchinson]

So I was. It was 2006. I was 11 years old. When we moved.

[Elisa Sue Lynch]

Before you went on pointe or.

[Alexandra Hutchinson]

I had gone on pointe actually in Wilmington Valley. But then when I got to Washington Ballet, they actually took me off of point to do one more year of pre point.

[Elisa Sue Lynch]

Okay. Okay.

[Alexandra Hutchinson]

Yeah. So then I really officially started Pointe at 12.

[Elisa Sue Lynch]

And how long did you study in Washington?

[Alexandra Hutchinson]

I studied there throughout middle school and high school. So 2013 was when I graduated, and it was amazing being there. I mean, I got to learn from Kee Won Ha. One of my teachers was Christina Windham. She danced at Lines. Milos Martins. So many different areas of the ballet world, and I feel like I was able to have Russian training from Vladimir Julihadzy. I was able to get Balanchine, and all of these things kind of make me who I am today. So I think without my training at Washington School of Ballet, I wouldn't be where I am today.

[Elisa Sue Lynch]

Amazing. So you went to college. Did you try to dance professionally before college, or why did you decide to go to college instead of dancing?

[Alexandra Hutchinson]

That's a great question. So this was actually one of the hardest times in my life in high school, because it was when I was deciding to become a professional dancer. I was at Georgetown Visitation at the time and at the Washington School of Ballet. So it was basically like I'd have to leave school half day and then go to my professional training program. And there I studied from around 2 o' clock until 6. So it was like I had to manage a lot of different things. And it was a time that I had to decide whether or not it was just a hobby or my life choice. And so I spoke with my parents about how I really wanted to be a professional dancer and dance. Theater of Harm always came up in that conversation, just because of how much I admired the work that they did, the history of the company, and also the message that they send to that ballet is for everyone. So I always knew that I wanted to end up there. That was the end goal. But the means to the end, like, in terms of how I was going to get there, was the most challenging thing. And so I remember I had to audition my senior year. I was really, really nervous. I wanted it very, very badly. Virginia Johnson was the director at the time, and I actually was the Virginia Johnson Scholar at Washington School of Ballet. So I had met her a couple of times, and I'm such a huge fan, always. And so I REM audition. I was really nervous. I wore pink tights, and I was like, okay, I think I have a shot at this. I didn't get in the first time, but prior to this, my parents had told me, you know, we have to reach out to get kind of advice on what you want to do. So I spoke with Septim Weber, who was the director of Washington Ballet at the time, and he became one of my mentors for this transition from school to company life. And I remember having a meeting with him. We sat Down. And he gave me advice on whether or not I wanted to perform professionally, if I wanted to kind of go to school, you know, making that decision. And so it was really hard because I knew that I wanted to perform, but I also knew that I wanted to be more than just a dancer. So I think that was one of the things that led towards, maybe you should go to college. And I also had someone else that was giving me advice at the time, too. There's the Pyarians foundation, which is a foundation for women of color that support the arts. And each year they give out an Emerging Young Dancer Award. And one of those awardees was Alicia Graf Mack. And so Carol Carter, who is a huge fan of ballet and just a supporter of the arts in general, she connected my mom with Alicia Graf. And she gave me advice on this transitional period from going from school to company. And I still have, like, the little cards that she wrote me out, like, in my bedside table. And I looked at them this morning, and it was really sage advice that I actually look back to. To give to other young dancers, to always have options. And I think that's something that a lot of people struggle with, because at that time, when you're young, you think, like, I want to be somewhere, and that's it. Like, I don't really want to think of if it doesn't work out or if you. Things don't actually align, because a lot of times it's not in our control. Like, if there's a position available for you, if you're very competitive. Yeah. If you fit the mold of the company. So many things that go into the audition process. And so I think having options was a really great thing, because I didn't get into Dance Theater of Harlem initially. And so then I looked at a lot of different schools, ranging from California to Boston to Indiana. And luckily, I got into my dream school school, Indiana University, and they have

[Elisa Sue Lynch]

a strong dance program.

[Alexandra Hutchinson]

Yes, definitely. And so there's actually a few people that have kind of connected me through Indiana to where I am today, and one of them is Violette Verdi. So I got to work with her personally. She was just such an amazing woman and artist. And I actually got to go to Paris with her at Academie de Danse de Paris, and I studied my junior year there.

[Elisa Sue Lynch]

You've named so many wonderful mentors.

[Alexandra Hutchinson]

Yes.

[Elisa Sue Lynch]

Yeah. That help support you.

[Alexandra Hutchinson]

I've been really, really blessed. I feel like my parents have always told me to network and to make connections that are meaningful. And I think now that I'm, like, reflecting on that time, I'm really grateful that they got me in certain spaces to be able to communicate and get advice from people that were already in the field.

[Elisa Sue Lynch]

So what else were on the cards that Alicia Grafmack wrote for you?

[Alexandra Hutchinson]

Yeah, so I think there were a couple of people that she recommended. One of them was Hartford Valley. Hartford was a great school. Michelle Lucci, who actually was one of my teachers at Dance Theater of Harlem, she was also another contact that she got me in connection with. And she also told me that if I really do want to pursue dance, that Ailey would be a great place to go. And I had done two summer programs there, so it was really cool to have her. Her, like, tell me something.

[Elisa Sue Lynch]

That's a vote of confidence.

[Alexandra Hutchinson]

Exactly. Yeah. So if I had wanted to go there, I think that that might have been an option. But I knew that I wanted to really focus on ballet. Even though I love modern dance. It was something that gave me so much joy just doing classical, neoclassical. And although they do ballet training, their performance is more modern. So I think her advice really kind of sticks to me till today.

[Elisa Sue Lynch]

So I didn't tell you this before, but I know we ran into each other at Misty Copeland at her foundation benefit.

[Alexandra Hutchinson]

Yes.

[Elisa Sue Lynch]

And then I asked if you would be a guest on the podcast, But Calvin Royal, principal dancer with American Ballet Theater, actually was on this podcast earlier, and I asked, you know, are there other people you'd recommend that I interview? And he gave me your name, like, months ago, and I never reached out. But then when we ran into each other at Misty's benefit, I'm like, okay, now's the time.

[Alexandra Hutchinson]

Wow, that's so sweet.

[Elisa Sue Lynch]

So you'll have to thank Calvin.

[Alexandra Hutchinson]

Thank you, Calvin.

[Elisa Sue Lynch]

Yeah.

[Alexandra Hutchinson]

That's so sweet. I admire them so much, by the way. I actually met. The first time I met Missy Copeland was at the Ailey Summer Program, which was crazy. It was right before we went out to dance, I think. I can't remember which level I was in at the time, but it was right before, and someone had said, misty Copeland's in the audience. And I just remember freaking out. I feel like at that point, I wasn't.

[Elisa Sue Lynch]

She was watching you dance?

[Alexandra Hutchinson]

Yeah.

[Elisa Sue Lynch]

Okay. Yeah.

[Alexandra Hutchinson]

And she ended up being like. It wasn't front row, but she was pretty visible.

[Elisa Sue Lynch]

You could see her in the audience.

[Alexandra Hutchinson]

And so afterward, everyone was changing and, like, getting their things together. And I just remember I rushed to go to the lobby, and she was there, and I went up to her and was just starstruck and telling her, like, wow, I really look up to you all these things, and I just remember her saying, like, keep dancing, keep going. And so that really stuck with me for a long time.

[Elisa Sue Lynch]

She's an inspiration, for sure. Yeah. So tell us, after college, how did you end up at Dance Theatre of Harlem? What was your journey like?

[Alexandra Hutchinson]

So my senior year came along, and Dance Theater of Harlem actually came to IU to perform in 2017. And so I remember telling my parents, I was like, okay, I feel like I have to be really strategic about this, because this is my time. They also were doing an audition, like, a week after in New York. And I remember some of my future co workers, like, walking down the hallway, and I just remember just being, like, so starstruck and seeing all of them and, like, what yumekos they had on and all of those things. So it was just funny to now know them.

[Elisa Sue Lynch]

That's you.

[Alexandra Hutchinson]

Exactly. So I definitely remember that time of being like, okay, so I have to take class with them. And I think one of the most memorable parts about class was we were doing fouettes at the end, and I went out and I was doing my fouettes, and I was doing my turns, and people started cheering me on.

[Elisa Sue Lynch]

Wow.

[Alexandra Hutchinson]

And I had never had that happen in the studio before, and I was. It just was kind of like that go ahead of, like, this is where you're meant to be. And it was crazy, because then we had the audition for iabd, International association of Blacks in Dance. And so that is actually a really great place that I recommend to dancers of color that want to pursue ballet because they bring in, like, 20 to 30 artistic directors from all over the US and they come, they watch class. Even though there's, like, over 100 people in the room, you can still be seen. And so then afterwards, either they come to you or you can approach people. And so I had a couple of my resumes printed out. And I remember going up to Virginia Johnson and reintroducing myself, giving her my resume and kind of saying, like, hey, like, I'm really looking forward hopefully seeing you in New York. And so I also met Paul Vasterling from Nashville Back Ballet, and Stephen Mills from Ballet Austin. And so I kind of, you know, was following my direction of Alicia Graf with having options. So I gave them my resumes as well. But I always had in my mind, I was like, okay, Virginia's getting to see me three times in a row. Like, this is it. And I remember all of my friends, too, were like, you've got it. Like, it's like, shoe in the bag, like, it's already in. And so then, long story short, I didn't get it that season, but I think it was really like the best thing for me because if I hadn't gone to Nashville, I wouldn't have met my fiance. I wouldn't have talk about that later. Exactly. I probably wouldn't have as many skills that I have today in terms of like the hunger for, like that feeling when you're in a second company and you have that hunger for being in the first company is something that's really. It's hard to measure.

[Elisa Sue Lynch]

Makes you appreciate things more.

[Alexandra Hutchinson]

For sure it does. So I feel like even though I remember feeling so down and when I went back to school telling people I didn't get it, it was just the worst feeling. But then I auditioned a year later after going to Nashville and learning so many things, even though it was a two year program, I was like, I think I can do it. And the third time I auditioned, I actually wore brown tights and shoes and Virginia gave me a hug beforehand and was like, thank you for wearing the brown tights. So I like to joke that the reason why I got in the third time was because I had on brown tights. But I think it was a little more than that.

[Elisa Sue Lynch]

Probably a little bit more than that,

[Alexandra Hutchinson]

but it is true. It is a big part of our history. And just knowing that it was the environment that I wanted to walk into and wearing the correct attire was part of that.

[Podcast Advertiser]

Yeah.

[Elisa Sue Lynch]

Embracing your identity.

[Alexandra Hutchinson]

Exactly.

[Elisa Sue Lynch]

So you've now been with Dance Theatre of Harlem for eight seasons and were recently featured in the title role of Firebird. Congratulations. Thank you.

[Alexandra Hutchinson]

Thank you so much.

[Elisa Sue Lynch]

So Firebird is one of the most demanding and iconic roles in ballet. How did you prepare for that role? And first of all, tell me, like, when you found out that you were going to do the lead, you know, tell me about that experience and then the whole preparation.

[Alexandra Hutchinson]

So, I mean, it was a dream come true. Honestly, when I got into Dance Theatre of Harlem, the very first thing I did was play the Firebird. When I think of Dance Theater of Harlem, I think of Firebird. I mean, from my mom's stories from when I was growing up, it was just one of those things that was always in the back of my mind. And it's funny, like, when people would ask me, like, what's one of your dream roles? I never even thought that would be an opportunity for me, but it definitely would have been my answer for sure. So when I found out that I would be Performing the Firebird with Dance Theatre of Harlem in this revival of. Of the company. Not doing it in 20 years. And I remember thinking, like, there's no way. What? So, yeah, I think all of my hard work really got me to that point time and time again, even though I'm not perfect. No one's perfect. I feel like I always try and put my best work out there. So I feel like I definitely earned it, but it was still surprising. And in terms of the preparation, I was really lucky to learn it from one of the DTH firebirds, Charmeen Han. And she told me the way that she actually performed it was that Stephanie Dabney was injured, and Mr. Mitchell kind of turned to the room and said, who knows the role? And Charmaine raised her hand, and he was like, all right, you're on tomorrow night.

[Elisa Sue Lynch]

Wow.

[Alexandra Hutchinson]

I like to think, like, I'm grateful I was able to know for a good amount of time, a couple of months, that I was gonna perform it.

[Elisa Sue Lynch]

Not the night before.

[Alexandra Hutchinson]

Yeah, exactly. But, yeah, she just really brought out a side of me that I didn't really know was in me in terms of, like, a fire, like a fierceness. I think a lot of times in my past, I always wanted to be just right. I wanted to be, like, perfect in terms of, like, technique wise and kind of more of just like the neoclassical, like, canvas. And so doing a character role, you have to do more than just the choreography. And so I think learning from her and hearing the expectation, I knew that it was gonna be a long path to getting to where I wanted to be, because the respiratory system is hard. That whole chunk of it. The character role is challenging as well. And realizing that they're all in one is what kind of got me to the end stage. So in 2024, I found out that I was going to be performing with UNCSA in this revival because it takes 40 dancers to be able to do Firebird. So that's why Dance Theater of Harlem hasn't been able to do this big ballet. And so I was able to go with my best friend, actually, Derek Brockington. We both were chosen to be the Firebird and Prince to kind of represent Dance Theatre of Harlem and dance with the UNCSA dancers. And so that time, I remember feeling like, okay, this is really hard. I'm just really trying to get through it.

[Elisa Sue Lynch]

I'm just trying to breathe.

[Alexandra Hutchinson]

I'm trying to breathe. I mean, it's a long solo, and then you have to do a pas de deux right after. And that was just always so challenging. I just remember feeling like as soon as I see Derek coming onto stage, I'm already dead. And then we have, like, over six minutes of dancing. And so I think at that time, I hadn't really, like, I had kind of dipped my toe into the pool of, like, okay, I can't just get through it. I need to actually. What am I trying to say with my movement? What am I trying to emulate? And I think over the course of the year and a half, that I had to kind of get to that place. I really was happy with how I got there, and I didn't get there alone. Like, I definitely had Mr. Garland coaching me. I had Juan Carlos, our rehearsal director. They were giving me a lot of great things, but they also gave me a tool to watch videos of former firebirds from Dance Day of Harlem. It was really fun to get to watch, like, Tai Jimenez and Panika Jones and, like, how they interpreted the role. And so I think it was really me realizing that I don't have to, like, fit into this mold. I don't have to be that canvas that I always wanted to try and just, like, be good enough.

[Elisa Sue Lynch]

Right.

[Alexandra Hutchinson]

And that I was able to have this whole freedom to make it my own, and that there's fun in that. And so I think that was a really big discovery that I didn't have to feel so restricted. I mean, of course, I need to do my homage to Stephanie Dabney and, like, the iconic dancers that came before me that did this role, but I still wanted it to feel like this is Alexandra Hutchinson's version of this. I think one of the things that helped guide me was that one of my friends was like, so, what kind of bird are you? And I was like, oh, that's a good question. Like, I was studying videos of birds. Thera Ward, one of Dance Theater of Harlem's former dancers, she recommended that I study birds. That's very cool.

[Elisa Sue Lynch]

Yeah.

[Alexandra Hutchinson]

So I actually watched, like, a bunch of documentaries on Netflix and YouTube and was, like, watching them and, like, almost, like, copying their movements all the time.

[Elisa Sue Lynch]

Was there a red bird that you were drawn to, or.

[Alexandra Hutchinson]

There actually was, and I'm blanking on the name of it, but when I went to Trinidad last year, it was, like, the most stunning bird I'd ever seen. I'll have to send you a video of it after. I think that was one of my inspirations. But ultimately, I ended up choosing a hummingbird.

[Elisa Sue Lynch]

Oh, I love hummingbirds.

[Alexandra Hutchinson]

I love hummingbirds. I feel like they just flutter, but when they, like, Stop. And they're still, and then their heads kind of move. I feel like that is just, like, one of the most beautiful things I've ever seen. So that was one of my inspirations for the type of bird I wanted to be, because firebirds are so mystical and kind of like this unseen thing. So I needed something a little bit closer to that what I've seen with my own eyes.

[Elisa Sue Lynch]

Oh, I love hearing about that. Very cool. Okay, so it's now time for the Elisa Asks Rapid Fire Questions.

[Alexandra Hutchinson]

All right, let's do it.

[Elisa Sue Lynch]

I didn't prepare you for this. So besides Firebird, now that you've done that, what's another role that's still on your bucket list?

[Alexandra Hutchinson]

Ooh, that's a great question. I mean, Key Tree is so cool. I mean, I don't know how we would be able to do that, but that would be really fun. And. And then I also want to do Sugar Plum Balanchine's version.

[Elisa Sue Lynch]

Okay. Does Dance Theater of Harlem do Nutcracker?

[Alexandra Hutchinson]

No, actually, we don't have a Nutcracker. So we all kind of go out and guest.

[Elisa Sue Lynch]

Okay.

[Alexandra Hutchinson]

Yeah.

[Elisa Sue Lynch]

So there's an opportunity. Exactly. Everyone listen. Okay, what's always in your dance bag?

[Alexandra Hutchinson]

Ooh, I always have my stick roller. I love using that. A lot of times I don't love, like, warming up, but my muscles get really tight sometimes, so it's just really easy to just roll out the quads and the calves.

[Elisa Sue Lynch]

Okay. One word to describe the feeling you have right before you step on stage.

[Alexandra Hutchinson]

Gratitude. I always knock the floor, and I look up and I say, thank you for this opportunity, because I don't know why I almost got emotional. It's just I'm really grateful to be where I am and have so many opportunities to perform so many great roles, so I am always grateful.

[Elisa Sue Lynch]

Well, and you're a gift for the audience as well. Yes. Favorite thing to do when you're not dancing.

[Alexandra Hutchinson]

Ooh, I love thrift shopping.

[Elisa Sue Lynch]

Oh, yes.

[Alexandra Hutchinson]

Yeah.

[Elisa Sue Lynch]

Outfit here.

[Alexandra Hutchinson]

Yeah. It's one of my favorite things. If I have, like, a great playlist on in my head, get a nice iced coffee before I go, and I get in my zone. And I love, like, looking through clothes. It's almost like there's like. Like, stories in each piece, and I always wondered, like, where it came from. And whenever we go on tour, I love going thrifting and kind of taking a piece of that. That city with me.

[Elisa Sue Lynch]

Were you able to do some thrift store shopping in Paris?

[Alexandra Hutchinson]

I was. I was. I actually thrifted One of my looks for the gala, and it was the first place that we went when we landed in Paris. We were walking, and he was like, oh, let's try this thrift store. And we went in, and it was kind of. It was up on the wall, and the store owner was like, oh. I had forgo about that, and it was, like, affordable. It was this sleek black dress. Yeah. I was really excited.

[Elisa Sue Lynch]

Awesome. Best meal in Harlem.

[Alexandra Hutchinson]

Ooh, Red Rooster. I always love going. Unfortunately, it's like, a block away from Planet Fitness, so a lot of times when I go with my fiance, I'll kind of coerce him into going to get something to eat.

[Elisa Sue Lynch]

Oh, okay. Well, you worked out, so. Exactly. Yeah. And favorite song to dance to or type of music?

[Alexandra Hutchinson]

Ooh, to dance to. I mean, 70s music is the best. I'm an old school girl. I love Stevie Wonder. I love the Jacksons. Yeah. Just those old timey times that bring me back to, like, when I was little and, like, dancing for my parents in the living room. That's my favorite kind of vibe.

[Elisa Sue Lynch]

All right, you got through the rapid fire questions.

[Alexandra Hutchinson]

Okay.

[Elisa Sue Lynch]

Okay. I want to now hear about your fiance. So you met at Nashville Ballet?

[Alexandra Hutchinson]

We did.

[Elisa Sue Lynch]

And you've just gotten engaged. Congratulations. Thank you. How did he propose to you? Tell us about that.

[Alexandra Hutchinson]

So we met a couple of weeks before I auditioned for Dance Day of Harlem. And I love saying this, because at the time, I didn't really know how to take it, but I was on the bus and I told him, like, oh, my gosh. I think it went really well. Like, the audition was so good. Virginia gave me a hug before because I had the brown tights on. I was, like, talking a million words minutes. And he's very calm, and, like, we balance each other out perfectly. And I just remember him saying, like, you're gonna get this job, and when you do, I'm gonna be there for you and with you. And I remember thinking, like, that's so serious. I'm like, what?

[Elisa Sue Lynch]

Okay.

[Alexandra Hutchinson]

I like how that sounds, but I don't know. And then, like, the more and more I thought about it, he really meant what he said. And we did long distance for six years through the pandemic, which was, like, crazy. He was living in Nashville still, and I was.

[Elisa Sue Lynch]

Is he a dancer?

[Alexandra Hutchinson]

No, actually, he's a dentist.

[Elisa Sue Lynch]

Oh, okay.

[Alexandra Hutchinson]

Yeah.

[Elisa Sue Lynch]

So you met in Nashville, not at Nashville Ballet?

[Alexandra Hutchinson]

Yeah, exactly. Although our second date was to see Nashville Ballet, first company. So I had to test him out early on to see if he. If he could stand through A ballet. And he really loved it, and he had great feedback, and. And, yeah, he was really into it. That was definitely another green flag that I saw earlier. Good.

[Elisa Sue Lynch]

Good.

[Alexandra Hutchinson]

And so, yeah, we were together for a long time, like, all in my 20s. And so then fast forward to Firebird. He was like, yeah, I'm gonna take off from. He's at NYU right now in his residency program for periodontics. And so he was like, yeah, I'm gonna take off. Like, of course I'm gonna be there. I was like, that's so sweet. Like, I know how hard you work. And his mom was coming from Arkansas, and his sister was coming from Hawaii. And, like, all of my family was there. And so, like, it had crossed my mind, like, okay, all of our family's there. It would kind of be, like, the perfect. Like, it would be the perfect time.

[Elisa Sue Lynch]

Was this a performance in New York or in Paris?

[Alexandra Hutchinson]

In Paris.

[Elisa Sue Lynch]

Oh, okay. Yeah, everyone was there.

[Alexandra Hutchinson]

Everyone was there. And it was. It was, like, unreal. I mean, my parents, it was their first time really going to Europe, and, like, it was a really, really big deal. But I was so focused on dancing. Like, that was, like, all I could really think about. Like, it had crossed my mind. And, like, one of my friends and I, Lindsay, we were like, oh, my gosh, what if I'm coming down from the lift? Or, like, the. At the end of Firebird, and he's, like, on his knee at the.

[Elisa Sue Lynch]

On stage.

[Alexandra Hutchinson]

On stage. And they, like, pull the curtain up and you. I'm a Leo, clearly. And so we laughed about that, like, months before, but I did not picture it the way that he did it. It was so perfect. It was just us two, the Sunday morning after all the shows. And I thought we were just gonna go take pictures, which we love doing all the time anyway. And he was like, yeah, we gotta get good Eiffel Tower pictures. I was like, oh, yeah, let's do it.

[Elisa Sue Lynch]

You hadn't been there on that trip yet.

[Alexandra Hutchinson]

I walked by, and I've been to Paris before, but I think it was his first time going. So I was like, oh, it'll be. And, like, we'll go to the top, and, like, I'll actually get our tickets for us. And he was just, like, kind of quiet, which I thought was weird. And then when we got out, I was like, oh, we're really far from the Eiffel Tower. And he was like, no, this is a good spot. And I was like, what? And so then, yeah, he started talking about our time together and how I Had this glow that I've always had since we first met. And I was like, wow, like, something must be in the water here. He's so romantic. So embarrassing. But, yeah, he proposed, and it was just the perfect time. And, yeah, I was really.

[Elisa Sue Lynch]

And then did your family pop out from the side. From the bushes?

[Alexandra Hutchinson]

No, they didn't. I thought they were, but we ended up getting dinner with, like, a bunch of my family that evening, and it was really lovely.

[Elisa Sue Lynch]

Oh, that's a wonderful memory.

[Alexandra Hutchinson]

Yeah. I will cherish that forever. And I feel like it's, like, another chapter that we're going into, and. And I know that he'll be there for me.

[Elisa Sue Lynch]

Yeah. When's the wedding planned for?

[Alexandra Hutchinson]

We're thinking 2027, so we'll see.

[Elisa Sue Lynch]

Exciting. Yes. Okay. So I want to talk about resilience and what you've learned from dance. So becoming a professional dancer requires resilience, discipline, as well as talent. Of course. Did you face any barriers or challenges that you had to overcome to get to where you are today?

[Alexandra Hutchinson]

Definitely. I mean, I always was one of the few brown dancers in the studio, so that was really hard because, I mean, when you're looking around and we're all in pink tights and, you know, my legs are more muscular. I remember when I started growing a chest, like, at during puberty, I just felt like my body wasn't exactly the same as everyone else. And that feeling that you get where you're like, ah, if I just looked like everyone else and just fit in, that would be so nice. It would feel so, so comfortable. I would probably get, like, more corrections that. Because if I look different, everything would be perfect, you know? But then as I got into my professional career and I started digging into myself, because a big part of being a dancer and an artist, you have to kind of unpack. Not trauma, but, like, certain things that have held you back. And I remember thinking, like, so if I had gotten my wish, if I had, like, rubbed the. The pot and the genie came out, and I said, okay, I want to look like everyone else, then I would not be where I am. You know, like, all of the experiences that I had come together to be who I am now. And even though times were tough where I wasn't giving corrections in certain spaces because I looked different or because the teachers didn't necessarily relate to me because I don't look like them doesn't mean that I can't hear corrections and then apply them to myself. It doesn't mean that I am not worthy of corrections. And A lot of times my mom would tell me, like, if I'm given constructive criticism, I have to pull the correction out and leave all of the other cushioning behind, because if I doubt myself, then I won't be able to achieve. And also, I'm beautiful. Like, the things that make me different are why I am who I am. And I like to call, like, my strength, my superpower. And so, like, if I didn't have these muscles, then I wouldn't be able to jump high. I wouldn't be able to do the things that I love to do. And so I think that that took me time to kind of get to that point. But when I'm on stage and when I am just who I am, I'm just me. And that representation is so important. Just like, seeing someone on stage that looks like you is unreal. The feeling that I got when I was five and I saw Akua Parker at the Wilmington Ballet, she came to do Sugar Plum at the Dupont Theater, and I was just like, what? Like, she is just so strong, so beautiful. Technique flawless. And, like, all of these things that I had never really seen with my own eyes. I mean, at that time, there was no Instagram or Facebook or YouTube, so it was like, wow, I can do it. And that feeling of, like, being a trailblazer, even though it's important, it can be really scary. Like, being in an environment that is brand new, it's kind of, like, uncharted territory. And then, like, being able to, like, walk down a path that's already, like, paved for you is, like, so much easier and so much safer. I mean, of course, you can still get to the destination without a path, but it's a lot harder. So I think that representation and having the example already there kind of gives you hope.

[Elisa Sue Lynch]

Yeah, I love that. Thank you for sharing that. And you are beautiful.

[Alexandra Hutchinson]

Thank you. Thank you.

[Elisa Sue Lynch]

So you just spoke about representation. When you think about a young girl watching you on stage, what do you most want her to take away? Not just about ballet, but about herself.

[Alexandra Hutchinson]

Yourself? I think just to feel like you've earned that spot, worrying about other people or being envious really just holds you back from being able to love yourself. And when you love yourself, that is what makes you more attractive, actually. And, like, that confidence radiating from within is that glow that people are, like, going to look at you. I remember one time in college, I was really struggling with my weight, and I remember feeling like, ugh. I don't. I don't know. Like, is this going to work out? I was really stressed about that. And I overheard someone saying, like, oh, Ally just, like, has this light. And I hadn't thought, like, other people saw that. And I remember it was like, a turning point in my mind of, like. Like, yeah, I can do this. Like, I have something special. And even though, like, it's not going to be easy and I have to, like, manage what I was going through at the time, it still made it achievable. And so whenever I get to talk to young dancers and inspire them, I always tell them to work from within and then go out. Because a lot of, like, dance training, you're always thinking about the exterior, you're thinking about your technique, you're thinking about, you know, how you present yourself. But a really big part of it is from within.

[Elisa Sue Lynch]

So ballet is a discipline with deep traditions around body hierarchy and conformity. So you just talked about some of that. How do you navigate that world while staying true to who you are?

[Alexandra Hutchinson]

You know, a big part of dance is, like, competition and, like, feeling like, oh, this is the best dancer because she's in the front. And I feel like a big part of. Of me and who I am is cheering on others. And I really pride myself in that because I really do believe, like, we're stronger together. And it's funny, like, some of my co workers and, like, other people will call me, like, the cheerleader in the studio because I genuinely love to see my coworkers thrive. And I feel like you treat others the way that you want to be treated. And just, like, thinking of Violette and how she had been, like, Balanchine's muse for several works and, like, she was this huge star that has so many accolades on her resume and just in her life, and she still made me feel so special and saw me for who I was. Treating others in a particular way will come back to you, I think. Even though, like, the dance world loves to, like, pin dancers against one another and, like, you have to get to this spot to pull someone down, I feel like if you're putting out that energy and being yourself, like, being who I am, somehow it'll come back in a great way. And I feel like it's. It's definitely benefited me to. To where I am now, and it just feels better, too.

[Elisa Sue Lynch]

Yes. Yes. Yeah. Instead of competing with people and.

[Alexandra Hutchinson]

Yeah.

[Elisa Sue Lynch]

Comparing yourself all the time.

[Alexandra Hutchinson]

Exactly. And, like, knowing what my superpowers are and. And understanding. Okay, maybe I didn't get that role because it wasn't really my superpower role, but, you know, still, I might learn it still, just in case, like, preparing myself for the future. But it's still important to be able to cheer others on when they have their opportunity to.

[Elisa Sue Lynch]

So I'm curious. You mentioned your superpowers. What are your superpowers? Ooh.

[Alexandra Hutchinson]

Okay. So I think that I really love performing, and so. So one of my really good friends, Claudio Davis, I was preparing for Dewdrop with City Ballet, and I kind of came to him, and one day, it was, like, a really tough day in the studio, and I was thinking, like, I am so nervous, and just, like, went up to him, was like, I don't know if I can do it. And he actually told me, like, envision yourself on stage in the studio. Like, picture the audience there and picture the lights, picture the wings, picture the rosin backstage. Like, you're already there. And then when I get to stage, it's like another day. Like, it's not this huge hurdle I have to jump over. It makes it a little bit easier. And then, yeah, my strength, I love to jump. I remember in auditions, I would think, just wait until grand allegro. Like, you're gonna know.

[Elisa Sue Lynch]

Right?

[Alexandra Hutchinson]

Right. Whether it was a summer intensive audition or a company, I'm like, I have to wait until the end of class for my favorite thing. That was always something that I felt was, like, my, like, in my back pocket.

[Elisa Sue Lynch]

So what does leadership mean to you, both on and off the stage?

[Alexandra Hutchinson]

With leadership, you always think of a person or, like, someone that's a leader. And really, I feel like it's about community, kind of, like piggybacking off of we're stronger together. There needs to be, like, an ultimate goal for that community in order to have a leader and have them be in leadership. So I feel like with Dance Theater of Harlem, our mission, our goal is to create a space where ballet is for everyone and that you don't have to be white to be a classical or neoclassical ballet dancer. And so I feel like with that ultimate goal, I've been able to be in the studio with Arthur Mitchell, with Virginia Johnson, with Robert Garland, and I've been very grateful and lucky to be able to say that. I've, like, seen them in Studio 3 in the front of the room, and so I kind of feel like I have this urge to bring on the next generation and share my experiences with them. And Mr. Mitchell is no longer with us. So, like, what working with him was like and stories that I've heard over the years, it was the pandemic. Derek Brockington and I joined the social media team, and we almost became Historians of Dance Theatre apartments where we'd have to, like, find all of these old videos and old photos and kind of the history. And I feel like that really fueled me even more with a passion for dth. So I feel like all of these things coming together, it makes me a leader. And I think sharing that with the next generation and continuing to remind them that it's not just like any other ballet company, that there's significance in terms of the impact we make on communities. Everywhere we travel, we go to schools and introduce them to ballet, just like my mom was introduced to ballet when she was young. And so I feel like over the generations, it's been so significant for brown people in general everywhere we go, whether they're any color, I feel like they really enjoy Dance Theatre of Harlem because we introduce them to our culture, to black music, to black stories. And so I feel like just introducing all these people is so powerful.

[Elisa Sue Lynch]

Yeah. Thank you for that. So you mentioned performing with New York City Ballet, so that was actually historic. You were the first black ballerina to get as a principal dancer with New York City Ballet, performing Dewdrop and the Nutcracker. That's a huge milestone. Tell us, what was that like for you? What were you thinking when you were on stage with New York City Ballet?

[Alexandra Hutchinson]

Actually, my fiance, Cameron, I think he has a superpower as well, and it's kind of like, manifesting things for me, because once I got to dth, he was like, okay, what's your next goal? And I was like, I don't know. He's like, what company would you want to dance with? And I said, well, you literally can't, but City Ballet. And he was like, why can't you? And I was like, well, because you have to audition, and you usually have to go through the School of American Ballet, and there's all these things that you don't know. And he's like, well, just like, speak it. And I was like, okay, like, I want to dance there.

[Elisa Sue Lynch]

Yeah. How did it happen?

[Alexandra Hutchinson]

It was crazy. So the first time I actually performed was Gustave Le Gray, which was a collaboration with Dance Theatre of Harlem and New York City Ballet. And so Anthony Santos and I both got to go and perform at the Koch Theater alongside New York City Ballet dancers. And it was incredible getting to take class there and work with Pam Tanowitz in the studio and do something that I'd never really done before. Like, her movement was really, really different for me, and I felt like I grew in that experience. We even, like, pushed a piano across the stage. It was a really powerful work. And I remember thinking when I was on the stage after the last show, I was like, man, I would love to do something on pointe here. And I just remember thinking that, and like, okay, don't get too greedy, you know? And then I got the call, like, a year later that I was gonna perform Dew Drop for New York City ballet was insane. Mr. Garland called me and told me, and I was just beside myself. And it was because of the 75th year anniversary of the company, and so they kind of brought in dancers from companies that had close ties to New York City Ballet. So Miami City Ballet, PNB, ABT and DTH. So I was kind of like, representing Mr. Mitchell's legacy. And, like, all of these things came together in this beautiful package. And I got to work with incredible people like Wendy Whelan and Kieran Nichols, taught me the choreography. I just felt like I was in a movie. That whole experience was unreal. And getting to, like, debut it through the week after India Bradley, too. It was just, like, so cool to have that sisterhood built at that time. I remember feeling really nervous, like I had told you.

[Elisa Sue Lynch]

Yeah, that makes sense.

[Alexandra Hutchinson]

But it was like, I knew that I had earned it. I feel like that was a big point of me, like, doing the internal work of. You earned this, like, imposter syndrome. Stay away. You are going to do this. Well, it's literally everything I love to do. Jumping and turning. Exactly. And, like, that all came together. And I remember feeling right before that gratitude and that same feeling that I get before performing, and it kind of, like, let my shoulders go down a little bit of feeling like, you know what? This may be one of the biggest stages that I've ever stepped on, but I'm still me, and I still know that I've done all I can do to get to this point, and. And, you know, it's going to be what it's going to be. And so when I got out there, it was actually the first time I had done it with stage lights and everything. Wendy Whelan was actually really sweet. I had told her about that worry. She actually let me come the night before to, like, watch from the first wing and see Tyler Peck and Roma Mejia do Sugar Plum and Cavalier was, like, unreal. I mean, it was so cool. But, yeah, I will never forget going out on stage and feeling like it was like a summer day, and all of the dancers became just like flowers. And I was really grateful that I had two shows, because the first show I was really nervous, and then the Second show, I felt like I could just go out there and kill it.

[Elisa Sue Lynch]

Amazing, amazing experience. So, last question. Alexandra, what advice would you give to your younger self, that girl just starting out at Academy of the Dance in Delaware, about what this journey was going to require of her?

[Alexandra Hutchinson]

Be confident. I think that was something that I struggled with and it wasn't that I was insecure. I think a lot of times I would question myself on whether or not I could do something. And all of that time that I spent questioning, I could have just been in that secure spot in my mind and feel like, you know what, how many classes have you taken? How many years have you worked hard and gotten to a certain level? And like taking all of those years and all of those corrections and all those things with me, I deserve this. I earned it. To tell them, you are worth it, work hard, never stay complacent. But that glow is really what confidence is, is like feeling like, yes, I am working hard. And not just working in the studio, but outside of the studio. Like always being curious of how we can push the dance world forward. And I just joined a board of Ballet and books and it's really great because it introduces really, really young kids to ballet, but also it encourages them to read as well. So I feel like that would be something, even though it's important to get to perform and get to be a ballerina, that there is more work than just in the studio. So I feel like that's also something I would would recommend to myself.

[Elisa Sue Lynch]

Wonderful advice and I love that. Putting in the hard work, but have confidence in yourself and allowing yourself to glow.

[Alexandra Hutchinson]

Exactly.

[Elisa Sue Lynch]

Wonderful. It's been such a delight to have you on the podcast. Thank you so much for sharing your leadership dance with listeners.

[Alexandra Hutchinson]

Thank you so much.

[Elisa Sue Lynch]

Like follow and share the Leadership Dance where we explore how to choreograph the career of your dreams and chat with visionary leaders in business and the arts. Until next time, keep dancing.

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