Cindy Case was exposed to an eclectic mix of dance styles before training in ballet under the direction of Pamela Moore, DFCCA. She has been a trainee with Richmond Ballet, a second company member at Nashville Ballet, and an apprentice with the Charlottesville Ballet.

Some of the classical works that Cindy has performed are SerenadeSwan LakeCarnival of the Animals, and The Nutcracker. Her more contemporary repertory includes Margot in The Story of Anne Frank by Gina Patterson, At the Prospect of Twilight by Ballet X’s Colby Damon, and a principal role in Until There Is No More… as a guest with Gregory Hancock Dance Theatre.

In addition to her performing background, Cindy has experience in many other areas of the dance world. While she was a member of Nashville Ballet II, Cindy wrote two story times for their community outreach program, giving under served children exposure to the arts. In the same span of time, Cindy instituted the NBII Choreographic Showcase, producing, choreographing and performing in its inaugural show. Additionally, Cindy holds her fellowship in the Cecchetti method both as a teacher and dancer, and has been teaching a variety of dance forms for over ten years.

Who influenced you most to become the dancer you are today?

I have been influenced by so many wonderful people over the years; I don’t think I could choose just one! Every teacher I’ve had has had their own fresh perspective, but I am deeply indebted to my teacher Pamela Moore for first encouraging me to pursue a professional career.

What was the funniest episode(s) you’ve experienced in your career? 

That was probably this spring, when I performed in another company’s Firebird. My friend and I were cast as two of the princesses, and throughout the rehearsal process we were constantly trying to one-up each other’s physical comedy. On a part where the lead princess runs past, showing off a golden apple the prince had given her, we had some business where I would try to snatch the apple away and my friend would grab my wrist to stop me. This continued right up to the performances, where one night my friend grabbed me so hard that she slapped my hand. The sound rang out in a moment of stillness, both of us so startled that we froze. The audience was laughing, with her hand still clutched my wrist. It was a difficult moment to recover from.

Who would you most like to share the stage with (living or dead)?

I would most like to share the stage with Dame Margot Fonteyn! She was such a classic ballerina, with so much sensitivity and artistry to her movement.
What goes through your mind just before you perform?

I always feel some nerves right before I perform, but they doesn’t usually manifest about the dancing ahead of me. “Is my headpiece crooked? Will my eyelash glue hold? Do I need more hairspray?” It keeps me distracted from stressing about the actual performance.

What do you like/admire most about San Diego Ballet?  

Just one of the things I love about San Diego Ballet is the beautiful studio space! I’ve worked with other companies that have small, windowless studios. Here, there’s plenty of room to travel and jump, and all of the natural light keeps you from feeling disconnected from the outside world. Sharing our building with other dance companies also gives such a fresh, collaborative spirit when you walk inside.