From Trainee to Apprentice: Kenzie Woodward’s Journey at Sacramento Ballet
This fall, Sacramento Ballet proudly welcomes Kenzie Woodward into the professional company as an apprentice — a well-earned next step after three transformative years in our Second Company. From her very first days as a trainee to her recent performances alongside the main company, Kenzie has shown remarkable growth, versatility, and dedication to her craft. In this interview, she reflects on her path, the lessons she’s learned, and what she’s most looking forward to in this exciting new chapter.
1. Let’s start at the beginning — where did your dance journey begin, and what first drew you to ballet?
My mom put me in ballet when I was around 2 years old and I’ve just kinda stuck with it since then. I grew up in a school that was connected to a Company so I was able to be in big productions from a young age. I’ve always loved performing and it was never a question that that was what I wanted to do with my life.
2. What brought you to Sacramento Ballet originally, and what were your first impressions of the company and community here?
I was living in New York, dancing in college, and I just knew if I completed those four years I wasn’t going to be a professional ballet dancer like I wanted to be. So, I auditioned that season and actually sent my Sac audition pretty late in the game but was offered a traineeship. When I first arrived I was just so excited to be doing ballet again and working with a real company. I felt like I was back on track after all the COVID years. The company itself was, and still is, very diverse so I felt good about my chances of one day being on the company and fitting in with the other Company Artists.
3. You started as a trainee and have now progressed through SB2 to become a company apprentice. What has that journey been like for you? What have been some pivotal moments?
It’s definitely been a journey. Every year has been so different and has equipped me with a new skill. My trainee year was tough after essentially taking a year off but we got to perform some incredible rep choreographed by Company Artist Julia Feldman, and the now Marketing Director Colby Damon. I don’t think many trainee programs get to work so intimately with main company Dancers and Staff. The next year (SB2), we did an insane amount of partnering/pas de deux. It was an eye opening experience into another side of ballet that I really fell in love with. Our Rehearsal Director Rhodes Elliot was an essential part of that process and became an encouraging and calming presence within the Second Company. This past year we worked with the company most of the year so I felt it was the perfect transition year into my apprenticeship. Being a part of Michael Pink’s Dracula was especially inspiring and it’s made me incredibly excited for the upcoming season.
4. How did your time in SB2 help shape you as an artist and as a person? Are there particular performances, mentors, or experiences that stand out?
I’ve changed so much over the past two years personally and as a dancer. I think my biggest take away from it is that ballet is just as much mental as it is physical. I think I’ve improved as a dancer but my experiences in the second company have also shaped me into a different and hopefully stronger person. My first year we did a contemporary piece by Colby Damon that really helped me break out of my shell. It gave me my first chance at Sacballet to do some solo work and I think it really started me off on the right path to where I am now so I’m eternally grateful for that opportunity. Doing snow in Nutcracker has also been a rewarding challenge that returns every year. Outside of it being difficult, as a trainee, I had five spots, four of which I performed during the run. It was a stressful time but I thank Rehearsal Director Elise Elliot for turning me into a pro understudy. Dracula was also fantastic as mentioned above.
5. The Second Company dancers wear many hats — from outreach to performing to understudying. What did you learn through those responsibilities that you’ll carry into your next role?
I think SBSC and SB2 in particular demands a certain amount of leadership qualities. Our directors depend on us to know choreography and set an example for trainees and students of the school and the main company depends on us to cover for Company Artists that may be injured. It’s not an easy feat and sometimes the hardest part isn’t even the physical dancing but the self motivation and discipline it takes to be ready for anything that’s thrown your way. As hectic as it may have been I think it’s really prepared me for this next step.
6. Looking back on your trainee days, what advice would you give to yourself then, knowing what you know now?
I’m a perfectionist, as most dancers are, and get frustrated easily. I think I’d remind myself that it’s just ballet. Our director Jill Krutzkamp says that a lot and I think it’s a good reminder that there is more to life than ballet and we do our best work with a healthy mindset. Secondly, I wish I could tell a younger me that every trial is a lesson, weakness does not equal failure and you’ll always come out on the other side stronger.
7. How would you describe your relationship to dance — what does it mean to you personally, and what role do you think it plays in the world more broadly?
My relationship with dance has had many seasons. I think I’ve settled in a place of gratitude. I’m so lucky to have been able to make it this far. Dance is a never ending art with infinite possibilities which makes everyday fun and new. I also just love its relationship with music. More broadly I think it gives people an opportunity to interact with the world and other people more. So much of our world has become virtual but you’ll never replicate the feeling of dancing with others or watching a live performance digitally.
8. As you step into this next chapter as a company apprentice, what are you most excited about? Are there particular ballets, choreographers, or aspects of company life you’re eager to explore?
I haven’t given it much thought because I’m not sure it’s fully sunk in yet that it’s actually going to happen. But I am excited to perform with a company I’ve been watching and looking up to for three years. I’m also looking forward to our more abstract and contemporary shows. I’ve learned a lot in contemporary that has helped me explore a whole new side of dance and movement that I wasn’t aware of before. It has become an important part of my dance identity.
9. How do you hope to grow artistically in the coming year? Are there any goals — technical, artistic, or personal — that you’ve set for yourself?
I want to keep improving. I think sometimes we get to this point and forget there is still more to do and explore. I would hate to become complacent and lose my drive. An ongoing goal of mine is to find some more consistency in my technique and dancing so I can feel my most confident when I get out on the stage this season.
10. Finally, what does it feel like to officially join the professional company — not just as a dancer, but as someone who has grown up within Sacramento Ballet’s ecosystem?
I’m insanely grateful for the opportunity to take this next step. It’s been a wild ride and I can’t believe I’m actually here. I’ve built so many relationships within the Sacballet community and can’t wait to continue working for and with them. Every year has been exciting and brings new challenges so I’m eager to begin. Sacramento Ballet has been my home for the past three years and I’m overjoyed to continue the adventure◆