BWW Interviews: Amy Fote talks her Ballet Career, Houston Ballet, What's Next & Offers Advice

The night before Amy Fote and dancers of the Houston Ballet celebrated her impressive career in Houston with JUBILEE OF DANCE, the charming and convivial Amy Fote took a few minutes out of her busy schedule to talk with me. With her retirement from the company drawing near, we took the opportunity to talk about how she got involved in dance, her career, and what she plans to do next.

Me: How did you get involved in dance?

Amy Fote: Well, my sister, who is four years older than I am, Lily, she was taking dance. She would come home and practice her steps, and I was intrigued by this. I would kind of emulate her a little bit. And so when I turned four, my mother had enrolled me as well, and all of a sudden, you know, one thing led to another and it just became a part of me. [Laughs] I kept dancing around the living room. So, it started when I was four years old because I had an older sister that was dancing.

Me: What was your first professional role?

Amy: My first professional role? Oh my goodness. I think I was in the corps de ballet in SWAN LAKE with Milwaukee Ballet.

Me: How did you become involved with Houston Ballet? Was it a transfer.

Amy: Yes, actually. I was dancing with Milwaukee Ballet at the time. During one of the seasons I was there, the Royal New Zealand Ballet needed a guest artist to perform the lead in Stanton Welch’s MADAME BUTTERFLY. So, in heading over to New Zealand I met the Ballet Master for Houston Ballet, whose name is Steven Woodgate. When our time was coming to an end he just said something to me like, “I hope I see you again.” That stuck with me. He was very sincere. Upon returning back to Milwaukee I realized, “you know what, I think I would love to spread my wings and try something else.” So, I ventured down to Houston. I auditioned, and I was offered a First Soloist position. I was promoted the following year to Principal. It was one of the best decisions I had ever made. I was hesitant because I was a Principal at Milwaukee [Ballet], but I honesty have not looked back and have danced so many beautiful works since I have been here. I have grown so much, not only as an artist but technically. I think it just happens as the years go by that you realize what your fortes are. I love the fact that I chose to come to Houston.

Me: What was your first role with Houston Ballet?

Amy: I danced the lead role in ONEGIN, Tatiana. That was the first time I was introduced to the Houston audience. It’s a fabulous [John] Cranko work. It’s very dramatic, definitely a true classic. I love the story ballets.

Me: What has your favorite role with Houston Ballet been?

Amy: Oh goodness. Well, that [Tatiana in ONEGIN] was very special to me because, of course, that was the first time that not only the company had seen me, but the audience. I felt very accepted straightaway because after doing a run-through in the studio with the company they were so complementary and they applauded and made me feel very much a part of the group. It felt like a rarity in that situation. I knew in the moment that that was happening it was special. I also loved MADAME BUTTERFLY because that is something that is completely a reason why I ended up here in Houston. So that also has a lot of special sentiments attached to it. Furthermore, I enjoyed Kate in [THE] TAMING OF THE SHREW. I thought that was very fun. Gosh! I always loved doing Juliet in ROMEO AND JULIET. I have actually been Juliet in four different productions. So, that is a part—and a story—that I really love. It speaks to me. It’s almost whatever my favorite role is kind of seems to be whatever I’m working on in the moment. You just get really invested in whatever you are doing. And right now, for the gala, I’m performing excerpts from Stanton [Walsh]’s ballet MARIE, which is based on Marie Antoinette’s life, so that is something that I am enjoying as well as MERRY WIDOW, where I’m playing Hanna, and also MANON, where I am Manon. I actually really loved MANON. That was a fabulous work too. Oh my goodness. That was a [Sir Kenneth] MacMillian ballet. But these are all incredible works that the company has in their repertoire here.

Me: How does it feel to have a tribute show in honor of you?

Amy: Oh my goodness. [Laughs] You know, in thinking about it sometimes I get overwhelmed. I believe one of the most special gifts anyone could receive is to be honored in such a way. It’s really quite touching. So I’m trying not to think about it, but in reality it is happening and it’s a lovely way to be celebrated.

Me: Did you get to help cast the tribute show or was there any special input they came to you for since it is your tribute and your night?

Amy: You know, I know that Stanton [Welch] shows work, so I will get to dance with many of the partners I danced with throughout the years, and that is very special. So, it will be very bittersweet, and it's a time for an audience to—I don’t want to say “say goodbye,” but in a way that is what it is, as well as me saying goodbye and a way for my fellow dancers to say goodbye, as we share the stage for one of the last times together. That is something. I know that they put together a video and they asked for a lot of pictures from when I was growing up. That’s really special, and I think that people will feel like they know me a little better after having watched something like that. It kind of explains how I did get started with ballet, the schools that I had attended, performing arts high school through my upbringing and having been at Milwaukee Ballet and now Houston Ballet, and some of the in-betweens and highlights of my career.

Me: You got to dance the Sugar Plum Fairy one last time with Houston Ballet in THE NUTCRACKER. What was that performance like?

Amy: Oh goodness. Well, I have my final show on the 29^th of December, so we’re still in the midst of those. Sugar Plum Fairy has been a role that has been special. Even though you think it will be easier year after year, there is just something about it. It’s just stamina. It’s the wearing a tutu where everything has to be pristine and precise. And there’s something that is just really rewarding about performing a ballet like that. I also love [THE] NUTCRACKER because it’s often someone’s first experience in the theatre, whether it be a child or sometimes often an adult. That’s a great introductory ballet. It’s very easy to follow. Stunning sets and costumes and music that we hear even in the malls and commercials. I mean, the Tchaikovsky score stands alone. It’s amazing. I think it's a really special ballet to perform. And, on top of that, I love that it's a festive time of year. It’s such a tradition. And just to be involved with the company and going through this final push together before everyone goes on a little break, I just think it’s beautiful timing. I started dancing in [THE] NUTCRACKER when I was eight years old as a Bon-Bon, and have been in it every year since. So, for me, its kind of tying that little bow and everything about it just feels right.

Me: You’re still young, so what is next for you?

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