Showcasing Young Talent: A Summer Intensive Update

Cindy Case
Jul 28, 2025
4 min read

Updated: 22 hours ago

Ballet dancers in black leotards and pink skirts practice arm poses on pointe in a mirrored studio. — Photo by Lauren Martinez

After five weeks of diligent study, our summer intensive has come to an end!

Our last blog post focused on the advanced level's progress in learning the Snow scene for BTM's upcoming production of The Nutcracker. This week, we turn our attention to the intermediate level, where school-aged dancers committed to three weeks of dancing from 9 am to 4 pm.

At the end of the program, they performed excerpts from Giselle staged by Conservatory principal Emily Carey and a brand-new work by BTM dancer and teacher Karissa Kralik. Read on to learn how both teachers prepared them for the performance.

Becoming wilis with Emily Carey

Young ballerinas in white tutus and veils rehearse in a studio with a black curtain backdrop, poised and focused.

For their classical repertory, the intermediate dancers performed an abridged version of the Entrance of the Wilis from Giselle Act II. This allowed them to tackle not only the challenging corps de ballet work, but also small featured moments usually performed by the Queen of the Wilis and her two demi-soloist henchwomen.

Young ballet students in black leotards and white tights pose in a bright studio during class, focused and poised

Emily Carey shared, "I wanted to be able to feature everyone outside of a corps, but I also wanted to spend a lot of time on formations and formation changes. When all the wilis dance together and their skirts all move in unison, it should be chilling. It makes the choreography even more impressive. So we spent a lot of time learning the formations and moving as one like a corps de ballet."

Smiling woman with dark hair in a black blouse and pearl necklace, posed against a plain white background. — Photo by Clara Molina

"I think that [dancing in a corps] is something that frequently gets taught too late in a dancer's training. It's such an important tool, even for principal or soloist dancers. Even if you have a solo, you still have to move with other people outside of it."

The intermediate level took this lesson to heart. Emily reported that they began taking ownership of their dancing throughout the rehearsal process. "Some of it might be their comfort level, but as the summer went on, they started asking more intricate questions about the choreography. Which arm or which head line are they using, and why is it that way? The more we practiced, the more they adapted to the movement and began to settle in."

Ballet dancers in white tutus and veils pose with outstretched arms on a dark stage under blue light. — The professional dancers, led by Anne Gutcher, in Giselle. Photo by Nick Eckert

Emily's adaptation of the scene stuck closely to the traditional choreography, which marks an important stepping stone in their training. These dancers are already experienced in performing roles designed with students in mind. Taking on classical repertory that professional dancers would perform is a big deal. Emily says, "I think it's cool for them to try choreography that they're not going to do for a long time. It sparks their interest for the future."

Young ballet dancers kneel in a studio, arms raised in matching black leotards and tights, focused and poised.

Taking flight with Karissa Kralik

Young ballet dancers in black tops and red skirts rehearse in a studio with a black curtain backdrop.

Alongside their careful study of the wilis scene, the intermediate level also tackled a new work by BTM dancer and teacher Karissa Kralik. Her piece "Flight" was set to the music of John Powell from the recently released live-action remake of How to Train Your Dragon.

Karissa says, "I chose it because it has a more fully orchestrated sound than the soundtrack to the original animated film, and also as a more kid-friendly idea to allow them to enjoy themselves."

Smiling woman with long brown hair in a black top, posed against a plain white background. — Photo by Clara Molina

Making sure the dancers had a positive experience was important for Karissa going into the rehearsal process. "Some of my favorite memories of attending summer intensives are doing the new work rehearsals. There were fewer boundaries and more room for fun. I think it's exciting for the students to delve into new movements and be able to question and explore without judgment."

Young ballet students in black leotards and white tights practice poised stretches in a studio with mirrors and barres.

While the dancers learned the value of precise corps work in Emily's rehearsals, they discovered another important lesson in Karissa's: how to develop creativity and self-expression as an artist. She says, "I hope that they'll take away that it's okay for not everything to just be ballet. I want them to feel free to mix the styles they like, leave what they don't, and make it their own. As they explore, I've also enjoyed giving them a few technical challenges that they don't necessarily realize are challenges."

Ballet dancers in red skirts and black tops pose in a studio, arms raised, synchronized before black curtains.

Taking a peek into BTM's 2025/2026 season

Ballet dancers in white tulle skirts and veils hold poses in a studio with black curtains, practicing in sync.

Combining the intermediate and advanced levels, last weekend's showcase provided a sneak preview of BTM's entire 2025/2026 season. The intermediate level opened the show as wilis, dressed in the stereotypical wedding veils, and then tackled three different variations associated with the character Giselle and the female peasant pas de deux role. You can catch the professional company's rendition of Giselle on October 17-19.

Ballerina in white dress stands center with flowing veil, backlit on gray stage; large GISELLE title across bottom.

Ballet dancers in black leotards and skirts practice en pointe in a studio, arms raised before a mirror wall.

As we discussed in our last blog post, the Advanced level workshopped Artistic Director Nicole Kelsch's "Waltz of the Snowflakes" for our world-premiering production of The Nutcracker. You can join us for this Annapolis-themed production on November 23 in Hampstead and December 13-21 in Annapolis!

Ballerina in a purple tutu poses en pointe beside The Nutcracker poster with The Ballet Theatre of Maryland presents text.

Ballet dancers in navy leotards sit on a black studio floor, arms raised overhead in synchronized practice, focused and calm. — Isaac's piece, "Circalios Rhythm (The Rhythm Around Others)

The two new works in the performance, choreographed by Karissa Kralik and fellow principal dancer Isaac Martinez, provided student and pre-professional dancers a special glimpse into being part of a contemporary new work. This is the heart and soul of our production Momentum: A Mixed Bill, which you can catch on Valentine's Day Weekend, February 13-14.

Ballet duet on a pink backdrop with MOMENTUM and A MIXED BILL text above two dancers in a poised lift.

Young ballet dancers in white tutus sit facing classmates on a studio stage, watching a rehearsal before black curtains.

Lastly, the advanced dancers performed variations drawn from La Esmeralda, the ballet adaptation of Victor Hugo's The Hunchback of Notre Dame. BTM will stage the company premiere of this exciting ballet on April 24 and 25, 2026.

Ballerina in white costume poses en pointe with tambourine under sparkling stars, with La Esmeralda text above.

If you'd like to catch any of these productions as part of the season, visit our 2025-2026 season page or become a subscriber today!

Three ballet dancers in white tutus pose in a pale studio, with large gold text reading 2025/2026 SEASON.

Promotional photos by Joanne Salyer