Getting to learn from world-class dance professionals, such as our residency with The Joffrey Ballet in March 2025, is a treasured highlight of being a dance major at USC. Being part of the creation of a celebrated artist’s first ever choreographic work? Well, that’s really something to cherish.
Ballet star Kathryn Morgan set her debut work, Controcorrente, at USC in early September. The piece will be premiered during the Betsy Blackmon Dance Company Fall Concert November 6-7 at the Koger Center for the Arts.
Kathryn’s career started in 2006 with the New York City Ballet, where she quickly ascended to the rank of Soloist and danced until 2012, when she left to tend to health issues. In 2014, she launched a popular YouTube channel dedicated to dancer education and promotion of mental and physical wellness in the dance community. She retired from performance in 2024 to devote herself full-time to teaching and advocacy work.
“Kathryn has established herself as a powerful voice for dancers and dancer advocacy,” says Jennifer Deckert, Director of the Betsy Blackmon Dance Program. “Her openness and warmth in sharing her own hardships within the professional dance world make her a wonderful role model for our students.”
Kathryn graciously sat for a brief Q&A with us about her new work, her career, and her mission of being a positive influence for dancer well-being.
Let’s talk about your new work, Controcorrente.
It’s a bit of a mouthful, but it means “against the current” in Italian, and it’s kind of like how my own career has been. For lack of a better term, I’ve been kind of the rebel, the one that had a different path. I’ve spoken out about some things in the ballet world. Originally, when I first conceptualized the work, there was no story or theme. I just loved the music and saw it in my head. Once I realized my outline, I thought, oh, this is like neoclassical ballet with a twist – kind of like how my career didn’t go how it usually does.
For me, the music was the guiding force. The first and last movements are very neoclassical. The second movement is a trio of dancers in flat shoes and it’s much more contemporary. The third movement is a solo that bridges the gap between classical and contemporary, and the last movement is everybody. I want the audience to just enjoy the dancing, be immersed in it, and draw their own conclusions.
This is your choreographic debut. Is choreography something you intend to pursue further?
Yes, this is my first piece, and I would love to choreograph more. I had an amazing time, and the dancers were incredible. To work with such a talented and eager group on my very first piece – most people never get that opportunity. This was huge for me.
What were your goals for our students?
In the week I was there, I was very much led by the music. I really wanted them to train their musical ear – to really listen. Everything is very specific musically. Especially with my trio of dancers and my soloist, Brianna, I wanted them to learn to interpret and make it their own. The neoclassical sections are loosely, though not directly, inspired by George Balanchine. I wanted to give them a little taste of Balanchine style choreography. So, the experience of different styles, musicality, and a little bit of Balanchine.
Tell us about your advocacy work and being an influencer/mentor on social media.
I started on YouTube in 2014 as a way to share my story and help dancers, because the ballet world is very closed off. It’s kind of every man for himself. As a dancer, you have to look after yourself, take care of your body, and know what you’re doing. I remember feeling very isolated. Starting YouTube was a way to help and share what I went through. It spiraled into what it became. I got into deeper topics – body shaming, inclusivity, all of that. It started as “how to tie your pointe shoes” and led into bigger themes I never anticipated. If I can make younger dancers’ lives easier, or even adult dancers’ lives, showing that you’re allowed to be a person and be in ballet, then I’ve done something worthwhile. I enjoy being a mentor, someone to talk to, someone to shine light on the cobwebs. That’s meant a lot to me in recent years.
Do you bring that identity into the studio when you work?
It’s something I use. In ballet, there’s always been this archaic hierarchy: the person in front of the room must be obeyed. I try to come in saying, hey, we’re all here as human beings. I might be older or younger than you, but I’m here to share knowledge. It’s a collaboration. As a dancer, I always did my best when I felt the person in front had my back instead of making every day feel like an audition. It’s important for dancers to see that I’m just a normal person. You don’t have to sacrifice quality to be human. I know how to push them and get more out of them without turning it into, why are you doing that?
If I can make younger dancers’ lives easier, or even adult dancers’ lives, showing that you’re allowed to be a person and be in ballet, then I’ve done something worthwhile. I enjoy being a mentor, someone to talk to, someone to shine light on the cobwebs.
Were you able to have those kinds of conversations with our students?
Yes. There was a day about halfway through the process where I ended classes early and just let them ask me questions. We sat, we talked, and they got deep. They asked about body image, auditions… That day was actually the most important day I was there. I sat there and said, this is how it is. I didn’t sugarcoat anything. I even told them things I haven’t said online or in print, so they could get a real sense of reality. It’s not always fairyland.
Do you feel your advocacy work is forging a new path for other dancers?
I hope so. [Dance] is one of those careers you have to commit to early. Unlike most people who can “figure it out” in college, to be in the dance world you have to decide as a teenager and commit. I was hired professionally at 17 – many of us were. But it’s also a very young career. You train your whole life, and then it’s already over by 35 or 40. I hope this shows there are ways to keep going, even if you’re not dancing. For me, moving in and out of company life, being on YouTube, doing different things…it’s about showing dancers there’s not just one path.
Tickets for the Betsy Blackmon Dance Company Fall Concert are available at kogercenterforthearts.com. Show time is 7:30pm nightly.