Ballet Artistic Director

Artistic Director

Ann Marie DeAngelo has been an Artistic Director in the ballet world for three decades. This role began with creating her own experimental troupe Ballet D’Angelo in the 1980‘s; then becoming the founding Artistic Director of Ballet de Monterrey in Monterrey, Mexico in the early 1990‘s, and until 1999 she was Associate Director of the Joffrey Ballet. She has conceived, directed and produced full-evening shows that include The Last of the Best” - “an off-beat musical comedy...”; “The Variety Show - Jugglin’ Styles” starring Michael Moschen; eclectic evenings of dance entertainment for Career Transition for Dancers coined by the New York Times as “...the event of the season…”; the Capezio 125th Anniversary, and directed “Thank You Gregory - A Tribute to Legends of Tap, with guest artist Maurice Hines.


Associate Director of the Joffrey Ballet
Ballet de Monterrey 
Ballet D'Angelo



Forward-thinking Vision and Hands-on Experience

I consider myself an artistic producer who uses my “vision” in forward-moving ways, both creatively and organizationally.

My first experience as a director came when I founded Ballet D’Angelo in 1984, creating ground-breaking and eclectic full-evening shows. Later I became the founding artistic director of Ballet de Monterrey in Mexico, where I produced programs of the Americas, including classical ballets such as Cynthia Gregory’s SwanLake, and Alicia Alonso’s Giselle.

As an artistic leader, I have contributed my expertise to organizations that were in start-up mode, as well as others in transitional situations. I have collaborated with directors and companies to define their artistic expansion, and handled crisis management. As artistic director of Ballet Omaha, I guided the Board to transform the organization into a presenting entity. As Associate Director of the Joffrey Ballet, I played a crucial role in it the company’s reinvention of itself in Chicago.

I am also an experienced fundraiser who has created and produced independent dance projects. I have crafted programs for numerous gala benefits, including one that raised $1.2 million in a single evening. As a producer, I call upon the same organizational skills that an artistic director employs: developing concepts, programming, marketing; and selecting and managing dancers and other artists from major dance companies. I have recruited and worked with many celebrities, including Chevy Chase, Liza Minnelli, Bebe Neuwirth, Chita Rivera, and James Earl Jones.

The Dance World and Beyond

In addition to my work as an artistic consultant to dance companies, I have collaborated with organizations in other fields. One example: In 2002 the Rodgers and Hammerstein Organization invited me to create and direct the dance project for the Richard Rodgers Centennial. I solicited over 50 dance companies and choreographers to participate in the centennial by producing original work to music by Richard Rodgers. Participating companies included New York City Ballet, American Ballet Theatre, Royal Winnipeg Ballet, Ohio Ballet, Nevada Ballet Theater, Jennifer Muller The Works, Lar Lubovitch, Doug Elkins, and Anti-Gravity. As a result of my effort, those companies created many new works involving Rodgers’ music, and continue to do so.

As a producer, an artistic director, a teacher, a coach, and a ballet master, I have developed a vast body of knowledge and experience. I have taught for numerous dance companies, universities and summer courses around the world. I give workshop to non-dancers at high-end resort spas such as Rancho La Puerta, and will return there in September of 2007. I developed my program “MOVE! Get Out of Your Own Way” while teaching private classes to Bette Midler as she prepared her show Kiss My Brass.
When dance companies falter, their inability to attract audiences increases in direct proportion to their lack of vision. My vision moves beyond what most dance companies are programming today.


Vision and Responsibility

I can offer safe ways of programming; but more important, I can bring innovative programming to the table. This involves presenting dance to a community in different packages, formats, and collaborations, both artistic and commercial. I understand the value of arts partnerships within a given community, as well as the necessity to reaching outside of our field through creative multi-disciplinary ventures. Both are essential if we are to expand our audiences. Because the arts can only thrive in a community of individuals and institutions that are committed to supporting it, I have tailored my vision differently for each different person, organization, situation or community I have worked in.

As an artist I am both creative and fiscally responsible. I have a certificate in Arts Administration from New York University, and a proven track record of management skills. As the director of a ballet company, I might create one work a year, if that. Instead I would focus my energy on artistic growth, education, collaboration, and audience development.