Kalagayan brings new vision to Cincinnati Ballet

Jay Kalagayan, Cincinnati Ballet’s new director of development, moves in multiple artistic circles with equal finesse. Twelve years at Know Theatre of Cincinnati gave Kalagayan an uncompromising vision for the arts. In fact, his interdisciplinary experience presented Victoria Morgan, the Ballet’s Artistic Director and CEO, with a challenge.  “When I first mentioned to Jay that we were not a theatre company, he corrected me: ‘There is communication and a story any time athletic bodies are moving—with music, or even in silence. That is theatre.’” As Director of Development, Kalagayan steers the Ballet’s financial future, managing all aspects of fundraising and giving campaigns. But this developer, who founded Know Theatre shortly after graduating from Xavier in 1997, is not your average numbers guy. His roles at Know included playwright, director, actor, grant writer, and even janitor. Grass-roots involvement is a way of life for Kalagayan, and his perspective has informed his work style with the Ballet. “I’ve sat down and played poker with the dancers. Two are from China, two are from Turkey. There’s such diversity within the ballet. There’s a storytelling in dance that can cut across language barriers.” Kalagayan hopes his own artistic identity as a storyteller will help him expand Cincinnati’s perception of ballet. Know Theatre bills itself as “just left of off-Broadway.” Asked about this contrast—balancing his taste for avant-garde against the Ballet’s time-honored appreciation for classical repertoire, he said with a laugh, “It’s the chicken and the egg. Nutcracker, Cinderella, and Swan Lake are educating the next generation of artists, inspiring them. After you’ve seen a classic, you’re more likely to try the experimental. [Conversely] it takes Know Theatre to crack a bad arts experience, or something they didn’t understand…then they might want to check out the classics. If I see a dance I like at Fringe Fest, and I might be more likely to check out [Cincinnati Ballet’s] Sammy Project.” The “project” is the Ballet’s May 2010 world premiere featuring the music of Sammy Davis, Jr. In terms of his own artistic taste, Kalagayan looks forward to the Sammy Project, the Nutcracker, and Swan Lake. Kalagayan is ready for the challenge of moving from a small arts organization to a larger one. “I would say in the last 12 years, I’ve built great relationships within the arts-supportive community—relationships that an outsider wouldn’t have.” He feels that his grassroots fundraising experience will benefit the Ballet in the recession-strapped arts market. His strategy is to maintain giving bases built in the Ballet’s 45 year history and identify new ones. “I’d like to see different businesses and individuals connected to the ballet.” “I’d like to break down that wall,” said Kalagayan, referring to the public’s perception of ballet as an art form. “I’d like people to know what it takes to put on a ballet. I want people to get to know the dancers—their trials and tribulations, where they come from.” Kalagayan would like to draw the city’s attention to the Ballet’s educational offerings, such as school programs and the Otto M. Budig Academy, offering styles and levels of dance classes for youth and adult learners. The Ballet’s classes for adults, including the dance-fusion Rhythm in Motion, earned a nod in the New York Times “36 Hours in Cincinnati” feature. Kalagayan said it was hard to leave Know Theatre after pouring himself into it for 12 years. He notes, “I left behind great leadership. It’s great to dream something and then work really hard and then have people continue that legacy.” Yet he’s approaching his work at Cincinnati Ballet with a spring in his step. “No matter who you are, you dance a little.” Written by: Elena Stevenson Sources: Jay Kalagayan, Director of Development for the Cincinnati Ballet; Missie Santomo, Director of Marketing, Cincinnati Ballet; www.cincinnatiballet.com; www.nytimes.com