Angelica Generosa strikes all the right balances. She’s ambitious, but ego-less. She exudes the charm of a soubrette, but also the power of a contemporary virtuoso. A fourth-year member of Paci;c Northwest Ballet’s
corps, she welcomes the soloist and principal roles artistic director Peter
Boal throws her way, but is happy to continue her time in the corps.
Boal ;rst noticed the School of American Ballet–trained Gen-
erosa when she was 15, dancing the lead of Balanchine’s Stars and
Stripes at an SAB workshop performance with Taylor Stanley (now a
New York City Ballet soloist). “She was something between fearless
and charming—a force!” Boal remembers. A few years later, when
Generosa was not accepted into the NYCB apprentice program, he
invited her to join PNB as an apprentice.
“I really was aiming for NYCB. That has always been my dream
company,” Generosa admits. But Seattle has offered her outsized
opportunities (especially for a corps member), from performing the
lead in Balanchine’s “Rubies”—which, she says, “completely changed
my dancing”—to starring in Molissa Fenley’s 34-minute solo, State of
Darkness. “PNB has become home for me,” she says.
Dancing above your rank has its obvious perks, but Generosa isn’t
naïve about the dif;culties it presents, either. “It’s emotionally chal-
lenging to do both corps and soloist parts. But I’m very lucky to have
that chance. Not a lot of dancers get to do that.”
The Best of
PNB’s Angelica Generosa juggles corps life and principal potential.
Romeo et Juliette. Here,
with Matthew Renko.