Performance Dates
A new choreographic project.
Helping new voices create ambitious, thought-provoking, and timely ballets
Three choreographers create new works on BalletMet's extraordinary company of dancers.
Show Details
Run Time and Descriptions Approximately 1.5 hours
This is a mixed-rep ballet. Mixed-rep ballets are several unrelated short ballets with intermissions, similar to a collection of short stories. Each of the three choreographers, selected through a competitive international process, will travel to Columbus and create new works on BalletMet’s extraordinary company of dancers. The result is an evening of visionary world premieres offering audiences an unfiltered look at where ballet is headed.
Choreography Yuiko Masukawa Love Letter
Yuiko Masukawa is a Japanese choreographer based in Naarm (Melbourne), Australia. Her work brings together the inclusive and iconoclastic ethos of contemporary performance with her deep expertise in ballet. She has worked extensively between Japan and Australia to create connections between her two homes.
In 2026, she premiered a new commission for The Australian Ballet, This Moment, as part of the company’s Signature Works season. This follows on from previous presentations with the company: Standing on a Rising Wave for Bodytorque, Yugen for Frame Festival, and receiving TAB’s Telstra Emerging Choreographer’s Award for her film 3. In September 2025, she presented a full-length performance iteration of 3, a choreographic work for three dancers, a basketball team and a live cinematographer at Narandjerri Stadium in Naarm.
Alongside her ballet practice, her work also extends to contemporary and experimental choreography. This year, she presented Running Machine, a work co-created with an interdisciplinary team of mixed-ability artists from Australia and Japan at the Toyohashi Arts Theatre PLAT, Japan.
She was the recipient of the Lucy Guerin Inc and EkosDance Company’s Naarm/Solo exchange program (2024–26), a residency and presentation program which has led to co-developing and performing her work Mekar Yang Diam in both Naarm and Surakarta.
In 2025, she undertook a choreographic secondment at Trisha Brown Company under choreographer Lee Serle, supported by the Ian Potter Cultural Trust. Her works have been nominated for Outstanding Achievement in Youth Dance in the 2018 Australian Dance Awards and Design/Technical Achievement in the 2023 Green Room Awards.
Her intercultural work between Japan and Australia takes many forms, including artistic collaboration, reciprocal residencies, leading workshops and teaching, as well as acting as a cultural liaison and interpreter for organisations such as Tokyo Ballet, The Australian Ballet and Terrapin for Asia TOPA.
Choreography DaYoung Jung Still, We Move
DaYoung Jung is an award-winning choreographer, former principal dancer, and dance educator from South Korea. She currently serves as the first Resident Choreographer in Oklahoma City Ballet’s history, continuing a meaningful artistic journey with the company that began when she joined as a dancer in 2012.
Jung was promoted to soloist in 2014 and principal dancer in 2017, and spent 10 years performing with Oklahoma City Ballet. Throughout her performing career, she danced leading roles in classical works including Giselle, Romeo & Juliet, Swan Lake, The Firebird, Cinderella, and The Sleeping Beauty, while also performing works by renowned choreographers including George Balanchine, Jiří Kylián, Twyla Tharp, Stanton Welch, Septime Webre, Michael Pink, Robert Mills, Ryan Jolicoeur-Nye, and many others. Her final performance was as Aurora in The Sleeping Beauty in May 2022. Her work with Oklahoma City Ballet continued to evolve beyond the stage, first through her role as Rehearsal Director and now as the company’s first Resident Choreographer.
Jung’s choreographic career has grown alongside her work as a performer and educator. Her works have been commissioned by companies and projects across the United States, including Oklahoma City Ballet, National Choreographers Initiative, Milwaukee Ballet, Nevada Ballet Theatre, Newport Contemporary Ballet, Ballet Des Moines, and PointeWorks, among others. Her 2022 work Vignettes was selected as the Audience Favorite at Milwaukee Ballet’s Genesis: International Choreographic Competition. Most recently, Jung was named one of five winners of the Joffrey Ballet’s 2026 Winning Works and was selected as a choreographer for the New York Choreographic Institute during the 2025–2026 season. She was also invited to return to the National Choreographers Initiative for its 2026 program, The Last Dance.
Jung trained at the Bolshoi Ballet Academy in Moscow, graduating with honors and earning a master’s degree in Ballet Pedagogy. In 2006, she was a semifinalist at the Serge Lifar International Ballet Competition in Donetsk, Ukraine.
Choreography Eric Figueredo The Pulse of Becoming
Eric Figueredo was born in Porto Real, Rio de Janeiro. He began his dance training at age ten with the Escola de Dança Fundação Porto Real in Brazil. He had the opportunity to participate in several national and international competitions, including the 2015 Prix de Lausanne Preselection in Buenos Aires. Upon winning, he had the opportunity to represent Brazil in the 2016 Prix de Lausanne Competition in Switzerland. He received a scholarship to continue his training at Houston Ballet Academy for the 2017-2018 season under the direction of Vicki Attard.
Figueredo joined Texas Ballet Theater in 2018 as an Apprentice, during which time he performed works by choreographers including Ben Stevenson, William Tuckett, William Forsythe, and Christopher Bruce. He then joined The Sarasota Ballet as Corps de Ballet in 2020, where he performed works such as Sir Frederick Ashton’s Birthday Offering, Valse Nobles Et Sentimentales, and Façade; George Balanchine’s Serenade and Donizetti Variations; the world premiere of Comedy of Errors by Sir David Bintley; and Kenneth MacMillan’s Elite Syncopations.
Since joining Milwaukee Ballet in 2022, Figueredo has performed in Michael Pink’s Swan Lake, The Nutcracker, Hunchback of Notre Dame, and Peter Pan, and was featured in a new choreographic work by Timothy O’Donnell. He performed the titular role in Michael Pink’s Dracula in 2023 and as Don José in Mark Godden’s Carmen in 2024.
He is an emerging choreographer whose works have been performed by the Milwaukee Ballet Company, Milwaukee Ballet II, Milwaukee Ballet Summer Intensive, and other dance festivals such as the VKIBC Gala 2025 and 30th International Ballet Festival of Miami.
Digital Tickets
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Behind the Curtain
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FAQ
Where do I park?
Ample parking is available on city streets around BalletMet (using the Park Cbus App) and in the Columbus State lot on Mount Vernon between Grant Ave and 6th Street (using the CSCC dedicated app). If you are using the CSCC lot, please walk down 6th Street to enter the Connector. Handicapped parking is available in the BalletMet parking lot; access to the Connector and Performance Space involves no stairs.
Downtown traffic can often be heavy, so please plan ahead. We recommend arriving 20-30 minutes early to park, find your seat, explore the program and relax before the performance. Audience members who arrive late may not be seated until intermission.
What do I wear?
This is our most-asked question, and the answer is: You probably won’t feel out of place no matter what you wear. If you want to wear jeans, go for it—we promise you won’t be alone. If you want to dress up, feel free. Many others do, too. We don’t see as much formal-wear in the theater as we once did, though it wouldn’t be unusual to see a tux or a gown at a performance. Basically, anything goes.
Do the dancers talk?
No, dancers express the story or meaning through the movement. In some story ballets, dancers will use pantomime (exaggerated movements) to help you understand what’s happening. If you see a ballet with pantomime, head to the lobby, where we’ll have more information and guidance. If you ever struggle to follow along, feel free to chat with a BalletMet staff member in the lobby who will happily answer any questions you have.
When do I clap?
If you are wowed by something you just saw, please do applaud. At BalletMet, we love to hear clapping. It’s uplifting to those performing, as they can often feel your excitement and energy on stage. So applaud whenever you see fit! Note: Not every ballet company feels this way, so keep that in mind if you happen to be at another company’s performance.
Ticket Policy
All sales are final and tickets are non-refundable. Casting, program, schedule, and pricing subject to change without notice. BalletMet reserves the right to return and refund any tickets identified as being sold above face value, minus ticket fees.
Images by Jennifer Zmuda