Company Secrets with Cervilio Amador: Directing Cincinnati Ballet

In this episode, Jared sits down with Cervilio  Amador, Artistic Director of Cincinnati Ballet, to explore what it means to lead one of the nation’s most respected ballet companies. Born and trained in Cuba, Cervilio began his professional journey with the National Ballet of Cuba before joining Cincinnati Ballet, where he quickly rose to become one of the youngest principal dancers in the company’s history.

Now, after a remarkable 16-year stage career and a powerful transition into leadership, Cervilio shares candid insights about balancing artistry and administration, building a healthy company culture, and supporting the next generation of dancers through Cincinnati Ballet’s training pipeline. He discusses what he looks for in auditions, how he manages multiple constituencies from dancers to donors, and the mindset that sustained him throughout his performing career.

From defecting from Cuba to directing in Cincinnati, Cervilio’s story is one of resilience, curiosity, and purpose-driven leadership, a must-listen for anyone curious about what it truly takes to guide a forward-looking ballet company.

Cincinnati Ballet company site:

www.cincinnatiballet.org

Transcript

Jared Redick (00:00)
Welcome to Company Secrets Ballet Unfiltered, the podcast where we pull back the curtain on the professional dance world. Each week, I sit down with artistic directors and industry leaders to have candid conversations about how dance companies really work, what they're looking for, how decisions get made, and what it takes to thrive. I'm your host, Jared Redick.

My guest today is Servilio Amador, an incredibly accomplished dancer and international guest artist who is now the artistic director of Cincinnati Ballet. Born and trained in Cuba, Servi began his professional career with the National Ballet of Cuba before joining Cincinnati Ballet in 2000 and was a soloist. Just two years later, he became one of the youngest principal dancers in the company's history. Over his 16-year career on stage,

He performed world premieres by choreographers like Victoria Morgan, Jessica Lange, Travis Wall, and many more. He was also featured in an Emmy award winning PBS documentary that chronicled his journey of defecting from Cuba to pursue his passion for dance. After retiring from the stage in 2020, Cervi transitioned into leadership, first as a rehearsal director, then as interim artistic director, and finally being named

permanent artistic director in 2024. His lived experience, insight and commitment to meaningful change make him a powerful part of a new generation of artistic directors. Welcome, Servie.

Cervilio Amador (01:29)
Thank you, thank you so much for having me, Jared.

Jared Redick (01:32)
Absolutely, I'm so happy to have you. Took a little bit to make it happen, but here we are today. Right.

Cervilio Amador (01:37)
It's a schedule, right? Always balancing that.

Jared Redick (01:39)
Always hard to get everyone in on their schedule. I understand. Let's jump right into this. Tell me what a typical day looks like for you as artistic director.

Cervilio Amador (01:49)
Well, normally I get to the company around 8.30 in the morning and I typically leave around 6.30 in the afternoon and the day could shift. You know, I have the administrative responsibility of the job, but I also have the artistic responsibility of the job, which is something that I'm always trying to balance. So at times I'm in the studios working with the dancers directly, whether it is teaching company class or

Rehearsing them and a lot of times I'm in my office doing meetings, answering emails, figuring out what's the future for us. So it really varies, but it's very intense every single day. I would say that.

Jared Redick (02:31)
No doubt. You served as interim director for two years. Is that correct? Or is it year and a half?

Cervilio Amador (02:37)
It was a year and a half. I was named permanent at this director in December of my second season.

Jared Redick (02:43)
Alright, what's one part of the job that has surprised you after stepping into this role?

Cervilio Amador (02:50)
There is many aspects of the job that have surprised me. I think one thing that I would say is like, you know, there is not all artistic directors are the same. Not all companies are the same. So there is an aspect that I am learning as I go of like, who am I as an artistic director? Who am I with Cincinnati Ballet? So there is an aspect that is very much your vision and how do you want to lead? In the very beginning, I used to talk with a lot of

friends and people that I admire, artists, directors of other companies. And I will learn from them, but I quickly also learned that the job is unique to the place that you are in.

Jared Redick (03:31)
find that a lot of your time is spent fundraising, or is it balance between fundraising and meetings and being in the studio? What does that look like for you?

Cervilio Amador (03:41)
It is all a balance really. that's one of the things that I try to prioritize that I don't spend too much time in, one specific department, if you may. And that is also the challenge of the job because you see you, want to influence the philanthropy department, like fundraising. You want to influence the marketing department. Obviously the artistic department, the production department, there's many elements that.

You want to make sure you are giving your attention to all of them and simultaneously that you don't get to pull in in just one direction. So that's something that I work on like every day and something that my assistant Tyler Parker really helps me. One of the things that I did earlier on when I took over the job, I felt a bit overwhelmed with everything that I needed to do and a little bit, I needed to understand the priorities. So I will work with her every day.

I walk into the office, it's like, okay, give me the list of all the things that we have to achieve today. And then what do I need to achieve this week? So kind of to help me prioritize the things that I needed to accomplish in the very beginning also, because I was new and the job was a bit overwhelming.

Jared Redick (04:54)
No doubt, mean, it's a lot of different constituents to balance, right? With your dancers and the staff and the board and then community partners as well. It's always hard to manage all in any job when you have so many constituents wanting so much of your time and you have a very finite amount of time.

Cervilio Amador (05:10)
Yeah, you learn quickly. And I think is how, when I have this interaction with the different constituent, as you say, how meaningful can it be? How prepared can I be? So I really try to make it count as much as I can.

Jared Redick (05:24)
You said something key there, right? Is always being prepared for all of those different meetings that you're going to have.

Cervilio Amador (05:30)
Yeah, which is a lot of the work that happened also behind the scene. In this office, a lot of that happens.

Jared Redick (05:36)
Not unlike being a dancer being prepared for when you step into rehearsal.

Cervilio Amador (05:39)
Well, yeah, the dancers think like, I mean, if I compare my job as a dancer and now as an artistic director, I think it's a lot of that. a dancer, you show up, make sure you show up and you are present and then you're absorbing the information and you're processing it. And yeah, you are in charge of delivering that content. As a director, there is a lot of preparation. It's all the behind the scenes preparing and looking ahead, how well can I do now? So later on we are able to...

deliver, what are those steps, what are the tools that I need to offer to the dancers and to the company in general to be successful. So yes, it's a lot of preparation.

Jared Redick (06:17)
The time frame shifts when you're in leadership. You have to think two, three, five years out versus when you're a dancer. You just step in the studio and kind of do your thing in the moment. Moving on to our nuts and bolts of what this podcast is really about. How many dancers are in the company currently?

Cervilio Amador (06:34)
So

we currently have 30 dancers in our main company. have 14 dancers in our second company.

Jared Redick (06:44)
All right, and then how many weeks of work do they have per year? What does that look like?

Cervilio Amador (06:48)
Our dancers are the main company, our union dancers, and we offer 35 weeks of work in the season for both the main company and the second company.

Jared Redick (06:59)
How does the school interact with that? Are there trainees that could go into the second company? they have a lot of interaction with the company?

Cervilio Amador (07:06)
Yeah, for sure. We have the top level of our school. It's called the professional training division. And these are dancers that they have a daily program. They are with us from the morning. They have their own program, but we do utilize them in the big productions. Like I would say, definitely not cracker. And then some of our full length, they are also part of it. And you said something that I really want to continue to strengthen here in Cincinnati Ballet. And it is that pipeline.

I would love to see dancers from the academy get into our second company and dancing from our second company, getting to the main company. So strengthening that pipeline is really important for me.

Jared Redick (07:47)
That's always helpful for the organization, for those young dancers who aspire to be professionals in Cincinnati Ballet. And so for the whole season, approximately how many performances does the company do?

Cervilio Amador (07:54)
Absolutely.

I would say maybe between 50 and 60 performances a year.

Jared Redick (08:06)
Okay, and how many programs then? How many you do Nutcracker and then other programs on top of that.

Cervilio Amador (08:11)
We do for the main company, have five productions a year. And then we do one production that we call the family series. And that production is the second company or what I like to call the superstars. then the academy is more of the corduval and it's a family oriented program. So that's the sixth program of the season. Simultaneously with depending on the season, do a small project.

around the community, but those are the main programs we do.

Jared Redick (08:42)
Always those extra last minute things out in the community or maybe little pick up gigs that might show up throughout the season. And then for a new dancer joining your company, let's say whatever that is, new dancer rate for Agma, what is the starting salary for them?

Cervilio Amador (08:57)
Our

first rank in the company is apprentice. So it goes apprentice, new dancer, and then corduballe, soloist, first soloist, and principal. And I believe they start around $600 something a week.

Jared Redick (09:13)
Okay, yeah, if $600-ish and then plus 35 weeks of work, which is nice for professional dancer these days. How can dancers who are looking at the company, how can they tell if you're actually hiring? What does that process look like for you?

Cervilio Amador (09:28)
We,

our audition process, we put the information out there of how you can apply to audition for us. And to apply, anybody can apply, but then to come to do an audition, it is an invited audition process. So everyone is welcome to go through our website and we go through a process where we evaluate everyone that submits their application. And then we do invited audition. We host auditions in New York, San Francisco.

Houston and then two here in Cincinnati. And a lot of it has to also do with the capacity of the studio. that's, we're trying to gauge that number. And then to know, we haven't done it specifically that we are looking for dancers or not. I had seen some companies that do, we're looking for principal dancers, solos or corduroy ballet. We haven't done that yet. So I don't know if it is because also I know.

I would know how many positions are available in the main company around the end of January, because that's when contracts are due for the main company. And then, so I offer them a contract or not offering them a contract in January, and then they have a month to decide. So really not until mid February, I will know if you have a spots available. And by then already our audition process is already going.

Jared Redick (10:50)
dancers who send in their audition materials, who actually sees that? Is that the rehearsal directors? And then when do you see it? How does that process internally work?

Cervilio Amador (10:59)
Yeah, that's a good company secret as you call this.

Jared Redick (11:02)
That's what our audience wants to know. Like, what does the actual process look like within a company?

Cervilio Amador (11:08)
For us, the process that we have established here at Cincinnati Ballet is that the rehearsal directors are the first ones to go through these audition materials. They review audition materials and we have a very good process, a very good platform online where everything is organized in that platform. So I'm able to do it myself to access and take a look, but they had the responsibility of go through the first round, if you may. And I can keep track of what they're doing, who they're picking.

Cause I'm able to go there and see approve or deny. So I'm kind of constantly trying to review it, but yeah, they are the one who goes through that first round approvals and they can send me information when they are, perhaps they want my opinion on certain answers that they perhaps they don't know which way, especially for something that is difficult is visas. In order for us to do visas for the company.

You need to, needs to be at a certain level that you need to prove that they have an extraordinary ability and no one visa. So that one can get a bit more tricky pick. So a lot of times dancers that require visa, they come directly to me.

Jared Redick (12:17)
Here's a really important question. What is it, what kind of qualities catch your eye for people who are auditioning? What are you looking for in these dancers who are auditioning for Cincinnati Ballet?

Cervilio Amador (12:27)
Jared, that's always hard because the first approach that I take and the first approach that I tell the rehearsal directors is just look for that foundation. Solid classical foundation. And that's really the first step. Make sure that we are inviting dancers that have a solid classical foundation. don't, I'm not very specific when it comes to styles. You know, yes, I was training Cuba. It was very classical.

training and that's with the National Ballet of for two years, just strictly classically. And then come to the United States and I was influenced by so many different choreographers, so many different styles and I loved it. So I don't get as specific of on when I look at dancers on their styles. I want them to have that strong classical foundation and then go from there. And you know, to really get higher than

is who is this dancer that inspired me when I see them? It's hard to describe to be specific. It's them looking more from that, what is the second layer of you as an artist, of you as a human being? That is the third layer of when it comes more to what do we need right now in the company? Because that's, know, how do I need to complement? I looking more for Soluwe's principal level, Cordobale, Apprentice, second company? So they're different levels.

in the company and what am I looking for, what do I need in that specific moment in time.

Jared Redick (13:55)
There's always a context within hiring, right? Exactly. So you might have three quarter ballet dancers leave and then you need, okay, I have to those positions or you have maybe a principal couple and they go to another company or they retire or whatever happened. There's always a context within which you have to figure out how you're hiring. I'm understanding.

Cervilio Amador (14:13)
Exactly. A lot of times we do the audition. So our audition process, we do an hour and 45 minutes class, and then we do a repertory after that. So after the hour and 45 minutes class, then we invite dancers to come to be part of the repertory class. And then after the repertory class, then we select dancers that we want to talk to. I would say like in the audition process, we probably talk to around between 40 and 50.

dancers, but yet, you know, we need to know how many dancers can we really hire. So a lot of times, you know, I'm very interested in these dancers. I really like them, but it's perhaps not the right time. And so I like to say to them, don't feel discouraged by this. Please try again next season. It's just at this moment in time, I'm not able to offer you, but that doesn't mean I do not value or like you as a dancer.

Jared Redick (15:07)
That's always an issue where you have, you see these dancers, but you just don't have space. So you keep them in mind, maybe for the future and see maybe your paths will cross again in the profession. You've had such a long career. You've been with Cincinnati Ballet for such a long time. What do you wish more young dancers knew about company life?

Cervilio Amador (15:25)
It's a quick pace, especially that early transition when you become a professional dancer and you get into professional company. It's a very quick pace. You're not taken by the hands at all times. So you're not been given at all times the attention as you were used to. So you're a better man at all and you're a better on your own. So it's a very quick environment and that transition can feel a little bit. You can be a bit lost in the beginning. You.

work with many different types of artists and personalities. So you have your rehearsal directors and your artistic directors that you will get to know them and establish a relationship with them over the course of the season or the years you are with the company. But then you have constantly guest artists, guest teachers coming in. So you constantly need to adjust to a new personalities and your personal style when it comes to the work and energy and it constantly keeps moving. And I think.

In the very beginning, it can be a little bit overwhelming. And my fear sometimes is when I see dancers getting a bit lost because they might feel they're not being casted or they're not being seen, but we do see them. just perhaps it's not the right time. we are just waiting to see how do you react to the company environment and you need to continue to find ways to be present. And I was like baseball, I like sports and I was listening to baseball the other day.

And the spokesperson said like, because this is a game of failure. And that made me think, I was like, I can see that the R form being extremely hard. And here you have, you know, just to compare, you have these major league baseball players, like they're the best at what they can do. And yet there is so much disappointment in that game. You strike out all the time, the percentage are low, like, so on a way the R form is extremely hard. So there are a lot of.

disappointments that happened throughout their career to anyone. Doesn't matter if you are a principal dancer, doesn't matter where you are, in what level, in what age of your career, that continue to things happen that could be disappointing. And I just encourage dancers to understand that aspect of their art form, to always continue to work towards like, this will pass, let's move on, to always continue to think, hey, I am very good. You know, I'm already a professional dancer.

I'm already had done this. So how can you find ways to continue to live your own and to find your confidence so you continue to go through the career?

Jared Redick (17:58)
It is a challenge for those young people to join a company out of the school. Most of them are stars within their own context of whatever school they're in. Then they join a company and they're back at the bottom and they're 17, 18, 19 years old, but they're dancing with maybe some more seasoned dancers in their late 20s or their 30s who have so much more life experience. I agree. Completely overwhelming for those young people.

Cervilio Amador (18:22)
I think my suggestion is just to be present, to continue to be present, to continue to find ways to be inspired, to also be sure you are ready when the moment comes, when the time comes. I feel like we hear this often, but it's so true. You don't know when that moment is going to come, but when it does come, you need to be ready. You need to feel ready to deliver, which means that you have to continue your work ethic. You have to continue your experience.

until those moment comes and then when they comes and then you deliver things continue to grow from there.

Jared Redick (18:53)
being prepared and being ready and being patient too. And I think that's hard for all of us, especially when you're younger, right? When we're at beginning of our career to be patient and let things unfold.

Cervilio Amador (19:03)
I

saw about inspiration at that age too. So you, are in an environment where you're going to love dancers that you work with. So continue to find that inspiration around you and continue to imitate those dancers. I think it's also you want to dance going to a studio, music, practice dance, and get it out of your system and continue to find tools to be present and to be ready.

Jared Redick (19:28)
that's great advice for young dancers. And for your career, again, you had such a long career, you were a principal there for such a long time, and so many wonderful opportunities. Can you tell us what is one habit or mindset that served you really well throughout your career?

Cervilio Amador (19:44)
When I was young, probably I was 14, 15, we had a retired dancer come to school and he talked to us about his career and he said something that has stuck with me my entire career was, when you get to the part that you retire from dancing, I want you all to look back and feel that you didn't waste any minute, any day, that you give it your best every single day, every single minute.

And for me, I took that to heart like every day when I woke up, you know, sometimes you're tired, sometimes you're sleepy, sometimes you're sore, but you still show up, go to a studio and I give it my all every day. And concentrating just on that in my task of the day, I feel it continued to build my future and it was already right in my past.

I think that was a valuable lesson for me. And I think by going through the career list, my other advice is let's continue to try to understand what the art form is. So we learn how to continue to navigate this art form. It's a beautiful art form. It's a really, really hard form. And the beauty of it is in how hard it is.

Jared Redick (20:53)
Everyday we're in the studios working and you are the piece of art. You are a living breathing work of art in the studio all the time. We don't have something to show for it that we can hang on the wall or play later. Obviously we can look at our videos but...

It's so inspiring. Did you ever imagine yourself becoming an artistic director throughout your career?

And there you are with that wonderful company and that wonderful new building with such great support it seems like in Cincinnati. Right.

Now as artistic director, you're really in the role, you're settled in. What's a dream project or collaboration you'd love to do without spilling anything that you can't spill at this point?

What would be a very ambitious project for the future? You know, you're talking three, five years out that maybe you need more dancers. What would that look like for you? What would be the big dream?

That's great, obviously. Curiosity is so important and thinking about what's possible for the future. I like to end our interview with one full circle question. so, what is one piece of advice you'd give your younger self at the start of your professional career?

Great advice. It's just wonderful advice for our young dancers who are listening and our audience who's out there listening. Sirvi, I'm gonna wrap us up here. Thank you so much for making time in your busy schedule to be with us and to share your insights into the company. I look forward to watching what the company does in the coming seasons. Thanks so much for being here.

Fantastic. Thank you. We'll link the company site where you can learn more and follow their upcoming season. If you liked our conversation here today, you can follow Company Secrets podcast on all platforms and on our website, companysecretspodcast.com. Thank you so much for listening because the stage is only part of the story.