Yuhui Choe to leave The Royal Ballet after 24 years

Yuhui Choe, First Soloist at The Royal Ballet, will conclude her distinguished 24-year career with the company at the end of December. Her departure follows a decision to focus on teaching ballet and engage in external artistic endeavors beyond performing.

Choe’s final performance is scheduled for December 30th, where she will once again dance the role of the Sugar Plum Fairy in Peter Wright’s acclaimed production of The Nutcracker. This role bookends her lengthy tenure, having first performed it 18 years ago.

Her upcoming appearances also include portraying Lescaut’s Mistress in Kenneth MacMillan’s Manon, with a notable show on November 13th. These engagements mark the closing chapters of a career that has spanned the full spectrum of The Royal Ballet’s repertory.

The decision to leave the Company coincides with Choe’s intention to begin the Diploma of Classical Ballet Teaching at The Royal Ballet School starting in January. This move signifies a shift from performance to education, aiming to cultivate the next generation of dancers by imparting her extensive experience.

Born in Fukuoka, Japan, Choe embarked on her dance journey at a young age and trained in Paris from age 14 under notable instructors, including Daini Kudo and Dominique Khalfouni. Her early promise was recognized by prizes at the 2000 Paris International Dance Competition and the 2002 Prix de Lausanne, propelling her entry into The Royal Ballet as an apprentice.

Her promotions within the company were steady: joining as an Artist in 2003, moving to First Artist in 2006, and reaching First Soloist by 2008. Throughout, she has covered a diverse range of roles across classical and contemporary repertoires, including Princess Aurora in The Sleeping Beauty, Nikiya in La Bayadère, and Alice in Alice’s Adventures in Wonderland.

Choe’s repertoire further extends to works by Frederick Ashton, Kenneth MacMillan, Wayne McGregor, Christopher Wheeldon, and Liam Scarlett, reflecting her adaptability and command of varied choreographic styles. She has also created original roles in several new works, collaborating with prominent choreographers.

Her contributions have been recognized with awards such as Best Female Artist (Classical) at the 2008 Critics’ Circle National Dance Awards and a nomination for the Asian Women of Achievement Awards in Arts and Culture in 2016.

Kevin O’Hare, Director of The Royal Ballet, acknowledged her significant impact on the company, highlighting her technical skill, musicality, and emotional connection with audiences. He noted her versatility and memorable portrayals in major roles throughout her career.

The transition from performing to teaching for Choe reflects a broader pattern among seasoned dancers who seek to leverage their knowledge in educational roles. Her undertaking of the diploma program at The Royal Ballet School positions her to influence ballet pedagogy within a leading institution.

This career shift may also affect The Royal Ballet’s casting and touring dynamics, given Choe’s extensive engagement with key roles. While the company has a deep roster, her departure opens opportunities for emerging soloists to take on more prominent parts.

Choe has expressed gratitude for her time with the company and a desire to maintain involvement in dance through future projects, though specific plans beyond teaching remain unconfirmed. Her commitment to balancing family life and professional growth marks a new phase distinct from the rigorous demands of a principal performance career.

Her legacy within The Royal Ballet encompasses both classical and contemporary ballet, making her departure a notable moment for the organization as it continues adapting to evolving artistic and educational priorities.