Singapore Ballet was co-founded as Singapore Dance Theatre in 1988 by Anthony Then and Goh Soo Khim with just seven professional dancers. In 38 years, we have grown to the point where we now have 36 dancers and six performance seasons that span through the calendar year, as well as international touring. The repertoire has included some of the most well-regarded international choreographers’ works in newly created and established pieces as well as full-length classical ballets. The company is now one of the most significant arts organisations in Singapore. The path we have travelled towards building the company will be shown with several examples of the 2026 repertoire presented in segments.

Dancers are only as good as the ballets each company presents onstage. The greatest names in choreography are represented within performance seasons. Singapore Ballet has a wide range, in its history, of significant choreographers and each and every one cannot be presented every year. What and why ballets are chosen is the situation we’ll explore with some of the finest examples of our repertoire on display.

As Mr Balanchine once said, “I do not want people who want to dance, I want people who have to dance”. Dancers are a unique and beautiful breed of artists. A person who has trained and danced professionally will forevermore describe themselves first and foremost as a dancer. How they prepare and progress to professional status, why they choose to pursue careers in dance, as well as their life of rehearsal, performances, and touring are all part of the rewards of a life of a dancer. This session will focus on the special quality that dancers share with each other as friends and artists. The trust and bonds that dancers share are demonstrated in the segments of ballets presented for this session.

“It’s good to look back, but try not to stare…” We, as most repertory-based ballet companies, endeavour to build on the classical ballet heritage with new directions in choreography, as well as the overall look, development and abilities of the dancers. Just adding new repertoire into the performances is only the first step, and who, where and how the next generation of dancers, choreographers come to the forefront is how dance will remain a relevant art form. We want to show you how where we came from has led us to where we are now and where we hope to progress to for our audiences.

The era of great names in choreography is a matter of discussion-August Bournonville, Marius Petipa, Michel Fokine, Sir Frederick Ashton, George Balanchine, Jiri Kylian, Sir Kenneth MacMillan, Paul Taylor, Martha Graham… The list is representative of what we consider today to be the standard for choreographic excellence. At the same time, the desire for what is new and exciting can be held back by the mere fact of these great names and their legacy. In the end, what is good, as well as unique, in choreography is built on the past without getting stuck there. 

In the last session of the year of One @ the Ballet, we will focus on our unique production of The Nutcracker. The Nutcracker has become a holiday tradition throughout the world and is often performed annually by many companies. The ballet has some very well-known scenes, including the beautiful Snow scene and the voyage through the Land of the Sweets, featuring the famous Sugar Plum Fairy in a pas de deux with her cavalier, the Prince. We will show some of the sections of choreography, as well as the elaborate costumes made for the production.