BalletX is celebrating its 20th year, and Christine Cox, the artistic and executive director, is the driving force behind it. During a Zoom interview, she began by rotating the camera to show the rehearsals going on in the bright studio below. “That’s only half of it,” states Cox. “The partition is up right now — usually the studio is twice the size.” The company was working with choreographer Amy Hall Garner on a reimagined Petrushka that is set to premiere in January 2026. The dancers and choreographer were intensely focused, the energy level apparent. That vigor is evident in every aspect of Cox’s directorship.
Cox danced with BalletMet, Ballet Hispánico, and 13 years with Pennsylvania Ballet (now Philadelphia Ballet). Starting her own projects and choreographing was, in her words, a slow awakening in the early 2000s. She says proudly, “I was adventurous and wanted to try choreography outside of my ballet ‘box.’ A big spark for me — and for others — was Shut Up and Dance, a benefit performance for MANNA, an organization that designs meals for people with serious illnesses.” For one night, the dancers would create choreography, sell tickets and raise money.
“Choreographing wasn’t natural or easy for me,” Cox confesses. “It was uncomfortable territory, but I gave it a go.” Soon after, she, along with a few colleagues, decided to put together a show for the Philadelphia Fringe Festival. That experience planted the seeds. “I was also involved with Phrenic New Ballet (2000–2004). It was really just a summer gig. I had no idea it would point toward my future career.”
In 2005, while still with Pennsylvania Ballet, Cox and fellow dancer Matthew Neenan branched off from Phrenic and co-founded BalletX. “I retired from Pennsylvania Ballet, and we really didn’t have a company yet; we were still building,” Cox muses. While working on BalletX’s infrastructure, she had to hold four jobs to make ends meet. Her eyes showed a steely determination as she continued, “I just kept putting one foot in front of the other, making logical decisions.” One big turning point for the fledgling company was shifting from presenting one series a year to three, and moving from freelance dancers to hiring full-time company members.
As one of its resident companies, The Wilma Theater was instrumental to their growth. Today, they perform at the Suzanne Roberts Theatre, located in the Avenue of the Arts district in Philadelphia. The troupe has also performed at prestigious venues like The Kennedy Center, The Joyce Theater, Vail Dance Festival, and Jacob’s Pillow.
“In 2009, I made the decision to stop choreographing myself. There were just too many hats in the air. I stopped dancing, stopped choreographing, and committed myself fully to building an organization that supports choreographers and their work,” Cox says. She talked about it requiring all her energy. Neenan eventually stepped away from co-directing to focus on his choreography. “Matt and I were a great team — he’s a wonderful choreographer, and we had complementary skills. But, ultimately, I was the one driving the company forward.”
In 2014, the company moved into their current home, an impressive 5,000-square-foot space. Cox confesses, “When we moved in, I didn’t know how to fundraise.” She talks about learning as you go in the “school of life.” For years, she personally called every donor. They were amazed by the personal touch.
Cox’s resourcefulness shows when the pandemic shuttered their doors. “We created 27 films, only laying dancers off for one week.” They filmed all over Philadelphia and turned those world premieres into digital works. “Now, we also create short documentaries for each ballet, giving audiences a behind-the-scenes look. It’s been a great way to deepen engagement.”
With 16 full-time dancers, BalletX has an impressive operational budget of about $5.7 million. Their books are “in the black,” a rarity in the dance world. Cox explains, “We’re meticulous about budgeting.” She talked about saving, planning and being conscious of every dollar. The dancers have 40-week contracts, and there is a recently added 401(k) match for the dancers and staff, up to 4%. In 2024, the company received a $7.4 million bequest from Joan DeJohn’s estate, which has helped secure their future. “I want BalletX to thrive for decades. Even as a not-for-profit, we’re an economic engine — live performances make cities more vibrant and appealing.”
BalletX commissions choreographers from around the world. Cox looks for people who are, in her words, curious, daring and bold. “It’s about relationships and trust,” she remarks. The company brings choreographers back multiple times to build bonds. She says that the company has done so many world premieres because they care about creating opportunities. “BalletX has a strong repertoire, but our eyes are always on the future.”
Cox is adamant about “balancing the playing field.” She insists it hasn’t been a reaction to trends. “It’s been a part of my thinking for 20 years,” she explains. “About 10 years ago, I realized I had a program with no women represented. I challenged myself to fix that and create opportunities. Men and women experience the world differently, and it’s important that our community sees those perspectives onstage.” In 2008, they presented an all-female program with Annabelle Lopez Ochoa, Helen Pickett and Cox’s work. “I’ve always wanted BalletX to be a platform for diverse voices, both from Philadelphia and from around the world. That variety enriches the work and the community.”
BalletX’s Dance eXchange is in six partner Philadelphia public schools and brings dance to third and fourth graders. The teachers study at the National Dance Institute and use that organization’s curricular themes along with BalletX’s special flair. Last year, over 424 kids participated in their end-of-year performances, which were free to families. The performances were split across four shows due to the large number of students. Cox wants everyone to experience the power of dance. “The parents often don’t know their child has such a strong interest in dance until they see them onstage. We’ve seen generations of Dance eXchange kids teaching each other moves on the playground. Those moments are priceless.”
Under Cox’s tenure, BalletX has produced 150 world premieres by more than 80 choreographers. Her tenacious resolve comes to the surface again as she says, “I’m deeply persistent and resilient, and I surround myself with like-minded colleagues.” She puts the company vision in a single sentence, saying, “When I simplified it, our vision came down to this: to create extraordinary dance experiences that inspire human connection.” She feels that is the true essence of what dance and life are about. “Connections are everywhere, and when we sit together in a theater, our souls settle, and the artistry can truly resonate.”
For more information, visit www.balletx.org.
By Mary Carpenter of Dance Informa.
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