Renowned ballet choreographer Alexei Ratmansky and his wife Tatiana recently returned to Kyiv after more than four years away due to the ongoing conflict in Ukraine. Both began their careers with the National Ballet of Ukraine at the Kyiv Opera House and have close family members in the city. Their visit, which took place amid one of the conflict’s most intense periods, was motivated by a desire to work directly with Ukrainian dancers and stage a new production.
The Ratmanskys’ arrival coincided with frequent air raid sirens and missile attacks in Kyiv, leading residents and theatergoers to seek shelter multiple times daily. Despite these conditions, they found the city’s cultural life surprisingly resilient, with open cafes, stores, and a vibrant arts community. “Everyone is so caring, so alive, so warm,” Alexei said, highlighting the strength and solidarity of Kyiv’s residents during these trying times.
During their stay, Alexei Ratmansky took on the task of introducing a work by George Balanchine—an influential 20th-century choreographer popular worldwide—to the National Ballet’s repertoire. The ballet chosen, “Donizetti Variations,” is known for its lively, fast-paced choreography requiring stamina and precision. While the company, diminished from 176 to 95 dancers since the war began due to many leaving abroad, still performs regularly and tours internationally, including recent trips to Japan and plans for Dubai.
Dancers described rehearsals as physically demanding but crucial for maintaining morale. “They don’t need that right now,” Tatiana observed about the intensity, but others emphasized how important it is to have artistic projects to look forward to amid the war. Ballet dancer Mykyta Sukhorukov noted that despite interruptions from alarms and the reduced audience capacity—limited to 600 in a theater usually seating 1,300—the company remains committed to its work.
Daily life at the theater continues under exceptional circumstances. Some performers endure long commutes without access to public transit due to closures caused by the conflict. Sirens sound unexpectedly during rehearsals and performances, prompting those present to take shelter, sometimes repeatedly throughout the night. Nonetheless, the commitment among theater staff and artists remains steadfast, with Ratmansky noting that students and company members attend ballet classes punctually despite exhaustion and danger.
Conversations at the theater overwhelmingly revolve around the war and survival rather than art. Members have adapted various coping mechanisms, ranging from ignoring alarms to using music to drown out the sound of sirens. Some exhibit a hardened resolve; one ballet mistress reportedly said she would not seek shelter during an alarm, reflecting the pervasive fatigue and tension.
Ratmansky reflects on the experience as both heartbreaking and inspiring, admiring the resilience of Kyiv’s people and the vibrant cultural life that persists against the backdrop of war. “The city, the country, keeps functioning because of this amazing strength people have,” he said. The couple plans to continue supporting Ukrainian artists and expressed a willingness to return, impressed by the national character and perseverance they witnessed firsthand.