Ballet choreographer Alexei Ratmansky and his wife, Tatiana, returned to Kyiv in August for the first time since the outbreak of the war in Ukraine more than four years ago. Both former dancers with the Kyiv Opera House national ballet company, the couple arrived amid intense Russian attacks on the city, which have forced residents and theatergoers to seek shelter multiple times daily.
Ratmansky, artist in residence at New York City Ballet and former director of the Bolshoi Ballet in Moscow, traveled from Vienna to Kyiv by train, navigating complex routes disrupted by the conflict. In a recent interview from Kyiv, he described the experience as a mix of familiarity and harsh reality, noting the constant threat of explosions and the daily toll of casualties.
The Ratmanskys' visit centered around staging *Donizetti Variations*, a ballet by prominent 20th-century choreographer George Balanchine. This marks the first time the National Ballet of Ukraine will include a Balanchine work in its repertoire. The piece was chosen for its relatively small cast, upbeat tone, and, importantly, absence of Russian music. Ratmansky has been teaching daily ballet classes to prepare the dancers for the fast-paced, demanding style required by Balanchine’s choreography.
Despite the resilience of the company, conditions remain strained. The troupe has shrunk from 176 dancers to 95, as many have left Ukraine to perform abroad. Male dancers must regularly sign exemption papers to avoid military conscription. Performances frequently face interruptions from air raid sirens, causing audiences and performers to retreat to underground shelters. During rehearsals and performances, alarms sometimes force 15-minute halts; a recent showing of *Giselle* was canceled due to such an alert.
The atmosphere at the theater nevertheless retains a sense of determination and routine. Ratmansky recounted teaching a ballet class the morning after a sleepless night of bomb shelter runs, finding all students waiting as usual. For many, daily rehearsals and preparing for premieres provide a psychological lifeline amid the uncertainty. “You can’t imagine how much we need this,” one dancer said of having a production to focus on.
In the city, the couple observed that life continues despite the war's disruptions. Cafes, shops, and cultural activities remain open, and a spirit of community support endures. Yet the mental and physical toll is evident. Tatiana described the difficulty of repeatedly seeking shelter during overnight alerts, and the fear that quiet spells might precede new attacks. Some theater staff adopt coping mechanisms such as turning music up to drown out sirens or carrying on with daily tasks despite exhaustion.
Looking ahead, the National Ballet of Ukraine continues to perform at home and tour internationally, having recently returned from Japan and preparing for a trip to Dubai. Ratmansky expressed a commitment to supporting their work. “The city, the country, keeps functioning because of this amazing strength people have,” he said. “It’s the people, the national character. I think it’s a miracle.”