Interview: Jacquelyn Long of ROCK AND ROLL AND TUTUS at Houston Ballet

Houston Ballet’s Rock and Roll and Tutus brings together legendary choreographers with fresh new voices, and among them is Jacquelyn Long, who not only performs but also contributes her own original work to the program. Her piece, Illuminate, first premiered in 2023 and reflects her journey of trusting her artistic instincts, navigating the challenges of stepping into choreography, and finding joy in collaboration with her fellow dancers. Now, as she returns to the stage both as performer and creator, Long shares insights on the inspiration behind Illuminate, how choreographing has reshaped her perspective as a dancer, and what excites her most about being part of this dynamic program.

Illuminate marks your choreographic contribution to this program—what inspired the piece, and how does it reflect your artistic voice?

The inspiration for this piece comes from just that – a place of inspiration. It’s about believing in your own ideas, finding what or who inspires you, and how when we collaborate all our individuality together, sometimes we have the most fun. 

How did the process of creating Illuminate challenge you differently than performing does?

Before the initial creation in 2023, I felt a lot of imposter syndrome. Can I really do this? I’ve been dancing my whole life, this choreography thing all still feels so new to me. However, I trusted that Stanton and Julie believed in me. Once I found Oliver Davis’s Frontiers 1,2, and 3 I was able to really visualize the piece. Then working with the dancers was amazing and it felt the most familiar. I think the other challenge was the first dress rehearsal on stage, it’s the first time the costumes, live orchestra, and dance come together, and it felt overstimulating trying to check everything, but in the end it all was beautifully cohesive. 

What was it like working with your fellow dancers in the studio from the perspective of choreographer rather than peer?

Amazing! I feel so lucky to choreograph on people I have danced with, some of which have been by my side my whole professional career. It has been really special this time around, too, there is more than one performance, so multiple casts are going on. They have all given me respect in the front of the room and were so generous in the studio. I love watching them smiling and enjoying the piece. 

Do you find that your choreographic eye changes the way you approach dancing roles created by others?

I think it’s allowing me to see the big picture. As dancers we can be so hyper critical, seeking perfection, but when I step to the front of the room, I just want to watch someone immerse themselves in this place and time and take me with them through a piece or story. So, I think I am improving at trusting myself and enjoying my performances. 

As both a dancer and choreographer, where do you see the intersection of those two identities? Do they feed each other?

After Illuminate first premiered I was overwhelmed from the positive feedback. I had a meeting with both my directors, Julie Kent and Stanton Welch, and I shared how I was scared this was going to take away from my ballet career. They both reassured me – Julie, the female voice that empowered me to feel like yes women can do more than one thing and Stanton has lived being a dancer and choreographer, so he was proof this was possible. I am good at compartmentalizing, and I think that really helps balance the two. I do think that the kind of dancer I am has fed the kind of choreography I like to make. 

What excites you most about the overall program Rock and Roll and Tutus?

How does it feel to contribute original choreography alongside works by legendary and established choreographers?

I think I’m most excited to share this program with Houston audiences. To be a dancer and a choreographer in the mixed bill feels like a real pinch me moment. Brett Ishida, Christopher Bruce, and Stanton Welch are world renowned, and the Houston audiences are really familiar with their works, so to contribute to an evening of dance with them feels a bit surreal. When Christopher Bruce complimented my piece, I felt very proud.

How does it feel to contribute original choreography alongside works by legendary and established choreographers?

I think I’m most excited to share this program with Houston audiences. To be a dancer and a choreographer in the mixed bill feels like a real pinch me moment. Brett Ishida, Christopher Bruce, and Stanton Welch are world renowned, and the Houston audiences are really familiar with their works, so to contribute to an evening of dance with them feels a bit surreal. When Christopher Bruce complimented my piece, I felt very proud.

If you could set a future piece to any rock song, what would it be and why?

Hm, maybe Fleetwood Mac. Bowie was my dad’s favorite so perhaps that. I really appreciate all genres, so I’m excited to see how I grow using different types of music.

 As a dancer, what upcoming roles or ballets are you most looking forward to in Houston Ballet’s season?

I am really looking forward to Sylvia. I was able to perform the title role a few years ago and I felt it was a breakout moment for me so to return to it feels special. I’m also looking forward to some new pieces we have coming up. Stanton will be creating to Mason Bates music and Alice Topp will be making her first work for the Company. I think now I appreciate and try to learn from other choreographers, not only their steps but learn from their process.

 Looking further ahead, what’s next for you in balancing performing and creating—do you see yourself leaning more toward choreography in the future?

I think I will be continuing to balance both. I have some dream roles I would love to dance, so I still have drive for my dancer career. I will be making the most of my time off for choreography. I’m excited to be attending Ucross this October, during a dancer break, as an artist resident to explore and grow in my choreography. I’ve also been selected as a choreographer for Pointeworks’ third season. I’ll be creating a piece for them on my dancer layoff in January. This will be my first time working with a commissioned piece of music for the ballet. I am really grateful to work with people who understand and support my love for both choreographing and dancing. I’m exciting for future opportunities.