Interview: Saul Newport of ROCK AND ROLL AND TUTUS at Houston Ballet

For Houston Ballet dancer Saul Newport, Rock and Roll and Tutus is more than just a performance program. It is a test of versatility, artistry, and endurance. Moving between the joy and vigor of Illuminate, the swagger of Rooster, the intimacy of What I Was Thinking While I Was Waltzing, and the classical celebration of Vi et Animo, Saul embraces each ballet as its own world. His approach is rooted in honesty, whether channeling the legendary energy of The Rolling Stones, finding balance in sprightly choreography, or drawing from personal memories to make movement feel lived in. In this conversation, Saul shares how he shifts mindsets between such contrasting works, the rituals that help him reset, and what he hopes audiences take away from experiencing these journeys in one evening.

What has it been like preparing for three very different works in Rock and Roll and Tutus—Illuminate, Rooster, and what i was thinking while i was waltzing?

It’s been exciting but also really demanding. Each ballet requires a completely different headspace and physicality, so rehearsals feel like I’m shifting gears constantly, but that variety is what makes this program so rewarding as a dancer.

How do you balance the physical and artistic demands of performing such contrasting pieces in one program?

I try to treat each ballet like its own world, with its own energy. Physically, that means adjusting how I pace myself through the program, knowing when I can push and when I need to conserve energy. Artistically, I remind myself that the audience deserves to see each piece as fully lived in as if it were the only one on the program.

How does the movement vocabulary in Illuminate push or challenge you as a dancer?

It’s incredibly energetic and sprightly, but the second movement pas de deux is a change of pace. The challenge for me is balancing the energies throughout the ballet. It pushes me to really connect to the music and the other dancers in the space. I’m just covering this piece but have had some lovely studio moments.

Do you approach a work like Rooster differently since it has such an iconic rock soundtrack and bold characters?

Definitely. The Rolling Stones music is so legendary that you feel an instant responsibility to match that energy. The beauty in this work is that all the characterization is built into the incredible choreography by Christopher Bruce. The challenge has been actually doing less, and letting the physicality tell the story.

How do you bring your own interpretation into a piece that feels so reflective and personal?

My approach to all three pieces is to strip things down and dance from a place of honesty. I try to bring my own memories and emotions into it, so that the movement isn’t just steps, but something more intimate. It feels less like performing and more like sharing.

How do you shift your mindset when moving from one ballet to another in the same evening?

I have little reset rituals backstage, sometimes just a deep breath in the wings, but other times simply putting on the costume of the next ballet gets me in that world. I try to leave behind whatever character or energy I had in the last piece, so I can step fully into the next one. The contrast is what makes the evening so thrilling, but it takes focus to switch gears that quickly.

What do you hope audiences take away from seeing you dance across these very different works?

I hope they see the versatility of ballet today! The joyfulness of Illuminate, the swagger of Rooster, the quiet reflection of what i was thinking while I was waltzing, and the celebration of classical ballet in Vi et Animo.

If the audience leaves feeling like they’ve gone on a journey, then we’ve done our job.

You’ve taken on such a wide range of roles this season—what would you like to explore next in your career with Houston Ballet?

I’d love to continue exploring dramatic, storytelling ballets, that really push me emotionally, while also tackling pieces that challenge me physically. Works that scare me at the beginning are always so fulfilling to tackle.

Are there choreographers or ballets on your “dream list” that you’d love the chance to perform?

There are so many. I’d love to dive into works by Crystal Pite, her language is extraordinary. Jiří Kylián’s ballets are also at the top of my list, they’re timeless and speak to the soul. I would also love to perform Stanton Welch’s Just pas de deux, originally created on Chun Wai Chan and Nozomi Iijima while I was in HBII. I remember sitting in the audience in awe. I love that pas so much, and it would mean a lot to dance it one day.