Brian Heil has good reason to believe that his career as a ballet artist was his destiny: His ability to work consistently and contribute to the dance community in his hometown is a rarity.
“At multiple points in my life, I didn’t think that this is where I would be,” itted Heil, a principal dancer for City Ballet of San Diego, who also teaches and performs with The Rosin Box Project.
“But something has called me back to dance over and over again.”
Like many ballet artists, Heil’s interest was inspired by “The Nutcracker” as a child.
He told his “always ive” parents (mom is a judge, dad is retired) that he wanted to “shoot the cannon that blasted the mice with cheese.”
Heil took lessons at the San Diego Academy of Ballet (where he currently teaches), graduated from high school and attended Vassar College in New York, where he continued dance studies under the tutelage of John F. Meehan.
He graduated with a computer science degree and considered a lucrative job in the tech industry, but Heil’s dance professor convinced him to pursue a career in the arts.
It’s not an easy path.
Ballet is a lifestyle that requires continuous conditioning, off-season side jobs, a body type that fits the needs of a particular company, partnering skills and, well, a lot of luck.
Typically, girls get all the glory and male dancers in the United States, both straight and gay, are subjected to stereotyping, despite achieving a significant level of athleticism and creativity.
Fewer than 10 percent of ballet students become professionals and many drop out because it’s a financially risky, short-lived career that requires a high level of commitment.
After college, Heil auditioned and was accepted into a two-year apprentice program at Ballet Austin in Texas, but when the program ended, he wasn’t hired.
“At the time, it was pretty devastating,” Heil said. “I loved the company. Basically, they didn’t have a spot that fit my skill set and body type.”
Professional ballet companies will invite directors from organizations worldwide to audition trainees who don’t match the qualifications for company openings.
And dancers seeking a contract will live where they are hired — finding a job in one’s hometown is an anomaly.
Directors from all over the country were invited to audition Ballet Austin students, including City Ballet of San Diego artistic director Steven Wistrich.
“I had no idea Brian was from San Diego,” Wistrich said during last month’s rehearsal for “Swan Lake,” starring his daughter, ballerina Ariana Gonzalez as the White Swan, opposite Heil as Prince Siegfried.
“It was just fortuitous,” Wistrich said. “I said it would be wonderful for you to come home and dance for us.”
Heil enthusiastically accepted the invitation to City Ballet in 2016 and he is now known for his partnering skills.
At 6 feet, 2 inches, Heil easily accommodates the extra height of a ballerina on pointe shoes.
Favorite roles in past City Ballet productions include Tybalt in “Romeo and Juliet,” because it has a sword-fighting scene, and the Banker in “Carmina Burana.”
“The Banker is a very challenging role because you’re on stage for so long,” explained Heil, who is especially adept at a tour en l’air (French for “turn in the air”) an airborne rotation that requires landing gracefully.
“You’re soaked with sweat and dead tired, but it’s technical and emotional and contemporary.”
In addition to performing with City Ballet, Heil performs with The Rosin Box Project, a contemporary company founded by Carly Topazio that he said makes him “grow as a dancer.”
He’ll dance in “Debuts” and “Ghost Light Masquerade” with The Rosin Box Project later in the year.
Coming up next is a featured role in the City Ballet production of “Carmen” in May.
In order to remain at a professional level, a ballet artist must pursue a range of opportunities and roles, even if they are uncomfortable.
In 2023, Heil was invited to choreograph a work he titled “Moonlit,” inspired by the waxing and waning of the moon.
It was his first attempt at creating a dance for company artists.
“I felt that if I wanted to improve as a dancer, if I wanted to grow, it was a challenge I needed to take on,” explained Heil, who lives with his girlfriend, a former dancer and veterinary technician, and Opal, a miniature Dachshund.
“It was very exciting, but choreographing on the spot is not me at all.”
“I want concrete ideas before I step into the room. If I don’t prepare enough, I get very flustered.”
Would he do it again?
“Oh yes,” Heil stressed. “Definitely.”
City Ballet of San Diego’s ‘Carmen’ with City Ballet Orchestra and Divertimento No. 15
When: 8 p.m. May 3; 2 p.m. May 4
Where: California Center for the Arts, Escondido, 340 N. Escondido Blvd., Escondido
Tickets: $46.80-$142.80
Phone: 800-988-4253
Online: artcenter.org
