By Barbara Mizoguchi
NAP Editor-in-Chief
Meet Yuki Takahashi. She is a 27-year-old professional dancer. A few months after her parents moved from Japan to Dallas, Texas for her father’s job, Takahashi’s mother asked if she would be interested in ballet classes. At three years old, Takahashi studied at the Ballet Academy of Texas and performed in The Nutcracker. As a teenager, Takahashi was a recipient of the 2014 Kittie La Pointe Memorial Scholarship provided by the Dance Council of North Texas. It was clear she was on a fast track even from such a young age.
Yuki Takahashi. Unknown date. Photo credit: Dan Lao.
Because of work, Takahashi’s father then moved the family to New York City. Takahashi was 16 years old, ready to pursue more rigorous training, and wanting to work toward a professional career. In 2016, she studied at the Ballet Academy East in New York City and took summer courses at the American Ballet Theatre’s Jacqueline Kennedy Onassis School in New York City and Pacific Northwest Ballet (PNB) in Seattle.
Later, Takahashi’s teacher, Peter Frame, (and her brother who is now a soloist at New York City Ballet) encouraged her to audition for the PNB School Scholarship. In 2019, she received a full scholarship and continued her training as a professional division student. After two years, she became an apprentice with PNB. Later that year, she was promoted to the corps de ballet (ensemble of dancers). PNB Artistic Director Peter Boal said, “Her clarity of line and clean technique suit any role — classical or contemporary — from the bravura turn of Square Dance to the romanticism of Emeralds.”
Then COVID-19 happened. Washington State Governor Jay Inslee announced that all non-essential activities including live performances would be cancelled. But PNB survives on ticket sales and patrons want to see live performances. Also, One Thousand Pieces was set to open at McCaw Hall in Seattle. Instead, dancers continued practicing in the studios in pods of five dancers for a filmed, dress rehearsal. The film would then be available to the public online. Takahashi said, “I remember that week was really devastating because we all had worked so hard on it . . . and it all came down to this one dress rehearsal that we barely made it to.” That was when PNB decided to go online for the duration of the pandemic by providing digital seasons. The public would be able to purchase tickets online and stream the performances. The first digital season consisted of six new archived works. It also included a behind-the-scenes look with Five Minutes Call, an introduction to each piece’s background called Ballet Talk, and conversations between Boal and featured dancers called Meet the Artist (which continues today).
Takahashi with corps de ballet dancer Dylan Calahan in PNB’s George Balanchine Square Dance 2024. Photo © Angela Sterling.
In November 2025, Boal made an announcement of promotions, one of them being Takahashi becoming a soloist. Boal said, “Her talent and experience demand a stronger spotlight. It’s Yuki’s time to shine.” Takahashi said, “I always dreamed of becoming a soloist but also understood that I need to become a dancer that is worthy of a title like that. . . I definitely focused a lot on refining my technique and building the confidence to trust myself on stage.” That is what makes Takahashi unique from other dancers. She is known for her legs slicing the air like darts. She can perform nonstop with exact timing and precision. Her ease draws the audience in.
Although Takahashi is incredibly proud and grateful for the promotion, she would be interested in becoming a principal dancer someday. However, if it is not in the cards, Takahashi said she is at peace with it. “The
work doesn’t change regardless.” Takahashi loves the way ballet makes her feel and the constant challenges to overcome. She finds it almost addicting to be precise “but as a child I remember constantly feeling like there was little room for error.”
Takahashi’s connection with her Japanese heritage is unique. She was recently the illustrator for the set design of Momotaro. It was a ballet performance in Seattle about the Japanese children’s folktale which Takahashi grew up with. During the performance dates in the lobby of McCaw Hall, there were a variety of booths from the local community displaying their Japanese and Japanese American organizations.
When Takahashi is not performing, she teaches summer courses, private classes and/or performs as a guest for other dance companies. She loves to travel, ski, be outdoors, attend live music shows, and enjoy wine. She even attempts to crochet.
If you have not seen Takahashi perform, attend one of PNB’s productions. One does not need to know ballet or dance techniques. Come and see the athleticism, talent, and precision of the male and female dancers. PNB is one of the top-ranked and highly regarded ballet companies in the U.S. It is also one of the top three professional ballet schools in America known for its rigorous curriculum and exceptional faculty. Like the prestigious School of American Ballet, PNB maintains the same professional standards and classical foundation. It has also gained a superb reputation as the company tours globally. See pnb.org for more information and tickets. You will be in awe of these dancers.
