Hee Seo

Can you talk about Juliet?
Where should I start? When I first heard about getting the role, I was like, Whaaat? I was in the hallway walking to a studio to rehearse something and Georgina [Parkinson] came out. She was all excited and said, “When are we going to start rehearsing?” And I was like, “Rehearsing what?” Kevin walked by and Georgina said, “You haven’t told her!” So Kevin was like, “Oh, by the way you’re doing Juliet.” I just didn’t know what to say, so I said, “Okay…I will make the whole speech later. I am just so shocked that I don’t know what to say.” And Kevin said, “All right, come to my office tomorrow and make a speech about it.” [Laughs] It was so amazing because Alessandra Ferri’s farewell show was Romeo and Juliet, and it’s one of my favorite ballets. The steps are so precious. There are times where you’re just looking at your partner—you don’t have to do much. The choreography and the music are so perfect.

Were you learning it with Cory Stearns, who plays Romeo, or by yourself?
With Cory. From the beginning, we were going to do it together. We really created our own version. Ours is more youthful. The other Romeo and Juliets are so well groomed. Everything is in perfect shape, but ours is rough in a way. They’ve given us two or three months to prepare, which is very rare for ABT. Never happens. [Laughs] But even with the time, we weren’t experienced onstage; [at the Detroit premiere] that created a young atmosphere of dancing, and I think that was the best part. As a partner, Cory is amazing, and we really work together. It is not just me and him; I feel like when we’re onstage, we are one. I wasn’t nervous. I was so relaxed to be there with him, and I think that’s how he feels as well. So the chemistry was there. I feel so lucky and honored. It’s everybody’s dream role. And it was actually on my birthday when I did my premiere.

What a present!
I know. It was one of those unforgettable performances.

What are you doing for Juliet outside of the studio?
Like research? I watched videos. I watched movies. Olivia Hussey is so Juliet in the Zeffirelli film; she is so beautiful. And then I’ve seen the newer one, the DiCaprio one. And I found a really old movie [George Cukor’s 1936 version]: It’s in black and white. Juliet [Norma Shearer] is old. When I first played the movie, I thought, She is just too old for Juliet, but as I watched it I really liked her. I also YouTube a lot to see other dancers. Cory and I randomly meet each other on Facebook to talk about what we think it is. We are doing a lot of mime rehearsal. Sometimes people think that it’s stupid, but I think acting is a reaction: reacting to the act. If you really hear the music, everything is in it. Actually, in my first performance, when I go to get the potion, Cory came in too fast; I am supposed to run and see that he’s not there and run back. Then I feel he’s there and then I go back to him. But he was already there! Instead of running back and forth, I just kind of took my time. It’s kind of nerve-racking. [Laughs]

Are you excited or nervous to do it again?
I’m excited. I usually don’t get nervous about the show. It’s weird. Before, I have this feeling, a little nervous feeling, but when I’m onstage and feel the lights it just goes away.

You also danced the lead part in On the Dneiper this season. How did you like working with Alexei Ratmansky?
Of course, it was the ABT thing. We didn’t have enough time to rehearse everything, but he is so great. What he does is not just give you the steps, but every step has a meaning, which I feel is kind of similar with Tudor. I haven’t seen any of [Ratmansky’s] work before, so this is my first piece that I’ve seen and been working with him, but in a way I felt he was similar to Tudor. The step itself is just something like tombé pas de bourree, passé, passé—but it has a meaning while you’re doing it. I’m so glad that he came to ABT, because he will make great ballets for us. I am very excited.

What was your preparation like for La Sylphide? Did it strike you as a good role for yourself?
It’s challenging because the image of it kind of matches with me, but it is very rough because she’s the fairy of air. She has to be really light but is very stylized—the way she moves her head or an arm. The port de bras is in front of you. It’s as if you are in a corset. When you jump, you have to use your arm to prepare yourself, but you really can’t do it, so it’s hard. I’ve been jumping a lot these days. Giselle is all the jumping. Swan Lake. It’s all jumping. Jump, jump, jump.

Does it hurt your back?
No, just my legs are tired. My whole body is just tired.

What has your ABT experience been like so far?
There are a lot of impressions. If I have to put it in one way, it’s a whole learning experience. I’ve learned so much and I’m learning every day and I feel myself progressing little by little; it’s fun to feel yourself progressing. It gives me a reason why I wanted to be here in dance, and because I’ve gotten so much love from everybody on the artistic staff and all the dancers—I feel so beloved in this company. I really appreciate every single moment that I am spending here.

Do you think this is where you were meant to be? Is this where you want to stay?
Yeah, as of now, but I don’t really think about that. If something is to happen, I know that the door will open for me. It always has.

What would you like to dance?
[Laughs] I want to do everything. I am glad that they think I am suited for lyrical roles, but I want to challenge myself more to do more serious dancing, like a Black Swan. I don’t know—something with more dancing than acting. Maybe more Balanchine? But I cannot really handle a leotard look. I kind of feel weird to wear a unitard onstage. But all of them love to put me in the unitard.

Well, you have nice lines.
I don’t think I have nice lines. I have this idea that if it’s not the best it’s not good. Like Alessandra Ferri’s foot is amazing—so that’s good. But anything else is bad. I’m getting better at accepting myself; that I can still be pretty even though I don’t have Alessandra Ferri’s feet.

Do you have a lot of friends in the company?
Not really. I’m friends with everybody, but I don’t have best friends. I kind of like to be alone. It sounds kind of weird, but I do. It’s not that I’m thinking about something or doing something productive, but it’s just to be myself, alone, in a quiet place makes me feel relaxed. I need to be relaxed to be able to dance.

See more in Dance