About

When Chris first created the ballet for San Francisco Ballet in 2001, I served more as a friend and past collaborator. Having designed "Morphosis" with him earlier, I offered thoughts on color and tone over the phone, and gave my blessing for the company to revisit and adapt elements from those original costumes. It was a modest contribution, but one rooted in a shared visual language we had shaped together over our many years of collaboration.

Chris and I have worked side by side for many years now—nineteen ballets and counting—and there’s an ease in that history, a kind of shorthand that doesn’t always require formal roles. Sometimes it’s simply about being present, listening, and supporting the work as it finds its own clarity.

Seeing "Continuum" again—this time at New York City Ballet on May 1, 2026—felt like a return not just to a ballet, but to a moment in time. The piece remains as compelling and timeless as ever, spare in its design yet rich in its visual and emotional resonance, thanks in part to Natasha Katz's beautiful lighting.

What made the evening especially meaningful was the reunion it inspired. Being with Chris, his husband Ross, and so many dear friends and colleagues from the 00's reminded me how much of this work is built on relationships—on years of shared experience, creative risk, and mutual respect.

Sometimes the most lasting contributions are the quiet ones. And sometimes, simply being part of the circle is enough.