This weekend’s season finale, The OBT Collection, marks the final performances of beloved principal dancers Brian Simcoe and Carly Wheaton. Before the curtain rises, they reminisced about their favorite roles, retirement plans, and what they’ll miss about OBT.
What first drew you to ballet?
Brian Simcoe: As a kid, I was inspired by the Olympic figure skaters. I was always spinning around the house. It was my dad, actually, who first got me into a dance class. I was convinced I was going to hate it. But as soon as I did my first pirouette, I was hooked. A few years later, I started to focus on ballet specifically. I was drawn to the structure and the discipline. And I really loved all the detail-oriented work in ballet. It wasn’t until after high school that I decided to make a career of it. I thought, why not give it a shot when my body’s young and able? So I auditioned for OBT School. That first year, I was just immersed in ballet. It was eye-opening. I was taking adult classes every morning and then OBT School classes every evening. I grew so much that, at the end of that year, I was asked to be an apprentice with the company, which was thrilling, obviously. And the rest, I suppose, is history. With OBT not being a super large company, I was given a lot of opportunities from the very beginning. I have to thank Christopher Stowell for that, because he really pushed me out there.
Carly Wheaton: I went and saw my friend Danny in The Nutcracker—We were both seven at the time. And I immediately thought, “Okay, how do I get on stage?” Performing stood out right away as something I enjoyed doing. It wasn’t until later around age 11 or 12 that the technical pursuit became addictive. I found that the harder I worked, the more I got out of it. And that was extremely enticing and exciting.
As you reflect on your time at OBT, what are some highlights?
Wheaton: I performed Christopher Bruce’s Hush. That was a definite career highlight. And then getting to work with and getting coached by him. That process was extremely fulfilling. Working with Dani Rowe on Wooden Dimes, I felt like I learned so much from that process. And getting to perform that role felt like nothing I’d ever experienced before. Giselle is my favorite classical ballet of all time. Getting to do that here was just so fulfilling. Having the support of my friends, and getting to tell that story. Her sort of being a human who becomes something ethereal, I think, is just the biggest rush.
Simcoe: It’s wild to think that I’ve been a principal dancer for 13 years. I remember when I was promoted to soloist in 2011, there was a choreographer, Nicolo Fonte, who was going to be creating a new work, Petrouchka, the following season. He had let me know that he was planning on creating a role on me. So I had that whole summer to bask in the excitement and anticipation of having a role created on you for the first time. It’s a very special thing for a dancer.
Another role that’s very memorable is Jerome Robbins’ Afternoon of a Faun. I did that pretty early in my career, and it’s a beautiful piece. It’s just two dancers who enter this dance studio, and the start to interact with each other. The audience is the fourth wall, where the mirrors would be. It’s quite clever. Bart Cook set that ballet on us. He set several Balanchine ballets on the company over the years, but I got to work most closely with him on that one. I remember him really teaching me how to tap into that gut feeling, that sort of human primal energy that we have, and how to access that and use that in whatever movement you’re doing.
Romeo & Juliet is another highlight. I just love the drama and the acting. James Canfield is an incredible partnering coach. His choreography is very long and lush, and I learned a lot from him during that time.
One of my other favorites is a piece by Helen Pickett called Petal. The movement was so organic and felt so good on the body. What I appreciated most about that piece is that she built in these quite lengthy sections of space where the dancers could improv. I remember having to be extra present and in the moment because you would always want to come up with something new and fresh every single time you performed it. I remember just really living in that piece.
Brian, in your 22 years at OBT, are there particular partnerships that stand out to you?
Simcoe: I’ve seen Oregon Ballet Theatre go through so many changes over the years, and I’ve gotten to see and be able to work with and partner with so many incredible artists. It’s wild to think about. They’ve come and gone. One thing that has remained the most constant here has been the feeling of family and community. Just the sense that we’re all supporting each other and lifting each other up.
That’t honestly the reason why I’ve stayed here for so long, because of that unspoken sense of generosity and love among the dancers. It really makes all the difference in the world.
I think the one partnership that has had the most impact on me is my work with Xuan Cheng. We started partnering together pretty much as soon as she joined the company. We’ve done so many OBT productions together, but also collaborated on a lot of projects outside of OBT. I was once described as the water to her fire. I think that contrast of energies is why we were able to create such real magic in the studio and on stage.
Since coming to OBT, how have you changed as a dancer?
Simcoe: I joined the company at 19 years old. I was young and fresh, working so hard, learning so many roles, and having so much fun doing it—and then you look up for a moment and all of a sudden, you’re the oldest person in the room. I was like, “How did I get here?” It’s hard to describe that journey. It’s like growing up in the company. I’ve changed so much. The company’s changed so much. It truly feels like home.
My very first Nutcracker, I was partnered with Gavin Larsen. I remember when I was in the wings as I was about to lead her on stage, I was physically shaking. And I’ll never forget this: I remember she turned to me and squeezed my hand and said, “Breathe.” She was so kind and generous. And it was great. Now, with my last Nutcracker, I was able to partner a brand new Sugar Plum. It feels like such a journey and a privilege to be on the other end of that, being able to give back that experience to the younger dancers. It’s very special.
Wheaton: The first thing I performed with Brian was The Nutcracker, doing Grand Pas together. We danced it again in 2025, and right before we would come on, he’d look at me and say, “Are you ready?” And I’d go, “Yep.” And we’d go out. The last time we did it, I remember him looking at me with this massive smile. Just sharing that little moment before you’re about to do something kind of hard but exciting. That’s really special to share with him.
My entire time at OBT I felt like I had to pinch myself to be like, “Is this real? I’m enjoying this. Wow.” I think I have the culture and the people here to thank for that. Since coming here, rehearsing and performing has just been fun. There’s an opportunity to play. We strive for excellence, we all work really hard, but there is this like room to play and figure out who you are within this art form and this place. Having that freedom has been the biggest gift of my life. I’m very, very grateful.
What are you going to miss most about this chapter of your life?
Wheaton: I’m going to miss seeing everyone every day. I think there’s something so unique about working together eight hours a day in one room. You automatically speak the same language and understand each other, and lift each other up. So that sort of sense of community, that unique community, I’m going to miss so much.
Simcoe: The dance studio is really a space like no other. It’s a space that’s buzzing with potential and creativity, right? You get to show up to work every day and enter that space. You’re always striving, pushing your body to its limits, pushing your mind to its limits, and pouring your heart out in front of all of your friends and co-workers. It’s an incredibly vulnerable exercise. You also get to be a witness and supporter for all your friends doing the exact same thing. The audience, bless them, they only get to see a fraction of that during the performance. But that is every day for us, and that’s what I’m going to miss the most. Sharing that space with those people.
Any plans for the next chapter of your life?
Simcoe: I’ve spent so much time in this one career, I’m just looking forward to experiencing life outside of that.
Wheaton: I’ll start nursing school in the fall of 2026. And I hope to graduate with my RN and my bachelor’s degree in the summer of 2028. I hope to really pour myself into this next career and work just as hard at it. It will be different, but I’m so excited about how different it will be. I also really want to keep dancing for fun. Oh, and sit in the audience! I think I’m going to enjoy that quite a lot.
Any parting words for your audience?
Simcoe: To all of the audience members who’ve been following me in my career since the very beginning, I just want to say thank you. It’s been a privilege and an honor, truly, to be able to share my joy and my artistry with you.
Wheaton: Thank you for supporting art and supporting all of us. It has been the greatest gift of my life to dance here. I’m going to miss it, but I’m just so happy I got to experience it. So thank you.
The whole En Face team sends our congratulations to Brian and Carly on their incredible careers, and our best wishes for their next adventures!
Oregon Ballet Theatre’s The OBT Collection will be performed at the Patricia Reser Center for the Arts on June 11–13. Click here to learn more >>
This interview was originally published in Oregon Ballet Theatre’s The OBT Collection magazine. It is republished here courtesy of Oregon Ballet Theatre.
Featured Image: Carly Wheaton and Brian Simcoe in Christopher Stowell’s Swan Lake. Photo by Yi Yin.
