Photo by Brian Simcoe.

Coco Alvarez-Mena is a versatile and dynamic dancer. She seems to effortlessly maneuver between any style thrown her way while maintaining a cool and captivating presence. Coco was part of the inaugural class at the University of Southern California’s Glorya Kaufman School of Dance. She joined Oregon Ballet Theatre upon graduation and soon after began pursuing a Masters degree in Sport Coaching. In early July, Coco moved across the country to dance for a company in New York City. Eight days before her first day of rehearsals, the Joffrey Ballet of Chicago called.  We sat down to talk with Coco about life, dance, and her unexpected opportunity.

Can you tell us a little about your background and what brought you to this art form?

CAM: From when I was old enough to walk my parents knew I had a love for dance. I was always dancing around the house and when we’d go to see shows my mom would have to physically restrain me from trying to run up onto the stage. I started taking classes at age 2 and haven’t stopped since. Around age 10 I started taking private ballet lessons with the teacher from my local competition studio, Maria Eugenia Lorenzo, and I fell in love with ballet. From then on I knew I wanted to do it professionally.

What about this artistic expression do you find most compelling?

CAM: Dance not only allows you to express yourself emotionally and creatively, but because of its physicality, it also  releases endorphins. This combination sets the stage for a “dancers’ high. Similar to a runner’s high, it’s when everything melts away except for you, the movement, and the music. Additionally, one of my favorite elements of ballet is how dancers are constantly seeking perfection while knowing they will never accomplish it. There is always a new challenge and everyday we try to be better than we were the day before. This constant pursuit of expertise is fascinating to me. 

What do you think the future development of ballet looks like?

CAM: I like to believe that ballet will evolve with society. Some traditions that have proven to be outdated will slowly fade out as new norms take shape. For example, the stereotypical prince charming male lead rescuing his damsel in distress will be abolished as female roles begin to have more agency and male roles show more vulnerability. We’ve already seen the beginning of this evolution and I hope it continues. I believe that art reflects the time in which it was created. Therefore, we need to create new ballets that reflect current times and appeal to newer audiences. 

Coco Alvarez-Mena and Brian Simcoe in Danielle Rowe’s Dreamland. Photo by Blaine Truitt Covert.

Who has been your biggest influence in your journey?

CAM: My family. My parents and my sisters have sacrificed so much for this dream of mine. They traveled near and far to watch me perform, drove me to classes everyday, scheduled holiday celebrations around my performance schedule; and not to mention the massive financial sacrifice they took on. Amongst all of these sacrifices, they never complained but rather always encouraged me to keep going. In moments where I didn’t believe in myself, they always did. Between knowing that they believed I could do it, and wanting to make them proud, this fueled the fire inside of me to work harder everyday. I would not be where I am today without them and for that I am eternally grateful. 

If you weren’t a dancer, what would you see yourself doing and why?

CAM: As of now, the plan for when I’m finished dancing is to be a sports psychologist. However, I think I have a passion for this because of my dance career and desire to help future dancers build mental strength. Another passion I have that is completely unrelated to dance is baking. I love to bake at home as well as try as many new bakeries as possible. I am never unhappy when at a bakery, it’s impossible. That being said, I could see myself having gone to culinary school to become a pastry chef and opening up my own bakery. Could be a fun adventure, you never know! 

The University of Southern California created a truly groundbreaking college dance program, with a star studded faculty. Who were some impactful teachers that you worked with and how do you feel your experience at USC has impacted your career?

CAM: My experience at USC was above and beyond anything I could’ve imagined. I worked with so many legends from across the dance industry that, in retrospect, I don’t think I appreciated enough at the time. Working so closely with William Forstyhe is something I will always hold close to my heart. The knowledge I gained from him I use on a daily basis in class and rehearsals. It’s hard to name only a select few, but other impactful professors I had at USC include Fiona Lummis, Zippora Karz, Jackie Kopcsak, Patrick Corbin, and Moncell Durden. They each taught me technique in their respective styles, but what stuck with me the most is their belief about how one style informs another. Hip hop, modern, contemporary, classical ballet – they are all connected and beneficial towards the success of each individual technique. I pride myself on being a versatile dancer and that is because of USC and it’s incredible faculty.

You started your professional career in 2019 with Oregon Ballet Theatre and burst onto the scene. Your versatility shone through in OBT’s repertoire; ranging from a cool and rhythmic approach to Forsythe’s In The Middle Somewhat Elevated to a full and dynamic quality in Balanchine’s Stravinsky Violin Concerto. What was it like putting your professional momentum on pause with the arrival of COVID-19?

CAM: As it was for many, the breakout of COVID-19 was incredibly scary and stressful for me. Having only begun my professional career 8 months prior, I was so ready to keep my momentum going, to keep learning, to keep performing; but as we know, Covid haulted all of this for quite a long time. During the height of the pandemic the uncertainty was particularly hard to deal with. Were we going back to the studios in 6 months? A year? Ever? No one knew. Especially having gone to college and started my professional career later than most (age 22), I was frustrated that I was losing precious years of a career that unfortunately only lasts so long.  All I could do was curate a routine that helped me feel productive towards my goals. I took ballet class everyday in my living room, worked out, started my masters degree, anything I felt was a step in the right direction. Looking back I think this time really helped me strengthen my technique and develop a mindset of perseverance. However, at the time it was pretty miserable to stay positive and continue working hard. I’m glad the worst of it is behind us.

Coco Alvarez-Mena in George Balanchine’s The Nutcracker. Photo by Randall Milstein.

After 3 seasons with OBT you were ready for a change. What was your audition process like and what were you looking for with this change?

CAM: Firstly, I want to say that I sincerely enjoyed my time at OBT and would have been happy to continue working with them. I would not be the dancer I am today without my experiences at OBT and all of the artistic faculty I was lucky enough to work with. Personally, I view auditions as a tool to push me to be better. Something to work towards and keep me motivated. There were companies other than OBT that I would’ve loved to dance for; so I decided it was a good time for a challenge, to put myself out there, and see if any opportunities arose. Turns out they did! I sent my reel and resume to a handful of companies, used some of my networking contacts to get my foot in the door, auditioned live in each respective city, and was fortunate enough to be offered contracts.

You moved across the country to dance in NYC. Eight days before your start date you were offered a job in Chicago with the Joffrey Ballet. What was hearing this news like and how did you decide what to do?

CAM: If I learned anything from the pandemic it’s that you can make all the plans you want but life will always throw you a curveball. My initial reaction was pure shock, then shortly after I was ecstatic. I have wanted to dance for Joffrey since I was 15 years old, had auditioned several times but never made the cut. Hearing the news that I had finally been offered a spot was most definitely one of the happiest moments of my life so far. However, on the other hand, I realized I would be giving up an opportunity in NYC that I was also incredibly excited about and grateful for. We all have personal goals for ourselves that we hope to achieve one day and Joffrey was the pinnacle of mine. It was a dream I always hoped would come to fruition with enough hard work and perseverance. Ultimately, my decision came down to whole-heartedly following my dream without any regrets.

You just wrapped up your first week with Joffrey, how are you settling in?

CAM: I’m settling in nicely! Despite having to find a place within a week, I really love my small Lincoln Park studio apartment. There are nine new dancers in total this season so it’s nice to have a group to connect with; and the other company dancers have been extremely welcoming making the transition much easier. I have had a fascination with the city of Chicago since my first summer here in 2012. It’s pretty surreal to actually be living here dancing for my dream company. Every now and then I’m overcome with shock all over again that this is my reality. I could not be more grateful and excited to see what this year brings.

Joffrey has a very exciting 2022/2023 season line up. What are some of the works you are most excited for?

CAM: Honestly, it’s hard to pick a program in the season that I’m not excited for. Everything we’re performing is exciting to me because it will be an entirely new experience. I think I’m particularly excited for Nutcracker because of Christopher Wheeldon’s choreography and how unique it is to Joffrey. Getting to be a part of this ballet holiday tradition with a new twist will be really fun and a nice change of pace. We’re also performing The Little Mermaid by John Neumeier, Suite Saint Saens by Gerald Arpino, world premieres by Annabelle Lopez Ochoa and Chanel DaSilva, and more! There is so much to look forward to and so much to learn and grow from.

Check out Joffrey’s full season line-up here and follow @cocoalvarez and @joffreyballet for more updates throughout their season!

Thomas Baker is a retired dancer living in Williamsburg, Brooklyn. He loves all things performance, art, and design.

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