For Janek Schergen, Singapore Ballet’s 2025 season isn’t just a performance—it’s a reflection of the company’s rich, diverse identity. “It captures all the unique identities of Singapore Ballet through the repertoire we will present onstage, from beginning to end,” says its Artistic Director.
Swedish-born Schergen, who trained with legends such as Richard Ellis, Christine DuBoulay, and Benjamin Harkarvy, was the ballet master at The Norwegian National Ballet prior to joining Singapore Dance Theatre (SDT) as Assistant Artistic Director in 2007 before it was renamed Singapore Ballet. He became Artistic Director in 2008.
Founded in 1988 by Goh Soo Khim and Anthony Then, SDT played a key role in fostering local arts and culture. Its 2002 production of Boi Sakti’s Reminiscing the Moon inaugurated Esplanade – Theatres on the Bay.
Its legacy continues with Singapore Ballet. With just seven dancers in 1988, the team now numbers 38 under the premier ballet company. Every year, it performs six seasonal productions, including three full productions at the Esplanade, under Schergen’s leadership.
Here’s a little more about him and what you can expect from upcoming shows.
Tell us about your journey into ballet and what inspired you to become an artistic director.
I trained as a dancer in my teens and received my first professional contract at 19. After dancing professionally for 13 years—first with the Royal Winnipeg Ballet, then Pennsylvania Ballet, I became a teacher and rehearsal director for Pennsylvania Ballet in 1979 and was invited to be the ballet master for the Washington Ballet in 1982.
I taught ballet, specifically pieces by the late Singaporean dancer and choreographer Goh Choo San, who was Washington Ballet’s resident choreographer at that time.
When SDT established in 1988, I taught its dancers two ballets, Beginnings and Raymonda, for its debut performance. After returning every year to teach, I decided to move here permanently in 2007.
In your career, what experiences shaped your approach to ballet direction?
Choreographic structure, musicality, and details have always fascinated me. Performing well on stage depends on these factors. I like to balance the repertory with traditional classical ballets, neoclassical pieces of pure dance, and entirely new choreographic creations.
Goh Choo San was known for collaborating across numerous art forms. In what ways do you continue this interdisciplinary legacy with Singapore Ballet?
As a choreographer and dancer, Goh played a large role in the birth of our company. Over the past 37 years, we have created careers for our dancers, whether as teachers, choreographers, or in many other capacities. It’s all about moving things forward from the ground up. What is happening now could not have been achieved without his legacy.
What advice would you give to young dancers and choreographers?
In retrospect, dance careers are the best experiences to have. All successful dancers
and choreographers endure pain, but they also have stories of strength, support,
and perseverance.
In conjunction with Singapore Ballet Season 2025, the company will present an original production called Peter & Blue’s School Holiday from 26 to 29 June. What can you tell us about that?
Children’s ballets, especially those that tell stories, are particular favourites of mine. In the Peter & Blue series, children’s books come to life on stage. Fun, music, and movement all contribute to the experience.
What other highlights will this new season bring?
From 18 to 20 July, the Singapore Ballet Festival presents works by international choreographers, including Goh Choo San, Tim Rushton, and Ma Cong.
In addition, from 31 October through 2 November, the Passages Contemporary Season will feature four works by Natalie Weir, Alice Topp, Timothy Harbour, and Christina Chan, whose Meeting Point was first choreographed for Singapore Ballet in 2023.
What else do you hope audiences here will gain from these presentations?
Music, drama, dance, literature, and visual arts enrich our daily memories and experiences. As part of our 37-year history, I hope to offer our audiences a wealth of new ballets alongside the valuable repertory we have established. There are too many new ballets I want our dancers to perform!
