The Last Dance

BORN AND RAISED in Oklahoma, Kara Troester Blythe has stayed close to home for most of her career. As a member of the Oklahoma City Ballet for nearly a decade, she has performed in roles ranging from the regal Sugar Plum Fairy in The Nutcracker to a menacing vampire bride in Dracula. Now planning to retire at the end of this season, Blythe joined Larry Keigwin, choreographer and ArtDesk’s dance editor, for a conversation on what’s next.

LARRY KEIGWIN: Hi, Kara. So good to see you. Is it true that you are the only Oklahoma City-born dancer in the company?

KARA TROESTER BLYTHE: Right now, yes, I am the only one. My whole family is here, and getting to have my family come to every show throughout the year without traveling, it’s just really lucky, because a lot of other dancers don’t get that. I’ve always loved dancing in Oklahoma City because I’ve always known someone in every audience, and that’s a special thing.

LK: I love that. That’s a beautiful link. Tell me about the trajectory of your career. How were you introduced to ballet?

KB: I have been dancing since I was four years old. I was not super-serious about it. My parents put me in sports, band, dance, all the things. I was doing a summer program in New York City, and I think I was twelve or thirteen and someone told me I had what it took to become a ballet dancer. For me, being from Oklahoma, I didn’t know that I could be a ballerina. I just didn’t expect to do anything with ballet. From that point on, I started taking my training seriously. I homeschooled for a year to train full-time with my teacher. When I was seventeen I did a summer intensive in Kansas City. I was a junior in high school, and the director there offered me a job. I had two weeks to decide and move to Kansas City and just start a new life, and at that time I’m not even an adult yet. My parents let me do it, and I danced in the Kansas City Ballet for two years.

LK: I think that there are some amazing characteristics that are universally inherent in all ballet dancers, and that’s the discipline, the drive, the sense of responsibility, and, honestly, the bravery. Moving to Kansas City at seventeen, that takes a lot of courage to go to the unknown.

KB: Yes. In 2017, I ended up auditioning for the Oklahoma City Ballet. I started in the studio company, and then I was promoted into the corps de ballet, where I’ve been for the last six or so years. In Oklahoma City, I’ve danced everything from the corps to Odette in Swan Lake.

LK: What are you looking forward to this season?

KB: I’m excited for [the choreographic showcase Future Voices]. I am choreographing for the first time.

LK: Can you tease us with any ideas you’re working on?

KB: I am using some gospel-type music, and I want to mimic the kind of movement of a choir. I want to use ten dancers, which I know is ambitious, but I am excited for it. Might as well go for it.

LK: I look forward to seeing that. Do you ever teach dance or have a role in mentoring younger dancers?

KB: I do teach. I love it. I teach the adult ballet class here at the ballet. I find that as such a gift because I taught kids for so long, and it is so fun to teach kids and guide them, but it’s also so hard.

LK: The adult ballet class is different. They are coming to the studio for a genuine interest versus, you know, a child who might be going because a parent is encouraging them.

KB: It’s been really fun to teach adults and help these adult dancers find the joy of ballet again because there’s no pressure. That’s why I’ve gravitated toward teaching adults. I know you do this, too. It’s just so fun seeing people dance for the joy of it.

LK: So let’s fast-forward. I’m curious if you’ve given any thought to what your post-dance life looks like.

KB: I am going to go to physical therapy school in June. It’s a big transition, but I’m really excited.

LK: Have you been thinking about that for a while?

KB: I have. In 2020, during the pandemic, I started taking classes. My undergraduate degree is in exercise science. I’m very grateful because I get to decide for myself. I didn’t let an injury force me into making a decision. I’m hoping to savor the next few months knowing that the end is near.

LK: I think all dancers are so acutely aware of their own body. And you can probably give intuitive therapy because of how long you’ve been in-body.

KB: Yes, so much of it just made sense to me. I have twenty-plus years of experience training my body in a very specific way. It’s helped me a lot, and it’s only going to continue helping me.

LK: Do you have a retirement performance date?

KB: It will be that last weekend of shows for the season, May 8–10, 2026.

LK: Kara, how wonderful! A final performance before you transition into yet another beautiful career.

KB: Thank you. I’m very excited.