Interview Date: May 11th, 2025

Houston Ballet soloist Jacquelyn Long traces her path from living-room pliés with her mom (a former pro) to summer intensives, HBII, and the main company. She shares how relationships and coachability shaped her trajectory, why modern/contemporary versatility now matters as much as classical technique, and how social media helps—but shouldn’t replace—the messy, vital process. We dig into audition materials, the “right” photos, favorite roles (Sylvia! Cinderella!), life as a working ballerina (weekly schedule, contracts, AGMA, benefits), pointe-shoe realities, nerves and mindset, longevity habits, and her growing passion for choreography. Plus: where to see her onstage next and practical encouragement for dancers finding their own path.

Show Notes:

(0:41) - Intro & bio; welcome Jacquelyn Long

(2:20) - How she started; early training at home

(2:24) - Mom steps back; Janina trains until 11

(3:14) - Houston Ballet intensives begin at 14

(5:31) - “Go where you’re liked” scholarships lesson

(6:49) - Relationships, coachability, work ethic matter

(12:20) - Be versatile: modern/contemporary equals ballet

(14:03) - Social media’s role; process over perfection

(16:03) - Audition toolkit: video, resume, show both styles

(18:49) - Best photos: true headshot, first arabesque

(20:32) - Favorite roles; Sylvia, Cinderella, new premieres

(22:21) - Business mindset: many paths, trust timing

(25:38) - Next chapter: choreography alongside performing

(45:16) - Contracts, AGMA, pay cadence, key benefits

(54:55) - Pointe shoes: custom Bloch, company-paid

(57:46) - Final advice; where to see Houston Ballet

Biography:

Jacquelyn Long began her ballet training under the direction of her mother, Suzanne Lownsbury, and Janina Michalski at Ballet Virginia. In 2010, she joined Houston Ballet II (HBII). After two years in the second company, Jacquelyn joined Houston Ballet as a Corps de Ballet member in 2012. Ms. Long was promoted to Soloist in 2016.

Ms. Long has performed leading roles such as the title role in Stanton Welch's Sylvia; Hermia in John Neumeier’s A Midsummer Night’s Dream; Gamzatti in Stanton Welch’s La Bayadère; Myrtha in Stanton Welch’s Giselle; Sugar Plum Fairy and Clara in Stanton Welch’s The Nutcracker; Valencienne in Ronald Hynd’s The Merry Widow; Carabosse and Princess Florine in Ben Stevenson's The Sleeping Beauty; Snow Queen in Ben Stevenson's The Nutcracker; Miranda in Stanton Welch's Romeo and Juliet. 

She has also danced featured roles in George Balanchine’s Serenade, Emeralds, Concerto Barocco, and Symphony in C; Jiří Kylián's Stepping Stones, Dreamtime, and Wings of Wax; Justin Peck's Year of the Rabbit and Under the Folding Sky; William Forsythe’s Artifact Suite and In the middle somewhat elevated; Jorma Elo's ONE/end/ONE; Jerome Robbin’s Fancy Free; Stanton Welch's Divergence, Paquita, Velocity, Maninyas, Tapestry, and Son of Chamber Symphony.

Ms. Long was also featured in the Dancer's Spotlight of the 2013 October/November issue of Pointe Magazine and in the 2013 February issue of Dance Spirit Magazine.

Connect on Social Media:

Website - https://www.houstonballet.org/

Instagram - https://www.instagram.com/jac_long/