“It’s just not going to get any better than this.”
She places a foot on the opposite knee as she speaks, demonstrating a hip that is far more limber than most. Her hands ruffle like a flag in the wind, as if they have no bones. And the reactivity of her facial muscles is a show in itself—just one of the many gifts she brings to the stage, whether she is at home or guesting with the Mariinsky Ballet in Saint Petersburg or The Royal Ballet in London.
For a dancer as renowned as Hodgkinson, who has had numerous roles and full ballets created for her, choosing how tois tricky. Some principals return to an old favourite, but Hodgkinson didn’t want her final performance to be clouded by memories of how she had danced the role when she was younger. Others go out with a bang, like Wendy Whelan, for whom a brand-new work was created when she retired from the New York City Ballet at age 47. “I thought, ‘Wow, that’s so brave!’” says Hodgkinson.
She admits that age was a consideration when she and Kain started talking about her future a few years ago. “I didn’t know how I was going to feel in another two or three years, and I didn’t want to set myself up for something and then get there and feel that I didn’t know if I could do it as well as I wanted to,” says Hodgkinson, who left her home in Rhode Island at age 11 to attend Canada’s National Ballet School and then joined the company at 16.
Hodgkinson chalks up her longevity to a combination of daily physiotherapy and the guidance of Magdalena Popa, the company’s principal artistic coach. “She has worked with me through almost every role I’ve ever done,” says Hodgkinson. “Understanding how to build up to a role is super-important. So like a marathon runner, you know that on a certain day you need to be your best.”The only major issue she ever had was when she was 21 and fractured her foot rehearsing.
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