Born
in Scotland and raised in England, Wheater, 48, was trained at the Royal
Ballet School. As a young dancer, he was cast in 
numerous
productions at the Royal Opera House, including The Sleeping Beauty,
Giselle, Romeo
and Juliet, Anastasia, and Rudolf Nureyev’s Nutcracker. At the
age of thirteen, he worked with Sir Frederick Ashton on the world premiere
of Benjamin Britten’s Death in Venice, a production in which Wheater
performed throughout England and Europe. In addition, he performed Marguerite
and Armand with Rudolf Nureyev and Margot Fonteyn at the London Coliseum.
Wheater began his professional career with The Royal Ballet and joined
London Festival Ballet on the advice of Nureyev, where he danced Romeo & Juliet,
The Sleeping Beauty, Swan Lake and many other works. After two years
he was promoted to principal dancer. In 1982, he joined The Australian
Ballet, and under the direction of Marilyn Rowe, danced a multitude of
roles in both classical and contemporary works. He also was a guest performer
in Western Australia and Asia with Barry Morland, who created several
ballets on him. It was in Australia in 1984 while Mr. Arpino was staging
Suite Saint-Saens for The Joffrey Ballet there, that he saw Wheater dance
and invited him to join the Company, which Wheater did the following
year.
From 1985-1989, as a member of The Joffrey Ballet, Wheater worked with
Robert Joffrey and danced in many American works by choreographers such
as Mr. Arpino, William Forsythe, Eugene Loring, Mark Morris, and Laura
Dean, in addition to performing the lead in numerous Sir Frederick Ashton
and John Cranko works.
In 1989, Wheater joined San Francisco Ballet, dancing lead roles in nearly
all of the Company’s full-length productions, including Romeo & Juliet,
Swan Lake, The Sleeping Beauty, and Nutcracker. In addition to performing
a vast repertory, Wheater had many works created on him by choreographers
such as San Francisco Ballet Artistic Director Helgi Tomasson, James
Kudelka, Bintley, and Morris, among others. In 1996, Wheater ended his
dancing career after suffering a major neck injury.
After a long and successful career as a principal dancer, Ashley Wheater
assumed the role of ballet master with San Francisco Ballet in 1996 and
was named assistant to the artistic director in 2002. He continued to
perform principal character roles with the Company, including Drosselmeyer
in Tomasson’s current production of The Nutcracker and Kitri’s
father in Tomasson/Possokhov’s Don Quixote.
"
Ashley Wheater was our unanimous choice as the ideal person to succeed
Mr. Arpino as Artistic Director of the Joffrey. He embodies all of the
characteristics we are seeking: understanding and respect for the unique
place The Joffrey holds in the ballet world, vision to lead the company
to new artistic excellence, rapport with the dancers, leadership experience,
a fantastic network of colleagues and friends in the international ballet
universe and, most wonderfully, a love of Chicago and appreciation for
the importance of The Joffrey to Chicago. We interviewed an impressive
group of highly-qualified candidates, but no one matched Ashley in his
overall qualifications. We are delighted to announce him as our new artistic
leader," said Pamela Strobel, Joffrey Ballet Succession Committee
Chair.
Added Jon H. Teeuwissen, Joffrey Ballet Executive Director, “Ashley
brings a rich tapestry of dance experience that encompasses everything
Joffrey – from dancing the works of Ashton and Tudor at the Royal
Ballet to working directly with Robert Joffrey and Gerald Arpino during
his years with the Company to establishing an eclectic international
network of emerging choreographers that he has worked with during his
tenure with the San Francisco Ballet”.
"
I am delighted that Ashley has been asked to lead The Joffrey Ballet
and I think it's a great opportunity for him," said San Francisco
Ballet Artistic Director and Choreographer Helgi Tomasson. "I've
had a wonderful working relationship with Ashley in his many capacities
at the San Francisco Ballet, not only as a dancer, ballet master, my
assistant, and as a character dancer, but also as a colleague and friend.
I have no doubt he will rise to this new challenge and I wish him all
the best in his
new endeavors."