Dancer Spotlight: Betty Moler
Photography by Edie Tyebkhan
1. Tell us a little about your dance background, how long you have been dancing, and what inspired you to pursue ballet.
I have been dancing since I was 3 (so basically as long as I can remember). As a kid, I tried many different activities but always ended up gravitating back to ballet—I’ve always loved how pretty and graceful I feel doing it. It’s also the hardest thing I’ve ever done, and that challenge kept me coming back to class every day.
I started my training in the Bay Area at Contra Costa Ballet, then went to Pacific Ballet Conservatory in middle school. In high school, I attended the American Ballet Theatre William J. Gillespie School. I later pursued a degree in dance at Texas Christian University, where I trained in both ballet and modern dance. After graduating, I wasn’t sure what part of the dance field I wanted to pursue—but just like when I was a kid, I found myself gravitating back to ballet. It feels like home, and I couldn’t be happier to have found that again through Little Women Ballet.
2. What are the specific challenges of portraying your character through dance in Little Women?
My favorite scene in Little Women is Meg’s wedding scene. There’s something very special about almost the entire cast being on stage together—everyone is so deeply committed to their characters that it truly feels like you’re immersed in the world of the story.
I loved watching everyone dance during this scene; my reactions were always genuine because I was so impressed and amused by what was happening around me. The end of the wedding scene is especially moving—there’s a section where we’re all clapping together before breaking into dance, and I would get chills feeling the energy of everyone in the room working as a team to bring the moment to life.
3. How do you approach telling a story through dance movements and expressions?
I approach storytelling in dance by first isolating the emotion I’m trying to convey and allowing myself to feel it genuinely. Then, I let both the choreographed and spontaneous movements come from that core emotion. For example, anger might show through sharper, stronger movements, while sadness often appears in softer, more solemn moments.
4. What message or emotion do you hope to convey to the audience through your performance?
I hope the audience feels the connection we share as a cast and becomes truly invested in the story and its characters. As a corps member, I love being part of the world-building—the creation of the environment the March sisters live in. It’s a joy to help bring that world to life and share it with the audience.
5. How do you work with the choreographer and fellow dancers to convey the overall narrative of Little Women through your movements?
Emma always does a fantastic job of setting the scene and explaining the story behind each moment. What I appreciate most about this company is that everyone is wholeheartedly committed to their characters and to the story. When everyone gives their heart, the narrative naturally flows through us as a cohesive company.
I’m always open to Emma’s notes and love incorporating her ideas into my dancing. The narrative is essential to this ballet, so I’m constantly looking for ways to support and enhance it through collaboration with my fellow dancers.
6. What do you hope the audience takes away from the production after watching your performance in Little Women?
I hope the audience is enchanted and touched by Little Women. There’s a magic to live ballet that is never lost on me, and if the audience can feel that energy emanating from the stage—if they can be transported by the dancers and the story—then I believe we’ve given a truly successful performance.
