is a co-founder and co-artistic director of New York Dance Project. He works with the Bolshoi Ballet Academy in Moscow as an International Program Director, and he is a repetiteur for the Gerald Arpino Foundation. He is the former Artistic Director of the Joffrey Ballet School and the Joffrey Ballet Concert Group, the pre-professional company founded by Robert Joffrey in 1981.
Robertson has mentored hundreds of aspiring dance students into the professional dance world and supported emerging and established contemporary choreographers such as Africa Guzman, Gabrielle Lamb, Roger C. Jeffrey, Brian McSween, and Dwight Rhoden. A sought-after teacher both nationally and internationally, his teaching credits include the Juilliard School, New York Theater Ballet, the Bolshoi Ballet Academy in Moscow, Steps on Broadway, Purchase Conservatory, and the Florida Ballet. His article on contemporary dance pedagogy was presented and published by the Bolshoi Ballet Academy in the proceedings of the 2012 conference on contemporary dance in Moscow.
A former Joffrey Ballet principal dancer, his roles included the Cavalier in Robert Joffrey’s The Nutcracker, Death in Kurt Jooss’ The Green Table, Petruchio in John Cranko’s Taming of the Shrew, the title role in Nijinsky’s Afternoon of a Faun, and David Parson’s Caught. He was also a member of the Metropolitan Opera Ballet, Pennsylvania Ballet, Lar Lubovitch Dance, and performed in Twyla Tharp’s Movin’ Out on Broadway. Film credits include Robert Altman’s The Company, Mavericks of American Dance, and Paramount’s Save the Last Dance. As a choreographer, Robertson has created works for the Joffrey Ballet, the Bolshoi Ballet Academy in Moscow, Mikhail Baryshnikov, the Milwaukee Ballet, and many others. Hedy Weiss of the Chicago Tribune has described Robertson’s choreography as “a genuine stunner — a thrilling, elegant, vibrantly sensual abstract work that demands bravura dancing” and in Dance View, Marina Harss recounted how his choreography “sustain[ed] a high level of complexity… while at the same time maintaining clarity and momentum… revealing its [musical] layers and textures in surprising and illuminating ways.” His latest commission is his fourth work for Gus Giordano Dance in Chicago.
is a co-founder and associate artistic director of the New York Dance Project. She danced with the Joffrey Ballet for over a decade, based both in New York and Chicago. She is a répétiteur for the Gerald Arpino Foundation, most recently staging Arpino’s Suite St. Saens and Light Rain. She currently teaches the Ballet Hispanico company in New York and serves as classical ballet advisor for the Ballet Hispanico School of Dance.
During her time at the Joffrey, she danced in works by Joffrey, Arpino, Ashton, Balanchine, Cranko, DeMille, Jooss, Limon, Massine, Nijinska, Page, and many others, touring worldwide and performing in theaters such as the Theatre des Champs-Elysees in Paris and the New York State Theater at Lincoln Center. Her roles included Clara in Robert Joffrey’s Nutcracker and featured roles in the Diaghilev revivals and Arpino repertory. She also performed the classical repertory as a principal guest artist in productions of Giselle, Swan Lake, Sleeping Beauty, and others.
Ms. Duffy was a ballet master for the Joffrey Ballet Concert Group and on the faculty of the Joffrey Ballet School, where she taught ballet, pointe, variations, Joffrey/Arpino repertory, and designed and implemented the curriculum for dance history. She has taught nationally and internationally, including workshops in Florence, Italy and Rio de Janeiro, Brazil. Many of her students have gone on to professional careers in companies such as Ballet West, Boston Ballet, Complexions, Charlotte Ballet, Cleveland Ballet, and Dance Theatre of Harlem, to name a few. She was raised in San Juan, Puerto Rico, where she began her training with Ana Garcia and Maria Carrera at Ballets de San Juan. She has a B.A. in Art History from Columbia University, and is a master’s candidate at New York University’s Gallatin School. She has been a guest panelist at the Juilliard School and Barnard College, and her writing has been published in The Massachussetts Review, Eye on Dance and the Arts, and the NYU journal Esferas.