Gillian Murphy’s Final Act

It was an early summer afternoon, and I found myself in a large dance studio situated beneath the Metropolitan Opera House in New York City. The atmosphere was a stark contrast to the opulence above, yet, as any dancer would understand, this is where the true artistry unfolds—a blend of technical precision and emotional depth, individual practice and collaborative effort.

My purpose was to witness Gillian Murphy, American Ballet Theatre’s longest-serving principal dancer, preparing for her retirement after an exceptional 29-year career with the company. She was rehearsing for her seasonal debut as Odette-Odile in Swan Lake—a ballet renowned for its demanding technicality and emotional intensity—with an unexpected twist. Her original partner had suffered an injury, leaving a young corps de ballet member, Michael Dé La Nuez, to step in as Prince Siegfried. He had less than a month to prepare for a role that usually requires six months of rehearsal.

Murphy, dressed in a vibrant floral leotard, her hair neatly styled, displayed her experience and intuition. Sensing Dé La Nuez’s anxiety, she calmly encouraged him to trust his instincts. She advised him to embrace the moment and trust his abilities, highlighting the unique opportunity presented by the unexpected circumstances.

Later, Dé La Nuez shared his perspective on Murphy’s guidance. He described her approach as emphasizing intuition and creating a supportive environment that alleviated his apprehension. He recounted her words about the rarity of perfect performances and encouraged him to focus on the process rather than placing undue pressure on himself.

Beyond her impeccable technique, Murphy’s artistry is defined by her emotional depth and expressive power. She doesn’t simply perform a role; she embodies it, transforming movement into meaningful expression through subtle gestures. In a genre often characterized by abstraction, Murphy renders the wordless comprehensible.

During ABT’s 2025 summer season, Murphy performed a range of roles, including Giselle, Odette-Odile in Swan Lake, and a leading part in Woolf Works. Her final performance as Odette-Odile on July 18th marked her retirement.

Murphy in Wayne McGregor’s Woolf Works, 2024

Susan Jaffe, ABT’s artistic director and a former principal dancer, praised Murphy’s technical skill and artistic depth. Jaffe highlighted Murphy’s ability to portray diverse roles with equal emotional authenticity and power.

Born in England and raised in South Carolina, Murphy’s ballet journey began at age three. At the age of ten, she started intensive training, and at fourteen, she left home to attend the North Carolina School of the Arts. There, she benefited from mentorship from Melissa Hayden, a renowned dancer.

Murphy in Lady of the Camellias, 2010

At fifteen, she won the Prix de Lausanne, a prestigious international ballet competition, and met her lifelong friend, Stella Abrera. An invitation from ABT’s ballet mistress led to an audition and a contract, an opportunity she eagerly embraced despite her young age.

Gillian Murphy in Don Quixote, 2003

Murphy’s swift rise from the corps de ballet to principal dancer was noteworthy, achieving principal roles within three years. Her early success included a pivotal performance in Twyla Tharp’s *Elements* which served as a springboard for further opportunities.

Murphy in Swan Lake, 2007

Her performance in ABT’s televised 2005 *Swan Lake* became a defining moment in her career, reaching a wide audience and inspiring many. Her collaborations with the Royal New Zealand Ballet and her husband, Ethan Stiefel, further showcased her talent.

Murphy in Woolf Works, 2024

For her *Woolf Works* roles, Murphy engaged deeply with Virginia Woolf’s writings, believing that intellectual engagement enriches her artistic interpretation. Her rigorous emotional exploration is central to her acting approach, ensuring authenticity in her portrayals.

Murphy in Giselle, 2021

Her long-standing relationship with the role of Giselle has evolved over time, shaped by personal growth and the embodiment of its characters. Her interpretation of Myrtha, the vengeful queen of the Wilis, was a powerful early success. She noted her perspectives on Giselle have grown over time.

Murphy and Whiteside in Giselle

Her personal life, notably her marriage to Ethan Stiefel, also played a significant role in her career and life. She plans to continue her involvement in the dance world post-retirement, but also prioritizes spending time with her son.

The interview concluded with a heartwarming moment: her son expressing his excitement about attending his mother’s final performance.

Her final curtain call is truly a swan song, a fitting conclusion to a remarkable career.