When internationally acclaimed sculptor Linda Lighton began supporting the arts philanthropically, she didn’t start with visual art. She chose dance.
Her decision, prompted by her husband’s suggestion – “You’ll be too critical if you give to visual arts”- proved wise. “And he was right,” she says, laughing. “Instead, I went with dance – and it got me hooked. We love it. We go to every single Kansas City Ballet performance.”
But Linda’s connection runs much deeper than admiration. “When I first started making art, I thought I could change the world,” she reflects. “But I can’t. What I can do is talk to people about how their senses are involved – and the senses I’m involved in are movement, feel, and form, as well as dance. Dance is like moving sculptures, right? That’s why it’s really interesting to me.”
Fueling New Works
Linda is among the supporters who have helped bring some of Kansas City Ballet’s most memorable productions to life, including Petite Mort and the company’s first presentation of In the Middle, Somewhat Elevated. Most recently, she supported the creation of custom costumes for the world premiere of Caroline Dahm’s hold on tight, one of four short works featured in FUSION, running May 9-18 at the Kauffman Center for the Performing Arts.
While FUSION is big on its dancing, it is the most minimal of the season in terms of production elements with no live orchestra and minimal scenic elements. Yet, it still carries significant costs. In fact, creating the custom costumes for hold on tight alone required $14,000.
The True Cost of Bringing Ballet to Life
Behind every ballet performance, big or small, are significant expenses: Orchestra fees alone typically range from $85,000 to $115,000 for most ballets, while stagehand costs for a standard two-week run add another $65,000 to $70,000. Additional expenses include costume and set rentals, music rights, makeup and dressing crews, and an annual pointe shoe budget of $100,000.
Even for a mixed repertory program like FUSION, the investment is substantial: $35,000 in choreographic rights and royalties, $28,000 for weekly theater rental, plus salaries for dancers and production staff, marketing, photography, and more.
“Ticket sales only cover about 60 percent of production costs,” says Kansas City Ballet Chief Operating Officer Kevin Amey. “That’s why we rely on philanthropy to bridge the gap.”
A Giving Philosophy Rooted in Art and Movement
Linda’s generosity is deeply personal, inspired by the same creative forces that shape her work as a sculptor. Whenever she’s able, she lends support to projects where movement and form – core elements of her artistic practice – intersect with ballet.
“I think that’s why ballet has engaged me – because it’s so much ‘sculpture,’” she says. “In my work as a sculptor, I have to think about movement and space…. how do you get through space, and how do you animate a space? That’s really important for me.”
Her appreciation for costume design also comes naturally. Raised in a family that ran Kansas City’s Woolf Brothers clothing company, Linda understands the powerful language of presentation. “Costumes tell a story. They show how a dancer moves through space, how character and mood are conveyed. That’s why I connect to the art of costume design so strongly.”
Building a Future for Ballet
Linda has taken her support a step further by assisting the Ballet’s campaigns for the Todd Bolender Center for Dance & Creativity and the Moving into the Future endowment campaign, helping to ensure the Ballet’s long-term vitality. From 2002 to 2006, Linda served on the Ballet’s board of directors – a testament to her deep commitment.
“Why am I involved in the ballet? Because it’s fun!” she says with a bright laugh. “Everyone’s nice. Everyone’s welcoming.”
Inspiration in Motion
Kansas City Ballet Chief Philanthropy Officer Jennifer Wampler encourages supporters to reflect on a simple but powerful question: What moves you?
“When you watch a ballet, what inspires you?” she asks. “The costumes? The live music? The dancers themselves? Each is an opportunity to support ballet in a deeply meaningful way.”
For Linda Lighton, the answer is clear. Motion, space, and form – the elements that define her sculpture – also fuel her love for ballet. Her story reminds us that when art sparks action, the impact endures long after the final curtain falls.
To learn more about how your support of Kansas City Ballet can align with your passions, please contact impact@kcballet.org.
FUSION opens on Friday, May 9, 2025, featuring a bold collection of short dance works: the playful Tulips and lobster, the groundbreaking In the Middle, Somewhat Elevated, the high-energy Celts, and the world premiere of hold on tight by emerging choreographer Caroline Dahm.
PURCHASE TICKETS TO FUSION HERE
Header image: Sculptor Linda Lighton in her Kansas City studio. Photo by Kelly Leahy.
