Don Quixote choreographer Anna-Marie Holmes isn’t just coaching bold ballet moves for the March 21 opening at the Kauffman Center – she’s helping the dancers deepen their artistry through acting. Her secret weapon? Her daughter Lian-Marie Holmes Munro.
A multi-disciplinary theatre artist and movement instructor, Lian-Marie has performed off-Broadway, in regional theater, and in major films. She has taught at The New York Film Academy, various colleges, and ballet companies, specializing in movement for actors.
Bringing Acting into Ballet
“Gone are the days when art organizations could just focus on their art form in a bubble,” Lian-Marie says, noting that today’s ballet audiences expect both technical excellence and compelling storytelling. She applauds Kansas City Ballet – and its generous supporters – for recognizing that “it’s time for ballet to bring more of the theatrical into its work.”
For a week, Lian-Marie guided dancers through “character development and moment-to-moment work,” using techniques from Stanislavsky, Hagen, and Spolin. “A lot of work was spent on clarity of what they were doing, as well as encouraging them to be braver with their acting choices and to not let any moment go unexamined,” she says.
An Unforgettable Experience
Lian-Marie believes audiences will feel the difference in Don Quixote – getting swept up in the story more than they expect. “I think they will be delighted by how everyone on stage is fully contributing to the narrative, from the principal dancers to the ensemble. They will not only see a difference, but hopefully, they will feel more from the ballet.”
This level of character work is uncommon in ballet, making Kansas City Ballet stand out. The company continues to push artistic boundaries, blending powerful storytelling with world-class dance. Going above and beyond is only possible through the generosity of the Ballet’s supporters.
Lian-Marie’s ties through her mother and expertise in both theater and dance made her an invaluable resource. “It’s easy for ballet companies to feel like there isn’t time to work on the next level of artistry,” she says. “But it’s vital, in my opinion, especially as ballet continues to evolve and innovate into the future.”
A Life Immersed in Ballet
Lian-Marie grew up surrounded by ballet, traveling the world with her mother. Though she trained as a dancer, she was drawn to storytelling, leading her to a career in acting.
“I always gravitated toward the more emotional, expressive aspects of classes and repertoire,” she explains. After landing a role in The Crucible, a major motion picture starring Winona Ryder and Daniel-Day Lewis, she realized storytelling was her true passion. “So, I hung up my pointe shoes and started studying acting.”
Her unique blend of ballet and theater knowledge shaped her approach to coaching dancers. Despite her mother’s legendary status, she says, “To me, she was just my mom – an incredibly fun, loving, supportive parent who just happened to make my fellow ballet friends quake in their shoes because of who she was!”
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Header image: Lian-Marie Holmes rehearses in the studio with Kansas City Ballet Rehearsal Director Parrish Maynard. Photo by Beeh Moynagh.
