Production Credits Director & Choreographer | John Lam Dancer | Ji Young Chae Director of Photography & Editor | Daniel Jacobs Project Director | Hyemee Baik Composer & Cellist | Alan Toda-Ambaras Recording and Mixing | Ross Matthei Colorist | Avery Niles Directing Consultant | Shaun Clarke Location | Hammond Pond Reservation, Chestnut Hill, Massachusetts Music inspired by Franz Schubert About the Dancer Ji Young Chae is a Principal Dancer with Boston Ballet. Chae trained at Seoul Arts High School and Korea National University of Arts in South Korea before joining Washington Ballet in 2011 and Boston Ballet in 2013, where she was promoted to soloist in 2015 and principal dancer in 2018. Chae was awarded the gold medal at the 2010 International Ballet Competition in Jackson, Mississippi and first prize at the 2010 International Ballet Competition in Varna, Bulgaria. In 2011 she received the gold medal at the Boston International Ballet Competition. She has performed at the Paris Conservatory Ballet Festival and the International Baltic Ballet Festival Gala. Chae’s Boston Ballet repertoire includes Karole Armitage’s Bitches Brew, George Balanchine’s Chaconne and Donizetti Variations, August Bournonville’s pas de deux from Flower Festival in Genzano and La Sylphide (lead Sylph), John Cranko’s Romeo & Juliet (Gypsy), Jorma Elo’s Creatures of Egmont and Fifth Symphony of Jean Sibelius, William Forsythe’s Artifact 2017, Pas/Parts 2018, and The Vertiginous Thrill of Exactitude, and Mikko Nissinen’s The Nutcracker (Sugar Plum Fairy, Dew Drop, Ballerina Doll, and Snow Queen), Marius Petipa’s The Sleeping Beauty (Aurora and Woodland Glade Fairy), Justin Peck’s In Creases, Leonid Yakobson’s Pas de Quartre, and Yury Yanowsky’s Smoke and Mirrors. About the Choreographer & Film Producer John Lam began his dance career with Marin Ballet in San Rafael, Ca. at the age of four. Lam’s early training was guided by Marin Ballet directors Margaret Swarthout and Cynthia Lucas. In 2000, at age 15, Lam began his tenure with Canada’s National Ballet School under the direction of Mavis Staines. Lam was one of only a few individuals from North America awarded a full scholarship from the Pierino Ambrosoli Foundation in Zurich, which supports promising young dancers throughout the world. Lam studied for three years under the renowned ballet coach Sergiu Stefansch and was awarded the Peter Dwyter Scholarship for remarkable promise. Upon graduation from Canada’s National Ballet School in 2003, Lam was invited by Boston Ballet artistic director Mikko Nissinen to join Boston Ballet II. Lam quickly rose to the ranks of soloist in 2008 and principal dancer in 2014. In addition to his achievements with Boston Ballet, he was a finalist in the Seoul International Ballet Competition and the only American male semi-finalist at the 2005 Helsinki International Ballet Competition. Lam was also the recipient of a Princess Grace Fellowship in recognition and support of his extraordinary emerging talent. Lam has been featured in The New York Times, The Boston Globe, The Improper Bostonian, and Pointe magazine. In addition to his stage work, lam has produced several independent dance films including “Dance Is,” “Movement in Structure,” She/I,” “Close,” “The Air Before Me,” and “Moving Parts.” Lam’s films have received critical acclaim in international dance film festivals including the San Francisco Dance Film Festival and the Portland Dance Film Festival. Lam also appeared in the 2007 Disney film The Game Plan and played the role of Ariel in the Commonwealth Shakespeare Company’s production of The Tempest. Beyond his work as a dancer, choreographer, and film producer, Lam remains active as a creative director, arts advocate, actor, and model. About the Series OffStage: Ballet in Nature introduces leading and principal Korean dancers from renowned ballet companies across the United States as they perform original works in novel, outdoor settings where nature itself becomes the stage. Each video, presented in a short film format, will be available for Washingtonians and the broader public to view online free of charge. At a time when face-to-face interactions and formal performances remain limited, the KCCDC encourages global audiences to take time to relax and heal through the enjoyment of creative, nontraditional performances. | 
