Age, Biography and Wiki

Kevin McKenzie was born on 29 April, 1954 in Burlington, Vermont, United States, is an American ballet dancer, choreographer, and director. Discover Kevin McKenzie's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is he in this year and how he spends money? Also learn how he earned most of networth at the age of 69 years old?

Popular As N/A
Occupation N/A
Age 69 years old
Zodiac Sign Taurus
Born 29 April 1954
Birthday 29 April
Birthplace Burlington, Vermont, United States
Nationality United States

We recommend you to check the complete list of Famous People born on 29 April. He is a member of famous ballet dancer with the age 69 years old group.

Kevin McKenzie Height, Weight & Measurements

At 69 years old, Kevin McKenzie height not available right now. We will update Kevin McKenzie's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

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Dating & Relationship status

He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.

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Kevin McKenzie Net Worth

His net worth has been growing significantly in 2023-2024. So, how much is Kevin McKenzie worth at the age of 69 years old? Kevin McKenzie’s income source is mostly from being a successful ballet dancer. He is from United States. We have estimated Kevin McKenzie's net worth, money, salary, income, and assets.

Net Worth in 2024 $1 Million - $5 Million
Salary in 2024 Under Review
Net Worth in 2023 Pending
Salary in 2023 Under Review
House Not Available
Cars Not Available
Source of Income ballet dancer

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Timeline

1954

Kevin McKenzie (born April 29, 1954, in Burlington, Vermont) is an American ballet dancer, choreographer, and director.

1972

Its 1972 edition awarded him the silver medal for performance in the junior division.

As a professional dancer, he trained with Maggie Black, as well as Georgina Parkinson, Twyla Tharp, Anthony Dowell, and others.

He also worked on acting with Day throughout his career.

After his win, McKenzie joined The Washington Ballet, making his professional debut at the Kennedy Center in Les Sylphides.

1974

He left the company in 1974 to join the Joffrey Ballet, where he performed as a principal dancer.

He initially turned down Joffrey to see if he could get into Ballet Theater, but, upon advice from a colleague, eventually accepted Joffrey's offer.

Regarding his time with the company, he later said he "learned how to learn there."

He believes that experience shaped him into an adult.

1979

In 1979, he departed to join American Ballet Theatre as a soloist.

A year later, he was promoted to principal dancer.

During his time at ABT, McKenzie danced all the repertoire's major roles, but performed best in princely ones.

As a principal, he took on the Solo in La Bayadere, Don Jose in Carmen, the Prince in Mikhail Baryshnikov's production of the full-length Cinderella, Franz in Coppélia, the Gentleman with Her in Dim Lustre, Basil and Espada in Don Quixote (Kitri's Wedding), Albrecht in Giselle, the male lead in The Garden of Villandry, Her Lover in Jardin aux Lilas, the male lead in The Leaves Are Fading, the Friend in Pillar of Fire, the male lead in Raymonda (Grand Pas Hongrois), a featured role in Requiem, the Champion Roper in Rodeo, Romeo and Mercutio in Romeo and Juliet, Prince Desire in The Sleeping Beauty, Prince Siegfried in Swan Lake, James in La Sylphide and the male leads in Other Dances, Paquita, Les Sylphides, the Sylvia Pas de Deux and Theme and Variations.

He created the role of Amnon in Martine Van Hamel's Amnon V'Tamar and a leading one in Clark Tippet's S.P.E.B.S.Q.S.A.

1989

He became permanent guest artist with The Washington Ballet in 1989.

1991

After retiring from ABT in 1991, he returned to the Washington Ballet as associate director to Mary Day.

The following year, he returned to ABT to take over as artistic director.

McKenzie believes strongly that ABT needs to "have the best it can possibly have," in terms of faculty members and administration.

As a professional dancer, McKenzie performed in cities worldwide, including Italy, Paris, London, and Tokyo.

He guest danced with the London Festival Ballet, the Bolshoi Ballet, the National Ballet of Cuba, and the Universal Ballet in Seoul.

In 1991, he was appointed the company's associate artistic director of the company.

He was also associate artistic director and a choreographer for Martine Van Hamel's New Amsterdam Ballet.

1992

A former principal dancer with American Ballet Theatre, he then served as the company's artistic director from 1992 to 2022.

The youngest of 11 children, McKenzie began dance lessons at the urging of his father, who was eager to see his son become the next Fred Astaire.

Shortly after his first session at the O'Brien School of Dance, he found himself drawn more to ballet than tap dancing.

Once the school informed Mr. and Mrs. McKenzie of their son and daughter's great talent, the two continued their studies at the Washington School of Ballet, under the directorship of Mary Day.

Day created an environment that enabled dancers to explore their own talents and opinions.

That training sparked and nurtured Kevin's interest in storytelling and character development, which led to a nearly lifelong fascination with ballet theater.

Following a year-long bout with ulcerative colitis, he spent his senior year preparing for the Varna International Ballet Competition.

Before he rose to artistic director of ABT, in 1992, his choreographic credits included Groupo Zambaria (1984) and Liszt Études (1991), both choreographed for Martine Van Hamel's New Amsterdam Ballet.

He had also choreographed Lucy and the Count (1992) for The Washington Ballet.

1993

For American Ballet Theatre, he choreographed new productions of The Nutcracker (1993), Don Quixote (1995, in collaboration with Susan Jones), Swan Lake (2000), Raymonda (2004) with choreography by Anna-Marie Holmes, and The Sleeping Beauty in 2004 with Gelsey Kirkland and Michael Chernov.

2014

In 2014, he staged a new production of Raymond Divertissements with Irina Kolpakova.

When he took over ABT, it was $5.7 million in debt and on the brink of collapse.

The new versions of The Nutcracker and Don Quixote, as well as the arrival of Paloma Herrera, strengthened the company's fortunes and Angel Corella whose performances proved box-office gold.

Adopting a new guest-star strategy, McKenzie gathered the strongest roster of male ballet stars in the world to continue the company's box-office success.

By the end of the 90's, performances from Julio Bocca, Jose Manuel Careno, Vladimir Malakhov, Corella, Ethan Stiefel, Alessandra Ferri, Julie Kent, Herrera, and Irina Dvorovenko ensured the company's ongoing rise.

Though a few dancers, such as Gillian Murphy, David Hallberg, Marcelo Gomes, and Herman Cornejo, were promoted through the ranks, the more typical star-casting scheme had the unfortunate effect of suppressing opportunities for an upcoming generation of dancers

With the retirement of this wave of leading dancers over the course of the late aughts, McKenzie changed course on the company's policy of importing established stars by opening the Jacqueline Kennedy Onassis School to nurture the company's homegrown talent and appointing Alexei Ratmansky as Artist in Residence to shape ABT's future choreographically.

In recent years, while the company continues to perform McKenzie's versions of Don Quixote and Swan Lake, his Nutcracker and The Sleeping Beauty have been replaced by Ratmansky's restorations.