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Arkansas Times

For Catherine and Michael Fothergill, ballet is both art and business


Little Rock Soiree

Michael & Catherine Garrat Fothergill Take Reins of Ballet Arkansas


Style Blueprint

Catherine Garratt Fothergill & Luiza Boaventura of the Alabama Ballet: FACES of Birmingham

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Little Rock Soiree

Ballet Arkansas Welcomes New Artistic and Associate Artistic Directors


AY Magazine

New Directors Join Ballet Arkansas


Inviting Arkansas

Art Movement energizes the Creative Corridor


Arkansas Money & Politics

Power Women Class of 2020

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NWA Democrat Gazette

'Reborn': Ballet Arkansas gets new leaders, diverse repertoire


Democrat Gazette

HIGH PROFILE: Ballet Arkansas is taking big leaps forward, propelled by the dynamic leadership of Michael Fothergill and wife Catherine


Style Blueprint

Behind the Scenes: The Alabama Ballet


CBS Sunday Morning

Nutcracker anew in the times of Covid


Alabama Ballet 

"Why I Dance"

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Performance Reviews

"Catherine Garratt Fothergill, one of Alabama Ballet’s best dance actresses, capable of fully embodying characters light and dark, here exudes the iciness of the unforgiving Myrtha, the Queen of the Wilis."


"Chiaroscuro particularly brings to light the skills of Catherine Garratt, whose radiant ease, articulation, and musical sensitivity make her a standout whether in a solo or ensemble."


"Garratt acted this scene [crypt] beautifully, without veering into sentimentality or melodrama, which is no small accomplishment. It ensured that the performance ended on an emotional peak."

Romeo and Juliet,

"As the monarch of the Land of Sweets, Catherine Garratt Fothergill exuded the angelic, motherly side of Balanchine’s Sugarplum Fairy in her character’s famous solo. The fluidity and projection of her upper body beautifully set against her delicate pointe work — she steps as if tip-toeing across stars. Later, in the arms of her strong and regal Cavalier, Michael Fothergill, she exudes the other side of Balanchine’s Sugarplum Fairy — romantic abandon. The pair’s continually deepening partnership shines in this production. They are an asset to the company."

George Balanchine's The Nutcracker,

"Carnival in Venice rounds out the program. In this fun, festive piece from the nineteenth century, Catherine Garratt-Fothergill exudes luminous ease, creating an aura around her as she dances. She’s one of the company’s finest dancers."

Carnival In Venice ~

"The concluding “happily ever after” scene is pure enhancement, set in motion by Catherine Garratt’s luminous portrayal of the Fairy Godmother."

Cinderella ~

"Garratt’s unwavering ease and expressive intuition, immediately evident in a theater venue, are even more beautifully seen to advantage in the studio setting."

Alabama Ballet "At Home,"

"Fothergill portrays the pastor with sensitivity and authority, and his duets with Garratt are among the high points of the ballet. Garratt is one of those rare dance actresses who thoroughly embodies her character from start to finish. Together, Fothergill and Garratt imbue Fall River Legend with rich emotional content."

Agnes de Mille's Fall River Legend,


"The trio of couples easily commanded their dances, but especially engrossing were Michael Fothergill and Catherine Garratt, one of Alabama Ballet’s most effective pairings. Their duet in this work is one of their best performances yet. It draws out both the radiant and subtle shades of chemistry that color their rich dance partnership."

Tango Tango,

"Fothergill and Garratt made a fine pairing. Their pas de deux at the end of Act 1 – their lifts, jumps, turns on pointe, and cross-stage movement – was the dance highlight."

Dr. Jekyll and Mr. Hyde, Birmingham News

"Catherine Garratt and Michael Fothergill are excellent actors in the title roles. I saw them dance together earlier in the season and I wanted to see more of them. I still want to see more of them."

Romeo and Juliet,

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