A Day in the Life of the Sugar Plum Fairy in San Francisco Ballet's Nutcracker

While her schedule varies depending on the type of performance and time (matinee vs. evening), in general, Stahl said she likes to wake up at least a couple of hours before class (which for this show starts at 11:30). Getting enough sleep is, of course, crucial for dancers, so she gets up around 9 a.m to ensure that she's well-rested.

Breakfast usually consists of either a smoothie, oatmeal, or eggs, though before dancing the Sugar Plum Fairy specifically, she said oatmeal is best for good sustenance. And most importantly, coffee!

"On performance day especially, I like to get to the theater with plenty of time to stay relaxed and calm, and not feel rushed," she told me.

After arriving to the theater, Stahl spends time prepping her shoes.

"I make sure I have a few options ready to go for the show and that I can try out in class and make sure they're feeling good – not too hard not too soft. Then I'll get ready for class and do some of my own little warm ups before class actually begins."

During Nutcracker, dancers take an hour-and-a-half company class on stage (the theater is the stunning San Francisco Opera House building) every morning, whether they're performing or not — it's good to keep it regular, Stahl said.

During class she makes sure her body is "in the right place for the day," as she puts it.

"On days of the show – like when I'm dancing Sugar Plum – during class I will be more aware of certain steps that are going to appear in the dance and just make sure those things are feeling good in class that day."

While different dancers all have their own methods of meditation and cross-training, for Jennifer Stahl, yoga is her alternative exercise and form of self-care.

"I love yoga," she said. "On a non-performance day I'll go to a yoga class before ballet class, but on a performance day I'll just do a few things to kind of get me going, like sun salutations, and get the breath going, and the blood flowing and the core centered." Stahl is even a certified yoga teacher herself.

There's time after the official class when dancers can rehearse on the actual stage – about 45 minutes is allotted for them to either request official rehearsals or use the open stage on the sides. At this time, Stahl likes to go through the upcoming performance mentally.

After class and stage rehearsal, she breaks for a snack – something like a protein bar or food that helps replenish energy after a demanding morning workout.

"Usually I want something with a little sugar and protein to prep for the show. She also drinks water with electrolytes, such as coconut water or water with the addition of nuun tablets.

After eating, by 1:15 p.m. at the latest for a 2 p.m. matinee show, she starts her hair and makeup at the theater — which she does herself.

"It doesn't take me a full hour to do hair and makeup, but it's nice to take the time to do it — its kind of therapeutic in a way before a show. It's a way to be calm and go through that preparation and have quiet time."

"For Sugar Plum, we're not on until the second act but I typically like to be pretty ready to go once the show starts," Stahl told me. "I'll make my way back downstairs in warm up stuff just to stretch, test things outs, start putting my shoes back on. I always have two or three pairs that I feel good about ready to go – just in case."

While it's impossible to count how many pointe shoes one dancer goes through in her lifetime, it's safe to say that the preparation and breaking in of the classic ballerina footwear is like its very own art form.

"If you have too soft of a shoe, you don't feel supported, but with something too hard you may feel like you're going to catch an edge," Stahl said.

It's about finding what she calls "the sweet spot."

Dancers break in multiple pairs, and the level of wear of each varies. Timing is key, Stahl emphasized. From hardening the arches of the shoe with Jet Glue to checking that ribbons and elastic are sewn correctly — the last thing you want is for something to come undone — the process is a lengthy one. The final step for Stahl before going on is sticking the heel of her shoes in the rosin box, which makes the it feel more secure.

"I also like to scrape the bottom of my shoe to get it a little more rough so there more traction. Once I finally tighten the ribbons, I tuck in the bow of the shoe and wrap Scotch tape around it so it stays in place."

During intermission, dancers can go on stage and practice before the next act begins.

Dancing the Sugar Plum Fairy isn't quite as sweet as the name may imply. On stage for a total of a little under 20 minutes, the role is certainly challenging, said Stahl.

"You're jumping and turning, and you're on stage for some good chunks but you're also on and off a lot, but it's very full-out dancing, and all over the stage. It's definitely the role that most of us think as 'the stamina' part."

After the show, Stahl has a routine that helps her unwind.

"I take my time in the dressing room – I take off all the stage makeup before leaving the building, and typically take a full shower. I'll ice my ankles to prevent inflammation – it's a good way to cool down. We also use a lot of rollers – foam rollers of even sometimes harder ones – so I also do that and some mild stretching. Nothing crazy, but just making sure at when I cool down there's no tightness, nothing is locked up."

On matinee performance days she'll grab a late lunch in the area — usually a protein and vegetables in some form. A salad at local favorite Souvla for Mediterranean fare, or a bite at Arlequin in San Francisco's Hayes Valley near the theater, she said. "Especially after Sugar Plum, I like to get some good protein and iron, so a steak salad or something."

Once her day is finally done (she had a small role in the evening performance for this particular show), Stahl likes to have an hour or so of down time with her husband at home before bed. She opts for light comedies on Netflix before falling asleep — something we can all relate to!

As a San Franciscan myself, I can wholeheartedly vouch for just how unique our city — and the San Francisco Ballet — truly is. When I asked Jennifer Stahl, who has been with the company for 13 years including one year of school with them, what she loved most about the SF Ballet, her enthusiasm for the company was tangible.

"I love the variety of what we do, we have such an amazing spectrum of work form very classical, neo-classical, contemporary. [I love] the different artists that we get to work with, whether it's the choreographers, or the musicians, or costume designers, or set designers. It's just a really eclectic, amazing, and diverse group of people we get to work with here. I feel like our company represents San Francisco really well too. With [upcoming series] Unbound Live, there's just tons of innovation in one festival, so I feel like we're really the city's 'home team' ballet.

And as for where she gets her inspiration and motivation to dance?

"I like to think about what I'm working toward, why I'm there and on stage, and I think ballet is such an amazing art form. It's beautiful to go on stage knowing how it can affect people and what people can take from a show. That's really meaningful to me."