Since joining the RNZB in 2018, Caroline Wiley has demonstrated her versatility and flair for both classical and contemporary choreography with solo roles in works as diverse as Penny Saunders’ So to Speak, Corey Baker’s The Last Dance, Jiří Kylián’s Petite Mort and The Nutcracker by Val Caniparoli, in which she appeared as Marie.
In 2019, her flair for drama and contemporary choreography came to the fore in James O’Hara’s The Sky Is Not So Different To Us, Perhaps…, as the Black Swan in Black Swan, White Swan by Mario Radacovsky and in Andrea Schermoly’s Stand to Reason.
Caroline hails from Fenton, Michigan and began her training at Young People’s Ballet Theatre in Flint, Michigan under the direction of her mother, Jennifer Wiley. At 14 she participated in the Blue Lake Fine Arts International Exchange programme and spent a summer touring and performing through Europe. She has attended summer courses at Charlotte Ballet, Giordano Dance Chicago, River North Dance Chicago, Hubbard Street Dance Chicago, and Grand Rapids Ballet.
In 2013, Caroline guested with the Grand Rapids Ballet, under artistic director Patricia Barker, in Balanchine’s Four Temperaments. The following season she joined the company as a trainee and was promoted to apprentice, before becoming a company member for the following two seasons.
Her repertoire at GRB was broad, including leading roles in José Limon’s The Moor’s Pavane, Black Swan in Mário Radačovský’s Black Swan, White Swan and the Sugar Plum Fairy in Val Caniparoli’s The Nutcracker. She created the title role in Bruce Wells’s Cinderella and had contemporary works created on her by Annabelle Lopez Ochoa, Andrea Schermoly, Penny Saunders and Robert Dekkers, as well as performing in iconic works by Paul Taylor and Gerald Arpino.
Black Swan, White Swan