Matthew Pawlicki-Sinclair | Soloist
Joined OBT in 2018 | Soloist since 2018
Matthew Pawlicki-Sinclair (1987) was born and raised in Tucson, Arizona. There, he began dancing at the age of three and later trained at Ballet Arts, the official school of Ballet Tucson. He received his high school diploma from North Carolina School of the Arts, where he trained under Warren Conover, Melissa Hayden, and Kee Juan Han, among others. He also spent summers at The School at Jacob’s Pillow, Pacific Northwest Ballet School, and San Francisco Ballet School.
He joined Kansas City Ballet as an apprentice in 2005, and spent two additional years dancing with the company under the direction of William Whitener. During this time, he had the opportunity to dance featured roles in ballets by George Balanchine, Paul Taylor, Twyla Tharp, and Antony Tudor.
He joined the corps de ballet of Dutch National Ballet under Ted Brandsen in 2008, and was promoted twice: first to coryphée in 2014 and later to grand sujet in 2016. Some of his favorite roles performed with Dutch National Ballet include Romeo in Sasha Waltz’s Roméo et Juliette, Hilarion in Marius Petipa’s Giselle, Prince Gremin in John Cranko’s Onegin, and Morold in David Dawson’s Tristan + Isolde. Other favorite ballets danced with the company include George Balanchine’s Rubies, William Forsythe’s The Second Detail, Justin Peck’s Year of the Rabbit, Alexei Ratmansky’s Piano Concerto #1, Wayne McGregor’s Chroma, and Christopher Wheeldon’s Concerto Concordia.
He is also a choreographer. In 2014, he cofounded the creative company House of Makers with Dutch writer Sterre van Rossem and British choreographer Peter Leung. House of Makers has created original site-specific work for museums, theaters, events, and brands including the Van Gogh Museum, Museum Boijmans Van Beuningen, Ostadetheater, Nederlandse Dansdagen (Dutch Dance Festival), Nikon, Tommy Hilfiger, and others.
He has also created a number of works for New Moves, Dutch National Ballet’s young choreographer program. His most recent creation for New Moves was very well received by both audiences and critics; Maggie Foyer called it “multi-layered and multi-textured … characterized by confident, mature movement ideas and an interesting juxtaposition of the groups.”