Pool Adagio and Strength Training Are Game Changers for Oklahoma City Ballet’s James Klump

August 4, 2026

Oklahoma City Ballet corps dancer James Klump proves that cross-training, when done consistently, can have a profound impact over time. “It’s almost like compound interest,” says Klump, who joined OKCB as a trainee in 2020 and was promoted to apprentice in 2021. These days, his cross-training routine consists of time in the pool and weight training, providing him with the stamina and strength he needs for repertoire like Septime Webre’s ALICE (in wonderland), Val Caniparoli’s Lady of the Camellias, and George Balanchine’s Western Symphony.

Water Adagio

Depending on his rehearsal schedule, Klump likes to start his mornings once or twice a week with low-impact workouts like Pilates, yoga, or exercises in the pool. He specifically likes to practice adagio or passé balances in the water, which has made a big difference for him in the studio and onstage. “With my leg being much lighter in the pool, I can focus on working the appropriate muscles properly during adagio without the full weight of my leg,” says Klump. “I’m able to feel the correct muscles and turnout.”  

Onstage, dancers in Medieval-style costumes perform a ball scene. In front, two dancers do a pas de deux, with the partner on the left lunging toward his partner with one arm extended. His partner takes his hand and balances in retiré on pointe, her other arm extended up.
Klump and Courtney Connor Jones in Romeo & Juliet. Photo by Jana Carson, courtesy OKCB.

Consistent Strength Training

From Monday through Thursday, Klump likes to wrap his day with 60 to 90 minutes of strength training, followed by stretching. He typically works on chest and triceps on Mondays, back and biceps on Tuesdays, lighter arm exercises and core work on Wednesdays, and legs on Thursdays. Klump likes to use dumbbells for overhead shoulder presses or bench presses, and he uses free weights for exercises like tricep dips and push-ups. “I’m cast in a lot of partnering roles with heavy pas de deux work, so strength training really changed the game for that.”

Planks for a Healthier Back

Planks are one of the most important core exercises Klump uses to strengthen his back for partnering. “You can lift as much as you want, but if you have a weak back, it doesn’t translate to the stage,” he says. He likes to aim for five minutes total, alternating between one minute planking followed by 30 seconds of rest. He usually starts on his forearms for a few sets, then switches to straight-arm planks followed by side planks. 

James Klump, mid-air with his legs in a tight sous-sus and with his arms in first position, performs onstage. He wears white tights and a purple tunic with gold ornamentation.
Klump in The Nutcracker. Photo by Jana Carson, courtesy OKCB.

Nourishing for Peak Performance

During heavy performance seasons like Nutcracker, one of Klump’s go-to meals is a classic pepperoni pizza with a Coca-Cola to keep him fueled with enough calories. He also likes to keep Clif energy bars, specifically the peanut butter flavor, in his dance bag throughout the season to get some quick macronutrients in between rehearsals.     

How-To: Warm-Up Balances

Klump sustained an ankle sprain towards the beginning of last season, so every morning, he warms up with simple, effective balances (“It warms me up surprisingly fast”). The exercises hone his mind–body connection to his ankles and feet, especially to the smaller muscles that help with stability. “Closing your eyes makes those muscles work harder because you can’t rely on your vision to balance.”

  1. Standing flat-footed on both feet, lift one foot to about ankle height and close your eyes. Let the arms rest long.
  2. Keeping your eyes closed, slowly move your head up for 5 seconds and back down for 5 seconds.
  3. Turn your head to the right and back to center, then left and back to center. 
  4. Finally, tilt your right ear towards your right shoulder and back up, then the left ear to the left shoulder and back up. 
  5. Repeat everything while standing on the other foot.