Skylar Campbell on Why He Avoids Labeling Roles as “Challenging”
Despite starting his training later than most, Skylar Campbell rose to become a principal dancer, first at the National Ballet of Canada, where he began his career, and then at Houston Ballet, which he joined in 2022 with his wife, Jaclyn Oakley. Here, he reflects on being open to timing, the lessons of the stage, and their new life and continuing projects in Houston.
How did you get into dance?
I started seriously training in ballet at 13; my mom and stepdad were ballet dancers, so I was always familiar with the studio, the theater, and the lifestyle. Initially I became friends with many of their students, and I was drawn in. However, it wasn’t until I tagged along to the Youth America Grand Prix Finals in New York—I wasn’t competing or even seriously dancing at that point—and saw the gala performance with all the professionals, that it clicked for me. I told them, “I want to do this too.” I spent the first couple years as a professional always feeling a little bit behind and trying to play catch-up.
What inspired you and your wife, Jaclyn, to move from National Ballet of Canada to Houston Ballet?
Everyone says timing is everything, but it’s also allowing yourself to be available for that timing. We’re both American and were trying to get Canadian citizenship, it was the end of COVID, and, for multiple reasons, it was time to leave. Houston Ballet seemed like the right fit; former artistic director Ben Stevenson and current director Stanton Welch came from England and Australia, respectively, and NBoC has strong ties with both those parts of the world. Experiencing a totally different working environment was beneficial in our development, and that’s what we wanted.
What do you enjoy more—performing or being in the studio?
Performing is where we learn the most. The process is important, but I don’t feel like dancers get enough time onstage. Every artist needs to be allowed to do a lot of shows and not be afraid to take risks. You train to be a dancer in the studio, but you learn to be a dancer onstage.

Photo by Amitava Sarkar, courtesy Houston Ballet.
What has been your favorite role so far?
One of my breakout roles, as a first-year corps member at NBoC, was Alain in La Fille Mal Gardée. My mentor, David Allan, coached me, and he had been coached by Alexander Grant, on whom Ashton originally created the role, so it was a full-circle moment. Artistically I felt connected to Alain—he was a sort of outcast, who just wants to be a great dancer. That was me. Also, it’s super-musical. If you don’t have anything else, just listen to the music.
Have any ballets been particularly significant learning experiences for you?
Every single one. I approach each role the same way, even if one is more challenging than another. There’s more preparation that goes into certain roles, because they demand more, but I’m not going to let it alter my attitude towards it. If you label something challenging, it’s going to affect you; my mental approach is to not use that word.
To whom or to what would you attribute your success?
Lindsay Fischer, who was my first really strong artistic influence, and David Allan, my mentor and coach, were instrumental, career-wise. My mom, also a dancer, has always been there as a support, as well as my biological dad, with whom I’m really close. He always asks me, “But who are you, beyond Skylar the dancer?” He’s kept me grounded. He’s in construction, which I always tell him is creative as well—working with your hands is an art. Everything is art; even accountants are artists with numbers.
You started Skylar Campbell Dance Collective in 2019 in Canada and then brought it with you to Houston. What inspired you and what are your goals with it?
To be honest, I used it as an outlet to teach myself how to run a business. A lot of dancers do this, so I’m not trying to reinvent the wheel. I’m just trying to bring my own perspective. We all have something unique to say, and that’s what I’d like to see more of—risk-taking and not trying to do something because everyone else is. I take every year as it comes, using the opportunity of whomever I’m connected to that particular season or whatever is inspiring in the dance and real worlds. Most recently we premiered work in Panama City, Panama.

Between you and your wife, Jackie, who is the cook?
It’s definitely 50/50. Jackie is an excellent creator of salad dressings and I take care of the protein. Ever since moving to Houston, which is definitely more of a driving-culture city, we’ve spent a lot more time cooking at home, and it’s been great.
What advice would you have for students wanting to be professional dancers?
Everyone says it, but it’s so true: Let them see who you are. Make eye contact. Be present. It’s those fundamental ways of being that really attract directors. Be who you are and show them what you have to say. Also, versatility is key right now because of the demand of ballet-company programming. You have to spread yourself, in terms of your range of ability. And, in the end, it will only help you understand your body more.