Once upon a time, Utah was in a bad marriage with Jonas Kage, the Ballet West artistic director. It wasn't that Utah was bad or Kage was bad -- it was just a bad match. Utah liked pretties and tutus and swans, while Kage liked flesh-colored unitards and avant-garde Nazi war ballets. So this was how a typical ballet season looked for years: Sleeping Beauty (condescending pat on head), Nutcracker (condescending pat on head), Echoing of Trumpets (whack 'em up side the head). It got really abusive there at the end. My parents canceled their ballet season tickets.
But finally Utah and Jonas Kage realized they didn't belong together. They parted ways and soon Utah found an artistic director who understood her and was forgiving of her love for pretties and tutus: Adam Sklute, former artistic director of the Joffrey Ballet. He saw that while Utah didn't like watching war crimes en pointe, that didn't mean that she wanted to see the same three classical ballets over and over.* She wanted to be stretched a bit -- she just didn't want to be stretched too far too quickly (which of course is a concept any dancer dude should understand).
So he gave Utah her adored Nutcracker, but with a tricksy Christmas Eve twist. He gave her ballets she'd never seen before that were classically beautiful but stylistically different. He gave her some masterly faux-drunk Sinatra dancing. He may well have loved avant-garde Nazi war ballets, but he realized that he couldn't force Utah from Giselle to genocide in a couple of seasons, or maybe ever. He had to love Utah for who she was and kindly open her to new possibilities. And he did.
And they lived happily ever after. Or at least until the 2008/2009 Ballet Season.