The Art of Leadership
Three Alumnae, Three Remarkable Careers
Success rarely follows a straight path.
For Canton Ballet alumnae Cindy Ferguson Free, Carol Hageman, and Rene Street, the journey from the ballet studio led to careers in arts leadership, education, business, healthcare, and entrepreneurship. While their professional lives took very different directions, each woman built a legacy defined by dedication, creativity, perseverance, and service to others.
One spent nearly three decades leading a major ballet school before embarking on a second career as a professional sculptor. One helped shape generations of dancers through teaching, choreography, and artistic leadership. One overcame a life-altering illness before reinventing herself as a respected nonprofit executive and advocate for women in business.
Their stories are reminders that the paths we begin as young artists often lead to places we never imagined.
Cindy Ferguson Free: Artist, Founder, and Creative Visionary
For Cindy Ferguson Free, dance was never simply an activity.
It was a way of life.
As the daughter of Canton Ballet’s co-founder Suanne Ferguson, and an original apprentice dancer, Cindy grew up alongside the organization itself. Some of her earliest memories are of taking class on the parquet floors of Canton Ballet’s original Avondale studio, where imagination was just as important as technique.
Cindy Ferguson.
“My favorite part of class was the Dance-A-Stories,” she remembers. “We would become rag dolls that came to life or gallop on imaginary horses to magical places.”
The Party Scene from The Nutcracker, featuring Cindy Ferguson on the far left — Canton Ballet’s original 1969 production of The Nutcracker.
Those early experiences sparked a lifelong love of creativity and storytelling.
Cindy Ferguson.
As a young dancer, Cindy admired principal dancers MaryLou Hume, Donnie Miller, and Francia Kulchar, while Artistic Director John Begg left a lasting impression through his theatrical productions, inventive staging, and artistic vision.
Cindy Ferguson.
When Cindy moved to Birmingham, Alabama, in 1974, opportunity arrived quickly. After attending a summer intensive with fellow apprentice Cricket Howley, she performed excerpts from Begg’s Mozart and caught the attention of local dance leaders. The experience opened the door to dancing professionally with the original Birmingham Ballet at just 13 years old.
She later studied Musical Theatre at the University of Cincinnati College-Conservatory of Music before completing her degree at Birmingham-Southern College.
Her career path would take several unexpected turns.
After spending time in arts ministry and the corporate world, Cindy found herself drawn back to dance. In 1991, she opened a ballet school with her mother and aunt. When they later stepped away from the organization, Cindy carried the vision forward herself.
She renamed the school Birmingham Ballet Academy and, in 1996, established a self-sustaining community ballet performing organization.
“What I wanted to create was the experience I had enjoyed with Canton Ballet,” she says. “A training ground for serious young dancers with all the opportunities they would need to thrive and achieve a chance at a professional career.”
Over the next 29 years, Cindy transformed that vision into reality.
Under her leadership, Birmingham Ballet grew into a thriving community arts organization that included an academy, community ballet company, outreach programs, and a small professional repertory company. Generations of dancers benefited from the opportunities she created.
Then, in 2020, another chapter began.
During family vacations along the Gulf Coast, Cindy had developed a tradition of sculpting elaborate sand mermaids on the beach. Friends and family repeatedly encouraged her to try working in clay, but she always felt too busy.
The pandemic changed that.
As dance organizations across the country paused operations and uncertainty surrounded future performances, Cindy began reflecting on the next phase of her life. After decades of leadership, she decided it was time for what she calls an “encore career.”
In 2021, her husband gave her a sculpting workshop for Christmas.
She hasn’t stopped creating since.
Today, Cindy works as a professional sculptor, specializing in expressive human figures that capture movement, energy, and emotion. Her ballet training remains visible throughout her work.
“Take My Hand” by Cindy Ferguson
“Most of the time, I am interested in capturing a moment that is incredibly beautiful, but also fleeting,” she explains. “The peak of a leap where the dancer is airborne, the body line is stunning, and the energy is electric.”
“Tree Spirit” by Cindy Ferguson
Looking back, Cindy credits the arts with teaching her how to think creatively, lead boldly, and pursue a vision.
“The arts made me a creative thinker, an explorer, and a change maker,” she says.
For today’s dancers, her advice reflects a lifetime devoted to artistic growth:
“Pursue the best training you can find in the healthiest emotional atmosphere and enjoy it! Dancing is one of the greatest joys you can experience on earth. Never worry about where you are cast in a show. Dance the roles that are offered to you. Your investment in your training will give you tools and understanding that will be transferable to everything else you do in life. Dive into developing your artistry and explore who and what you are in the depth of your soul. Make friends along the way. Love yourself and those you get to be creative with—both artists and audience. Work hard and enjoy the fruits of your labor.”
Today, Cindy remains deeply proud of her roots at Canton Ballet.
“It was absolutely amazing to see that the company still lives and thrives,” she says. “It gave me a deep sense of roots that I am extremely thankful for.”
Carol Hageman: Teacher, Choreographer, and Arts Leader
Carol Hageman’s connection to Canton Ballet began while she was a dance major at the University of Akron.
At the time, Artistic Director John Begg was seeking dancers for Canton Ballet productions, and Carol joined the company during a period of tremendous artistic growth. Begg, who led the organization from 1971 to 1976, left a lasting impression on the young dancer. Trained in the Ballets Russes tradition, he brought a deep respect for artistry, musicality, and storytelling to every production.
Those qualities would later become hallmarks of Carol’s own work.
Reflecting on her time with Begg, Carol recalls being captivated by his musicality and artistic vision.
“John’s Ballets Russes background brought a richness and theatricality to the studio that was inspiring to young dancers. His musicality was extraordinary. He taught us to hear the music, not just count it. That understanding of music and movement stayed with me throughout my teaching and choreographic career.”
After earning her undergraduate degree, Carol continued her education and later received a master’s degree from New York University, further strengthening her foundation as an educator and artist.
From 1982 to 1992, she served on Canton Ballet’s teaching staff, working closely with Artistic Director Cassandra Crowley as assistant director, teacher, choreographer, mentor, and trusted artistic collaborator.
Players Guild Theatre’s 1985 production of Pippin, choreographed by Carol Hageman.
Throughout her tenure, Carol created numerous original works and helped shape the artistic experiences of countless students. Her choreographic credits for Canton Ballet included Dance (Peter Gabriel/Talking Heads), Trio (Sergei Prokofiev), Follies (Jacques Offenbach), Amahl and the Night Visitors (Menotti), String of Pearls (Glenn Miller), and Slaughter on Tenth Avenue ( Richard Rodgers).
Richard Early and Carol Hageman in a photo for Follies.
One of her most influential contributions to Canton Ballet remains The Nutcracker. Carol choreographed the iconic Party Scene as well as the ballet’s final scene, when Clara awakens from her dream and returns to her bedroom. Decades later, audiences continue to experience those moments each holiday season, making her work a lasting part of Canton Ballet’s artistic legacy.
While continuing her work at Canton, Carol Hageman also built an impressive parallel career in musical theatre. From 1983 to 1991, she served as Resident Choreographer for the Players Guild Theatre in Canton, choreographing more than 20 mainstage productions. Her credits included beloved classics such as Pippin, The King and I, Annie, The Robber Bridegroom, Oliver!, and Evita. She also brought her choreographic talents to productions at Kent State University at Stark, including Grease, Conference of the Birds, and Evita. These experiences broadened her artistic perspective and enriched the creative voice she brought back to generations of Canton Ballet students.
A 1992 student-signed program for Carol Hageman from students
At the Ohio Light Opera at The College of Wooster, she served as Resident Choreographer, contributing choreography to seven productions in the company’s repertory each summer. Her work also appeared at Kent State University Stark, Findlay College, the Cider Mill Playhouse in Binghamton, New York, Oberlin Conservatory, Eastman School of Music, Cuyahoga Community College, and the University of Akron.
Today, Carol believes Canton Ballet continues to provide the same kind of transformative opportunities that shaped her own journey.
Carol Hageman teaching Company class.
“Canton Ballet creates wonderful opportunities for aspiring artists. Students are exposed to exceptional training, performance experiences, and dedicated teachers who truly care about their growth. Those opportunities can have a lifelong impact.”
She hopes current students recognize the extraordinary foundation they are receiving.
“My wish for the dancers and students of Canton Ballet is that they realize what a wealth of knowledge is given to them by the Canton Ballet. Please dive in and commit to every class and rehearsal and know that you are getting the very best training and care from all your teachers. Be in the moment in every class and rehearsal and your rewards—physical, mental, and emotional — will be great and last a lifetime.”
It is advice rooted in decades of experience as an educator, choreographer, and mentor—and one that reflects a career devoted to helping others discover their potential.
Rene Street: Dancer, Survivor, Executive
When Rene Street reflects on her years at Canton Ballet, she remembers extraordinary teachers, treasured friendships, and a few moments of mischief.
Rene Street in Company class at Kent State Stark
One of her favorite memories involves a group of Snowflake Corps dancers in The Nutcracker placing orange peels in their mouths before a scene change.
“When we turned around, everyone had orange smiles,” she recalls with a laugh. “We thought it was the greatest stage prank ever.”
Rene Street in Company class at Kent State Stark
Behind the humor, however, is a remarkable story of perseverance and reinvention.
Born in Akron, Rene began dancing at an early age while her family was living in Arizona. After her family returned to Ohio when her father was transferred by Goodyear, she trained with Nan Klinger and later attended Madame Briansky’s summer program in Saratoga Springs, New York.
1974, Rene Street practices adagio work
In 1973, while attending the University of Akron where she majored in ballet, she joined Canton Ballet under the artistic direction of John Begg. Alongside her college studies, she performed with the company and appeared in productions including The Nutcracker and Peter and the Wolf. She also remembers dancing a new work by choreographer and Canton Ballet alumnus, Bill Anthony — an experience that would come full circle years later when she invited him to create choreography for students at her own school.
“Canton Ballet was an amazing school with amazing teachers,” she recalls. “I had a very positive experience.”
Rene Street (second from right) with fellow dancers.
After leaving Akron, Rene danced professionally with Ballet Tucson before continuing her training in New York City with Nancy Bielski, Richard Thomas, and Vladimir Dokoudovsky. Rene’ auditioned for and was accepted into the School of the Pennsylvania Ballet, where a select group of young dancers from across the country was chosen to participate in an intensive summer training program. Under the direction of Benjamin Harkarvy, Artistic Director of the Pennsylvania Ballet, she trained in both Philadelphia and at Penn State University in State College, Pennsylvania.
She later returned to Ohio, completed both her undergraduate and graduate studies, taught at Fairmount Center for the Arts, and opened her own dance school in Chagrin Falls.
Then, at the height of her teaching career, her life took an unexpected turn.
While residing in Cleveland, Rene developed Guillain-Barré syndrome following a routine flu vaccination. The rare neurological disorder left her completely paralyzed.
Rene spent eight difficult months at University Hospitals and Metro General, the majority of that time in the intensive care unit, dependent on a ventilator for breathing.
When recovery began, she had to relearn how to breathe, eat, walk, and perform many of the basic tasks most people take for granted. Years of rehabilitation followed, and today she still has limited sensation below her knees.
While still undergoing rehabilitation at Metro General, one of her excursions was to see Swan Lake starring the legendary ballerina Cynthia Gregory. The outing was made especially meaningful by Linda Jackson, one of her earliest ballet students and a dancer with the Cleveland Ballet, who personally accompanied her to the performance.
She attended in a wheelchair.
Despite the challenges she faced, Rene refused to let the illness define the rest of her life.
Inspired by her ballet mentors, the healthcare professionals who guided her recovery, and the support of family and friends, she embarked on a successful second career in healthcare. She went on to manage cardiac and pulmonary rehabilitation programs and oversee services for inpatient and outpatient diabetic populations in Cleveland, Kansas City, and San Jose.
Later, an unexpected opportunity with the American Business Women’s Association launched a third career that would last 26 years. Dedicated to supporting working women and women business owners, she helped countless individuals achieve growth and success both professionally and personally.
Rene Street, Executive Director, American Business Women’s Association
Today, retired and living in Denver, Colorado, with her husband, Michael, and close to her son, Christopher, and daughter-in-law, Danielle, Rene’ is enthusiastically embracing life as a “Colorado girl.” Whether hiking in the Colorado Rockies or enjoying time on the ski slopes, she continues to pursue new adventures with the same energy and determination that have defined her life.
Rene Street, Executive Director, American Business Women’s Association
“You learn that you are stronger than you think you are.”
It is a lesson she earned many times over.
And here is proof!
A Legacy Beyond the Stage
The careers of Cindy Ferguson Free, Carol Hageman, and Rene Street could not be more different.
One became an arts leader and sculptor. One dedicated her life to teaching and choreography. One built successful careers in healthcare and nonprofit leadership after overcoming extraordinary adversity.
Yet each began her journey at Canton Ballet.
Their accomplishments reflect not only talent and hard work, but a willingness to embrace opportunity, overcome challenges, and invest in the people around them.
Today, their stories continue to inspire the next generation of dancers, artists, educators, and leaders who will one day create legacies of their own.
