Doug Fullington is from Seattle, Washington, USA. He is a fluent reader of Stepanov notation, a classical ballet notation system developed in Russia and used in the Imperial Theatres, St. Petersburg, at the turn of the 20th century.
Doug has contributed reconstructed dances to The Daughter of Pharaoh for the Bolshoi Ballet (2001); Le jardin animé from Le Corsaire for Pacific Northwest Ballet School (2004); Le Corsaire for the Bavarian State Ballet (2007); and Giselle, with Marian Smith and Peter Boal, for Pacific Northwest Ballet (2011). In 2014, he is collaborating with Alexei Ratmansky on Paquita for the Bavarian State Ballet, and in 2015 he will stage excerpts from Le Corsaire once again for Pacific Northwest Ballet School.
Doug’s writings on the Stepanov notations have been published in Ballet Alert!, Ballet Review, Dance View, Dancing Times, and Tanz. He has also presented several lecture-demonstrations about Stepanov notation on the Guggenheim Museum’s Works and Process series (Balanchine’s Petipa, 2010; Giselle Revisited, 2011; After Petipa, 2012; and Petipa Exotique, 2014). These presentations included reconstructed dances from The Awakening of Flora, La Bayadère, Le Corsaire, Giselle, The Nutcracker, Paquita, Raymonda, Le Roi Candaule, The Sleeping Beauty, and Swan Lake. He is currently working on a book about Giselle with Marian Smith.
Doug is Education Programs Manager and Assistant to Artistic Director Peter Boal at Pacific Northwest Ballet in Seattle. He is responsible for developing PNB’s audience education programs and is also on the consulting staff of Pacific Northwest Ballet School as dance historian.
In 2000, Doug was named a principal researcher for The George Balanchine Foundation's Popular Balanchine project. He is also a professional musician. In 1993, he founded the Tudor Choir, a professional vocal ensemble based in Seattle which he continues to direct.