John Lam

He began his training with the Marin Ballet School on full scholarship.

In 2000 he was accepted into Canada's National Ballet School under the directorship of Mavis Staines. Lam was one of the few North Americans awarded a scholarship from the Pierino Ambrosoli Foundation in Zurich, which supports upcoming dancers with grants for study at schools all over the world.

Upon graduation from the National Ballet School in 2003, Lam was awarded the Peter Dwyer Scholarship Award for remarkable promise.

Lam was invited to Boston Ballet II in 2003, and promoted to soloist in 2008.

His repertory with Boston Ballet includes George Balanchine's The Four Temperaments (Melancholic), A Midsummer’s Night Dream (Oberon), Divertimento No. 15, Serenade, Maina Gielgud’s Giselle (peasant pas duex), August Bournonville's La Sylphide (Gurn), Rudolf Nureyev's Don Quixote (Lead Gypsy), Mikko Nissinen's The Nutcracker (snow pas, harlequin, marzipan) and Swan Lake (pas de trios, pas de cinq, and Neapolitan), Ashton’s La Fille Mal Gardee (flute boy), Christopher Wheeldon’s Polyphonia (joke pas) Jiri Kylian's Sarabande, William Forsythe's In the middle, somewhat elevated, Bronislava Nijinska’s Les Noces, Marius Petipa's The Sleeping Beauty and Raymonda, Act III, James Kudelka's Cinderella, John Cranko's The Taming of the Shrew, and Val Caniparoli's Lambarena. Lam has also been seen in world premiers of Jorma Elo’s Plan to B, Carmen, Break the Eyes and In on Blue, Helen Pickett’s Etesian and Eventide, Sabrina Matthews In Von Viel and Mark Morris’ Up and Down.

Lam was a finalist in the 2005 Seoul International Ballet Competition, and the only American male semi-finalist at the 2005 Helsinki International Ballet Competition. He was also the recipient of a 2005 Princess Grace Fellowship, which identifies and assists young talent.

In the summer of 2006, Lam was featured in Pointe Magazine (On The Rise) the men’s issue, Lam also received a proclamation from the Mayor of San Rafael, California, for outstanding achievements.

After his performance in William Forsythe’s The Vile Parody of Address the Boston Globe raved, “John Lam has emerged as one of the company's most versatile and expressive soloists.”