The San Francisco Ballet Center for Dance Education

Out of the Wings

A Study Guide Series for Classroom Teachers

Filling Station

& Drink to Me Only With Thine Eyes

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Mission Statement

The mission of San Francisco Ballet is to share our joy of dance with the widest possible audience in our community and around the globe, and to provide the highest caliber of dance training in our School. We seek to enhance our position as one of the world’s finest dance companies through our vitality, innovativeness and diversity and through our uncompromising commitment to artistic excellence based in the classical ballet tradition.

Katita Waldo in Balanchine’s Symphony in C. © Lloyd Englert, 2001.

2 © San Francisco Ballet Association 2008

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Table of Contents

Mission Statement ...... 2 About This Guide ...... 4 What is Dance? ...... 5 Filling Station ...... 6 Lew Christensen, Choreographer ...... 7 Virgil Thomson, Composer ...... 8 Paul Cadmus, Designer ...... 9 Signs of the Times: the 1930s ...... 11 Creative Dance: Movements from Everyday Life ...... 12 Drink to Me Only With Thine Eyes ...... 15 Mark Morris, Choreographer ...... 16 Santo Loquasto, Designer ...... 18 Poetry in Ben Jonson’s Time ...... 19 Writing a Friendship Poem ...... 20 Milestones in Ballet ...... 21 A Ballet Timeline ...... 22 Essentials of Ballet ...... 23 Common Questions about Ballet ...... 25 Theater Etiquette ...... 27 About San Francisco Ballet ...... 29 Helgi Tomasson, Artistic Director ...... 31 About San Francisco Ballet Orchestra ...... 34 About the San Francisco Ballet School ...... 36 About The Center for Dance Education ...... 37 Answers to Activities ...... 39 Further Resources ...... 40

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About this Guide

This guide is meant to inform, spark conversation, and inspire engagement with San Francisco Ballet’s production of Lew Christensen’s ballet Filling Station and Mark Morris’ Drink to Me Only With Thine Eyes. The guide is divided into several sections including information about theater etiquette, essential ballet vocabulary, ballet history, answers to common questions about ballet, San Francisco Ballet, the San Francisco Ballet School, and the San Francisco Ballet Center for Dance Education, which produces this guide. Included are questions to consider and activities to experience before or after viewing these ballets. These are designed to enhance and support your experience watching these ballets. You might consider copying portions of this guide for your class and/or bring the guide to the theater. There is even room in the margins to take notes.

Ikolo Griffin leads a San Francisco Ballet Family Workshop © SFB CDE, 2007.

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What is Dance?

Bending, stretching, jumping, and turning are all activities dancers do. They work hard to transform these everyday movements into the language of dance, using each step as a word to compose first a phrase, then a sentence, a paragraph, and finally a story, or an expression of a feeling such as joy, sadness, anger, or love. This is one of the greatest forms of communication we have available to us. Through movement and facial expressions dancers learn to convey emotions and sometimes even entire stories without needing to speak out loud. Since dance uses no words, people around the world understand and respond to it. This is why dance is sometimes called a universal language. Movement to music is a natural response to our enjoyment of sounds. Even an infant begins bobbing his head to music he enjoys. There are many different types and variations of dancing from tribal dances to swing dancing, from hip hop at a party to a classical ballet on an opera house stage. Dance is a wonderful way of expressing our joy of life. You might explore how to communicate an emotion through movement yourself. Notice how different music inspires unique motion, especially from children. All dance is a valid form of expression.

Pierre-François Vilanoba & Nutnaree Pipit-Suksun in Tomasson’s 7 for Eight. © Erik Tomasson, 2005. 5

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Filling Station Music: Virgil Thomson Choreography: Lew Christensen Libretto: Lincoln Kirstein Decor and Costumes: Paul Cadmus First Performance: Ballet Caravan, January 6, 1938, Hartford Connecticut Original Dancers (1938): Lew Christensen as Mac, Eric Hawkins and Eugene Loring as the Truck Drivers, Todd Bolander as the State Trooper, Harold Christensen as the Motorist, Ruby Asquith as the Child, Fred Danieli and Marie Jeanne as the Rich Boy and Girl, Michael Kidd as the Gangster

The comic ballet Filling Station has been called the first truly American ballet. Choreographed by an American dance-maker, set to music by an American composer, with sets and costumes by an American artist, Filling Station was also one of the first ballets to tell a story based on a slice of life that would be familiar to any American audience member: a stop at the gas station. The hero of this tale is not a prince or a king, but rather a resourceful, clever, all-American guy—a filling station attendant. Although Christensen uses many classical ballet steps in Filling Station, the ballet also demonstrates that dance can be used to tell a modern story, a comic strip-like fable not unlike the fairy-tale ballets of the 19th century. Synopsis: It’s late at night at Mac’s Filling Station, and we catch sight of Mac himself, reading a newspaper by the light of his gas station’s neon sign. Alone in his thoughts, Mac dances an energetic, jaunty solo, which is interrupted by the entrance of a Motorist. Comically dressed in checked suit with a giant straw hat, the cigar- chomping Motorist asks Mac for directions, which Mac shows him on a giant map. In the meantime, Mac’s buddies Roy and Ray, two truck drivers, sneak into the station and when the Motorist goes on his way, the three friends dance an athletic pas de trois. They are, in turn, interrupted by the State Trooper, who accuses the truck drivers of speeding—which they vehemently deny. As the Trooper leaves, after giving the men a warning, the Motorist returns, this time with a his nagging wife and a whiny daughter, who are looking for the restroom. Another young couple, who’ve obviously had too much to drink, wander in and the girl insists on dancing a drunken duet with her companion and then with Mac and his buddies. The Motorist and his family return and everyone joins in a San Francisco Ballet rehearses Christensen’s Filling Station. comic version of a dance called “The Big Apple.” However, they © Erik Tomasson, 2007. are violently interrupted by the arrival of the Gangster, who lines everyone up to steal their money and jewelry. The quick-witted Mac, however, sneaks outside to turn out the station’s lights. Chaos ensues as everyone runs around the stage madly and Mac and his friends try to catch the Gangster. A shot rings out and when the lights come on, it looks like the intoxicated girl is dead. The State Trooper arrives to arrest the Gangster, but as the boys lift the girl up to carry her body off, she wakes up and waves to Mac—she had only fainted. The down-to-earth Mac watches the procession leave, and then goes back 6 to his newspaper.

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courtesy of SF Performing Arts Library Lew Christensen Choreographer and San Francisco Ballet Director 1951-1984 biography Born May 9, 1909 in Utah, Lew Christensen While still working with Ballet Society, began his dance career in the vaudeville Christensen also returned to perform with circuit, where he performed with his brothers San Francisco Ballet—which his brother Willam and Harold. But it was at the Willam directed—where he performed the Metropolitan Opera’s American Ballet, which role of Prince Siegfried in the first American he joined in 1935, that this tall and handsome production of Swan Lake. Christensen was young man would become America’s first named associate director of San Francisco native premier danseur. Ballet with his brother in 1951, and one year later, he became sole director of the Company. While with the American Ballet, Christensen caught the attention of legendary Christensen choreographed over 110 works, choreographer George Balanchine, who cast including ballets, opera divertissements, and him in Orpheus and Eurydice, and Apollon musical revues—55 of which were made for Musagete. In 1936, he left the American SFB. During his 33-year tenure at SFB, he Ballet to join Lincoln Kirstein’s Ballet Caravan, created two productions of Nutcracker, as where he would choreograph some of his well as Con Amore, Sinfonia, Divertissements most popular ballets, including Filling Station d’Auber, Il Distratto, Airs de Ballet, and Vivaldi (1938), Charade (1939), and Pastorela Concerto Grosso. He also maintained close (1941). During this period he also ties to Balanchine, acquiring many of his works choreographed the poignant Jinx (1942) for for the company. the Dance Players. Under Christensen’s direction, the Company With the outbreak of World War II, Christensen toured nationally and internationally on three was inducted into the military and sent to a State Department tours to Asia and the post in Germany. When he returned to the Middle East, Africa, and South America and US in 1946, he became ballet master for was introduced to a wider audience through Balanchine and Kirstein’s Ballet Society, which numerous television broadcasts of Beauty and would later become known as New York City the Beast (1958) and Cinderella (1973). Ballet. Lew Christensen passed away on October 9, 1984.

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© William Glenesk Virgil Thomson Composer biography The brilliant American composer Virgil Macbeth as well as the music for The Plow Thomson was born on November 25, 1896, in That Broke the Plains and The River, both Kansas City, MO. sponsored by the United States Resettlement Administration. It was for his score to another Educated at Harvard University, Thomson film, however,Louisiana Story, that he would eventually moved to Paris to study with Nadia win the Pulitzer Prize for Music in 1949. Boulanger, where he was introduced to a glittering array of musicians and artists that Thomson introduced Lincoln Kirstein to included Gertrude Stein, Igor Stravinsky, Erik George Balanchine and when Kirstein himself Satie, and Jean Cocteau and the circle of wrote a scenario for Filling Station, a ballet on composers known as “Les, Six.” It was for Stein a typically American theme, he commissioned that he composed two operas, Four Saints in the music from Thomson. Three Acts and The Mother of Us All. Thomson’s influence spanned several Upon returning to New York in 1937, Thomson generations of composers, who include Ned became the chief music critic for the New York Rorem, Paul Bowles, and Leonard Bernstein. Herald Tribune, also publishing a book entitled With a style defined by witty and playful The State of Music. rhythms, he created a sound that was distinctly refreshingly American. As an American composer of the stature of Aaron Copland, Thomson was commissioned for many film scores, including Orson Welles’

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Reflection, by Paul Cadmus Paul Cadmus Set & Costume Designerbiography

Artist Paul Cadmus was born in New York City The brother-in-law of Lincoln Kirstein, who on December 17, 1904. would found the New York City Ballet with George Balanchine, Cadmus was interested A controversial, yet popular painter, Cadmus in the ballet throughout his life. Kirstein worked in a style that combined fantasy and became a major patron of Cadmus’ artworks, social criticism that came to be called Magic and also commissioned him for set and Realism. costume designs for the ballet Filling Station Perhaps his most notorious work was The and illustrations for his 1939 book, Ballet Fleet’s In!, which Cadmus painted in 1934 Alphabet: A Primer for Laymen. for the Works Progress Administration (WPA). Kirstein also authored an illustrated biography Following the publicity surround this work, of Cadmus in 1984, and the following year, Cadmus became widely known as an artist PBS aired the documentary Paul Cadmus, as well as a commercial illustrator, and The Enfant Terrible at 80. Fleet’s In! served as inspiration for Jerome Robbins’ landmark ballet Fancy Free. In his later years, there was revived interest in Cadmus’ works, with two major exhibitions at Educated at the National Academy of Design the Whitney Museum of American Art in New and the Art Students League in New York, York and the D.C. Moore Gallery. Cadmus admired the works of Renaissance painters, and often created his works in Cadmus died at his home in Weston, a medium called egg tempera, which was Connecticut, on December 12, 1999, only five favored by early painters. days short of his 95th birthday.

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The Creative Team of Filling Station

To find out more, visit these websites:

The Choreography of Lew Christensen veenet.value.net/~cchris/christensen.html The Virgil Thomson Website www.virgilthomson.org Paul Cadmus on Artcyclopedia www.artcyclopedia.com/artists/cadmus_paul.html

What Did You Learn?

1) Name three ballet companies where Lew Christensen worked. 2) How many works did Lew Christensen create for SFB? 3) Name two operas by Virgil Thomson. 4) For what piece did Virgil Thomson win the Pulitzer Prize? 5) What ballet was inspired by Paul Cadmus’ The Fleet’s In!?

See page 39 for answers.

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Signs of the Times: the 1930s

Here are a few snapshots of what was making news in 1938, the year that Filling Station premiered.

In June, Superman In July, aviator and made his debut in millionaire Howard Action Comics Hughes set a world record with his 91-hour flight around the world In October, the US established In October, Orson the first Welles broadcast Minimum In February, the first War of the Worlds Wage, at $0.25 nylon toothbrush was on the radio. It was per hour. introduced. so realistic, listeners actually At the end of 1937, Walt Disney believed aliens had premiered Snow White and the Seven landed, causing a Dwarfs, the first animated feature in public panic. English. An enormous success, it led to Disney establishing a studio in Burbank.

Your Turn! Do you recognize the people and places in the pictures below?

1. Who is this man? 3. Who is this woman? ______

Hint: He was President Hint: One of the greatest of the United States movie stars of the 1930s, from 1933-1945. she has won more Oscars than any other actress.

2. Who is this 4. What building is this? baseball player? ______Hint: Opened in 1931, it was Hint: A New York the world’s tallest building in Yankee (#5), he was its time. named Most Valuable Player in 1939.

photo © ME Hunt See page 39 for answers. 11

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Creative Dance: Movements from Everyday Life

Developed by: Charles McNeal Grade: 2-5 Length: Three 30-minute sessions Equipment/Materials Needed: A large room clear of obstructions; music, cd or tape player, if preferred

Summary: This activity provides an introduction to a creative dance activity utilizing themes. Creative movement and dance is a fun way for children (and adults) to develop physical skills and kinesthetic awareness, while channeling energy and stimulating the imagination. Creative dance involves using various body motions and abstract movements to communicate a feeling or an idea.

Goals: • To improve students’ self-awareness and creative expression • To help students master some basic concepts of dance such as rhythm, space and tempo, range and frequency • To have students each perform their (repeatable) original creative dance compositions • To have students recall patterns and sequences of information • For students to observe performances by other students, respecting each other’s creative abilities Lesson Sequence: Session 1: • Introduction: Working together as a whole class, first, do a warm-up. Put on a selection of music with a moderate tempo (speed) and perform basic group warm-up exercises. Add isolations, moving and freezing different body parts separately. Last, do a couple of stretches for legs and back, etc. You can also try a few jumps, but complete the warm-up series with deep breathing and slow moves. (Note: teachers can experiment with having students lead activities, as long as they are “doable” by everyone and SAFE).

• Part 2: Next, it’s time to take an ordinary movement and make it extraordinary! Now, looking at the gestures we make when brushing our teeth - start with the simple movement and make it faster, slower, wider and grander than before, but not necessarily all at once. When you have expanded and played with this movement enough, your end result will not resemble the original movement very much at all. The idea is to experiment with tempo (speed), range (big or small), and frequency (the number of times) to take the original gesture and make it an abstract original dance move. The last part is to make the dance move both rhythmic (musical) and repeatable (intentional). 12

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Creative Dance: Movements from Everyday Life, cont’d Session 2: • Part 3: Review and repeat the warm-up exercises from the previous Session. Now, working together as a group, take another ordinary movement and make it different and original! Looking at the gestures we make when combing or brushing our hair - again start with the simple movement and make it faster, slower, and wider with more flourish than before. When you have experimented with this movement enough, your end result will not resemble the original movement. The idea is to change the tempo, range, and frequency once again, making the gesture an abstract original dance move.

Session 3: • Now that you have worked all together as one big group, it’s time to break out into smaller work groups. Students should be separated so that there are “mixed (dance) abilities” in each group. Each group should select a theme.

Sample Themes: Morning Routines Building a House Eating Dinner Gardening Getting Dressed Cleaning the House

Next, choose one of these themes, or create your own. For each theme select three movements that represent that idea. Extend and expand those original movements until they become something different, something new and original. Now, string those three new movement sequences together to create an original dance. Now it’s time to select a musical tempo and/or use a selection of music to dance to. Remember the final sequence should not be random and “made up as you go along”, but planned and intentional. Each dance will be made of three ordinary movements that have become abstract original dance moves. Finally, each group will want to create a beginning and ending for their dance.

Give each group time to rehearse and practice their new dance. Have each group share their dance with the entire class. (Groups can select a name for their dance if they choose.) Check your success: • Did everyone participate? • Did everyone contribute? • Do students understand the concepts? • Did students cooperate as a group? • Did they complete that task? • Can students provide positive critique of others’ work? Vocabulary: tempo, range, frequency, rhythmic, abstract, repeatable, sequence 13

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Creative Dance: Movements from Everyday Life, cont’d Visual & Performing Arts State Content Standards Addressed:

Artistic Perception

1. Students perceive and respond, using the elements of dance. 2. They demonstrate movement skills, process sensory information, and describe movement, using the vocabulary of dance. 3. They perform short movement problems, emphasizing the element of force/ energy/time etc. 4. They describe dance elements used in personal work and that of others. Creative Expression

1. They are creating, performing and participating in dance. 2. They create a sequence that has a beginning, middle, and an end. Name and refine the parts of the sequence. 3. They can create, memorize, and perform original movement sequences with a partner or a small group. 4. They know how to compare and contrast the role of the performer with that of a member of the audience. Historical/Cultural Context

1. They can describe and demonstrate ceremonial and folk/traditional dances that show work and everyday activities (e.g., cooking, cleaning, fishing, gardening). Aesthetic Valuing

1. Students respond to, analyze, and make judgments about works of dance. 2. They can explain and demonstrate what it means to be a good audience member. 3. They know how to explain how a performer’s dance skills contribute to communication of ideas and moods when performing a dance (e.g., focus, strength, coordination). Connections, Applications, Relationships

1. Students manage time and resources well. 2. They cooperate as a cohesive working group.

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Drink to Me Only With Thine Eyes Music: Virgil Thomson Choreography: Mark Morris Libretto: Ben Jonson Costumes: Santo Loquasto First Performance: American Ballet Theatre, May 31, 1998, Metropolitan Opera House, NY

Although there is no plot to Mark Morris’ Drink to Me Only With Thine Eyes, the piece, which was created on 12 classical ballet dancers, uses many of the conventions of dance to convey a sense of community among friends. The music for Drink to Me Only With Thine Eyes is a series of short pieces from Virgil Thomson’s Etudes for Piano and includes “Chromatic Double Harmonies,” “Repeating Tremolo,” “Fingered Fifths,” “Double Glissando,” “Oscillating Arm,” “Pivoting on the Thumb,” “Alternating Octaves,” “Double Sevenths,” “Broken Arpeggios,” “Parallel Chords,” “Ragtime Bass,” “For the Weaker Fingers,” and “Tenor Lead.” The title of the ballet is an allusion to a poem called “To Celia,” written in 1616 by the English author Ben Jonson. Over the years, the poem has become so popular that it has been set to music to become a traditional song.

Drink to me only with thine eyes, I sent thee late a rosy wreath, And I will pledge with mine; Not so much honouring thee Or leave a kiss but in the cup As giving it a hope that there And I’ll not look for wine. It could not withered be; The thirst that from the soul doth rise But thou thereon didst only breathe, Doth ask a drink divine; And sent’st it back to me; But might I of Jove’s nectar sup, Since when it grows, and smells, I swear, I would not change for thine. Not of itself but thee!

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courtesy of Mark Morris Mark Morris Choreographer biography Mark Morris was born on August 29, 1956, Ballet, Houston Ballet, English National Ballet, in Seattle, Washington, where he studied as and The Royal Ballet, Covent Garden. a young man with Verla Flowers and Perry Morris is noted for his musicality - he has Brunson. been described as “undeviating in his devotion In the early years of his career, he performed to music” - and for his “ability to conjure so with Lar Lubovitch, Hannah Kahn, Laura Dean, many contradictory styles and emotions.” He Eliot Feld, and the Koleda Balkan Dance has worked extensively in opera, directing and Ensemble. choreographing productions for the New York City Opera, English National Opera, and The He formed the Mark Morris Dance Group in Royal Opera, Covent Garden. 1980, and has since created more than 120 works for the company. From 1988-1991, he Morris was named a Fellow of the MacArthur was Director of Dance at the Théâtre Royal Foundation in 1991. He has received honorary de la Monnaie in Brussels, the national opera doctorates from The Boston Conservatory house of Belgium. Among the works created of Music, The Juilliard School, Long Island during his tenure were three evening-length University, Pratt Institute, Bowdoin College, dances: The Hard Nut; L’Allegro, il Penseroso and George Mason University. ed il Moderato; and Dido and Aeneas. Morris is the subject of a biography by In 1990, he founded the White Oak Dance Joan Acocella (Farrar, Straus & Giroux). In Project with Mikhail Baryshnikov. 2001, Marlowe & Company published Mark Morris’ L’Allegro, il Penseroso ed il Moderato: Morris is much in demand as a ballet A Celebration, a volume of photographs and choreographer. He has created several works critical essays. on San Francisco Ballet since 1994 (including Maelstrom, Pacific, Sandpaper Ballet, A In 2001, he opened the Mark Morris Dance Garden, Later, and a full length production Center in Brooklyn, New York, his company’s of Sylvia) and received commissions from first permanent headquarters in the US, American Ballet Theatre and the Boston housing rehearsal space for the dance Ballet, among others. His work is in the community, outreach programs for local repertory of the Geneva Ballet, New Zealand children, as well as a school offering dance classes to students of all ages.

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To find out more about Mark Morris, visit these websites:

www.mmdg.org www.infoplease.com/ce6/people/A0834094.html www.abt.org/education/archive/choreographers/morris_m.html

What Did You Learn?

1) Where and in what year was Mark Morris born? 2) With whom did Morris study first? 3) In what year was the Mark Morris Dance Group established? 4) Name three dances that Morris has created for San Francisco Ballet. 5) Mark Morris has been described as “undeviating in his devotion to” what art form?

See page 39 for answers.

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courtesy of TDF Santo Loquasto Costume Designer biography Santo Loquasto has designed for He has received Academy Award theater, film, dance, and opera. In nominations for Woody Allen’s Zelig 1990 his work garnered him a Drama (costume design), Bullets Over Desk and Tony Award for Grand Hotel Broadway (production design), and (costume design), and the year prior, Radio Days (production design), which for the New York Shakespeare Festival also won him the British Academy production of Cafe Crown (set design). Award. He also recevied Tony Nominations For other work in theater, he received for American Buffalo, What the an Obie, the Joseph Maharam Award, Wine-sellers Buy, That Championship and both Outer and Drama Desk Season, The Suicide, and The Cherry Awards. He has also designed the Orchard (for which he also received a scenery for Twyla Tharp’s Movin’ Out Tony Award for his costume designs). on Broadway, and the scenery and In dance, Loquasto has collabrated costumes for Long Day’s Journey Into with Jerome Robbins, Mikhail Night. Baryshnikov, Agnes de Mille, Sir He is a graduate of King’s College and Kenneth MacMillan, James Kudelka, the Yale School of Drama. Recently he Mark Morris, Paul Taylor (Company B), was inducted into the Theatre Hall of Twyla Tharp, and Helgi Tomasson (Le Fame. Quattro Stagioni, “Haffner” Symphony, and Aurora Polaris).

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Poetry in Ben Jonson’s Time

When Ben Jonson’s “To Celia” was published in 1616, poetry was not just a pleasant pastime, it was the dominant type of literature in the English court. During the 1600s, the quality and quantity of poetry rose to new levels with works of John Donne, the sonnets of Shakespeare, and the romances of Sir Philip Sidney. Authors wrote songs, lyric poems, and sonnets to express their devotion to another, to communicate a secret love, or even just to capture the quality of a moment in time. Even Queen Elizabeth herself wrote poetry! In modern times we still see the echoes of this interest in poetry -- even today, it’s common to send verses to a friend or loved one in the form of a greeting card, or for writers to express

profound affection and love for another person in the form of a song. Ben Jonson In the poem “To Celia” Jonson uses metaphors and allusion to plead with a lady to communicate her love, even with something as small as a gaze. If she glances at him, he will consider it a promise of her love. He says in the second stanza that he sent her a bouquet of flowers, and even though she returned them, they smell now not of roses, but of her.

Name that Tune! Can you read music? Try singing the original tune of “Drink to Me,” below. There are two parts, so you and a friend can sing it together.

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Filling Station guide.indd 18-19 1/16/2008, 12:32 PM The San Francisco Ballet Center for Dance Education Writing a Friendship Poem Developed by: Charles McNeal Grade: 4-6 Length: Two 30-minute sessions Equipment/Materials Needed: Pen or Pencil, paper, time, inspiration

Writing a poem is all about observing the world both within you and all around you. The inspiration to write a poem can come from anywhere. You can write a poem about anything. It could come from an experience, a memory, a feeling, a desire, or anywhere. Usually, you start with a single idea or phrase and build from there. A poem can be long or short, rhyming or not, it doesn’t matter. As long as you enjoy the final product and it expresses something you want to communicate, it’s fine. A poem doesn’t have to be in complete sentences or even make sense to anyone but you. But, if you really express yourself well, others will understand some part of your meaning, and will respond to it.

Some say that more poems are written about love and friendship than any other topic. In this exercise, you will write a poem about friendship. We call this a Friendship Poem.

Guidelines: To be most successful and original, keep these ideas in mind: • Consider the topic. Who is this person you want to write about or to? • Write down your thoughts and feelings before you begin writing the poem itself • Choose your words carefully • Select words rich in meaning • Describe things fully • Use phrases that are NOT ordinary • Edit your poem • Get outside opinions • Read more about writing poems

There are many different types of poems, here are some examples: • A NARRATIVE POEM tells a story. • LIMERICKS are usually funny or silly. • HAIKU is an old form of poetry from Japan. • FREE VERSE is a kind of poetry that has no real rhythm or pattern. • CINQUAINS are special poems that have five lines. • LYRIC POEMS make you want to sing!

You can research these different writing styles or just proceed and see how your poem turns out. Remember to share your poem with others. If you enjoy writing and discussing poetry, you may even want to start a poetry club at your school. Poetry is a big part of our national culture. Did you know we have a State representative for poetry? The position is called The California Poet Laureate. The State Poet Laureate is appointed by the Governor for a two-year term.

Session 1: • Choose a friend to write about. Make a list of all the positive qualities you like best about him or her. • Write down words that you associate with this friend. (Select words rich in meaning.) • Identify your best words and phrases. Session 2 • Now that you have done most of the background work, it’s time to get ready for writing. Do a little research about the different styles of poetry and decide which one you’ll use. • When writing at first, don’t worry about being perfect. It doesn’t have to be neat either. You can re-write it later. Let your thoughts and feelings flow. Write now, edit your poem later. Good luck! Conclusion For the best success, follow the guidelines and continue to research poetry styles. 20 Remember, April is National Poetry Month!

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Milestones in

People have dancedballet since the and imagination. Advances in theater beginning of civilization. Dance can technology, such as gas lighting and more be a form of celebration, it can be realistic sets, helped create an atmosphere of part of religious ritual, and it can be fantasy. performed as entertainment. Ballet After 1850, the center of the ballet world is a particular kind of dancing which 1. shifted from Paris to St. Petersburg, Russia. requires a very special technique that has There, a great ballet master and developed over 400 years of history. choreographer, Marius Petipa, produced the Ballet began in the form of lavish famous ballets Swan Lake,The Sleeping entertainment spectacles during the Beauty, and the Nutcracker in collaboration Renaissance in the courts of Italy and France. with composer Peter I. Tchaikovsky. In fact, the term “ballet” and the word “ball” By 1900 the very best dancers were trained are both derived from the Italian verb ballare, at the Imperial Russian Ballet which means “to dance.” Early ballets were School. In 1909 a group of these performed in ballrooms; they contained dancers, including Vaslav Nijinsky speaking and singing as well as dancing; and and Anna Pavlova, came to the performers were mostly the nobility— perform in Paris where they made members of the courts. These court ballets a tremendous impression and reached their height of popularity under King revived interest in classical ballet. Louis XIV, who was an accomplished dancer 3. himself. The Ballets Russes toured Europe and America presenting a varied repertoire and He formed the first official ballet school, showcasing outstanding dancers for the next L’Académie Royale de Musique et de Danse, 20 years. Anna Pavlova formed her own know today as the Paris Opera. To this day, all company and traveled to every corner of the ballet vocabulary is in French. From this time, world, introducing ballet to people who had ballet evolved away from court ballrooms into never seen it before. a more structured theater environment. The performers began to be trained professionals Americans became enthusiastic about ballet rather than amateurs dancing for their own in the 1930s when many of those dancers enjoyment. settled in America. One of these, George Balanchine, began a At first all of the dancers were men. The major ballet school and first women appeared professionally in 1681. eventually directed New York City In the early 1700s, one Ballet. Another was Adolph Bolm, ballerina shortened her who was the first director of skirts so that her brilliant San Francisco Ballet, the first footwork was visible, and professional ballet company in 4. removed the heels from her the United States, founded in 1933. 2. shoes to make her movements easier. Another, concerned with Today, every major American city has a dramatic expression, removed her heavy hoop professional ballet company and good training skirts and fashionable wigs to make her schools. Thanks to the influence of superstars characters more believable. like Rudolf Nureyev and Mikhail Baryshnikov, male dancers are again as prominent as the Women became the most popular dancers ballerinas. when they began to dance en pointe (on the tips of their toes, wearing special shoes). Contemporary ballets contain movements This period, the Romantic Era, was a time which are influenced by modern dance, and when most ballets were about supernatural many performance pieces tell no story but are creatures and the contrast between reality abstract or plotless. And so, the art of ballet 1. Marie Taglioni continues to evolve. 2. Marie Salle 21 3. Tamara Karsavina & Vaslav Nijinsky 4. SFB in Balanchine’s Four Temperaments, © Erik Tomasson

Filling Station guide.indd 20-21 1/16/2008, 12:32 PM The San Francisco Ballet Center for Dance Education

Ballet Timeline

1661 Louis XIV (Sun King) founds the 1600 1653: Louis XIV dances the Sun God Academic Royale de la Musique, later in Le Ballet de la Nuit. His the Paris Opera Ballet. teacher, Pierre Beauchamps, formalizes the terms we use as 1789 Jean Dauberval produces La Fille Mal 1700 vocabulary in ballet today. Gardee, making it the oldest ballet still 1. extant in modern-day repertoire. 1726-7 Marie Camargo and her rival Marie Salle make debuts in London. Camargo 1828 Marie Taglioni makes her debut at the shortens her skirt to show her feet, Paris Opera dancing for the first time on paving the way for the modern tutu. pointe. 1800 1890s Marius Petipa 1841 Giselle is choreographed by (1818-1910) choreographs Jean Coralli and Jules Perrot, the great classics of ballet, starring Carlotta Grisi. including Sleeping Beauty (1890), Swan Lake (1895, with Lev Ivanov), and 3. 2. 1912 Vaslav Nijinsky premieres his Raymonda (1898). controversial L’Apres midi d’un Faune for Diaghilev’s Ballets Russes in Paris. 1909 Diaghilev’s Ballets Russes holds its first 1900 Paris season at the Theatre du Chatelet. 1915 Anna Pavlova premieres California 1933 Adolph Bolm, former partner Poppy in San Francisco. of Anna Pavlova, forms the San Francisco Opera Ballet. 1938 Eugene Loring choreographs and stars Willam Christensen joins the in Billy the Kid for Lincoln Kirstein’s Company as ballet master in Ballet Caravan. It is the first work 1938 and produces the first 4. created by an American choreographer U.S. versions of Coppelia, Nutcracker, to represent an American theme. and Swan Lake. Brothers Lew and Harold later join him to direct, 1938-1962 Denham’s Ballets Russes and respectively, the Company and its Ballet Russe de Monte Carlo tour school. America and create a national audience for dance. 1940 Ballet Theatre (American Ballet 1950 Theatre) gives its first season. 1960s-1970s Defections of former Kirov Ballet stars such as 1948 George Balanchine and Lincoln Kirstein Rudolf Nureyev (1938-95), found New York City Ballet. who defects in 1961; Natalia Makarova, in 1971; 1954 Robert Joffrey (1930-88) founds the and Mikhail Baryshnikov, in Robert Joffrey Theater Ballet, now 1974 bring new Joffrey Ballet of Chicago. excitement to classical 5. 2000 ballet in Europe and America. 1. Louis XIV as Apollo 2. Marius Petipa 3. Carlotta Grisi as Giselle 2008 San Francisco Ballet celebrates its 4. Lew Christensen in Filling Station 75th anniversary. © Estate of George Platt Lynes 5. Rudolf Nureyev 2008 22

Filling Station guide.indd 22-23 1/16/2008, 12:33 PM The San Francisco Ballet Center for Dance Education

Essentials of Just as sports, math, construction, andballet many other activities have their own vocabulary, so too does ballet. Because much of ballet’s early development occurred in France, many of the words are French and have been handed down since the 16th century. Here are some common terms and their applications.

accent To call attention to a particular movement or note in a phrase of dance continuous Movement that is uninterrupted in or music time adage [ah-DAHZH] Slow sustained conductor The leader of the orchestra. movements in ballet corps de ballet A group of dancers who work audience Spectators at a performance together as an ensemble. They form the audition To try out for a role; a trial background for the ballerina and her performance where a dancer is judged partner and are the backbone to any on their ability to dance ballet company. balance Maintaining the stability and costumes The clothing performers wear to equilibrium of the body help set the mood a choreographer ballet [BA-lay] A classical dance form wishes to create, allowing for freedom originating in European Courts during of movement for dancers and actors the 17th and 18th centuries that is alike characterized by grace and movement dancer Translates the choreographer’s vision with intricate gestures and codified to the audience through technique and footwork interpretation. ballerina A female ballet dancer of highest demi [duh-MEE] Half ranking. divertissements Consist of a variety of short ballet master/mistress An individual (usually dances inserted in certain ballets as a retired dancer) with varying entertainment. responsibilities including teaching, dress rehearsal Final practice before a coaching, and rehearsing ballets. performance barre The place where a dancer goes to dynamics The force, energy and intensity with begin his/her class work. The barre is a which motions are executed; ranging long pole securely attached to a wall, from soft, slow & fluid to hard, fast & to give the dancer support. After the sharp dancer has done barre work to warm up, he/she will move to the center of emotions Feelings expressed in dance such the classroom or studio to practice as joy, sorrow, hate, love, etc. increasingly complex steps. energy A unit of force in movement beat The underlying pulse which measures ensemble A group of dancers working time; beat is part of rhythm together on a performance . focus To concentrate on one thing at a time choreographer The visionary of the dancing freeze A halt in movement at any given time in a ballet. He/she is responsible for grand [grahn] Grand or big creating the ballet for the stage and integrating the dancing, music, decor, interpretation Deciding the meaning or story, costumes, and lighting. concept of a dance or movement choreography The art of creating and isolate To focus on one body part at a time arranging steps to create a dance. jeté [zhuh-TAY] To leap composer A person who creates music. leap To jump from one foot to the other concert A public dance or music performance 23

Filling Station guide.indd 22-23 1/16/2008, 12:33 PM The San Francisco Ballet Center for Dance Education

Essentials of ballet directly in front and framing the curtain. level A position or movement in space that rehearsal The practice of a dance before occurs on the horizontal plane, such as performing high, medium or low relevé [rehl-VAY] To rise to the balls of the feet lighting design Is used to enhance scenery repertoire [rep’ er-twär] The collection of and costumes, as well as give a sense dances performed by a ballet company of time. rhythm The pattern of music or movement narrative A dance that tells a story through time parallel A primary position in dance where the sauté [soh-TAY] To jump feet are flat on the ground with toes pointing forward set designer A person who creates the scenic design. pas de deux A dance for two people, traditionally a ballerina and a premier scenic design Like costumes and makeup, danseur. scenic design helps to tell the story or set the mood of the ballet. The set must pattern An ordered arrangement which be designed so that the dancers can repeats itself enter and exit the stage according to pantomime The art of telling a story, the choreographer’s wishes. expressing a mood or an emotion or shape A specific design of the body at rest or describing an action without words. in motion performance The presentation of a dance, solo A dance performed by one person play or theater piece for others space Area occupied by the dance or dancer phrase A series of dance movements forming a unit in a choreographic pattern stretch To elongate or extend one’s muscles plié [plee-AY] To bend the knees studio The place where artists study dance, practice and rehearse pointe shoes Shoes worn only by female dancers that enable them to dance on technique The method and procedures of the tips of their toes. The area covering classical ballet training to get desired the toes is made of layers of fabric results. A dancer’s ability to perform all glued together in the shape of a “box,” steps and movements correctly. covered in satin, and hardened. The sole tempo The speed at which a rhythm moves of the shoe is made of hard leather to tendu [tahn-DEW] To point or stretch the foot prevent the shoe from breaking when theater A place for the presentation of bent and to help support the foot. To performances—an essential in ballet keep the shoe on tightly, the dancers sew satin ribbons and elastic to the turnout The ability of the dancer to turn the sides and tie the ribbons securely legs outward from the hip joints to a around their ankles. A pair of pointe 90-degree angle. shoes costs $50 to $80 wholesale and tutu Ballet skirt, usually made of net. Tutus lasts from 1 hour to 8 hours of work. may be of varying lengths. While the port de bras [pawr deh brah] Movement of the style and mood of the ballet help to arms determine the preferred tutu length, the dancer’s technique is most clearly premier danseur A male ballet dancer of the visible when she wears a short tutu. highest ranking. Tutus are very expensive; the cost of principal dancer A male or female dancer of a jeweled tutu ranges from $3,200 - the highest ranking. $4,200. 24 proscenium The part of a modern stage

Filling Station guide.indd 24-25 1/16/2008, 12:33 PM The San Francisco Ballet Center for Dance Education

Common Questions about ballet 1. What is a ballet? exercise, discipline, and enjoyment for It is dancing to music on stage in front all, the hope of a professional career of an audience using the classical is limited to very few people. Those ballet vocabulary. who will enter professional ballet companies have worked long and hard 2. How do ballet dancers make up the to develop their superior skills and are steps they do? dedicated to their art. They don’t make up the steps. Dancers learn the basic ballet steps in ballet 5. Why does it take so long to become class. Ballet steps are like words. a ballet dancer? Just as you combine words to form Part of a ballet dancer’s job is to make a sentence and then a paragraph, the difficult look easy. Ballet dancers choreographers combine hundreds of must spin around many times without steps to express a feeling or idea, or getting dizzy, lift their legs above their tell a story. ears, and jump high in the air. It takes a lot of training to do things like that. 3. What do dancers do when they aren’t on stage? 6. Can children dance on stage? They practice exercises in daily ballet Children who take ballet classes are class to stay in shape and improve sometimes invited to dance with their skills, and they spend a lot of professional ballet companies. There time learning and practicing dances are 74 children’s roles in San taught by a choreographer. A ballet Francisco Ballet’s production of dancer’s day is similar to a professional Nutcracker. All parts are double cast athlete’s. Can you imagine what would so there are at least 148 ballet happen if the 49ers or the Warriors students involved. Some ballet did not have training camp or daily schools also give a performance each practices? year at which all the children get a chance to perform and show what they 4. How long does it take to become a have learned. ballet dancer? It takes about eight to ten years 7. Is ballet just for girls? of training to become a professional No. Every year more and more boys ballet dancer. Training ideally begins are taking ballet lessons. Ballet is hard when a student is between the ages of work and requires great coordination, 8 and 10. Beginners go to ballet class strength, and athletic ability. Boys once or twice a week; by the time a have to learn to jump high, turn very student is 15 years of age, he or she fast without getting dizzy, lift girls, and will be taking 10-15 lessons a week. make it all look easy. While ballet classes can provide

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Filling Station guide.indd 24-25 1/16/2008, 12:33 PM The San Francisco Ballet Center for Dance Education

Common Questions about ballet 8. When do girls learn to dance on 11. Do dancers get nervous before a their toes? performance? Girls usually begin to wear pointe Even though professional dancers shoes when they are 11 or 12 years perform before thousands of people, old. They have to wait until their bones every time they perform they still get are hard enough and their muscles in a little nervous. But when they begin their feet and legs are strong enough to dance, the nerves subside and they to support their full weight en pointe. just perform the best they can.

9. Don’t dancers get dizzy when they 12. When do dancers have to stop turn? dancing? No, they don’t get dizzy because they Dancing is a very hard life. Dancers are taught a trick called “spotting.” work from almost the moment they Before they begin turning, they pick get up in the morning until the time something to look at—a clock, a door, they go to bed at night. As a result, a light. Then they try and keep looking most dancers stop dancing when they at it as they go around and around. Go are about 35-40 years old–about the ahead and try it. time many professional athletes have to retire. 10. Do dancers sometimes fall and hurt themselves? 13. Do professional ballet dancers Just as athletes are vulnerable to get paid a lot of money? certain injuries, so are dancers. Ballet A very few famous ballet dancers is very demanding on a dancer’s body; make a lot of money. Most it has even been said that “ballet is professional ballet dancers, however, a contact sport.” Dancers hurt their are not rich at all. backs and shoulders, necks and knees. They pull muscles, sprain ankles, twist 14. If dancers have to train so long, joints, and break bones in their feet and work so hard, and make so little and legs. Ballet dancers take many money, and are prone to injury, why do steps to prevent injuries including they do it? taking class every day to keep their Ballet dancers dance because they muscles strong, loose, and warm, love dancing and because it brings performing warm up exercises before them great joy. they dance, and putting a special powder on their shoes, called rosin, to prevent them from slipping. Even so, there is always the chance that a dancer will get hurt. 26

Filling Station guide.indd 26-27 1/16/2008, 12:33 PM The San Francisco Ballet Center for Dance Education

Theater etiquette • The performance will begin promptly at 11:30 a.m. and lasts approximately one hour and fifteen minutes, without an intermission.

• Let your students know in advance what behavior is expected of them. This is a LIVE performance. Unlike television or the movies, the people on stage are there at that moment and are dancing for the audience’s pleasure. Any noise distracts them. The performance will be exciting, but let your students know that they will be required to sit quietly in their seats for a fairly long period of time.

• School clothes are appropriate dress, however, some students may choose to “dress up.”

• Please plan to arrive at the Opera House at least 30 minutes prior to the performance as latecomers cannot be seated once the performance has begun.

• By now you should have received your tickets and a seating chart. Please show the tickets to the usher, and he or she will help you locate your seats.

• No food, drink, chewing gum, skateboards, cameras, or recording equipment are allowed inside the theater. If you plan to bring any of these items, please have your students leave them on the bus until after the performance has ended. We do not have provisions for storing these items at the Opera House.

• Cell phones, iPods, electronic games, and other devices should all be turned off or set to “silent” mode.

• It is important to have your students visit the rest rooms before the performance begins. It is inappropriate to visit the rest rooms during a live performance. At all times, children must be accompanied to the rest room by an adult. Ushers will direct you to the rest rooms.

• Bus parking is limited. For more information on bus parking, please call (415) 865-2000.

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Filling Station guide.indd 26-27 1/16/2008, 12:34 PM The San Francisco Ballet Center for Dance Education

Theater etiquette We recommend that you provide your students with some guidelines of things to look and listen for during the performance. You may also want to encourage your students to add to this list.

Students should be encouraged to:

A. Watch the dancers.

B. Listen to the music.

C. Look at the costumes and set designs.

D. Laugh when they see the dancers do something funny.

E. Clap to show the dancers and musicians that they are enjoying the performance when the dancing has finished. It is customary to applaud when the dancers take a bow.

Students should be encouraged NOT to:

A. Talk or make noise because they might miss something important.

B. Chew gum or eat because it is disruptive to others and makes a mess at the theater.

C. Leave their seats before the lights go on because this is very disruptive to their neighbors.

D. Use their iPods, cell phones, or CD players in the theater because this is disruptive to the dancers and other members of the audience.

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Filling Station guide.indd 28-29 1/16/2008, 12:34 PM The San Francisco Ballet Center for Dance Education

aboutSan Francisco Ballet

San Francisco Ballet Company Class © Erik Tomasson, 2007. San Francisco Ballet, the oldest professional ballet the first performance by a West Coast company company in America, has emerged as a world-class to be shown on the PBS television series “Dance arts organization since it was founded as the San in America.” In 1981, Smuin’s The Tempest-the Francisco Opera Ballet in 1933. Initially, its primary first ballet ever broadcast live from the War purpose was to train dancers to appear in lavish, Memorial Opera House-was nominated for three full-length opera productions. Emmy Awards (Willa Kim received the award for Outstanding Costume Design). Three years later, Willam Christensen arrived in 1938, and Smuin received an Emmy Award for Choreography choreographed the Company’s first full-length for the “Great Performances-Dance in America” production, Coppélia, the following year. In 1940, national broadcast of A Song for Dead Warriors. he staged the first American full-length production of Swan Lake. On Christmas Eve 1944, In 1974 San Francisco Ballet faced bankruptcy, Christensen launched a national holiday tradition but its supporters and the community responded with the premiere of Nutcracker, the first complete with an extraordinary grassroots effort called version of the ballet ever staged in the United “Save Our Ballet,” which successfully brought the States. Company back from the brink. That same year, Dr. Richard E. LeBlond, Jr. was appointed president In 1942, the Company became a totally separate and general manager of the San Francisco Ballet entity from the opera and was renamed San Association. He developed the first long-range plan Francisco Ballet. Willam Christensen was artistic for an American dance company, and in 18 months director, and his brother Harold was appointed San Francisco Ballet was in the black financially. director of the San Francisco Ballet School, a position he retained for 33 years. Lew Christensen, Helgi Tomasson’s arrival as artistic director in America’s first premier danseur, joined Willam as July 1985 marked the beginning of a new era co-director in 1951, and took over the Company for San Francisco Ballet. Like Lew Christensen, the following year. Under Lew’s direction, the Tomasson was, for many years, a leading dancer Company made its East Coast debut at Jacob’s for the most important ballet choreographer of the Pillow Dance Festival in 1956 and toured 11 20th century, George Balanchine. Less than two Asian nations the following year, marking the first years after Tomasson’s arrival, San Francisco Ballet performances of an American ballet company in unveiled its fourth production of Nutcracker during the Far East. the Company’s 54th repertory season. Tomasson has since staged acclaimed full-length productions In 1972, after performing in various San Francisco of many classics, including Swan Lake (1988); The theaters, the Company settled permanently in Sleeping Beauty (1990); Romeo & Juliet (1994); the War Memorial Opera House for its annual Giselle (1999); Don Quixote, co-staged with former residency. The following year, Michael Smuin was Principal Dancer and current Choreographer in appointed associate artistic director and Residence Yuri Possokhov (2003); and a new celebrated his new partnership with Lew Nutcracker (2004). Christensen by collaborating on a full-length production of Cinderella. In 1976, Smuin’s Romeo In 1991, San Francisco Ballet performed in New and Juliet became the first full-length ballet and York City for the first time in 26 years, returning in 1993, 1995, 1998, 2002, and 2006 for 29

Filling Station guide.indd 28-29 1/16/2008, 12:34 PM The San Francisco Ballet Center for Dance Education

aboutSan Francisco Ballet the Company’s first engagement at the Lincoln Angeles (2003); and the Edinburgh International Center Festival. Following the first tour,The New Festival at the Edinburgh Playhouse (2003). York Times proclaimed, “Mr. Tomasson has Notably, on the second day of the Company’s accomplished the unprecedented: He has pulled a London engagement in 2004, Sadler’s Wells’ box so-called regional company into the national ranks, office experienced the second-highest single sales and he has done so by honing the dancers into a day in its history. Of the engagement, David Dougill classical style of astonishing verve and purity. San of The Sunday Times wrote, “Helgi Tomasson’s Francisco Ballet under Helgi Tomasson’s leadership outstanding artistic direction (now in its 20th is one of the spectacular success stories of the year)…has transformed a regional American troupe arts in America.” into one of the world’s top ballet companies.” In May 1995, San Francisco Ballet played host In 2005, the Company returned to Paris, to 12 ballet companies from around the world participating in a three-week inaugural for UNited We Dance: An International Festival, engagement at Les étés de la danse de Paris, commemorating the 50th anniversary of the a new outdoor dance festival held in the Marais signing of the United Nations Charter, which district of Paris. As part of the engagement’s three- took place in the Performing Arts Center in San program repertory, San Francisco Ballet presented Francisco. Never before had a dance event brought commissioned works by internationally acclaimed together over 150 international artists for two choreographers Lar Lubovitch, Paul Taylor, and weeks of creative exchange and inspiration. Christopher Wheeldon. San Francisco Ballet continues to enrich and In 2004, San Francisco Ballet was the first expand its repertory and presents approximately American ballet company to present the evening- 100 performances annually. The Company’s vast length Sylvia, with all-new choreography by Mark repertory includes works by Sir Frederick Ashton, Morris. The Company also performed a two-week George Balanchine, August Bournonville, Centennial Celebration to honor the 100th Christopher Bruce, Val Caniparoli, Lew anniversary of the birth of Master Choreographer Christensen, Nacho Duato, Flemming Flindt, George Balanchine. In December 2004, San William Forsythe, James Kudelka, Jirí Kylián, Lar Francisco Ballet debuted Tomasson’s critically Lubovitch, Agnes de Mille, Sir Kenneth MacMillan, acclaimed new production of Nutcracker, hailed by Hans van Manen, Peter Martins, Mark Morris, The New York Times as “…striking, elegant and Rudolf Nureyev, Marius Petipa, Roland Petit, beautiful.” In 2005, Tomasson was awarded the Jerome Robbins, Paul Taylor, Antony Tudor, and prestigious Lew Christensen Medal in honor of Christopher Wheeldon. his 20th anniversary as artistic director of San In recent years, the Company’s touring program Francisco Ballet, and that same year, the Company has become increasingly ambitious. In particular, won its first Laurence Olivier Award, for its 2004 the Company has developed strong relationships fall season at Sadler’s Wells Theatre. In 2006, with a number of domestic performing arts centers in a readers’ poll conducted by Dance Europe including the John F. Kennedy Center for the magazine, San Francisco Ballet was the first non- Performing Arts in Washington, D.C.; New York’s European company to be voted “Company of the City Center; and Southern California’s Orange Year” by the publication. In 2008, San Francisco County Performing Arts Center. San Francisco Ballet celebrates its 75th anniversary. Ballet has also enjoyed more frequent overseas The San Francisco Ballet School, overseen by tours, including engagements at prestigious Tomasson, attracts students from around the venues such as the famed Opéra de Paris-Palais world, training approximately 350 annually. In Garnier in Paris (2001); London’s Sadler’s Wells addition to filling the ranks of San Francisco Ballet, Theatre (1999, 2004) and the Royal Opera House graduates have gone on to join distinguished ballet in Covent Garden (2002); Athens’ Megaron Theatre companies throughout the world. (2002); the Dorothy Chandler Pavilion in Los

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Filling Station guide.indd 30-31 1/16/2008, 12:34 PM The San Francisco Ballet Center for Dance Education

© David Martinez Helgi Tomasson Artistic Director and Choreographer biography Helgi Tomasson has held the position of celebrated principal dancers. artistic director for San Francisco Ballet since July 1985. Since then, the Company has In 1969, Tomasson entered the First evolved from a respected regional troupe to International Ballet Competition in Moscow as an international company praised for its broad a United States representative and returned repertory, dancers of uncommon range and with the Silver Medal (the Gold Medal was skill, and a vision that continually sets the awarded to Mikhail Baryshnikov). The following standard for the international dance world. year, Tomasson joined New York City Ballet as a principal dancer and over the course of San Francisco Ballet is dancing better than his career became one of the finest classical it has at any point in its history. As a dancers of his era. He was one of the foremost choreographer, teacher and coach, Tomasson interpreters of George Balanchine and Jerome has fostered an uncompromising classicism Robbins, and both men created several roles that has become the bedrock of the expressly for him. In 1980, Tomasson Company’s training. The dancers are energized choreographed his first ballet for the School and inspired by this rigorous training and of American Ballet Workshop, which elicited continue to rise to new heights with each encouragement from Balanchine to continue passing year. choreographing.

Born in Reykjavik, Iceland, Tomasson began Tomasson accepted the invitation from San his early ballet training there with an Icelandic Francisco Ballet to become artistic director teacher and then joined the National Theatre’s of America’s first professional ballet company affiliated school, which was led by Erik and in 1985, drawing to a close a glorious Lisa Bidsted. At fifteen, the emerging dancer performing career. Since assuming this role began his professional career with the with the Company, Tomasson has celebrated Pantomime Theatre in choreographed over 30 ballets, including Copenhagen’s Tivoli Gardens. Two years later, stunning full-length productions of Don Jerome Robbins met Tomasson and was so Quixote (co-staged by Yuri Possokhov), Giselle, impressed by his dancing that he arranged a Romeo & Juliet, The Sleeping Beauty, and scholarship for him to study at the School Swan Lake. His intricate and varied works, of American Ballet in New York City. Soon such as 7 for Eight, Chi-Lin, Concerto Grosso, after, Tomasson began his professional career The Fifth Season, Handel-a Celebration, with The Joffrey Ballet and two years later Meistens Mozart, Nanna’s Lied, and Sonata, joined The Harkness Ballet. Over the next six showcase the unique qualities of individual years, he became one of the company’s most dancers. Tomasson’s Prism, which debuted in 31

Filling Station guide.indd 30-31 1/16/2008, 12:35 PM The San Francisco Ballet Center for Dance Education Helgi Tomassonbiography 2000 at New York City Ballet, received rave Mackrell of The Guardian noted, “As director reviews and was deemed a “triumph” by The of San Francisco Ballet, Helgi Tomasson has New York Times. In 2004, his new production started to acquire an aura of infallibility, his of Nutcracker, created in collaboration with expertise in laying down repertory, and in an internationally recognized design team, balancing great evenings of dance, is held in debuted to enthusiastic critic and audience envy by the rest of the profession.” response. The New York Times proclaimed, “This is a Nutcracker on a grand scale… Tomasson’s vision, commitment, and striking, elegant and beautiful.” dedication to the art of classical dance were demonstrated when he conceived UNited We The strong classical base instilled by Dance: An International Festival, produced Tomasson enables the dancers to effortlessly in San Francisco in May 1995. Created to navigate a myriad of styles by a range of celebrate the 50th anniversary of the signing internationally distinguished choreographers. of the United Nations Charter, it included Those invited by Tomasson to create works on 12 international companies of the highest the Company have included David Bintley, Val caliber that Tomasson had invited to present Caniparoli, William Forsythe, James Kudelka, new works created by native choreographers. Lar Lubovitch, Mark Morris, Paul Taylor, Never before had a dance event brought Stanton Welch, and Christopher Wheeldon. together over 150 artists for an Tomasson has also continued to expand San unprecedented two weeks of creative Francisco Ballet’s repertory by acquiring works exchange and inspiration. by renowned choreographers such as Sir Frederick Ashton, George Balanchine, August Tomasson’s achievements have garnered him Bournonville, Flemming Flindt, Agnes de Mille, numerous awards and honors, and he has Roland Petit, Hans van Manen, Nacho Duato, participated as a judge for ballet competitions Jerome Robbins, and Antony Tudor, among in Italy, Moscow, Paris, Helsinki, and Japan. others. Tomasson’s own works have been During the 1970s in his homeland of Iceland, performed by New York City Ballet, Royal he was named a Knight of the Order of the Danish Ballet, Houston Ballet, Alberta Ballet, Falcon for his achievements as a dancer. Les Grands Ballets Canadiens de Montréal, In June 1990, Tomasson was named Ballet Estable del Teatro Colón, and Asami Commander of the Order of the Falcon by Maki Ballet. In Denmark, Tomasson’s 1993 the president of Iceland for his continuous staging of The Sleeping Beauty was the most achievements in the arts. In 1989, he received lavish production ever produced in the Royal Dance Bay Area’s Isadora Duncan Award for Danish Ballet’s history and was later filmed for his outstanding choreography in Swan Lake. Danish public television in April 1995. In 1991, he was awarded the Commonwealth Club of California’s Distinguished Citizen Under Tomasson’s direction, San Francisco Award. In recognition of his artistic excellence, Ballet has toured the world, receiving praise Tomasson received the Golden Plate Award for its purity and verve. Engagements in from the American Academy of Achievement New York City (1991, 1993, 1995, 1998, in 1992. That same year, he received the 2002, 2006), London (1999, 2001, 2004), Dance Magazine Award in recognition of his Copenhagen (1998), and Paris (1988, 1994, contributions to the dance world. In 1995, 2001, 2005) are among the highlights of Tomasson joined the Artistic Advisory Board the Company’s history. For the Company’s of The Ballet Theatre in Prague, directed 2004 London engagement, San Francisco by Jana Kurová. Also in 1995, Tomasson Ballet won the prestigious Laurence Olivier was honored with the Cultural Award of The Award, its first, in the category of “Outstanding American-Scandinavian Foundation. In 1996, 32 Achievement in Dance.” Of the tour, Judith he was presented with a Doctor of Humane

Filling Station guide.indd 32-33 1/16/2008, 12:35 PM The San Francisco Ballet Center for Dance Education Helgi Tomassonbiography Letters, honoris causa, from Dominican playwright Edward Albee and actor and College of San Rafael, in recognition of his comedian Bill Cosby. Most recently, during a value as a role model, his extraordinary career, tour to Iceland’s Reykjavik Arts Festival in and his community-service accomplishments. May 2007, Grimsson awarded Tomasson the That same year, he was awarded the Isadora Grand Cross of the Order of the Falcon, the Duncan Special Award for UNited We Dance: country’s most prestigious honor. An International Festival. In addition to his role as artistic director of Currently, Tomasson serves on the Board of the Company, Tomasson is the director of San Directors of the School of American Ballet Francisco Ballet School. For Tomasson, the and the Artistic Committee for the New York School is central to the life and development Choreographic Institute, and has served as a of the Company. Just as he expects the member of the National Endowment for the finest dancing and most meticulous attention Arts Dance Advisory Panel. In May 2001, to detail from his dancers, he demands the Tomasson was granted the rank of Officier highest standards for training the students in in the French Order of Arts and Letters, the School. established in 1957 to recognize those who have contributed significantly to furthering Tomasson lives in San Francisco with his wife, the arts in France and throughout the world. Marlene, who was dancing with The Joffrey Hugues Gall, then director of the Opéra Ballet when they met. They have two sons, Erik National de Paris, presented the award in and Kris. a ceremony attended by Ólafur Ragnar Grimsson, president of Iceland, following San Francisco Ballet’s triumphant opening at the Palais Garnier. In spring 2002, the Board of Trustees of New York’s Juilliard School unanimously voted to bestow an honorary doctoral degree upon Tomasson, as one of five doctorates given annually in different artistic disciplines. Other recipients include

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San Francisco Ballet Orchestra © Marty Sohl aboutSan Francisco Ballet Orchestra

San Francisco Ballet, the oldest professional musicians and de Coteau. During ensuing ballet company in America, was also one of repertory seasons, the Orchestra, under the the first dance companies to have its own leadership of newly appointed Music Director permanent body of musicians. In October Denis de Coteau, was met with both audience 1975, the San Francisco Performing Arts and critical acclaim. Orchestra was founded to serve as the In 1978, the Company returned to New Ballet’s official orchestra, and in 1983, the York for the first time since its 1965 group’s name was changed to San Francisco engagement at Lincoln Center. The Ballet Orchestra. Company’s 12-performance series, which In the preceding years, a pickup orchestra included accompaniment by the Performing made up largely of San Francisco Symphony Arts Orchestra at the Brooklyn Academy of members had served San Francisco Ballet. Music, was an unqualified success. During Later, the Oakland Symphony served in this the engagement, the late critic Byron Belt capacity, but an expanded schedule and hailed the Orchestra as “one of the best in additional concert dates made commitment the business.” The Orchestra continued to to San Francisco Ballet increasingly difficult. accompany the Ballet on tour until 1984, Today, the ensemble enjoys the distinction of when it ceased touring for two reasons: being one of three major orchestras in one the cost was increasingly prohibitive, and as city, along with the San Francisco Symphony the Company gained stature, it performed in and the San Francisco Opera-a rarity in this larger, more prominent venues that often had country. their own orchestras. Staying local, however, had rewards. Over the years, the Orchestra In the 1970s, an ever-expanding repertory has accompanied a number of prestigious of new works required the dedication and international ballet companies who have talent of a permanent ensemble. Ballet toured to the Bay Area, performing in venues management, including Co-Directors Lew such as San Francisco’s War Memorial Opera Christensen and Michael Smuin, along with House and the Berkeley Community Theatre. then-Music Conductor Denis de Coteau and Some of these companies included The Royal Alex Horvath (violinist and eventual Orchestra Ballet, the Royal Danish Ballet (1979), personnel manager), made this a top priority. Stuttgart Ballet (late 1980s), the Bolshoi The first step was to retain Jean-Louis Ballet (1987), Paul Taylor Dance Company LeRoux as associate conductor, and the (1990), American Ballet Theatre (1991, process of negotiating with the musicians’ 1992), and the Paris Opéra Ballet (2001). union began immediately. Auditions were held with over two hundred musicians trying out. The ensemble’s early objectives included a By 1975, the Orchestra, madeup of 38 strong commitment to educating students musicians, was officially formed. The and aspiring musicians in local schools, as Performing Arts Orchestra had its premiere well as offering music concerts that helped during San Francisco Ballet’s Nutcracker in establish it as a professional orchestra of the December. Following the first Nutcracker highest caliber. In May 1979 the Orchestra rehearsal with the Orchestra, the dancers had its debut concert, performing works by 34 came downstage and applauded both the composers such as Haydn, Ives, and Vivaldi,

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aboutSan Francisco Ballet Orchestra at Herbst Theatre in the War Memorial departed, Jean-Louis LeRoux returned to the Veterans Building. The Orchestra also had Ballet as interim music director for two years. the distinction of accompanying the Company In May 2003, Andrew Mogrelia was named in an evening performance for the Solemn music director and principal conductor; he left Opening Ceremony for the 1984 Olympic in 2005 to focus on his music director duties Games, at the Dorothy Chandler Pavilion in at San Francisco Conservatory of Music as Los Angeles. well as international conducting and recording engagements. That same year, Martin West, With a highly capable Orchestra, the Ballet who had guested frequently as a conductor was now able to perform new and with the Orchestra, assumed the position. commissioned works without concern that the new music scores would be too difficult. Today, the Orchestra accompanies the Ballet These new ballets included Smuin’s The for the entire run of the annual Nutcracker Tempest (music by Paul Chihara), Medea production and throughout each repertory (music by Samuel Barber), and Romeo & Juliet season. The existing Orchestra can be (music by Sergei Prokofiev), among others. expanded for ballets requiring fuller Some of these works proved so musically orchestration, such as the full-length Romeo successful that the Orchestra eventually & Juliet. In addition, the ensemble’s vast recorded them. Of the 1981 recording of repertory includes hundreds of works, The Tempest, a Classical Records review read, spanning four centuries of music history, “This inordinately handsome set brings us a from Monteverdi and Mozart to film scores. sample of San Francisco Ballet’s wonderful Notably, the San Francisco Ballet Orchestra orchestra. The sound…is first rate. Highly has made critically acclaimed recordings of recommended!” composers from Handel to Goldenthal, as well as four televised recordings for the With the appointment of Helgi Tomasson PBS series “Dance in America” (Lubovitch’s to the position of artistic director of San Othello; Smuin’s The Tempest, Cinderella, and Francisco Ballet in 1985, the Company’s Romeo & Juliet). Of the 1999 recording reputation evolved from that of a regional by San Francisco Ballet Orchestra entitled troupe to a world-class dance company. As Debussy Rediscovered, ClassicsToday.com the Company’s acclaim grew, so did the and Amazon.com music critic Robert Levine San Francisco Ballet Orchestra’s, and by the wrote, “The playing throughout is exemplary 1990s it was generally regarded as one and the performances leave nothing to be of the finest ballet orchestras in the world. desired. Very highly recommended.” The year Notably, in 1995, the Orchestra accompanied 2005 marked the 30th anniversary of San 12 international dance companies, as well as Francisco Ballet Orchestra’s founding. In late San Francisco Ballet, during the ambitious, 2007, the San Francisco Ballet Orchestra will weeklong UNited We Dance Festival, which release a self-produced recording of the full promoted international communication and score of Tchaikovsky’s Nutcracker. understanding. What Did You Learn? In 1998, due to failing health, Music Director Denis de Coteau stepped down reluctantly, 1. How many musicians were in the first after over twenty years in this capacity. official SFB Orchestra? Conductor Emil de Cou, who had been with 2. When was the San Francisco Performign the Orchestra as conductor since 1993, Arts Orchestra founded? assumed the title of acting music director 3. Name two ballets that the Orchestra has and conductor in de Coteau’s place. For recorded. the next three years, until 2001, de Cou 4. Who is the new music director? led the Orchestra, before joining Washington D.C.’s National Symphony Orchestra. After he 35

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San Francisco Ballet School © Erik Tomasson aboutSan Francisco Ballet School San Francisco Ballet and the San Francisco the three men most responsible for guiding Ballet School were both established in 1933 the Company and the School for some as a single institution by Gaetano Merola, forty-five years, was American trained. He founding director of San Francisco Opera. was the preeminent educator among the Merola recognized the need for a thriving brothers who directed the development of academy that would train dancers to appear in ballet in the Western United States for an opera productions. entire generation. Under Harold’s guidance, the School evolved into one of the country’s San Francisco became the only city in the finest classical academies. Scholarship country, other than New York, to claim a programs were initiated and the faculty grew ballet school as an to include numerous prominent classical ballet “A school is the foundation auxiliary to an teachers. Harold directed the School for 35 and lifeblood of a company. established opera years, developing many dancers who went on Tomorrow’s stars are today’s company. Adolph to careers with San Francisco Ballet and other Bolm was students. Beauty does not come prestigious companies. easily. Precision cannot be appointed director and ballet master When Harold retired in 1975, Richard gained quickly. In the School for the Company, Cammack became the new director of the we strengthen not only the legs which occasionally School. Helgi Tomasson assumed leadership and the arms, but the spirit presented all-dance of the School shortly after becoming artistic of our students as well, for programs. But San director of San Francisco Ballet in 1985 in ballet class they learn the Francisco Ballet and a year later, he appointed former San truly began to take Francisco Ballet ballerina Nancy Johnson to reward of hard work.” shape as an run San Francisco Ballet School (where she - Helgi Tomasson independent entity remained until 1995). In 1993, Lola de Avila when Willam was appointed the School’s associate director, Christensen and she returned to this position in July became Company ballet master. Two years 2006. From September 1999 to June 2006, later he appointed his brother, Harold, director Gloria Govrin served as the School’s associate of the School. director. Today the School boasts a distinguished international staff, a Trainee In 1942, Willam and Harold Christensen Program for advanced-level students, a bought the School from San Francisco Opera, dedicated student residence, and an extensive which could no longer provide financial scholarship program. support to the ballet operation. As a result, the San Francisco Ballet Guild was formed Now, nearly 75 years after its founding, San in order to maintain the Company as an Francisco Ballet has, indeed, achieved independent performing unit. Willam Gaetano Merola’s original goal of elevating Christensen was named artistic director of San Francisco to a “high position in the realm San Francisco Ballet, and Harold continued on of dance.” In 2008, San Francisco Ballet as director of the School. School will celebrate its 75th anniversary along with the Company. 36 Harold, like his brothers Willam and Lew,

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aboutThe Center for Dance Education As a vital cultural contributor to our relocated to the Green Room of the Veterans community, San Francisco Ballet has created Building of the War Memorial Opera House. The Center for Dance Education (CDE) with The San Francisco Ballet Center for Dance programs that reach wide audiences from Education is also proud to offer new and diverse populations throughout the Bay Area; expanding programs that serve children, youth, approximately 35,000 people benefit from and families throughout the Bay Area, these programs each year. Though the Center providing important avenues of access, for Dance Education is fairly new, there are education, and opportunities in dance. long-established free programs administered by San Francisco Ballet. San Francisco Ballet offers two Community Matinee performances of selections from The highly popular pre-performance the current Spring Season. These matinees discussion program, known as Meet the Artist feature special educational behind-the- Interviews, spotlight the specific San scenes lecture demonstrations. All Francisco Ballet repertory program to be Community Matinee performances are at the performed that evening/afternoon. These War Memorial Opera House. Discount tickets informative talks feature Company dancers, are offered to students and seniors, serving guest artists, choreographers, and conductors approximately 6,000 school-aged children, in conversation with a moderator. Meet the teachers, and seniors annually. Artist Interviews last 30 minutes and take place in the War Memorial Opera House Family Connections is a program that brings one hour before performance time on select dance workshops and lectures to venues evenings and Sunday matinees as well as such as the San Francisco Public Library opening nights of all repertory programs and Main Branch and the Asian Art Museum. are free to all ticket holders. This program gives children and their parents a shared experience of dance and, when Dance scholar and educator Mary Wood, available, free tickets to see the SF Ballet along with other guests, hosts the Pointes company in performance at the War Memorial of View lecture series, which are salon-style Opera House are provided to participants. interviews with San Francisco Ballet dancers, guest artists, choreographers, musicians, and The Dance In Schools and Communities designers. These hour-long informative (DISC) program is SF Ballet’s most discussions give attendees an in-depth look longstanding outreach program. This into the specific San Francisco Ballet celebrated program reaches nearly 3,000 repertory program to be performed that elementary school children each year, with evening. These programs are free and open to 10-week dance residencies in 30 elementary the public and due to popular demand have schools in the San Francisco Unified School

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aboutThe Center for Dance Education

District. DISC is a multi-cultural dance and and dance in general. Downloadable Study music program celebrating the historical, Guides enhance the theater-going experience traditional, and folkloric dance traditions of for students attending Community Matinees, diverse cultures. DISC provides all by providing information specific to the ballets participants complimentary tickets to SF being performed. Study Guides include Ballet Community Matinees. Annually, DISC articles, stories, music clips, and links to online awards approximately 50 students with full resources. Visit www.sfballet.org to access one-year scholarships to the prestigious San these resources. Francisco Ballet School. The Visiting Scholar Program brings Select DISC students are also given the nationally known scholars to San Francisco opportunity to participate in the annual Ballet to lecture on a variety of topics that are Performance Project. During this multi-week meant to educate and inspire balletomanes of program, children experience the process of all levels and ages. creating and performing a dance/musical Visiting Scholars: presentation. Performances take place at various venues throughout San Francisco. · 2007/08 Professor Jennifer Fisher Ballet 101 is a class for adults who are · 2006/07 Professor Lynn Garafola curious about the art of ballet and the world · 2005/06 Professor Deborah Jowitt of dance. This adult education course is designed to give participants a hands-on, Meet the Artist Interviews spotlight the interactive learning experience. The program specific San Francisco Ballet repertory harnesses the talent and experience of SF program to be performed prior to Ballet employees and faculty who staff this performances at the War Memorial Opera program. The course consists of a series of House. These highly informative talks feature lectures and experiential activities that build Company dancers, guest artists, on the prior learning. choreographers and conductors in conversation with a moderator. A new program of the CDE, the Community Circle Dance Camp is a week-long summer Pointes of View Lectures are free and open day camp that provides instruction in dance, to the general public. Dance Scholar and music, and art for children from all over Educator Mary Wood, lecture on a variety San Francisco. Targeted toward inner-city of dance related topics, incorporating salon youth, the camp is based in the Tenderloin -style interviews with San Francisco Ballet neighborhood and is offered free of charge dancers, guest artists, choreographers, for children of low-income families. A wide musicians, and designers. variety of classes are offered to students, ranging from hip hop, and salsa, to circus arts and visual arts, providing them a well rounded experience in arts education. Online Educational Resources are designed to educate and excite users about SF Ballet

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Answers to Activities

The Creative Team of Filling Station Signs of the Times: the 1930s (p. 11) (p.10) 1) Franklin Delano Roosevelt 1) American Ballet, Dance Players, Ballet Caravan, Ballet Society 2) Joe DiMaggio (New York City Ballet), San 3) Katherine Hepburn Francisco Ballet 4) The Empire State Building 2) 55 3) Four Saints in Three Acts, The Mother of Us All San Francisco Ballet Orchestra (p. 4) The film score forLouisiana 35) Story 1. 38 5) Jerome Robbins’ Fancy Free 2. 1975 3. The Tempest, The Nutcracker, Mark Morris (p. 17) Othello 1) August 29, 1956 in Seattle WA 4. Martin West 2) Verla Flowers and Perry Brunson. 3) 1980 4) Six 5) Music

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Filling Station guide.indd 38-39 1/16/2008, 12:36 PM Further Resources San Francisco Ballet wishes to Ballet and Modern Dance: A Concise History, 2nd share a love of dance with the broadest ed. Jack Anderson. Princeton, N.J.: Princeton Book. possible audience. Each year the Company offers students and seniors the opportunity Ballet 101 : A Complete Guide to Learning and to obtain group tickets for performances Loving the Ballet. Robert Greskovic. New York: at deeply discounted prices. We offer two Hyperion. spring Community Matinees during the International Dictionary of Ballet, 2 vols. Martha repertory season. Performances take place Bresmer, ed. Detroit/London/Washington, D.C.; St. at the War Memorial Opera House. James Press. Community Matinees offer a behind-the- The Language of Ballet: A Dictionary. Thalia Mara. scenes look at San Francisco Ballet, Princeton, N.J.: Princeton Book. including open set changes, a music education component, and special 101 Stories of the Great Ballets. George demonstrations featuring students from the Balanchine and Francis Mason. Garden City, N.Y.: San Francisco Ballet School. Doubleday. To add your school to our mailing list to receive information on Community San Francisco Ballet Books & Recordings Matinees, please call San Francisco Ballet Ticket Services at 415.865.2000. San Francisco Ballet at 75. Janice Ross. San Francisco: Chronicle Books. Broadcast (TV)/Video/DVD – Lar Lubovitch’s Othello, music by Eliot Goldenthal; Emil de Cou, conductor. Co-produced by KQED (San Francisco) and WNET (New York) for the PBS series Dance in America series, aired on June 18, 2003. CD – Debussy Rediscovered, Emil de Cou, conductor, Arabesque Recordings, Z6734, 1999. This guide was prepared by the CD – Handel-Schoenberg-Spohr-Elgar: works for San Francisco Ballet Center for Dance Education. String Quartet and Orchestra, with the Lark String Available online at www.sfballet.org Quartet; Jean-Louis LeRoux, conductor. Arabesque Recordings, Z6723, 1998. CD – Suite from the ballet Othello, music by Elliot Goldenthal; Emil de Cou, conductor; Varese Sarabande recording, VSD-5942, 1998. CD – Nutcracker, music by Tchaikovsky; Denis de Coteau, conductor; self-produced recording by O’Brien Enterprises, OB-101, 1988. CD – Smuin’s The Tempest, music by Paul Chihara; February 6, 2008 Jean-Louis LeRoux, conductor. Recording by the Moss Group. 2-record set; 2-MMG-201X, 1982. Repertory Season Community Matinees are Recorded April 7, 1981. made possible by ChevronTexaco, Bank of America, Gap Foundation, PG&E Corporation, Websites about Ballet and SBC Foundation. Check out these website to learn more about SFB, see video of ballet steps and read about ballet performances.

www.sfballet.org www.abt.org/education/dictionary Cover: Lew Christensen www.criticaldance.com in Filling Station.

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