Trustee Handbook

Pennsylvania Association Board of Trustees Handbook 2017-2018 Season

Pennsylvania Ballet Association

Administrative Offices: 100 South Broad Street, Suite 2226 Philadelphia, PA 19110

Studios and School of : The Louise Reed Center for 323 North Broad Street Philadelphia, PA 19107

Main Phone (215) 551-7000 www.paballet.org

Pennsylvania Ballet Trustee Handbook 2017-2018 Page 2 of 73

Table of Contents

Meet the Ballet Mission Statement ...... 4 Company History and Overview ...... 5 Artistic Vision ...... 6 Artistic Team Bios ...... 7 Administrative Team Directory ...... 11 Development Staff Who’s Who ...... 14 Marketing Staff Who’s Who ...... 15 Organizational Chart ...... 16 2017-2018 Season Programs ...... 17 Company Roster ...... 18 Meet the Principals ...... 19 About The School of Pennsylvania Ballet ...... 28 About Community Engagement ...... 30

Important Season Information Calendar: 2017-2018 Season ...... 32 Calendar: Community Engagement and PBII ...... 33 Calendar: Donor & Special Events ...... 34 Fundraisers, Programs, and Benefits ...... 35

Trustee Overview Calendar: Board Meetings ...... 39 The Role of the Board of Trustees ...... 40 Board Committees ...... 42 Board Q & A ...... 43

Theater Information Purchase Tickets and Theater Policies ...... 44 Academy of Music and Merriam Theater Seating Charts ...... 48

Attachment By-Laws ...... 53

Pennsylvania Ballet Trustee Handbook 2017-2018 Page 3 of 73 MISSION STATEMENT OF PENNSYLVANIA BALLET

The mission of Pennsylvania Ballet is to maintain and nurture a financially sound, Philadelphia- based that presents the finest in artistry and performance to the widest possible audience, expands and diversifies its classical and contemporary repertoire, and provides the highest caliber of instruction for aspiring professional dancers. Pennsylvania Ballet strives to enrich and expand the cultural lives of children and adults of the Greater Philadelphia region by educating its citizens about and through the art of ballet.

COMPANY HISTORY AND OVERVIEW

The Pennsylvania Ballet is committed to making dreams of dance come true. When the Company was founded in 1963 by Barbara Weisberger it was her dream, fostered and encouraged by , to not just bring the best in dance to Pennsylvania, but to develop local talent to become great dancers. Her dream has been fulfilled again and again over the decades as the Company has flourished, first under Ms. Wiesberger’s direction and then with a number of illustrious Artistic Directors including Benjamin Harkarvy, who had extensive experience in Europe; Robert Weiss and Christopher d’Amboise, both of whom danced for Mr. Balanchine at ; and Roy Kaiser who was a Pennsylvania Ballet dancer before becoming Artistic Director for nearly two decades.

With the appointment of to the role of Artistic Director in 2014, the Company has moved into a new phase of its development. With Mr. Corella’s experience as both a dancer and a director of his own company in , the Company is increasingly reflecting the broader world of dance. This shows in the breadth of works being performed, as well as in the increasing interest from dancers around the world interested in joining the Company.

Under Mr. Corella’s direction the Company is dancing with new energy and excitement which has been noted by critics and audiences. Looking forward, Mr. Corella is programming works that honor the Company’s Balanchine roots, full-length classics in which Mr. Corella excelled, internationally recognized contemporary works of the finest caliber, and new commissions by choreographers both established and emerging.

In addition to making dancing dreams come true on stage, the Pennsylvania Ballet organization strives to share the joy of dance throughout our community. Pennsylvania Ballet II performs across the region, introducing new audience to the beauty of dance, The School of the Pennsylvania Ballet is making dreams come true for the next generation of dancers by offering the very finest in dance education, and Pennsylvania Ballet Community Engagement programs help people connect to their own dreams of dance; sometimes in theaters, sometimes in our studios, and often in schools, community centers and health facilities.

Pennsylvania Ballet has been making dreams come true for 53 years, and the future has never looked brighter.

For more information about Pennsylvania Ballet, please visit www.paballet.org

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Artistic Vision Statement

Pennsylvania Ballet, at its core, is profoundly honored and deeply committed to the responsibility of sharing its passion for ballet. Ballet speaks to and for the heart, nourishes the soul, and immeasurably impacts the human experience. By showcasing the greatest dancers from around the world, and presenting works from the greatest choreographers in the world, PA Ballet strives to present its audiences artistic programming with excellence as its benchmark.

As ballet is continuously evolving, PA Ballet believes developing and premiering new works is critical to the Company, and to the dance community, and should be performed alongside the classic repertoire. It is our belief this enhances and increases diversity in artists, programming, and audiences.

Finally, PA Ballet is unwavering in its commitment to foster both the beauty and the wide- ranging benefits of dance education for all ages. It strives to actively serve its community with the utmost professionalism and artistic excellence, provide the highest quality of training, and celebrate ballet with all. It welcomes one and all to share in our joy.

Pennsylvania Ballet Trustee Handbook 2017-2018 Page 5 of 73 Artistic Team Bios

Angel Corella The Ruth and A. Morris Williams, Jr. Artistic Director

Hometown: , Spain

Angel Corella is regarded as one of the finest dancers of his generation. His talent, passion, and technique have brought him worldwide acclaim and established him as one of the most recognizable names in dance. Angel was appointed artistic director of Pennsylvania Ballet beginning with our 2014-2015 season.

Angel joined in 1995 and quickly rose to the rank of principal dancer. Throughout his 17-year career with them, he excelled in a wide range of repertory, performing such iconic roles as Prince Siegfried in , Romeo in Romeo and Juliet, and Prince in The Nutcracker. He has also appeared as a guest artist with in London, the Kirov Ballet in Russia, and New York City Ballet. As well, Angel has received numerous awards, including 1st prize in the National Ballet Competition in Spain (1991), the (2000), and the National Award of Spain (2003). He has danced for Queen Elizabeth II, Queen Sophia of Spain, and for Presidents , George W. Bush, and .

Angel’s onstage passion and talents have translated to his behind-the-scenes career as well. From 2008 to 2014, he served as director for his own company, the Ballet (formerly the Corella Ballet), in his native Spain, where he is regarded a national treasure. His was the first company established in the country in 20 years. And while Angel retired from American Ballet Theater in June 2012, he continued to dance with his own company.

A passionate teacher and mentor to young professional dancers, Angel has taught at various summer programs as well as leading dance schools, including the in London. He now applies that same passion, verve, and balletic insight to the dancers of Pennsylvania Ballet.

Pennsylvania Ballet Trustee Handbook 2017-2018 Page 6 of 73 Artistic Team Bios (cont.)

Samantha Dunster Assistant Artistic Director & Interim Principal of the School of Pennsylvania Ballet The Deborah & Kurt Hilzinger Assistant Artistic Director & Interim Director of the School of Pennsylvania Ballet

Hometown: Toronto, Ontario

Samantha Dunster began her ballet training with Cristina Pora in Toronto, Ontario. Then, at age 17, she traveled to Havana to train with the National Ballet of Cuba. She continued dancing with the company of Centro Pro-Danza, under the direction Laura Alonso, where she also worked as regisseur and ballet mistress.

In 1996, Samantha accepted the position of artistic director and principal dancer of Bale da Ilha in Brazil, where she staged numerous full-length . By 2000, she became ballet mistress of Orlando Ballet, where, under the direction of the late Fernando Bujones, she re- choreographed La Fille Mal Gardee for the company. In 2004, she was commissioned by Orlando Ballet to create a world-premiere production of Camelot, the success of which broke ticket sales records. In 2007, she accepted the role of assistant to the artistic director of Orlando Ballet, under the direction of Bruce Marks. The following year, the pair together staged the full- length .

In 2011, Samantha accepted the position of chair/artistic director of the Hartt School Community Division Dance Department at the University of Hartford. During that time, she created and choreographed two new full-length ballets: Snow White and Peter Pan with original score by Kermit Poling. She also founded the pre-professional company HarttWorks as well as created the summer ballet intensive program From Studio to Stage, which has attracted guest artistic directors such as Bruce Marks, Laura Alonso, and Angel Corella.

Samantha has danced and taught in countries all around the world, including Sweden, Argentina, and Brazil. In 2003 and 2009, she set her staging of La Fille Mal Gardee for the National Ballet of Korea and the NBA Ballet Company in Tokyo respectively. Additionally, she has staged several works of Bruce Marks, including Lark Ascending for , and, in 2010, served as the Canadian judge for the International Ballet Competition in Jackson, MS.

Samantha began her tenure as ballet mistress with Pennsylvania Ballet in November 2014 and was appointed assistant director in November 2015. She is married and has a daughter.

Pennsylvania Ballet Trustee Handbook 2017-2018 Page 7 of 73 Artistic Team Bios (cont.)

Charles Askegard Ballet Master The Janis and Stephen Goodman Ballet Master

Hometown: Minneapolis, MN

Charles Askegard brings to Pennsylvania Ballet a wealth of knowledge from a long, distinguished career. He joined American Ballet Theatre in 1987 under the direction of Mikhail Baryshnikov and danced with the company for 10 years, not only performing lead roles in full-length and repertory ballets, such as Swan Lake, , La Bayadère, and Romeo and Juliet, but also working alongside legendary choreographers Agnes de Mille, , , , and Glen Tetley.

In 1997, Charles joined New York City Ballet where he spent 14 years as a principal dancer. His repertoire with the company included numerous ballets by George Balanchine, including Diamonds from his full-length , Stars and Stripes, Theme and Variations, and Tchaikovsky Pas de Deux. In addition, Charles also had the honor of working with such renowned choreographers as , , , , and Helgi Tommason. After leaving New York City Ballet, Charles co-founded Ballet Next, a company for which he choreographed, performed, and directed up until 2013.

Before joining Pennsylvania Ballet as ballet master in 2015, Charles taught at Ballet Academy East as well as for the American Ballet Theatre Summer Intensive. He has been a guest teacher across the country and is a frequent judge for the Youth America Grand Prix. “I’m very excited to work with Angel Corella and the company,” he said upon taking his position. “My expertise and experience aligns well with the future of the company, and I look forward to making an imprint on Pennsylvania Ballet and its dancers.”

Pennsylvania Ballet Trustee Handbook 2017-2018 Page 8 of 73 Artistic Team Bios (cont.)

Beatrice Jona Affron Music Director and Conductor

Hometown: New York, NY

Beatrice Jona Affron arrived at Pennsylvania Ballet in 1993 as our assistant conductor. She was later promoted to resident conductor, and, in 1997, became the company's music director and conductor. Beatrice has conducted numerous ballets by George Balanchine in addition to other classics, including Giselle, , Romeo and Juliet, and The Sleeping Beauty. In 2004, she led the world premiere of Christopher Wheeldon's Swan Lake.

A graduate of Yale University, Beatrice studied conducting privately with Robert Spano as well as with Pascal Verrot at the New England Conservatory, where she later served on the faculty. Beatrice has worked with Gunther Schuller, Jorge Mester, and David Effron and, in 1996, received the Conductors Guild Thelma A. Robinson Award. Her involvement in contemporary music has included conducting in the Music at the Anthology Series in New York City and leading the national tour of Philip Glass' Les Enfants Terribles in the fall of 1997.

In 2002, Beatrice received international attention while leading the world-premiere performances of Glass and Mary Zimmerman's Galileo Galilei at Chicago's Goodman Theater as well as on tour to London's Barbican Theatre. Prior to this, she conducted the Boston Lyric Opera and Chicago Opera Theatre productions of Glass' Akhnaten. In 2005, she made her debut with the Glimmerglass Opera conducting a new production (in French) of Donizett’s Lucie de Lammermoor.

Previous engagements of Beatrice’s include Dominick Argento's Miss Havisham's Fire with Opera Theatre Saint Louis, Strauss' Die Fledermaus with Boston Lyric Opera, as well as Hansel and Gretel and The Tender Land at the New England Conservatory. She has conducted both dance and opera productions at the Boston Conservatory, as well as concerts with Boston's Pro Arte Chamber Orchestra and Boston Landmarks Orchestra. In recent years, Beatrice has toured with Pennsylvania Ballet, wherein she has led the Kennedy Center Orchestra and the National Arts Center of Canada Orchestra. She is also a regular guest conductor at .

Beatrice currently lives in Boston with her husband and daughter.

Pennsylvania Ballet Trustee Handbook 2017-2018 Page 9 of 73 Administrative Team Directory Pennsylvania Ballet Association P: 215.551.7000 F: 215.551.7224

Administration

Elizabeth Warshawer ...... extension 1206 Interim Executive Director [email protected] 215.587.6903

Karen Klaverkamp ...... extension 1229 Board Liaison & Executive Assistant [email protected] 215.587.6929

Emily Pratt ...... extension 1218 Company Manager [email protected]

Barbara Vogdes ...... extension 1209 Director of Special Projects [email protected] 215.587.6916

Rachel Katzmann ...... extension 1309 Director of Facilities [email protected]

Anna L. Zaharchuk ...... extension 1217 Office Manager [email protected]

Artistic

Angel Corella ...... extension 1308 Ruth and A. Morris Williams, Jr. Artistic Director [email protected] 215.587.6905

Samantha Dunster ...... extension 1306 Deborah and Kurt Hilzinger Assistant Artistic Director [email protected] 215.587.6906

Charles Askegard ...... extension 1239 The Janis and Stephen Goodman Ballet Master [email protected]

Eddy Tovar...... extension 1305 Ballet Master of Pennsylvania Ballet II [email protected]

Christopher Frey ...... extension 1310 Director of Production & Lighting [email protected]

Anthony Costandino ...... extension 1223 Stage Manager & PBII Coordinator [email protected]

Pennsylvania Ballet Trustee Handbook 2017-2018 Page 10 of 73 Administrative Team Directory (cont.)

Development

Jane Kamp ...... extension 1208 Director of Development [email protected] 215.587.6912

Rachael Glashan Rupisan ...... extension 1255 Corporate Sponsorship and Special Events Manager [email protected]

Kristine Medley Farmer ...... extension 1227 Individual Giving Manager [email protected]

Sierra Adams ...... extension 1225 Manager, Grant Writing & Research [email protected]

Olivia-Mei McDowell ...... extension 1241 Annual Fund Coordinator [email protected]

Community Engagement

Sarah Cooper ...... extension 1214 Director of Community Engagement [email protected] 215.587.6916

Sarah Cailean ...... extension 1201 Community Engagement Program Coordinator [email protected]

Jon Martin ...... extension 1305 Community Engagement Associate [email protected]

Finance and Human Resources

Carol Scarazzini ...... extension 1216 Director of Finance & HR [email protected] 215.587.6918

Bill Martin ...... extension 1203 Accounting Manager [email protected]

Jennifer Walsh-Nilan ...... extension 1213 Payroll & Benefits Coordinator [email protected]

Pennsylvania Ballet Trustee Handbook 2017-2018 Page 11 of 73 Administrative Team Directory (cont.)

Marketing and Public Relations

Jonathan Stiles ...... extension 1211 Marketing Manager [email protected] 215.587.6925

Arajua Backman...... extension 1212 Manager of Sales & Audience Development [email protected] 215.587.6921

Laura Bowman ...... extension 1240 Digital Marketing & Promotions Coordinator [email protected]

Kara Wexler ...... extension 1210 Marketing Coordinator [email protected]

Lauren Bryant ...... extension 1242 Designer, Creative Services [email protected]

School of Pennsylvania Ballet

Samantha Dunster ...... extension 1306 Interim Principal, School of PA Ballet [email protected] 215.587.6906

Melissa Chasse ...... extension 1501 School Administrator [email protected]

Joanne Smith ...... extension 1315 Manager, School of PA Ballet [email protected] 215.587.6942

Music

Beatrice Jona Affron ...... [email protected] Music Director and Conductor

Luigi Mazzocchi Nina Siniakova Concertmaster Company Pianist

Anne Peterson J. Robert Loy Personnel Manager for PA Ballet Orchestra Librarian

Martha Koeneman Solo Pianist

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Wardrobe

Wendy Levin ...... extension 1313 Wardrobe Supervisor [email protected]

Julie Watson ...... extension 1312 Costumer [email protected]

Additional Numbers

S. Broad Reception ...... extension 1217

N. Broad Reception ...... extension 1202

S. Broad Conference Room ...... extension 1204

Ticket Philadelphia Box Office Subscriber Services 215.893.1999 215.893.1955

Ticket Philadelphia—Alexandra Boyle Academy of Music, Manager’s Office Lead Patron Services Representative 215.893.1935 215.893.1808

Conference Call Line Domestic Toll Free Number – 866-499-5343 International Dial-in Number – 330-693-1496 Enter Conference Code – 2716427969#

Pennsylvania Ballet Trustee Handbook 2017-2018 Page 13 of 73 Development Staff Who’s Who

Jane Kamp: Director of Development • Overall planning/direction of department • Board relations/nominations/committees • Major gifts ($10K plus)

Kristine Medley Farmer: Individual Giving Manager • Individual giving/Campaign • Leadership Barre ($2,500 and up) • Donor Events ($1K and up)

Rachael Glashan Rupisan: Corporate Sponsorship & Special Events Manager • Corporate sponsorship • Special events • Volunteer Management

Sierra Adams: Manager, Grant Writing & Research • Proposals and reports for Foundations and governments grants • Research and Tracking of Prospects in Donor Pool

Olivia-Mei McDowell: Annual Fund Coordinator • Gift entry, acknowledging and reporting • Dress and Tech Rehearsal events

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Jonathan Stiles: Marketing Manager Jonathan works with the rest of the Marketing team and our outside partners to manage all aspects of our marketing, sales, and communications operations. Point person for: All sales and ticketing questions, communications planning, media planning.

Arajua Backman: Manager of Sales & Audience Development Arajua’s years of sales experience make her our in-house sales expert. She promotes and books all our group sales, manages our use of third party sales sites like Groupon and Living Social, and produces our Tea with the Sugarplum Fairy parties. This season, Arajua will also be working with our media consultant Karen Petrillo on our media planning. Point person for: Group sales (including Nutcracker parents), 3rd party sales (e.g., Groupon, Living Social, etc.), Tea with the Sugarplum Fairy parties, corporate parties, holding tickets for groups or events.

Lauren Bryant: Designer, Creative Services Lauren handles all our design needs. Need a flyer, a poster, an email header, an invitation, a brochure, or perhaps even some balloons? Lauren is here to help. Lauren is also (sometimes) asked to photograph our events, so you may see her with a camera at one of our parties. Point person for: All design requests.

Laura Bowman: Digital Marketing & Promotions Coordinator Laura coordinates the social media accounts for both the company and the school, as well as managing our rehearsal and performance images. As she splits her time between the offices and the studios (where she teaches for the School) she is the liaison between the marketing department and the Artistic and School staff. Her history as a dancer gives her the ability to ‘speak’ for the organization on social media in the proper voice, and a trusted understanding of what makes a good ballet photo. No sickled feet will pass Laura’s approval. Point person for: Social media, image requests (performance or rehearsal photos, etc.), School marketing (including the School newsletter).

Kara Wexler: Marketing Coordinator Kara is responsible for processing all marketing invoices, website edits, and donation ticket requests as well as building, testing, and deploying our emails. Her background as a film student means she will also be editing video for us. Point person for: Website edits/requests, email request, donation tickets, billing and invoices, some video requests (grant proposals)

The Marketing Department also works with these partners: Kelly Sheppard: Boutique Manager Veronica Mikitka Reed: Maven Communications- Public Relations Karen Petrillo: Media Consultant Capacity Interactive: Digital Marketing Agency Ticket Philadelphia: Ticket Agency Kimmel Center Box Office: Box Office Kimmel Center IT Shared Services: Website hosting

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Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 17 of 73 COMPANY ROSTER 2017-2018 Season

PRINCIPALS Lillian Di Piazza Sterling Baca Oksana Maslova Ian Hussey Mayara Pineiro Jermel Johnson Dayesi Torriente Arian Molina Soca

SOLOISTS Alexandra Hughes James Ihde

CORPS de BALLET Ana Calderon Aaron Anker Jacqueline Callahan Aleksey Babayev Marria Cosentino-Chapin Etienne Diaz Emily Davis Russell Ducker Therese Davis Albert Gordon Adrianna deSvastich Zecheng Liang Marjorie Feiring Ashton Roxander Holly Lynn Fusco Jack Sprance Alexandra Heier Jack Thomas Siobhan Howley Craig Wasserman Yuka Iseda Peter Weil Misa Kasamatsu Nayara Lopes Kathryn Manger So Jung Shin Elizabeth Wallace

APPRENTICES Sydney Dolan Cato Berry Cassidy McAndrew Federico D’Ortenzi Erin O’Dea Austin Eyler Julie Rose Sherrill Taro Kurachi

PBII Katherine Capristo Tanner Bleck Kellie Fulton Kemper Cassada Flavia Morante Beau Chesivoir Alana Morgenstern Santiago Farzon Courtney Nitting Jimmy Shughart Ekaterina Pokrovskaya

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Principal Dancers

Sterling Baca Lillian Di Piazza Ian Hussey Jermel Johnson

Oksana Maslova Arian Molina Soca Mayara Pineiro Dayesi Torriente

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STERLING BACA The William Penn Foundation Special Gifts Program Principal Dancer

Hometown: Larkspur, CO Sterling Baca began his training at age 11 at the Academy of and later with world-renowned instructor German Zamuel. He then studied with American Ballet Theatre (ABT), at first attending five of their summer intensive programs (as a National Training and Bender Foundation Scholar) and later in their elite pre-professional program at the ABT Jacqueline Kennedy Onassis School with full scholarship.

Sterling joined Pennsylvania Ballet as a principal dancer for our 2016-2017 season. Since joining us, he has tackled featured and principal roles in a varied repertoire that includes full-length ballets such as Ben Stevenson’s Cinderella (Prince) and Angel Corella’s (Conrad), contemporary works like Brian Sanders’ Chicken Bone Brain, or a more classical approach such as in George Balanchine’s (Fourth Movement).

Prior to joining Pennsylvania Ballet, Sterling danced with American Ballet Theatre, where he began in 2010 as a member of their second company. He was invited to join the main company as an apprentice in May 2011 and soon after promoted to the corps de ballet in December of that same year. While with ABT, Sterling created the roles of Prince Fortune and Lilac Fairy Cavalier in Alexei Ratmansky's Sleeping Beauty and performed leading roles in Liam Scarlett's With a Chance of Rain, Mark Morris’ After You, Marcelo Gomes’s Aftereffect, and Zhong-Jing Fang’s The Final Frame.

Sterling also appeared on season 4 of Dance212, a popular online series that follows dancers trying to make it in New York City. As well, he was in the short film, On a Grass Field, which won Best Short Film at the 2014 New Jersey Golden Door Film Festival. In January 2016, Sterling was featured on the cover of Dance Magazine for their “25 to Watch” issue.

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LILIIAN Di PIAZZA The NANA Fund Principal Dancer

Hometown: Silver Spring, MD Lillian DiPiazza began her dance training at Maryland Youth Ballet, where she studied for 10 years under the direction of Michelle Lees and Tensia Fonseca and performed in ballets such as Swan Lake, Giselle, Sleeping Beauty, and . In addition, Lillian also attended summer intensives at Miami City Ballet, (on full scholarship), and the School of American Ballet (SAB), where, in 2007, she spent a year training and performing in such works as George Balanchine’s The Nutcracker® and Jerome Robbins’ Fanfare. During her time at SAB, Lillian not only choreographed a pas de quatre to music by Philip Glass for their Choreographic Workshop, but was also afforded the opportunity to travel to the Kennedy Center as part of the Protégés Program, where she performed .

Lillian joined Pennsylvania Ballet in 2008 as a member of PBII. She was promoted to apprentice for our 2009-2010 season, corps de ballet for 2011-2012, and soloist for 2013-2014. In 2016, she was promoted to the rank of principal dancer. In 2015, Lillian debuted as Odette/Odile in Christopher Wheeldon's Swan Lake and has appeared in a range of principal roles, including Coppélia (Swanilda), Balanchine’s A Midsummer Night’s Dream (Titania, Hippolyta, Hermia), Jerome Robbins’ , William Forsythe’s The Vertiginous Thrill of Exactitude, and Matthew Neenan’s Penumbra.

In 2014, Lillian was profiled for Dance Magazine’s “On the Rise” section. She also appeared in the critically acclaimed feature film Black Swan and has earned a degree in urban studies from the University of Pennsylvania. In 2007, Lillian was named the National Foundation for the Advancement of the Arts winner in dance.

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 21 of 73 Principal Dancers (cont.)

IAN HUSSEY The Deborah & Kurt Hilzinger Principal Dancer

Hometown: Westmont, NJ Ian Hussey began his ballet instruction at age nine with the Rock School for Dance Education and continued his training at Central Pennsylvania Youth Ballet in 2001 under the direction of Marcia Dale Weary. As well, Ian had attended summer intensives (on scholarship) at the School of American Ballet, , and Exploring Ballet with Suzanne Farrell, among others.

Ian joined Pennsylvania Ballet as a member of PBII. After becoming an apprentice, he was promoted to the corps de ballet for our 2007-2008 season. In 2010, he was promoted to the rank of soloist and then to principal dancer for our 2012-2013 season. Since joining the company, Ian has taken the stage in featured roles that include Twyla Tharp’s Push Comes to Shove and Nine Sinatra Songs, Jerome Robbins’ The Concert and Other , Paul Taylor’s Company B, Christopher Wheeldon's and Swan Lake, and the Divertissement Pas de Deux in George Balanchine’s A Midsummer Night’s Dream. He has created leading roles in ballets for such renowned choreographers as Annabelle Lopez Ochoa’s Requiem for a Rose, Jorma Elo's Pulcinella, Trey McIntyre’s The Accidental, and Matthew Neenan’s Pampeana No. 2, Penumbra, Keep, and At the border.

In May 2014, Ian was featured in Margo Sappington’s Under the Sun Pas de Deux during the PBS nationwide broadcast of “Pennsylvania Ballet at 50”.

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 22 of 73 Principal Dancers (cont.)

JERMEL JOHNSON The Gladys M. Black Principal Dancer

Hometown: Baltimore, MD Jermel Johnson began his dance education at the Baltimore School for the Arts. His first four years were spent in their after-school program and his next three enrolled as a student in their rigorous and physically demanding dance department. Jermel then continued his training at the School of American Ballet (SAB), where he not only received a scholarship to attend their 2001 summer program but also spent an additional year studying under such renowned choreographers as Peter Martins, Peter Boal, Jock Soto, and Andrei Kramarevsky. During his student years, Jermel was often called upon to perform at both schools, including several productions with the Baltimore School for the Arts and in George Balanchine’s The Nutcracker® with SAB.

Jermel came to Pennsylvania Ballet in September 2003 as a member of PBII. He was invited to join the company as an apprentice in 2004 and promoted to corps de ballet for the 2007-2008 season. In 2009, Jermel was promoted to soloist and then to principal dancer for the 2012-2013 season. As a principal dancer, Jermel has performed a variety of roles, including Robert Weiss’ Messiah, Christopher Wheeldon's Swan Lake (Prince Siegfried), Jerome Robbins’ Afternoon of a Faun, and George Balanchine’s The Nutcracker® (Cavalier). His featured roles include such works as William Forsythe’s The Vertiginous Thrill of Exactitude, Matthew Neenan’s Keep, Jerome Robbins’ N.Y. Export: Opus Jazz (Statics), and Jiří Kylián’s Petite Mort.

During the 2007-2008 season, Jermel received audience and critical acclaim alike, not only for his standout performances at City Center in New York that November but also in Philadelphia later that spring while performing the world premiere of Matthew Neenan's Pampeana No. 2. In October 2008, Jermel received a prestigious ballet fellowship from the Princess Grace Foundation – USA, which supported his salary for the season and will support his choreographic endeavors in the future.

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 23 of 73 Principal Dancers (cont.)

OKSANA MASLOVA

Hometown: Nikopol, Ukraine Oksana Maslova's artistic development began early on with rhythmic gymnastics, which eventually led her to an intensive ballet program with Irina Sycheva, former ballerina of St. Petersburg Ballet. Oksana then went on to the Kiev Choreographic College, where she studied under renowned teachers and artists such as Anna Petrenchuk, Evgenyi Kaigorodov, Yana Gladkih, and Dmitriy Kaigorodov. While attending the Choreographic College, Oksana began performing with Kiev Youth Ballet, where she danced the part of Arabian in The Nutcracker, Kitri in Don Quixote, and Odette in Swan Lake. After graduating from Kiev, Oksana became a student at the Institute of Culture and Arts, where she received her master’s degree as a choreographer and ballet master.

Oksana joined Pennsylvania Ballet as a soloist for our 2014-2015 season. She has since danced featured roles in Christopher Wheeldon's Polyphonia, as well as the role of Odile/Odette in Christopher Wheeldon's Swan Lake. In 2016, Oksana was promoted to principal dancer and has continued to perform a mixed repertoire of classical, modern, and full-length works, including David Dawson’s The Third Light, Brian Sanders’ Chicken Bone Brain, George Balanchine’s Western Symphony (Second Movement), and Ben Stevenson’s Cinderella (Cinderella).

Prior to Pennsylvania Ballet, Oksana was a member of Suziriya Dance Theater, which she joined after Kiev Youth Ballet. In 2004, she became a member of the Odessa National Opera House, where she rose to the rank of soloist and performed a variety of principal roles. In 2008, she joined Grand Rapids Ballet as a principal dancer, performing their entire classical repertoire. And, in June 2011, she joined the Connecticut Ballet Company as a principal dancer, where she created the role of Alice in Brett Raphael’s Alice in Wonderland.

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 24 of 73 Principal Dancers (cont.)

ARIAN MOLINA SOCA The Mrs. Henry F. Harris Principal Dancer

Hometown: Matanzas, Cuba Arian Molina Soca began his ballet studies in 2001 at the Alfonso Pérez Isaac Vocational School of Art and then, in 2006, joined the National Ballet School in Havana under the guidance of Elena Canga and Yuneisi Rodríguez, among other notable professors. Throughout his studies, Arian participated in a range of competitive events, including the 2008 International Ballet Teaching Academy Encounter, where he was awarded the bronze medal. He also participated in the Inter-Academy Encounters held in Mazatlán, Mexico in 2008 and then again in Johannesburg, Cape Town, and Pretoria, South Africa in 2009.

Arian joined Pennsylvania Ballet as a principal dancer for our 2015-2016 season, performing a range of works from the contemporary to the classic. He has danced principal and featured roles that include Ben Stevenson’s Cinderella (Prince), Nacho Duato’s Remansos, Christopher Wheeldon’s DGV: Danse à Grande Vitesse, Angel Corella’s Le Corsaire (Conrad), and George Balanchine’s Western Symphony (Fourth Movement).

Prior to Pennsylvania Ballet, Arian danced with the , which he joined in 2010 (upon graduation from the National Ballet School in Havana) and danced under the artistic and technical guidance of Alicia Alonso. He was promoted to first soloist in 2011 and principal dancer in 2012. While with the company, Arian performed internationally in North and South America, Europe, China, and South Africa. Arian also had the privilege of participating in performances to honor legendary Cuban dancer, Alicia Alonso: first in 2012 at the Viva Alicia! Gala at the Bolshoi Theater in Moscow on the occasion of her 90th birthday, then again in 2013 at a 20th Anniversary Gala at the Teatro de la Zarzuela in Madrid, and finally in 2013 at the International Ballet Gala at the Teatro at Montecasino in Johannesburg.

Arian’s repertoire includes soloist roles in major works of the romantic-classical period of the 19th century and contemporary works created by both Cuban and foreign choreographers. He is considered one of the most promising contemporary dancers to emerge from the Cuban School of Ballet.

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 25 of 73 Principal Dancers (cont.)

MAYARA PINEIRO The Tammy and John Murabito Principal Dancer

Hometown: Havana, Cuba

Mayara Pineiro graduated from the Cuban National Ballet School under the direction of Ramona de Sáa. She has participated in international dance festivals across the globe, including South Africa, Peru, and Canada. At age 16, Mayara won a silver medal in the International Ballet Competition held in Havana, Cuba. That same year, she received a gold medal in the Danza & Mare Competition in Calabria, Italy and a second gold medal in 2011 at the Youth American Grand Prix in Tampa, Florida.

Mayara joined Pennsylvania Ballet as a member of the corps de ballet for our 2014-2015 season. She was promoted to soloist in 2015 and principal dancer in 2016. Mayara’s repertoire with the company includes principal roles such as Medora in Angel Corella’s Le Corsaire and Odile/Odette in Christopher Wheeldon’s Swan Lake. She has also danced featured roles in Matthew Neenan's Shift to Minor and Jerome Robbins' The Concert.

Prior to joining Pennsylvania Ballet, Mayara was a soloist with the National Opera of Bucharest, where she danced a variety of featured roles. In 2012, she was invited to be a guest artist with Balletto del Sud in Italy under the direction of Fredy Franzutti, and then, from 2012 to 2014, danced with Milwaukee Ballet. Mayara’s journey from Cuba to the U.S. was also the subject of filmmaker Mary Jane Doherty’s 2014 documentary Secundaria.

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 26 of 73 Principal Dancers (cont.)

DAYESI TORRIENTE

Hometown: Havana, Cuba

Dayesi Torriente began her ballet studies in 1999 at Pro-Dance Center, directed by the Grand Maitre de Ballet Laura Alonso. In 2000, she continued at the Alejo Carpentier Provincial School of Ballet and, upon completion, joined the National Ballet School under the guidance of Esther Garcia, Mirta Hermida, Ana Julia Bermudez, Ramona de Sáa, and Fernando Alonso. Dayesi also received bronze medals in national and international ballet competitions held in 2008 and 2009.

Dayesi joined Pennsylvania Ballet as a soloist for our 2016-2017 season, debuting as the Winter Fairy in Ben Stevenson’s Cinderella. She followed up with a role in David Dawson’s The Third Light, as well as principal and/or featured roles in George Balanchine’s The Nutcracker®, Le Corsaire, and the world premieres of Nicolo Fonte’s Ghost Stories and Matthew Neenan’s Somnolence. Dayesi was promoted to the rank of principal dancer for the 2017-2018 season.

Prior to Pennsylvania Ballet, Dayesi was with National Ballet of Cuba, which she joined in 2009 under the artistic and technical direction of Alicia Alonso. She was promoted to soloist in 2011 and then to principal dancer in 2015. While with National Ballet of Cuba, Dayesi preformed internationally in regions as far reaching as Brazil, Canada, China, Colombia, Italy, Mexico, and South Africa.

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 27 of 73

About the School of Pennsylvania Ballet

The School of Pennsylvania Ballet offers the highest caliber dance education of any program in the Greater Philadelphia area, providing our students with exceptional technical training and unparalleled performance opportunities. Founded by Barbara Weisberger, a protégé of the great George Balanchine, the school carries on his honored tradition of (and devotion to) developing young artists and preparing them to become successful professionals in today’s competitive ballet landscape.

Situated in one of Philadelphia’s most up-and-coming neighborhoods, the School of Pennsylvania Ballet provides a complete education for our students, starting with the Dance with Me and Creative Movement classes for our youngest students and effectively progressing to the level of training needed to sustain a career as a working ballet professional. Each student is individually evaluated and placed according to their ability level by a dedicated faculty comprised of current and former members of Pennsylvania Ballet, along with some of the industry’s finest dance educators.

Under the direction of Interim Principal and Assistant Artistic Director Samantha Dunster, our students receive extensive instruction in each of the following disciplines: classical ballet technique, pointe work, partnering, men’s classes, and variations. Further complimenting their studies, students are also provided courses in contemporary/, stretch and strengthen, and Pilates, and, with the exception of our pre-ballet programs, a live pianist accompanies all classes. In addition, students of the school assume a close affiliation with Pennsylvania Ballet, providing them an invaluable opportunity to perform in professional productions alongside some of today’s foremost ballet artists. Each year, an average of 100 students are selected exclusively from the school to perform in the company’s holiday classic, George Balanchine’s The Nutcracker®. In addition to this and other performance opportunities with the company, the school also presents an annual spring performance. Equally, the School of Pennsylvania Ballet also attracts students from across the nation and abroad to participate in its annual five-week summer intensive and weeklong Company Experience and Young Dancer Workshop. Students are admitted through auditions held in cities around the country January through March of each year.

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 28 of 73

About Community Engagement Pennsylvania Ballet is committed not only to the betterment and cultural enrichment of our community through the power of dance, but also making it accessible to as many people as possible. Whether we’re sending the talented dancers of PBII into community and senior centers…working through in- and after-school programs such as Dance Chance and Delphi Project…inviting students into our studios and dress rehearsals…or partnering with Art-Reach to bring ballet to our disabled and low-income communities, Pennsylvania Ballet is dedicated to spreading the joy and benefits of dance throughout our vibrant and diverse communities.

Dance For Schools Pennsylvania Ballet’s outreach programs have provided a number of in-and after-school as well as theater-based programs free of charge to school children in the Philadelphia area since 1996. These initiatives open new doors, provide exciting experiences, and help contribute to the cultural development of children across the Greater Philadelphia region by empowering them through creativity, movement, and by making the art of dance accessible through genuine interaction with one of the nation’s foremost professional ballet companies.

DANCE CHANCE Dance Chance is an instructional program that brings ballet to underserved schools and, in so doing, empowers children from impoverished communities to find a new space for physical, emotional, and intellectual growth. This unique three-step program, designed to provide in- school ballet classes, also helps us to identify promising young ballet students who are, in turn, invited to attend regular classes at the School of Pennsylvania Ballet, allowing us to forge a meaningful and sustained impact on future generations of potential professional dancers.

Dance Chance is currently operating in four participating schools: Folk Arts Cultural Treasures Charter School, James G. Blaine School, Academy Charter School, and Holy Redeemer Catholic School.

DELPHI PROJECT (MIDDLE SCHOOL) Funded by the Delphi Project Foundation, the Delphi Project provides a unique after-school experience for Philadelphia public school students (grades 5-8). It is designed to deliver a meaningful cultural experience in order to positively affect a variety of school behaviors and community interactions.

This arts-based program includes after-school dance classes, attendance at Pennsylvania Ballet dress rehearsals and performances, and concludes with a student showcase in which all participating schools join for an exciting combined performance where friends and families are invited to share in the moment and celebrate the students’ achievement. Many students choose to participate in this program for multiple years.

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 29 of 73 Community Engagement (cont.)

STUDIO VISITS (1ST – 12TH GRADES) Guided Pennsylvania Ballet studio tours are provided to select school groups. These tours offer a thrilling behind-the-scenes look at the day-to-day operations of an elite professional performing arts organization as well as a presentation by a member of the artistic or administrative staff, a ballet class, and an opportunity to observe the company as they rehearse for an upcoming production.

2017-2018 DRESS REHEARSAL MATINEE SERIES (1ST – 12TH GRADES) More than 5,000 students from city and suburban school districts in Philadelphia, Camden, NJ, and surrounding areas attend Pennsylvania Ballet dress rehearsal performances each year. This one-of-a-kind experience, in an exciting theater atmosphere, provides an up-close look at how the company and its dancers prepare to take a performance from the studio to the stage.

Dance for All

ART-REACH PARTNERSHIP The partnership between Art-Reach and Pennsylvania Ballet was formed with the chief purpose of providing opportunities and access to people in low-income communities as well as those living with disabilities. As such, both organizations collaborate to help connect these communities with the ballet art form in a manner sensitive to their needs. Throughout our performance season, both organizations strive to incorporate substantial opportunities within Pennsylvania Ballet’s programming by way of sensory-friendly performances, special projects, and the continued pledge to provide free tickets to children in homeless shelters as well as children born with cerebral palsy and adults struggling with intellectual disabilities.

Pennsylvania Ballet, with the support of Art-Reach, was the first resident company of the Kimmel Center to offer sensory friendly performances for families with children on the autism spectrum. And, in February 2017, Saint Katherine’s Special Education School brought six high school students to our Pennsylvania Ballet studios for a 10-week rehearsal period to learn an original choreographed piece with the dancers of PBII. This successful collaboration culminated with an exciting and rewarding performance at FringeArts on May 6, 2017.

DANCE FOR SENIORS Pennsylvania Ballet is committed to partnering with organizations focused on serving senior citizens in the greater Philadelphia area, including the Corporation for Aging, Lutheran Settlement House, and Foulkeways at Gwynned. With the primary goal of inviting others to participate in the “dream of dance,” Pennsylvania Ballet will offer the region’s elderly citizens an opportunity to not only participate in master classes at our home studio of Pennsylvania Ballet but also make group trips to the Academy of Music to attend dress rehearsals as well as matinee series performances. Additionally, our talented corps of PBII dancers will travel to senior living

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 30 of 73 Community Engagement (cont.) centers to perform on site, bringing the dream of dance (and its accompanying smiles) directly to those elderly individuals who might otherwise be unable to experience ballet in person.

BROAD STREET MINISTRIES Pennsylvania Ballet’s community engagement program is also partnering with Broad Street Ministries (BSM), joining in its ongoing mission to practice “radical hospitality through civic engagement.” This unique and meaningful partnership allows Pennsylvania Ballet to offer on- site ballet classes at BSM for any and all interested neighborhood residents, including many in the throes of a housing crisis or experiencing other displacement challenges. We also aim to welcome all those who simply desire to spend a little time each week embracing the restorative powers of movement and dance as well as its ability to provide respite and joy.

PBII COMMUNITY PERFORMANCES Pennsylvania Ballet II (PBII) is a program designed for young dancers who are just beginning their professional careers. These “second company” members receive daily, intensive instruction from Pennsylvania Ballet artistic staff as well as rehearse and perform with the main company for all of Pennsylvania Ballet’s larger productions. Currently, 16 former PBII members have joined the main company of Pennsylvania Ballet, with three having risen to the rank of principal dancer.

PBII also complements Pennsylvania Ballet’s existing outreach and education program, Community Engagement. Initiated in February 2002, through the generosity of founding donors Joyce and Herbert Kean, the program enables Pennsylvania Ballet to greatly expand the depth and scope of its outreach efforts through theater- and non-theater-based performances in Philadelphia area schools as well as other smaller, more intimate venues. PBII has also developed a performance-based program that includes everything from audience participation and a demonstration of ballet exercises to performance excerpts from the company’s repertoire and an informative Q&A session.

PBII schedules approximately 20 performances and demonstrations per year in schools throughout Philadelphia, Camden, and surrounding suburban communities in both Pennsylvania and southern New Jersey, as well as in several school districts where the main company tours. These one-day school “residencies” give students an opportunity to observe the dancers as they train, rehearse, and perform. Additional performances are also scheduled for senior centers/residences, community centers, as well as other commercial and non-commercial venues that help extend the company’s reach into the greater community. Roughly 7,000 children and their families attend PBII programs annually.

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 31 of 73 Pennsylvania Ballet 2017-2018 Season

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 32 of 73 Community Engagement and Pennsylvania Ballet II 2017 - 2018

Presentations, Performances, and Events Calendar*

Dance Chance season begins 09/11/17 Students (S)

Delphi season begins 09/12/17 Students

Film Premiere, I Am 09/19/17, 6 p.m. Prince Theater, General Audiences(GA)

PBII, mixed rep 09/23/17, 3 p.m. William Way Center, Family (F)

PBII, mixed rep 09/26/17, 1:30 p.m. Swain School (Allentown), S

Snow White 10/01/17, 12:00 p.m. Philadelphia Museum of Art, F

Dress Rehearsal The Sleeping Beauty 10/12/17 1:00 p.m. Academy of Music, S

PBII, mixed rep 10/27/17, 7:00 p.m. Northeast High School, S&F

Dress Rehearsal Nutcracker 12/08/17, 1:00 p.m. Academy of Music, S

Nutcracker Dolls 12/2017, TBD Parks and Recreation

Sensory Friendly Nutcracker 12/27/17, 12:00 p.m. Academy of Music, GA

Delphi performances 03/07/18, 6:00 p.m. Prince Theater, S&F

Dress Rehearsal Swan Lake 03/08/18, 1:00 p.m. Academy of Music, S

Snow White 04/13-15/2018 Prince Theater, S&F

Snow White 04/20/18, 1:00 p.m. Ware Center (Lancaster), F

The Prince Charming 04/27-28/2018 UDPAC, S&F

Dress Rehearsal Jewels for HSPP 05/10/18, 1:00 p.m. Academy of Music, S

CAPA, KCAPA, GAMP, PBII, mixed rep Dates TBD

*dates, times, locations, and programs subject to change

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 33 of 73 Donor and Special Events 2017-2018 Season

PRIMARY EVENTS Union League of Friday, October 6 6:00 p.m. Annual Fall Gala (ticketed) Philadelphia Nutcracker Magic Children’s Bellevue and Saturday, December 9 12:00 p.m. Party (ticketed) Academy of Music Swan Lake Dinner and Academy of Music Thursday, March 8 5:30 p.m. Performance (ticketed) Ballroom Home of Alice Leadership Barre Silver Level Sunday, April 29 4 p.m. to 6 p.m. Donavin Day and Party ($5K+ donors) George S. Day

DONOR EVENTS & CULTIVATION EVENTS

Major Donor & Company Tuesday, September 19 6:00 p.m. Aramark Reception ($15k+ donors) Art-Reach Documentary Film Tuesday, September 19 6:00 p.m. Prince Theater Premiere (ticketed) Chairman’s Council Event Home of David Thursday, September 21 TBD ($100K+ donors) Hoffman William Way PBII Mixed Rep (ticketed) Saturday, September 23 11:00 a.m. Center Secundaria – Film Bryn Mawr Film Wednesday, September 27 7:00 p.m. (ticketed) Institute Subscriber Party Thursday, September 28 6:30 p.m. DoubleTree NY Friends of PA Ballet Wednesday, October 4 8:00 p.m. City Center (ticketed) Sleeping Beauty Chair Dinner Thursday, October 12 5:15 p.m. Acorn Club ($10K+ donors) Symposium: Women in Leadership Roles in Dance Monday, October 30 7:00 p.m. FringeArts (ticketed but free) Tea with the Sugar Plum Fairy DoubleTree and Sunday, December 10 2:30 p.m. (ticketed) Academy of Music Tea with the Sugar Plum Fairy DoubleTree and Saturday, December 16 12:00 p.m. (ticketed) Academy of Music Art of Coaching (ticketed) Monday, January 29 6:30 p.m. The Arts Bank

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 34 of 73 Donor and Special Events (cont.)

NY Friends of PA Ballet Baryshnikov February 2017 TBD (invitation only) Studios, NYC Shut Up & Dance Tentative: April 14, 2018 7:00 p.m. Forrest Theater (ticked fundraiser for MANNA) Delphi Project Final Program 11:00 a.m. and Wednesday, March 7 Prince Theatre (ticketed) 6:30 p.m. shows 10+ Year Donor Recognition Tuesday, March 27 7:00 p.m. DoubleTree (10+ consecutive year donors) Pennsylvania Ballet Panel – Academy of Vocal International Styles of Dance Thursday, April 19 5:30 p.m. Arts Training ($1K+ donors) Jewels Chair Dinner Thursday, May 10 5:15 p.m. Acorn Club ($10K+ donors) Dress Rehearsal Luncheon Estia and Thursday, May 10 11:30 a.m. (ticketed) Academy of Music PA Ballet School Show Prince Music May 18 - 20 (tentative) TBD (ticketed) Theatre

DRESS REHEARSALS Sleeping Beauty Thursday, October 12 1:00 p.m. Academy of Music On Edge Thursday, November 9 1:00 p.m. Merriam Theater George Balanchine’s The Friday, December 8 1:00 p.m. Academy of Music Nutcracker Swan Lake Thursday, March 8 1:00 p.m. Academy of Music Grace & Grandeur Thursday, April 5 1:00 p.m. Merriam Theater Jewels Thursday, May 10 1:00 p.m. Academy of Music

TECHNICAL REHEARSAL RECEPTIONS On Edge Wednesday, November 8 6:30 p.m. Merriam Theater Grace & Grandeur Wednesday, April 4 6:30 p.m. Merriam Theater

*all dates, times, and locations subject to change

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 35 of 73 Pennsylvania Ballet Fundraisers, Programs, and Benefits 2017-2018

The following fundraisers and events are offered annually. Trustees can employ these fundraisers as an opportunity to solicit new donors and meet fellow ballet enthusiasts. Pennsylvania Ballet has a large base of core supporters who frequent many of these events. Trustees are encouraged to attend all major events and contribute toward a strong Board presence. Pennsylvania Ballet’s website provides a wealth of information, including details on the following events and programs; visit us at paballet.org.

Major Annual Fundraisers:

Gala Celebrate the opening of our Season by attending the Opening Night Gala! This annual black tie affair includes an evening of dinner and dancing with members of the Company at a premiere venue with a special performance by members of the Company. A few live auction items including a walk-on roles in Sleeping Beauty and Swan Lake. Tickets typically range from $500 to $800 per person, and tables for ten range from $5,000 to $10,000. (October 6, 2017)

Nutcracker Magic Children of all ages will enjoy this enchanting holiday party, which includes a gourmet meal, lively entertainment and a performance of George Balanchine’s The Nutcracker™. Sponsorship opportunities are available to allow groups of underserved children to attend this performance. Party tickets typically range from $150 - $250, and event sponsorships range from $500 to $10,000. (December 9, 2017)

Premiere Dinner Be a part of the exclusive dinner for 180 in the Academy of Music Ballroom to celebrate World or Company Premiere’s by Pennsylvania Ballet. Since seating is limited, this event is a flat $1,000 per person for dinner in one of the most beautiful historic venues in the city and a dazzling performance by our Company. (March 8, 2018)

Other Important Events:

Opening Night Dinners Intimate dinners on opening nights of the programs at the Academy of Music are a wonderful way to introduce potential donors to the Ballet. This exclusive event presents the opportunity to spend the evening with the Board Chair, the Executive Director and other major donors. Following dinner, guests attend a Pennsylvania Ballet performance. By invitation only.

Leadership Barre Events The Leadership Barre is an exclusive group of the Ballet’s most dedicated and engaged supporters who contribute $2,500 or more to the Ballet’s Annual Fund. Members of the Leadership Barre receive special services, invitations and behind-the-scenes opportunities to meet Pennsylvania Ballet dancers including first intermission receptions in the Ballroom and a house party with members of the Company ($5,000+). Trustees are invited to host pre-performance dinners and other cultivation events to introduce others to the Leadership Barre and help increase its membership – the proceeds of which are an important source of revenue for the Ballet.

Open Technical Rehearsals Annual Fund donors at the $250 level and up can enjoy a complimentary reception and evening technical rehearsal at the Merriam Theater. This is an especially popular event for our Young Friends.

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 36 of 73 Fundraisers, Programs, and Benefits (cont.)

Open Dress Rehearsals As an Annual Fund donor benefit, Pennsylvania Ballet offers the chance to preview upcoming performances during a matinee dress rehearsal. This special opportunity is available to donors who contribute $150 or more. In addition, as part of the Community Engagement program, participating school students attend open dress rehearsals.

Audience Relations and Subscriber Events:

Subscriber Party All subscribers are invited to this festive, annual event. Approximately 300 subscribers enjoy refreshments and the chance to meet and greet Pennsylvania Ballet dancers to kick off the beginning of the season. This event is free of charge. (September 28, 2017)

Preludes All ticketholders for each program are invited to pre-show talks in the theatre before most performances. Attendees get behind-the-scenes stories from the rehearsal studio with the guest(s) varying for each talk which have included the Artistic Director, Music Director Beatrice Joan Affron, and dancers. Held for most performances, be sure to check for confirmation.

Tea with the Sugarplum Fairy and Group Children’s Parties Join the star of Philadelphia's most anticipated holiday tradition for a magical afternoon of tea and tutus. Enjoy a delectable buffet and photo opportunity with the Sugarplum Fairy and experience a captivating matinee performance of George Balanchine's The Nutcracker™. Ticket and party packages are available for purchase through Group Sales Manager Arajua Backman. (Scheduled December 11 and 17, 2016.)

Conversations with Pennsylvania Ballet Pennsylvania Ballet’s free, open-to-the-public discussion series with dancers is held the Monday before each Opening Night (except Nutcracker) at 6:30 p.m. at the Philadelphia City Institute Library at 1905 Locust Street. A dancer who will be featured in the upcoming series is selected as the guest speaker for this informal yet lively Q&A. The Friends of the Philadelphia City Institute Library provide complimentary wine and cheese.

Donor Benefits:

Please see Donor Benefits brochure Pennsylvania Ballet is proud to offer unique and impressive benefits to our donors. This information is helpful to Trustees when talking about the Ballet to friends, colleagues, and potential donors. The following benefits are determined categorically on the dollar amount of the gift.

• Admission to a dress rehearsal • Advance notice of Pennsylvania Ballet news and special events • Complimentary invitation to a special preview reception and evening theater rehearsal • Year-round listing in Pennsylvania Ballet’s theater programs ($500+) • Invitation to watch rehearsal at Pennsylvania Ballet’s studios • Ballet Panel Discussion – cocktail party and panel discussion

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 37 of 73 Fundraisers, Programs, and Benefits (cont.)

Leadership Barre

For donors gifting $2,500 and up, this exclusive membership offers exciting behind the scenes opportunities to meet the dancers and fellow ballet enthusiasts. Members enjoy the benefit of having one staff member dedicated to help with their requests. The following benefits are determined categorically on the dollar amount of the gift.

• Personalized ticket services through the Development Office • Complimentary refreshments with select dancers in the elegant Ballroom during first intermission at the Academy of Music (except Nutcracker) • Invitation to an annual event in a private home with Company dancers • Performance underwriting – either a full performance or a specific program • Opportunity to ‘name a dancer’ for the season • Backstage tour for you and your guests at an Academy of Music performance

Subscriber and Group Benefits:

Subscriber Benefits Pennsylvania Ballet productions are packaged to target audiences. Subscribers receive exclusive benefits and personalized service. Subscriber benefits are listed in the subscription brochure.

Group Sales Any group of 10 or more can receive special discounts that range from 10-50% off regular priced tickets. Group sales offer special packages to entertain your group, from dining packages to VIP entertainment including Q&A with Angel Corella, and Meet & Greet with dancers.

Extraneous:

E-Newsletter Donors and subscribers enjoy Pennsylvania Ballet’s online newsletter highlighting production and insider dancer information. The newsletter began in 2002-2003 and has been a big hit with the ballet audience. The newsletter is now exclusively electronic.

Press Conferences To be announced From time to time, the Ballet holds a press conference to share our great news with the community. Board members will receive notice in advance; all are welcome to come and support the organization with the press.

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 38 of 73 Board of Trustees 2017-2018 Meeting Schedule*

NEW BOARD MEMBER ORIENTATION Monday, September 25 12:00 p.m. PA Ballet Offices 100 South Broad Street

TRUSTEES MEETINGS

Monday, September 18, 2017 4:00 p.m. Aramark 1101 Market Street Reception with the Company to follow 3000 Two Logan Square | Wednesday, November 20, 2017 4:00 p.m. Pepper Hamilton Eighteenth and Arch Streets 3000 Two Logan Square | Wednesday, January 29, 2018 4:00 p.m. Pepper Hamilton Eighteenth and Arch Streets 3000 Two Logan Square | Wednesday, March 19, 2018 4:00 p.m. Pepper Hamilton Eighteenth and Arch Streets

3000 Two Logan Square | Monday, May 21, 2018 4:00 p.m. Pepper Hamilton Eighteenth and Arch Streets

EXECUTIVE COMMITTEE MEETINGS

Wednesday, September 6, 2017 4:00 p.m. Brandywine Global Cira Center, 2929 Arch St

Monday, October 30, 2017 4:00 p.m. Brandywine Global Cira Center, 2929 Arch St

Tuesday, January 9, 2018 4:00 p.m. Brandywine Global Cira Center, 2929 Arch St

Thursday, February 22, 2018 4:00 p.m. Brandywine Global Cira Center, 2929 Arch St

Tuesday, April 24, 2018 4:00 p.m. Brandywine Global Cira Center, 2929 Arch St

Tuesday, June 5, 2018 4:00 p.m. Brandywine Global Cira Center, 2929 Arch St

*all dates, times, and locations are subject to change

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 39 of 73 THE ROLE OF THE BOARD OF TRUSTEES

General Duties

The Trustees have ultimate responsibility for the affairs of Pennsylvania Ballet, consistent with its Charter, By-Laws, Mission and Strategic Plan. Day to day operations are overseen by the Executive Director and Artistic Director.

All Board functions can be identified as fulfilling one of three areas of responsibility shared by all Trustees:

1. Governance a. Providing guidance, expertise and fiduciary oversight. 2. Advocacy a. Serving as an ambassador for the interests of the Ballet. 3. Fundraising a. Helping to raise the funds necessary for fulfill the mission.

Governance Responsibilities

Trustees have a duty to ensure that the work of the organization is consistent with the Mission. Policy decisions, as well as Strategic Planning are part of these duties, along with ensuring that all fiduciary requirements are fulfilled, including promises and assurance made to donors. The Board delegates day to day responsibility of the management of the organization to an Executive Director and Artistic Director and it is the Board’s responsibility to conduct annual reviews of their performance, as well as hire and fire the individuals in these positions.

Your specific responsibilities include being an engaged and informed Board member. In order to do so, it is expected that you will:

1. Attend a. Board Meetings Attend Board meetings regularly, and any special meetings or retreats organized for Board planning and training. Board materials are sent in advance of the meeting and it is expected that you will be prepared for meetings upon arrival. The secretary must be advised in advance of any anticipated absences. b. Performances Become a season subscribers, regularly attend performances and promote performances. c. Social, fundraising and other Board-sponsored events Attend these events and actively promote them to others in the community.

2. Committee Participation a. Actively serve on at least one board committee, regularly attend its meetings, and contribute to its functions and responsibilities.

3. Financial Oversight a. Assist with the development, oversight and review of the operating budget, and the organization’s assets and liabilities.

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 40 of 73 4. Trusteeship a. Support self-perpetuation of the Board by recruiting and educating trustees. b. Conduct an annual review of the Board’s functions and performance.

Advocacy

As a Trustee, you are an ambassador for the interests of the Ballet. This means not only helping to develop policies while working with your Board colleagues but also representing those policies when out “in the field.” Just as our national ambassadors are expected to support the US Government when working abroad, it is expected that you will put forward the positive story of the Pennsylvania Ballet.

a. Help generate positive excitement about the Pennsylvania Ballet. b. Bring friends and colleagues to the Ballet. c. Arrange introductions for key leadership and potential stake-holders. d. Seek connections that will further the interests of the Ballet among leaders in business, politics, the media, and other networks. e. Keep the staff informed in order to further develop relationships.

Fundraising

It is expected that all Trustees will support the organization financially.

1. Contributions a. Make a significant financial contribution and help secure contributions and sponsorships. While the minimum expectation is $10,000 ($7,500 for Trustees under 40 years of age), the average gift from Trustees – including matching funds – is $27,000. b. Support Special Events by purchasing tickets and/or tables and securing sponsorships and/or tables when possible. c. Participate in any capital/endowment campaigns for the Ballet also at a level consistent with your personal means.

2. Fundraising a. Assume responsibility for funding the organization by participating in fundraising efforts, including appeals, events, providing leadership for campaigns, and connecting the staff to potential funders.

Updated September 2015

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 41 of 73 Pennsylvania Ballet Board Committees for 2017-2018

• Executive Committee o David Hoffman, chair o Hilary Alger o Deborah Gill Hilzinger, PhD, vice chair o Amy Coes o DanThu (Thi) Phan, Esq., secretary o Anthony Haller o Michael Lillys, treasurer o Louise Reed o David Schellenberg o Jonathan Stavin

• Audit and Finance – Michael Lillys, chair Prepares annual budgets and present to the board for approval, review financial status of the Association, provide board with reports of the same at meetings, act on all financial matters of the Association.

• Building and Facilities – Jonathan Stavin, chair Assists the Association in the management of its current facilities and planning for any future building projects.

• Development – Deborah Gill Hilzinger, chair Provides leadership for the fundraising efforts needed to finance the operation of the Association, and may appoint members of the Board to any sub-committee needed to fulfill such responsibilities.

• Governance Committee – Thi Phan, chair Oversees the evaluation of current Board of Trustees and its policies and procedures

• Human Resources – Anthony Haller, chair Provides guidance and oversight of personnel procedures

• Investment – David Hoffman, chair Provides guidance on the management of the Association’s endowment.

• Marketing – David Schellenberg, chair Provides guidance and insight on marketing strategies, provides support and analysis of patron research projects. Serves as “think tank” for issues and challenges for the marketing team as we seek to expand our reach and impact.

• Nominating Committee – Hilary Alger and Amy Coes, co-chairs Works with the development director to strategically assess board needs, manage the pipeline of nominees for the board, and interview and nominate new members of the Board as appropriate. This committee also consults with the Chair regarding the incoming slate of officers.

• Strategic Initiatives – Debbie Hilzinger, chair Provides Board leadership on lobbying efforts. Conducts periodic review of progress towards our Strategic Plan goals. Provides input and guidance on initiatives to generate additional earned revenue.

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 42 of 73 Ballet Board: Q & A

Question: What is my primary responsibility as a Pennsylvania Ballet Trustee?

Answer: The primary responsibilities of the Board of Trustees of every non-profit organization are Governance, Advocacy and Fundraising. This means that you oversee the affairs of the organization, serve as an Ambassador for the organization, and aid in raising funds (as well as support the Ballet personally). The Board oversees the policies, planning, and finances of the organization. The Board oversees the Executive and Artistic Directors of the organization who are responsible for the day-to-day management of the organization and its staff.

Question: How long do I serve on the Board?

Answer: The By-laws state that Trustees are elected to serve for a term of three years. After the expiration of two consecutive terms, Trustees can be elected to serve additional terms of one year, decided on an annual basis.

Question: When are Board meetings?

Answer: A schedule for board meetings is forwarded at the beginning of every season, and listed in the Calendar of this handbook.

Question: What is a committee and how do I join one?

Answer: The business of the Board is largely conducted by the committees. Serving on a committee is the best way to engage in the business of the organization and work closely with management and key staff. Committees bring recommendations to the Board for approval. The Committee is the forum to lend your interest and expertise to benefit the organization.

Standing committees include: Executive Committee (comprised of the Chair, Vice Chair, Treasurer, Secretary and other Board members appointed by the Chair), the Audit and Finance Committee, the Development Committee, the Nominations Committee, the Governance Committee, and the Strategic Initiatives Committee. Non-standing committees include the Building and Facilities Committee, Human Resources Committee and Marketing & Community Engagement Committee.

If you have a specific interest or expertise, please alert the Executive Director, Chair or Vice Chair of your interest.

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 43 of 73 Theater Information

PURCHASE TICKETS Season subscriptions are available by calling Ticket Philadelphia at 215.893.1955, or they can be purchased online. Full subscription prices range from approximately $117 to $473. Single tickets, which can be purchased beginning one month prior to each performance, range from $30 to $125. Single tickets can be purchased by calling Ticket Philadelphia at 215.893.1999.

TAKE GROUP DYNAMICS TO A NEW LEVEL We welcome groups of 10 or more and promise to make your experience a memorable one. Groups are able to purchase advance sale tickets for the best seating options at significant discounts − up to 50% off, depending on the size of your group and desired performance. Dining arrangements, holiday and birthday parties, backstage tours, or a meet and greet with dancers or Artistic Director Angel Corella are only a few of the additional options we are happy to provide, subject to group size and theatre restrictions.

Group subscriptions are also available. For more information and planning assistance, call Arajua Backman, Group Sales Manager, at (215) 587-6921 or email [email protected].

GENERAL THEATER INFORMATION AND POLICIES Q: Where is the Academy of Music located? A: The corner of Broad and Locust Streets, Philadelphia, PA 19103.

Q: Where is the Merriam Theater located? A: Approximately half of a block south from the Academy of Music.

Q: What are the box office hours at the Kimmel Center and Merriam Theaters? A: Kimmel Center Box Office Hours are Sunday through Saturday 10 a.m. – 6 p.m.; Academy of Music Box Office open two hours prior to ballet performances at the theater. Merriam Theater Box Office Hours are Monday through Saturday 10 a.m. – 5:30 p.m.; open two hours prior to ballet performances at the theater.

Q: What do I wear? A: There is no specific dress code for ballet performances. Some patrons prefer to dress in business attire while others prefer casual clothing. Black tie/formal attire is not generally worn. We would like all of our patrons to feel comfortable and enjoy the performance.

Q: Do the Academy of Music and Merriam Theater have elevators? A: Yes, the Academy of Music has two patron elevators located on the parquet level. The Merriam Theater has one elevator located in the lobby of the main level.

Q: Where can I park? A: There are several parking lots located near both theaters, including The DoubleTree Hotel Garage located directly across from the Academy of Music and Merriam Theaters. Additional parking lots include The Parkway Garage on 15th and Spruce, Interpark on Broad and Locust, and The Bellevue Hotel Garage one block down from the Academy of Music. Most of these garages offer a discount with your ballet tickets.

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 44 of 73 Theater Information (cont.)

Q: How early should I arrive? A: The doors at both theaters open 30 minutes prior to curtain. Please allow time for parking, traffic and ticket pick-up, if applicable. The Box Offices opens two hours prior to each performance. Should you arrive late, monitors are available in the lobby. Latecomers may not be seated until intermission unless there is a suitable break. Late seating is at the discretion of the management.

Q: Can I bring children? A: Children under four years old are not admitted to either theater for regular performances. Children under three are not permitted for The Nutcracker. All children must have a ticket and cannot sit on a parent's lap.

Q: Does Pennsylvania Ballet offer Student Rush tickets? A: Yes. Student Rush Tickets are available one half hour prior to every performance for half price. A valid student I.D. must be presented at time of purchase. Seating is subject to availability and is not guaranteed. (Excluding box seats and tickets to The Nutcracker.)

Q: Why can't I enter the theater after the performance begins? A: There is no late seating. Latecomers will not be admitted into the theater once the performance has begun until there is a suitable break or at intermission. The Box Offices opens two hours prior to each performance and theatre doors open 30 minutes prior to curtain times. Please allow extra time for parking, traffic and ticket pick-up, if applicable. Please understand that once the curtain has gone up and the dancers have taken the stage late seating is a distraction to the artists and to the other patrons already enjoying the performance. Ushers will assist late arrivals with seating at the appropriate time.

TICKET DONATIONS If you cannot use your tickets, you may donate them to Pennsylvania Ballet. To receive a tax credit, tickets must be donated to Ticket Philadelphia 48 hours in advance of its specific performance by calling 215.893.1999.

TICKET EXCHANGES Subscribers may exchange tickets for other 2017-2018 performances (excluding The Nutcracker). For Academy of Music and Merriam Theater shows exchange by:

Phone: 215.893.1955 Mail: Ticket Philadelphia Attn. Subscriber Services 230 South Broad Street, Suite 800 Philadelphia, PA 19102

Or at the Kimmel Center box office. A $6 per ticket fee applies to phone exchanges. Board members may call the Development office at 215-587-6913 for personalized assistance.

TICKET POLICY All Sales are final. There are no refunds or exchanges. This ticket purchase will appear on your credit card statement as TICKET PHILADELPHIA. If your tickets are being mailed to you, it is your responsibility to notify us prior to the performance if you do not receive your tickets so we may reprint them for you upon your presenting the Order Confirmation, credit card used in the purchase

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 45 of 73 Theater Information (cont.)

and proper photo identification. Artists are subject to change without prior notice and a change of artist is not cause for a refund. Inclement weather is not a cause for refund unless a performance is cancelled. In the event of severe rain or snow, weather updates and performance status are noted on the homepage of www.kimmelcenter.org.

All persons entering the theater, including babes in arms, must have a ticket. Children under four years old are not admitted to either theater for regular performances. Children under three are not permitted for George Balanchine's The Nutcracker. Latecomers and those who exit during the performance will be seated at the discretion of the facility staff. Copying any performance by camera, audio, or video recording equipment is prohibited.

Tickets purchased through this website are for your personal use and may not be resold for more than face value. We reserve the right to cancel any order we deem in conflict of this policy. If we cancel your order, or hold your tickets for box office pick-up (with photo ID), we will contact you via email within two business days.

LATE SEATING POLICY Latecomers will not be admitted into the theater once the performance has begun until there is a suitable break or at intermission. The Box Offices opens two hours prior to each performance and theatre doors open 30 minutes prior to curtain times. Please allow extra time for parking, traffic and ticket pick-up, if applicable. Please understand that once the curtain has gone up and the dancers have taken the stage late seating is a distraction to the artists and to the other patrons already enjoying the performance. Ushers will assist late arrivals with seating at the appropriate time.

GENERAL POLICY • If you need to leave the performance at any time, you will be readmitted at a later break. • No food or beverages are permitted in the Academy of Music or Merriam Theater. • All electronic devices (cellular phones, pagers, watch alarms, etc.) should be turned off prior to entering the performance space. • Seat locations printed on your tickets are not guaranteed past curtain time. There are no refunds or credits. All sales are final. • Many noises are quite audible due to the optimal acoustics of the venues. Please unwrap any lozenges or throat drops before the performance commences and keep any unnecessary movement and conversation to a minimum. • Aisles must be kept free of any obstructions. All coats and packages that are not checked should be placed under your seat or in your lap.

A COMMITMENT TO SAFETY The safety and comfort of visitors, volunteers, artists and staff at the Academy of Music and Merriam Theaters are of paramount importance. In the event of an emergency, audience members will be advised of appropriate procedures by usher and security staffs. Red, illuminated EXIT signs are clearly market with an arrow indicating the direction of an exit door. Should an emergency arise, you will be directed to leave the auditorium and further instructions will be provided as to the safest and quickest way to leave the building. Patrons who need special assistance should contact an usher.

COMMITMENT TO ACCESSIBILITY Pennsylvania Ballet is committed to providing access for disabled patrons. The Academy of Music and the Merriam Theater are both wheelchair accessible. The Company attempts to ensure

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 46 of 73 Theater Information (cont.)

accessibility at other performance venues as well. A limited number of ADA-compliant parking spaces are available in the Kimmel Center Garage.

The Academy of Music is wheelchair-accessible from the east lobby entrance on Broad Street. Elevators serve all levels of the Academy of Music, and accessible seating is available on all levels of the building. All rest rooms are ADA complaint and assisted listening devices are available for loan. For more information on accessibility at the Academy of Music, please call Visitor & Audience Services at 215.670.2327.

The Merriam Theater is also wheelchair-accessible and has a hearing augmentation system. For more information on accessibility at the Merriam Theater, please call the Manager at 215.732.5997.

Ushers at both facilities have been trained to be sensitive to the accessibility needs. If you experience a problem at a performance of the Ballet, please contact Jonathan Stiles at 215.551.7000, ext. 1211 so every effort can be made to accommodate you.

GIFT CERTIFICATES Gift Certificates to Pennsylvania Ballet performances can now be purchased through Ticket Philadelphia!

A Ticket Philadelphia gift certificate may be used to purchase tickets for events at the Kimmel Center for the Performing Arts, including the Verizon Hall and Perelman Theatre, or the Academy of Music. You can buy single tickets to events presented by: Pennsylvania Ballet, The Philadelphia Orchestra, Kimmel Center Presents, The Opera Company of Philadelphia, Broadway at the Academy, Peter Nero and the Philly POPS, The Chamber Orchestra of Philadelphia, The Philadelphia Chamber Music Society, Philadanco, and other selected arts organizations. It may also be redeemed for subscription tickets to any Philadelphia Orchestra, Kimmel Center Presents or Broadway at the Academy series. Gift certificates are not valid at gift shops, parking garages or restaurants. Your Ticket Philadelphia gift certificate will never expire.

Your Ticket Philadelphia Gift Certificate may be redeemed for tickets in any of the following ways:

• By visiting the Box Office at the Kimmel Center for the Performing Arts, Broad and Spruce Streets, Center City. The Box Office is open daily from 10 a.m. to 6 p.m. or one half hour into the last scheduled performance for that evening, excluding holidays. (Service fees may apply.) • By calling Ticket Philadelphia at 215.893.1999. Ticket Philadelphia is open daily from 9 a.m. until 8 p.m., 7 days/week, excluding Christmas and the Fourth of July. (Service fees may apply.) • You can also mail your Ticket Philadelphia Gift Certificate along with your request to Ticket Philadelphia, 1420 Locust Street, Suite 320, Philadelphia PA 19102. Please be sure to include your return address and a daytime telephone number. (Service fees may apply.)

Please note: Gift Certificates are not redeemable for online purchases. Gift Certificates may also be purchased through www.paballet.org. Previously purchased Pennsylvania Ballet Gift Certificates will be honored.

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 47 of 73 ACADMEY OF MUSIC

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ACADMEY OF MUSIC

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ACADMEY OF MUSIC

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 51 of 73

MERRIAM THEATER

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AMENDED AND RESTATED

BY-LAWS

of

THE PENNSYLVANIA BALLET ASSOCIATION (A Pennsylvania Non-Profit Corporation) (amended and restated June 11, 1998) (amended and restated September 20, 2001) (amended and restated December, 2013) (amended and restated June, 2015) (amended and restated April 5, 2016)

ARTICLE I

NAME AND OFFICES

Section 1.1. Name. The name of the Association shall be The Pennsylvania Ballet

Association.

Section 1.2. Registered Office. The registered office shall be located at:

Attention: Executive Director 100 S. Broad Street, #2226 Philadelphia, PA 19110-1004 or at such location as designated by the Board.

Section 1.3. Other Offices. The Association may also have offices at such other places as the Board of Trustees may from time to time determine.

ARTICLE II

PURPOSE & MISSION

Section 2.1. Purpose and Mission. The purpose and mission of the Association shall include the following:

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 53 of 73 (a) through the art of ballet, to contribute to the well-being of society by enhancing, enriching, and expanding the cultural lives of the residents of the Delaware

Valley and by educating its citizens;

(b) to be a leader and a creative force in the regional cultural community;

(c) to offer the finest in repertoire and individual artistry;

(d) to create new ways to make dance accessible to a wider audience and maximize performance opportunities in the Delaware Valley;

(e) to educate the younger generation of ballet audiences and establish classical ballet as a significant component of young persons’ cultural lives; and

(f) to operate in an administratively and fiscally responsible manner that both facilitates and furthers the mission and goals of the organization.

Section 2.2. Profit, Dissolution, and Tax-exempt Status

(a) The Association is not organized for, and does not contemplate pecuniary gain or profit, incidental or otherwise, nor is the Association organized for the pecuniary profits of its Trustees or officers. Any balance in money or assets remaining after the full payment of corporate obligations of all and any kinds shall be devoted solely to the above set forth purposes of the Association.

(b) Upon the dissolution of the Association, whether such be de jure or de facto, in whole or in part, after paying or making provision for the payment of any and all just debts and liabilities of the Association, the Board of Trustees shall make the decision, in a manner consistent with the mission of the Association and subject to the laws of the

Commonwealth of Pennsylvania, by majority vote, as to what organization any remaining assets including, but not limited to, cash remaining after the payment of just and proper obligations (“Liquidation Proceeds”) shall be delivered to. The organization must qualify as

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 54 of 73 an entity described in Section 501(c)(3) of the Internal Revenue Code of 1986, as amended

(the “Code”) to which deductions can be received for contribution under Section 170(c)(2) of the Code. No private individual shall share in the distribution of any Association net assets upon dissolution of the Association.

(c) Notwithstanding any other provision of these By-laws, the Association shall not carry on any other activities not permitted to be carried on by a corporation exempt from federal income tax under Section 501(c)(3) of the Code (or the corresponding provision of any future United States Internal Revenue law) by a corporation, contributions which are deductible under Section 170(c)(2) of the Code (or the corresponding provision of any future

United States Internal Revenue law).

ARTICLE III

BOARD OF TRUSTEES

Section 3.1. Powers. The business and affairs of the Association shall be managed by its Board of Trustees, which may exercise all such powers of the Association and do all such lawful acts and things as are not proscribed by statute, by the articles of incorporation or by these By-laws. The Board shall be responsible for establishing general policies of the

Association, appointing top executive officers, evaluating performances of the Association and the Association’s senior staff (including the Executive Director and the Artistic

Director), establishing good communications with the community and fulfilling the requirements as necessary in fundraising.

Section 3.2. Qualification and Selection. The Board shall consist of no less than three (3) and no more than fifty (50) elected members as determined from time to time by the

Board. The current Board of Trustees shall consist of twenty-four (24) Trustees. Thereafter,

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 55 of 73 within the limits above specified, the number of Trustees shall be determined by resolution of the Board of Trustees at the annual meeting.

Except as otherwise provided in these By-laws, Trustees of the Association shall be elected by the Board of Trustees. The elected members of the Board may include the Chair of the Board, the Chair-Elect, all Vice Chairs, all Vice-Presidents, the Secretary, the

Treasurer, the Executive Director and the Artistic Director. The Executive Director and the

Artistic Director shall not have a vote on any issue before the Board, if the Chair of a meeting determines, in his or her sole discretion, that there is a conflict, or appearance of a conflict, between either of their positions as a staff member of the Association on the issue before the Board and the conclusion being sought, which requires such vote.

Ex-officio members of the Board shall be non-voting members. Subject to the advice and consent of the Board, the City of Philadelphia and the Commonwealth of Pennsylvania may each designate one (1) ex-officio member of the Board. Additionally, the Board shall have the right to appoint other ex-officio members to the Board, including, without limitation, a representative of the School of the Pennsylvania Ballet. The Board also may from time to time appoint one or more Honorary Trustees as ex-officio members of the

Board to acknowledge an individual’s special and exemplary service to the Association over an extended period of time. Honorary Trustees shall be listed as such on all house publications that list Trustees. Former Trustees may choose to be Emeritus Trustees of the

Board if they make the annual donation fixed from time to time by the Board. Honorary and

Emeritus Trustees shall be invited to attend but not vote at the annual meeting of the Board and any other meetings as decided by the Chair. Any Chair or Chairs of the Emeritus

Trustees shall be an ex-officio member of the Board. The Executive Director and the Artistic

Director, and any ex-officio member of the Board, may be excluded from all or part of a

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 56 of 73 meeting if the Chair of the meeting determines, in his or her sole discretion, that an Executive

Session, as the term is commonly used, without any one or more of them being present, is necessary.

Section 3.3. Removal. Subject to the notice requirements set forth in Sections 3.7 and 3.8, a member of the Board of Trustees may be removed by a majority of the entire

Board of Trustees for any of the following reasons: (i) refusal or failure to attend regular meetings of the Board; (ii) failure to make required minimum annual contributions to the

Association; (iii) failure to devote a substantial amount of time to the Association’s affairs; or

(iv) such person is declared of unsound mind by an order of court, or convicted of a felony, or for any other proper cause. In case any one or more Trustees are so removed, new

Trustees may be elected pursuant to Section 3.10 hereof.

Section 3.4. Vacancies. Vacancies in the Board of Trustees, including vacancies resulting from an increase in the number of authorized Trustees, shall be filled by a vote of a majority of the remaining members of the Board. A quorum is not required. Each person so elected shall be a Trustee to serve for the balance of the unexpired term.

Section 3.5. Location of Meetings. The meetings of the Board of Trustees may be held at such place within the Commonwealth of Pennsylvania or elsewhere as the Board of

Trustees may from time to time appoint, or as may be designated in the notice of the meeting.

Section 3.6. Annual Meeting. The Board of Trustees shall hold an annual meeting which shall be the first regular meeting of the Board in each fiscal year. The annual meeting and other regular meetings of the Board shall be held at such time and places as shall be determined from time to time, by resolution of the Board; provided that the Board shall meet no less often than four (4) times annually. Notice of each annual and other regular meeting of the Board shall specify the date, place and hour of the meeting and shall be given to each

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 57 of 73 Trustee at least one (1) week before the meeting either personally or by mail, facsimile or electronic mail.

Section 3.7. Notice. Written notice of special meetings of the Board of Trustees shall be given to each Trustee at least forty-eight (48) hours before the day named for the meeting. Special meetings of the Board may be called by the Chair whenever the Chair deems it necessary or called by the Chair when a written request signed by twenty-five percent (25%) of the Board of Trustees desires a meeting. The Chair may call a special meeting either personally or by mail, facsimile or electronic mail.

Section 3.8. Waiver. Unless otherwise provided by law, whenever any notice is required to be given by the provisions of the By-laws, a waiver thereof in writing, signed by the person or persons entitled to such notice, whether before or after the time stated therein, shall be equivalent to the giving of notice. Neither the business to be transacted nor the purpose of the meeting need be specified in the waiver of notice of such meeting.

Attendance of any person entitled to notice at any meeting shall constitute a waiver of notice of such meeting, except where a person attends a meeting for the express purpose of objecting, at the beginning of the meeting, to the transaction of any business because the meeting was not lawfully called or convened.

Section 3.9. Quorum, Manner of Acting and Adjournment. At all meetings of the

Board, one third (33 1/3%) of the Trustees in office shall be present, in person or by teleconference, at each meeting in order to constitute a quorum for the transaction of business, and the acts of a majority of the Trustees present at a meeting at which a quorum is present shall be the acts of the Board of Trustees, except as may be otherwise specifically provided by statute, by the articles of incorporation or by these By-laws. The existence of a quorum shall be measured at the beginning of the meeting. Each Trustee shall be entitled to

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 58 of 73 one vote on all matters brought before the meeting. If a quorum shall not be present at any meeting of Trustees, the Trustees present thereat may adjourn the meeting. It shall not be necessary to give any notice of the adjourned meeting or of the business to be transacted thereat other than by announcement at the meeting at which such adjournment is taken.

The following actions shall require the affirmative vote of two-thirds of the entire

Board of Trustees: (i) an amendment to the articles of incorporation of the Association, (ii) a merger or consolidation of the Association with another entity, (iii) the sale, lease or exchange of all or substantially all of the Association’s property or assets, (iv) the relocation of the Association outside of Philadelphia, (v) a determination to cease normal operations of the Association, (vi) the conversion of the Association to a for-profit entity, or (vii) the dissolution of the Association.

Section 3.10. Nomination and Term. The Committee on Nominations shall designate nominations for election of Board members. The Committee is authorized to nominate incumbents if they so desire. The Committee on Nominations must prepare their nominations in writing to the Board of Trustees with a copy to the Chair, the Executive

Director and the Secretary not less than ten (10) days prior to the date of any meeting of the

Board of Trustees. The Board of Trustees, by a majority vote of the members present and voting, will vote on the slate of the recommended nominees, and the election of new members by the Board will be announced formally at the annual meeting. Nominations for election of Emeritus Trustees and Honorary Trustees may be submitted in writing by a

Trustee to the Committee on Nominations at least thirty (30) days in advance of any regularly scheduled Board of Trustees meeting.

The Trustees shall be elected to serve for a term of three (3) years. After the expiration of two (2) consecutive three (3) year terms, Trustees can be elected to serve

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 59 of 73 additional terms of (1) one year, decided on an annual basis. Notwithstanding the foregoing sentence, former Trustees may be elected to the Board as if they were new Trustees after a minimum of one (1) year off of the Board.

Section 3.11. Committees of Trustees. The Board of Trustees may, by resolution adopted by a majority of the whole Board of Trustees, designate one or more Committees to consist of Trustees of the Association, including the following standing Committees: the

Executive Committee, the Strategic Planning Committee, the Audit and Finance Committee, the Development Committee, the Governance Committee, the Nominations Committee and the Facilities Committee. The Board of Trustees may, by resolution adopted by a majority of the whole Board, designate one or more other Committees. Any such Committee to the extent provided in such resolution or in the By-laws, shall have and exercise the authority of the Board of Trustees in the management of the business and affairs of the Association.

In addition to the foregoing Committees, the Chair may appoint one or more ad hoc

Committees and designate the functions and membership thereof, which Committees shall not exercise the authority of the Board of Trustees unless, and only to the extent, specifically authorized by resolution of the Board of Trustees.

Section 3.12. Appointment and Duties. Subject to the terms of this provision, members of the Committees shall be appointed by the Chair of the Board in consultation with the Chair-Elect, if any, and the Vice-Chairs. Unless specifically elected as an active member of a Committee, the Chair of the Board, the Chair-Elect, if any, and the Executive Director shall be ex-officio members of all standing Committees. Specific membership requirements and responsibilities of certain of the standing Committees are set forth below:

The Executive Committee shall be composed of the Chair of the Board, Chair-Elect

(if any), Vice Chair, Treasurer, Secretary and those Board members and Officers of the

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 60 of 73 Association as the Chair of the Board may appoint; provided, however, that the total number of members on the Executive Committee shall not exceed thirteen (13). The Executive

Committee shall be chaired by the Chair of the Board. This Committee shall meet at least five (5) times a year with power to exercise all authority of the Board between meetings of the Board in the event of exigent or emergency matters. The Board can elect to delegate authority for certain decisions to the Executive Committee.

The Audit and Finance Committee shall include the Treasurer and the Chief Financial

Officer of the Association. This Committee shall consist of no less than three (3) members of the Board of Trustees. This Committee shall prepare annual budgets and present them to the Board for approval; shall review the financial status of the Association; shall provide the

Board with reports of the same at regular meetings and shall act on all financial matters of the Association.

The Development Committee shall include the Chair of the Board and the Chair-

Elect, if any. This Committee shall consist of no less than three (3) members of the Board of

Trustees. This Committee shall be responsible for supervising the fundraising efforts needed to finance the operation of the Association and may appoint members of the Board to any sub-committee needed to fulfill such responsibility.

The Governance Committee shall include members appointed by the Executive

Committee and shall consist of no less than three (3) members of the Board of Trustees.

This Committee shall be responsible for the evaluation of the current Board of Trustees and its policies and procedures. The Executive Director and Artistic Director shall serve as ex- officio members of the Committee.

The Nominations Committee shall include members appointed by the Executive

Committee and shall consist of no less than three (3) members of the Board of Trustees

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 61 of 73 no fewer than two (2) of whom shall not be current officers of the Association. This

Committee shall nominate new members of the Board and Officers of the Association. The

Committee shall consult with the proposed incoming Chair regarding the incoming slate of

Officers. The Executive Director and the Artistic Director shall serve as ex-officio members of the Committee.

Section 3.13. Telecommunication Meetings. If necessary and unavoidable, one or more Trustees may participate in a meeting of the Board or of a Committee of the Board by means of conference telephone or similar communications equipment by means of which all persons participating in the meeting can hear each other. Participation in a meeting pursuant to this section shall constitute presence in person.

Section 3.14. Informal Action by Trustees or Committees. Any action which may be taken at a meeting of the Board of Trustees or of a Committee of the Board of Trustees may be taken without a meeting if a consent or consents in writing setting forth the action so taken shall be signed by all of the Trustees or all of the members of the Committee, as the case may be, and shall be filed with the Secretary of the Association.

Section 3.15. Liability of Trustees. No person who is or was a Trustee of this

Association shall be personally liable, as such, for monetary damages for any action taken unless (a) such Trustee has breached or failed to perform the duties of his/her office under the

Nonprofit Corporation Law of 1988 of the Commonwealth of Pennsylvania as presently in effect, or as hereafter amended from time to time, or by any successor legislation and (b) the breach or failure to perform constitutes self-dealing, willful misconduct or recklessness, or unless such liability is imposed pursuant to a criminal statute or for the payment of taxes pursuant to local, state or federal law.

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 62 of 73 To the fullest extent permissible under Pennsylvania law, now in effect and as may be amended, a Trustee shall not be personally liable for any action taken or any failure to take action. If Pennsylvania law hereafter is amended to authorize the further elimination or limitation of the liability of Trustees, then the liability of a Trustee of the Association, in addition to the limitation on personal liability provided herein, shall be limited to the fullest extent permitted by the amended Pennsylvania law.

ARTICLE IV

OFFICERS

Section 4.1. Number, Qualifications, and Selection. The officers of the Association shall be elected annually for a one (1) year term by the Trustees. The officers shall include a

Chair of the Board, up to three (3) Vice-Chairs, one of whom may be elected Chair-Elect, up to eight (8) Vice-Presidents, a Secretary, a Treasurer, an Executive Director and an Artistic

Director, or persons who shall act as such, regardless of the name or title by which they may be designated, elected or appointed. The Chair of the Board, Chair-Elect, if any, Vice-

Chairs, Vice-Presidents, Secretary, Treasurer, Executive Director and Artistic Director shall be natural persons of full age. Not more than two (2) offices may be held by the same person.

The Committee on Nominations shall designate nominations for election of officers.

The Committee is authorized to nominate incumbents if they so desire. The Committee on

Nominations must prepare its nominations in writing to the Board of Trustees with a copy of such nominations to be delivered to the Chair, Chair-Elect, if any, and the Secretary not less than ten (10) days prior to the date of any meeting of the Board of Trustees. The Board of

Trustees, by a majority vote of the members present and voting, will vote on the slate of the

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 63 of 73 recommended nominees, and the election of new officers will be announced formally at the annual meeting.

Section 4.2. Election. At the annual meeting each year, the Board of Trustees shall elect for a one (1) year term, a Chair of the Board, up to three (3) Vice-Chairs, one of whom may be elected Chair-Elect, up to eight (8) Vice-Presidents, a Secretary and a Treasurer and appoint or reappoint the Executive Director and the Artistic Director.

Section 4.3. Subordinate Officers, Committees and Agents. The Board of Trustees also may elect such other officers and assistant officers as the needs of the Association may require who shall hold their offices for such terms and shall have such authority and shall perform such duties as from time to time shall be determined by resolution of the Board.

Section 4.4. Term of Office. The officers of the Association shall hold office for such terms as may be designated by the Board of Trustees and until their successors are selected and qualified or until the earlier of death, resignation or removal. Any officer may resign at any time upon written notice to the Association. The resignation shall be effective upon receipt thereof by the Association or at such subsequent time as may be specified in the notice of resignation. Any officer or agent of the Association may be removed by the Board of Trustees with or without cause whenever in its judgment the best interests of the

Association will be served thereby, but such removal shall be without prejudice to the contract rights, if any, of the person so removed. If any office becomes vacant for any reason, the vacancy shall be filled by the Board of Trustees.

Section 4.5. Vacancies. A vacancy in any office because of death, resignation, removal, disqualification, or any other cause, shall be filled by the Board of Trustees, and if the office is one for which these By-laws prescribe a term, shall be filled for the unexpired portion of the term.

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 64 of 73 Section 4.6. Compensation. The salaries of the Executive Director and the Artistic

Director shall be fixed by the Board of Trustees.

Section 4.7. Chair. The Chair may be elected for a maximum of five (5) consecutive one (1) year terms. The Chair of the Board of Trustees shall preside at all meetings of the

Board of Trustees and shall perform such other duties as proscribed by these By-laws or as may from time to time be requested by the Board of Trustees.

Section 4.8. Chair-Elect. The Board of Trustees has the right but not the obligation to elect a Chair-Elect annually, provided, however, that at the annual meeting of the Board of

Trustees held at the beginning of the final year of the Chair’s five (5) consecutive one (1) year terms (as provided for in Section 4.7), the Board must elect a Chair-Elect. The Chair-

Elect will not succeed automatically to the Chair unless elected to such position by the Board of Trustees.

Section 4.9. Chair-Elect Duties. The Chair-Elect shall be vested with all the powers and shall perform all the duties of the Chair during the absence and disability of the Chair and shall have such other powers and duties as may from time to time be determined by the

Board of Trustees or delegated by the Chair to the Chair-Elect.

Section 4.10. Vice Chairs. The Vice-Chairs shall be vested with all the powers and shall perform all the duties of the Chair during the absence and disability of the Chair and the

Chair-Elect, if any, and shall have such other duties as may from time to time be determined by the Board of Trustees or delegated by the Chair or the Chair-Elect, if any.

Section 4.11. Vice Chair Duties. The Board of Trustees, by a majority vote of the members present and voting, shall determine which Vice Chair shall assume the role of Chair in the event of the absence or the disability of the Chair and the Chair-Elect, if any.

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 65 of 73 Section 4.12. Executive Director. The Executive Director shall have general and active management of the business of the Association and shall see that all orders and resolutions of the Board of Trustees are carried into effect.

Section 4.13. Executive Director Duties. The Executive Director shall execute bonds, mortgages and other contracts requiring a seal, under the seal of the Association, except where required or permitted by law to be otherwise signed and executed and except where the signing and execution thereof shall be expressly delegated by the Board of

Trustees to some other officer or agent of the Association.

Section 4.14. Vice-Presidents. The Board of Trustees may elect up to eight (8) Vice-

Presidents.

Section 4.15. Secretary Duties. The Secretary shall attend all meetings of the Board and record all the votes of the Association and the minutes of all the transactions in a book to be kept for that purpose, and shall perform like duties for the Committees of the Board of

Trustees when required. He/she shall give, or cause to be given, notice of all meetings of the

Board of Trustees, and shall perform such other duties as may be prescribed by the Board of

Trustees, under whose supervision he/she shall be. He/she shall keep in safe custody the corporate seal of the Association, and, when authorized by the Board, affix the same to any instrument requiring it, and, when so affixed, it shall be attested by his/her signature or by the signature of the Treasurer.

Section 4.16. Treasurer Duties. The Treasurer, under the direction of the Board of

Trustees, shall have the custody of the corporate funds and securities; shall keep full and accurate accounts of receipts and disbursements in books belonging to the Association; and shall deposit all moneys and other valuable effects in the name and to the credit of the

Association in such depositories as shall be designated by the Board of Trustees.

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 66 of 73 Section 4.17. Disbursement. The Treasurer shall disburse the funds of the

Association as may be ordered by the Board, taking proper vouchers for such disbursements, and shall render to the Board of Trustees, whenever they may require it, an account of all transactions taken as Treasurer and of the financial condition of the Association.

Section 4.18. Discharge of Duties. If required by the Board of Trustees, the

Treasurer shall give the Association a bond in such sum, and with such surety or sureties as may be satisfactory to the Board of Trustees, for the faithful discharge of the duties of his/her office and for the restoration to the Association, in case of his/her death, resignation, retirement or removal from office, of all books, papers, vouchers, money and other property of whatever kind in his/her possession or under his/her control belonging to the Association.

Section 4.19. Delegation. With the advice and consent of the Board of Trustees, the

Treasurer shall have the right to delegate some or all of the duties set forth in Sections 4.15 to

4.17, inclusive above, to the Chief Financial Officer of the Association.

Section 4.20. Artistic Director. The Artistic Director shall be responsible for maintaining the highest quality of artistic supervision, teaching, training and coaching of the dancing corps of the Association (the “Company”), as well as responsibility for all artistic and production personnel. The Artistic Director also shall be in charge of the selection of students and dancers for the acceptance to the Company for participation in the performances, and shall select the particular performances and the mode of presentation, without limitation, as to artistic direction, within the established budget, as it may exist from time to time.

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 67 of 73 ARTICLE V

GENERAL PROVISIONS

Section 5.1. Checks and Notes. All checks or demands for money and notes of the

Association shall be signed by the Chief Financial Officer of the Association or such other officer or officers as the Board of Trustees may from time to time designate.

Section 5.2. Fiscal Year. The fiscal year of the Association shall begin on the first day of August in each year.

Section 5.3. Seal. The corporate seal shall have inscribed thereon the name of the

Association, the year of its organization and the words “Corporate Seal, Pennsylvania”. Said seal may be used by causing it or a facsimile (or other electronic method) thereof to be impressed or affixed or in any manner reproduced. Except as otherwise required by statute, the affixation of the corporate seal shall not be necessary to the valid execution, assignment or endorsement by the Association.

Section 5.4. Notices. Whenever written notice is required to be given to any person under the provisions of the statutes or of the articles of incorporation or of these By-laws, it may be given to such person either personally or by sending a copy thereof by first class or express, postage prepaid, or by courier service, charges prepaid, by facsimile or other electronic transmission, to his/her address (or facsimile number or electronic mail address) appearing on the books of the Association or supplied by him/her to the Association for the purpose of notice. If the notice is sent by mail or courier service, it shall be deemed to have been given to the person entitled thereto when deposited in the United States mail or with a courier service for transmission to such person or, in the case of facsimile or electronic mail- one business day after dispatched. Such notice shall specify the place, day and hour of the meeting and any other information required by statute.

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 68 of 73 ARTICLE VI

INDEMNIFICATION

Section 6.1 Indemnification.

(a) The Association shall indemnify and hold harmless to the full extent not prohibited by law, as the same exists or may hereinafter be amended, interpreted or implemented (but, in the case of any amendment, only to the extent that such amendment permits the Association to provide broader indemnification rights than are permitted the

Association to provide prior to such amendment), each person who was or is made a party or is threatened to be made a party to or is otherwise involved in (as a witness or otherwise) any threatened, pending or completed action, suit, or proceeding, whether civil, criminal, administrative or investigative and whether or not by or in the right of the Association or otherwise (hereinafter, a "proceeding"), by reason of the fact that he or she, or a person of whom he or she is the heir, executor, or administrator, is or was a Trustee or Officer of the

Association or is or was serving at the request of the Association as a director, officer or trustee of another corporation or of a partnership, joint venture, trust or other enterprise

(including without limitation service with respect to employee benefit plans), or where the basis of such proceeding is any alleged action or failure to take any action by such person while acting in an official capacity as a Trustee or Officer of the Association, or in any other capacity on behalf of the Association while such person is or was serving as a Trustee or

Officer of the Corporation, against all expenses, liability and loss, including but not limited to attorneys' fees, judgments, fines, ERISA excise taxes or penalties and amounts paid or to be paid in settlement (whether with or without court approval), actually and reasonably incurred or paid by such person in therewith.

(b) Notwithstanding the foregoing, except as provided in Section 6.2

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 69 of 73 below, the Association shall indemnify any such person seeking indemnification in connection with a proceeding (or part thereof) initiated by such person only if such proceeding (or part thereof) was authorized by the Board of Trustees of the Association.

(c) Subject to the limitation set forth above concerning proceedings initiated by the person seeking indemnification, the right to indemnification conferred in this

Section 6.1 shall be a contract right and shall include the right to be paid by the Association for the expenses incurred in defending any such proceeding (or part thereof) or in enforcing his or her rights under this Section 6.1 in advance of the final disposition thereof promptly after receipt by the Association of a request therefor stating in reasonable detail the expenses incurred; provided, however, that to the extent required by law, the payment of such expenses incurred by a Trustee or Officer of the Association in advance of the final disposition of a proceeding shall be made only upon receipt of an undertaking, by or on behalf of such person, to repay all amounts so advanced if and to the extent it shall ultimately be determined by a court that he or she is not entitled to be indemnified by the Association under this Section 6.1 or otherwise.

(d) The right to indemnification and advancement of expenses provided herein shall continue as to a person who has ceased to be a Trustee or Officer of the

Association or to serve in any of the other capacities described herein, and shall inure to the benefit of the heirs, executors and administrators of such person.

Section 6.2 Payment of Indemnification. If a claim for indemnification under

Section 6.2 hereof is not paid in full by the Association within thirty (30) days after a written claim therefor has been received by the Association, the claimant may, at any time thereafter, bring suit against the Association to recover the unpaid amount of the claim and, if successful in whole or in part on the merits or otherwise in establishing his or her right to

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 70 of 73 indemnification or to the advancement of expenses, the claimant shall be entitled to be paid also the expense of prosecuting such claim.

Section 6.3 Non-Exclusivity Rights. The right to indemnification and the payment of expenses incurred in defending a proceeding in advance of a final disposition conferred in

Section 6.1 and the right to payment of expenses conferred in Section 6.2 shall not be deemed exclusive of any other rights to which those seeking indemnification or advancement of expenses hereunder may be entitled under any Bylaw, agreement, vote of Trustees or otherwise, both as to actions in his or her official capacity and as to actions in any other capacity while holding that office, the Association having the express authority to enter into such agreements or arrangements as the Board of Trustees deems appropriate for the indemnification of and advancement of expenses to present or future Trustees and Officers as well as employees, representatives or agents of the Association in connection with their status with or services to or on behalf of the Association or any other corporation, partnership, joint venture, trust or other enterprise, including any employee benefit plan, for which such person is serving at the request of the Association.

Section 6.4. Derivative Actions. The Association shall indemnify any Trustee, employee or officer of the Association (an “Indemnitee”) who was or is a party or is threatened to be made a party to any threatened, pending or completed action or suit by or in the right of the Association to procure a judgment in its favor by reason of the fact that the

Indemnitee acted in good faith and in a manner the Indemnitee reasonably believed to be in, or not opposed to, the best interest of the Association and except that no indemnification shall be made in respect of any claim, issue or matter as to which such person shall have been adjudged to be liable for negligence or misconduct in the performance of such person’s duty to the Association unless and only to the extent that the court of Common Pleas of

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 71 of 73 Philadelphia County, the federal court of the Eastern District of Pennsylvania or the court in which such action or suit was brought shall determine upon application that, despite the adjudication of liability but in view of all of the circumstances of the case, such person is fairly and reasonably entitled to indemnify for such expenses which the Court of Common

Pleas or such other court shall deem proper.

Section 6.5. Insurance. The Association shall purchase and maintain insurance on behalf of any person who is or was a Trustee, officer, employee or representative of the

Association, or is or was serving at the request of the Association as a trustee, partner, director, officer, employee or agent of another Association, partnership, joint venture, trust or other enterprise against any liability asserted against him/her and incurred by him/her in any such capacity, or arising out of his/her status as such, whether or not the Association would have the power to indemnify him/her against such liability under the provisions of this

Article and/or the laws of this or any other state.

Section 6.6. Modification or Repeal. Neither the modification, amendment, alteration or repeal of this Article 6 or any of its provisions nor the adoption of any provision inconsistent with this Article 6 or any of its provisions shall adversely affect the rights of any person to indemnification and advancement of expenses existing at the time of such modification, amendment, alteration or repeal or the adoption of such inconsistent provision.

ARTICLE VII

CONFLICT OF INTEREST

Section 7.1 Adoption of Policy. The Board of Trustees shall adopt a policy on conflicts of interest to provide for appropriate disclosure by interested persons who may have a financial interest in a proposed transaction or arrangement involving the Association and to

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 72 of 73 provide an objective means for identifying and resolving any conflicts of interest which may result.

Section 7.2 Periodic Review. The Board of Trustees shall provide for a system of periodic reviews to ensure compliance with the conflicts of interest policy and that the

Association's operations do not result in any impermissible private benefit.

Section 7.3. Annual Statements. Each Trustee and Officer of the Association shall annually sign a statement to the effect that he or she has received, read, understands and agrees to comply with the provisions of the conflicts of interest policy.

ARTICLE VIII

AMENDMENTS

Section 8.1. Amendments. The By-laws may be altered, amended or repealed by a majority vote of the whole Board of Trustees at any regular or special meeting duly convened. Adopted 19 December 2013.

Pennsylvania Ballet Trustee Handbook 2017-2018 Season Page 73 of 73