Friday, May 31, 2019, 8pm Saturday, June 1, 2019, 2pm and 8pm Sunday, June 2, 2019, 3pm Zellerbach Hall The Pygmalion Effect Eifman Ballet of Saint Petersburg Boris Eifman, artistic director
Company
Maria Abashova, Lyubov Andreyeva, Lilia Lishchuk, Daria Reznik, Yulia Stolyarchuk Dmitry Fisher, Oleg Gabyshev, Dmitry Krylov, Oleg Markov, Igor Subbotin, Sergey Volobuev Marianna Chebykina, Alina Petrovskaya, Igor Polyakov, Angela Prokhorova, Daniel Rubin, Dmitry Savinov, Alexander Solovey Elina Akbarova, Elizaveta Averkina, Daria Bochkova, Maria Dovicheva, Alina Fisher, Yana Gordienko, Tifène Haag, Evgeniya Harutyunyan, Jasmin Kluge, Marina Korotchenkova, Anna Ostapenko, Anna Patomäki, Polina Pavlenko, Polina Petrova, Polina Ryasnaya, Yulia Shunkova, Alina Svintinskaya, Valentina Titkova, Anastasia Zaberezhnaya Ivan Andreyev, Yaroslav Ballod, Alexey Boyarinov, Ivan Chekhlov, Vasil Dautov, Kirill Efremov, Davis Giotopoulos Moore, Evgeny Grachev, Alexander Ivanov, Maksim Midyanka, Roman Nesterov, Denis Pestryakov, Artur Petrov, Oleg Pshenichnikov, Francesco Resch, Konstantin Savchenko, Evgeny Sergeev, Rafael Yakshigulov, Vikenty Yascovets
This performance is made possible, in part, by Patron Sponsors Deborah and Bob Van Nest. Cal Performances’ 2018 –19 season is sponsored by Wells Fargo.
The Pygmalion Effect (United States Premiere) A ballet by Boris Eifman Music by Johann Strauss the Son Sets by Zinovy Margolin Costumes by Olga Shaishmelashvili Lighting by Alexander Sivaev, Boris Eifman
CAST Evening Performances Matinee Performances Leon Oleg Gabyshev Sergey Volobuev Gala Lyubov Andreyeva Marianna Chebykina Tea Alina Petrovskaya Yulia Stolyarchuk Holmes Dmitry Fisher Igor Polyakov Greta Lilia Lishchuk Polina Pavlenko Coach Igor Subbotin Igor Subbotin
SYNOPSIS
Act 1 Act 2 Gala, the dweller of city outskirts, calls on Gala’s training commences. Her body, used to tourists to enjoy a ride in a carriage driven by rough movement, resists unfamiliar plasticity. her father, Holmes. e maids kick Gala out of the house. Leon, superstar of ballroom dancing, wel - Holmes alternates between going rogue and comes the arrival of a new day in his luxurious preaching sobriety and chastity. home, surrounded by maids under the super - Leon locates Gala and paints the picture of vision of the stern Greta. her future triumph. Gala is full of admiration as she watches the Torturous rehearsals are not working. e ballroom dancing tournament. Leon and his only solution is to apply a modern gadget that partner Tea are the favorites but, sadly, a mis - turns Gala into a mechanical dancing doll. take costs them the victory. Tea steals the partner from one of the com - Gala rescues Leon from mobsters and makes peting female dancers. Leon brings Gala into it into the house of the public’s darling. Holmes the dance class. Everyone is amazed by her also gets inside and tries to earn money off transformation and congratulates the tutor his daughter. Gala develops affection for Leon; while ignoring the pupil. e girl is furious. a dream of becoming a dancer is kindled with - e support and attention of the Coach help in her. Gala achieve recognition among dancers. In his dream Holmes is visited by a messen - Gala and Leon make up and win the tourna - ger of Heaven, who keeps him away from his ment. But separation is inevitable. Leon cannot favored pursuits—women and drink. forget about or accept his partner’s past. Slum Gala’s appearance in the dance class causes dwellers pay tribute to their queen. But Gala can general confusion. Leon makes a bet with the only think about Leon, with whom she is des - Coach—he will transform this gawky girl into tined to be joined together only in her reveries. a star.
5 MUSIC SELECTIONS
ACT 1
Johann Strauss the Son Herrmann-Polka, Op. 91 Banditen-Galopp (Bandits’ Galop), Op. 378 Souvenir-Polka, Op. 162 Ägyptischer Marsch (Egyptian March), Op. 335 Seid umschlungen, Millionen! (Be Embraced, You Millions!), Op. 443 Der Zigeunerbaron: Einzugsmarsch (e Gypsy Baron: Entrance March), Op. 327 Stürmisch in Lieb’ und Tanz (Stormy in Love and Dance), Op. 393 Romance No. 1 for Cello and Orchestra in D minor, Op. 243 Perpetuum mobile, Ор . 257 Der Zigeunerbaron: Ouvertüre (e Gypsy Baron: Overture) Leichtes Blut (Light Blood), Op. 319 Wiener Blut (Viennese Blood), Op. 354 Luzifer-Polka, Op. 266 Geschichten aus dem Wienerwald (Tales from the Vienna Woods), Op. 325 Gedankenflug (oughtless Flights), Op. 215 So ängstlich sind wir nicht! (We’re Not at Worried), Op. 413 Aurora-Polka, Op. 165 Furioso-Polka, Op. 260
Josef Strauss Eingesendet (Letter to the Editor), Op. 240 Delirien, Op. 212
ACT 2
Josef Strauss Vorwärts! (Forward!), Op. 127 Jokey-Polka, Op. 278
Johann Strauss the Son and Josef Strauss Pizzicato Polka
Johann Strauss the Son Lob der Frauen (Praise of Women), Op. 315 Electrofor-Polka, Op. 297 Märchen aus dem Orient (Tales from the Orient), Op. 444 Das Spitzentuch der Königin: Ouvertüre (e Queen’s Lace Handkerchief: Overture) Annen-Polka, Op.117 Künstlerleben (Artists’ Life), Op. 316 Die Fledermaus: Ouvertüre (e Bat: Overture) Mephistos Höllenrufe (Cries of Mephistopheles from Hell), Op. 101 Waldmeister: Ouvertüre (Woodruff: Overture) Kaiser-Walzer (Emperor Waltz), Op. 437 Fata Morgana, Op. 330 Frisch Heran! (Come On In!), Op. 386 Furioso-Polka, Op. 260
Eduard Strauss Mit Extrapost, Op. 259
Wolfgang Amadeus Mozart Piano Concerto No. 23 in A major, K. 488. 2nd movement
6 PLAYBILL FROM THE ARTISTIC DIRECTOR
We are not fully aware of our real capabilities. while seemingly attractive stage fame is not Human nature is infinitely enigmatic. It is a a safeguard from loneliness. Led by the famous space for unlimited discoveries. dancer, the heroine embarks on a path of body Each of us possesses creative energy, which movement transformation—what initially has gives a human being capacity for personal de - been an amusing experiment, ends in a real velopment. Nonetheless, it is not rare that, to drama. change oneself, a person needs someone else to e girl’s extraordinary tenacity and her help unlock dormant potential. By influencing merits, previously disguised by overt crudity, others, these architects of human destiny also as well as her spontaneous infatuation with her become subject to metamorphosis. teacher and partner, help her develop into a star. e ballet e Pygmalion Effect is a choreo - But the fateful chasm between poverty and lux - graphic interpretation of the myth about an ury can only be bridged in the world of dance artist and his creation, a new view on how art that makes people equal whether they live in and life are intricately intertwined but never one a shack or a palace. In real life we cannot escape and the same. the vengeful past that stays within us forever. e central character of the ballet is an im - e miraculous transformation does not pertinent girl who lives in the slums. When she make our heroine happy. Harmony is destroyed meets a champion in ballroom dancing, she en - along with remnants of sweet fantasies. But ters the world of riches and remarkable mastery what is life if not a reverie brought on by the of performance. Here beauty and deceptive ease longing for an unattainable dream? of movement are earned by very hard work, —Boris Eifman
7 PROGRAM NOTES
e Choreographic change reflects the essential formula of the World of Boris Eifman choreographer’s creative method. As an artist Boris Eifman, founder whose natural inclination is toward the theater, and creator of his own Eifman is interested in choreographing not only theater, his own style, variations of movement but also transparent and his own ballet uni - internal actions. “I create ballets of a different verse, who is called “one kind, where self-expression becomes the sub - of the leading chor eo g - ject and in which there is drama, philosophy, raphers in the world” characters, and ideas. And I am sure that this is and an “amazing magician of the theater,” was the ballet of the future. Believe me, many of my born in 1946 in Siberia, and from early child - young colleagues will follow the road that I have hood wanted to express his feelings and his taken. is road leads eventually to mankind.” thoughts in body language, in dance. He would In this way, Eifman describes his main sub - later say, “For me, ballet is more than a profes - ject and interest—art that has power over peo - sion. It is a means of existence, my mission on ple’s hearts and is capable of addressing the soul. this earth. Using its resources, I am compelled For Eifman, ballet is a means of contemplation, to convey what is given to me from on high. or, as he puts it, an “opportunity, through move - Most likely, I would simply suffocate on my ment, not only to express some sort of form and emotions if I didn’t have the possibility of ex - line, but to convey a flood of emotions, energy, pressing them through art. For me, choreogra - and ideas.” phy is art that is deeply religious, in the broadest A distinct feature of Eifman’s theater— sense of the word.” indeed, its trademark—is that almost all of his is innate sense of movement and the “in - performances include a plot, oen taken from a stinct to compose” brought Eifman to the literary source. is corresponds fully to his Lenin grad Conservatory, where he studied in artistic credo: “I am not saying that I don’t con - the choreography department, and then to the cern myself with the choreographic text itself, Vaganova Academy of Russian Ballet, where as well as the degree of imagination or the per - he worked for 10 years as a choreographer, fected form…. But if I need a literary base, it composing new works for student perform - means that I am looking for an opportunity to ances. Finally, in 1977, Eifman formed his plunge into some sort of realm, one that is fa - own ballet ensemble. is is when the Eifman miliar to me and to my audience, and, through story truly began, as he began to create his own the familiar, I try to discover and reveal the un - theater. explored….” Eifman brilliantly combined cutting-edge It is this penetration into the realm of the un - achievements in the world of ballet with what explored—through both choreography and the he had learned in the academic school of clas - sphere of ideas—that is arguably the hallmark sical Russian choreography, from which he of Eifman’s work. When he turns to literary traces his roots. “What I do can be called the works, or to the stories of the lives of Molière, dance of emotions, free dance, a new language, Paul I (the Emperor of Russia), Tchaikovsky, or in which classical ballet, modern dance, ecstatic Rodin, Eifman always sees nuances that no one impulses, and many other things are inter - else has noticed; he finds that which is capable woven,” he said at the time. His dancers, who of astonishing, and he discovers new meaning. had an exclusively academic grounding, had to In visual metaphors of movement that can be acquire a new vocabulary of body movement. compared to a figurative cipher of dreams, in is was a completely different kind of chore - which hazy fantasies and impulses take on vi - ography, the fundamental principles of which sual forms, Eifman externalizes what is at developed as the troupe was formed by Eifman. the heart of a literary text or of an artist’s life Over the course of time, Eifman’s ballet story. Eifman’s theater is oen called a psycho - ensemble became a true ballet theater, and this logical one. His ballets can be considered plas -
7b PLAYBILL ABOUT THE ARTISTS tic psychoanalysis, during the course of which patterns that aimed to express the height of pas - the psychological depth of the characters sion experienced by the ballets’ characters. and their stories—whether fictional or real— Today, ballet enthusiasts in Europe, Asia, the is disclosed. Americas, and Australia admire productions of When Eifman turns to the works of great the Eifman Ballet of Saint Petersburg, works writers, or to the lives of creative geniuses, and including I, Don Quixote; Red Giselle; Russian translates them into the language of ballet, he Hamlet; Anna Karenina; e Seagull; Eugene immerses us through the physical, in the psy - Onegin; Rodin, Her Eternal Idol; Beyond Sin, chic, through the body, in the soul, through Requiem; Up & Down; and Tchaikovsky. PRO et words, in ideas. His unique lexicon and con - CONTRA . ese widely acclaimed ballets rep - ceptual, authorial interpretations are a break - resent the highest level of artistic achievement through into that fantastic dimension where the in Russian contemporary ballet and introduce boundlessness of inner worlds comes to life. international audiences to the spiritual heritage —Tatiana Boborykina of Russia and the best of world culture—the in - spiration behind the work of the choreographer Eifman Ballet of Saint Petersburg was estab - and his dancers. lished by Boris Eifman in 1977 (the original For several decades, Eifman Ballet enjoyed name of the company was Leningrad New success performing in top venues across the Ballet). e concept of the New Ballet was, globe. e company’s ability to immerse audi - above and beyond, innovative for its time: from ences in the boundless world of human passion, the very beginning the vision was to develop the to build a strong spiritual bond, to amaze and company as an experimental laboratory, a bal - sometimes overwhelm with the intensity and let theater of one choreographer. energy of its plastique, defined and ensured its e company’s first programs, including recognition. Two-Voice and Boomerang , were immediate Boris Eifman is not just a choreographer; successes and prompted both strong interest he is very much a philosopher. He is deeply from audiences and a lively discussion among concerned with the issues of today and is chal - ballet critics who recognized the development lenged by the mystique of creativity. Eifman of a new trend in Russian ballet art. However, speaks directly to his audience about most com - proponents of the traditional ballet school were plex and dramatic aspects of human existence. rather reluctant to acknowledge the young He defines his genre as “psychological ballet.” choreographer’s influence. e novelty of e New York Times calls Eifman a leader Eifman’s approach to choice of source material among living choreographers: “e ballet world and music for his productions, as well as the au - in search of a major choreographer need search dacity of his movement vocabulary, earned him no more. He is Boris Eifman.” a reputation as a “dissident in choreography” Eifman Ballet is distinguished by its brilliant that stayed with Eifman for many years. technique, exceptional commitment, and intel - From the late 1970s to the early 1980s, the lectual interpretation. Its leading dancers, company continued to develop its own ap - all highly accomplished ballet professionals, proach to shaping its repertoire. Programs in - have been recognized for their achievements, cluded a growing number of productions based both nationally and internationally, with presti - on the gems of classical literature. e choreog - gious awards including the Golden Mask and rapher worked with his company members, Golden Soffit and prizes from the president and noted for their dance intellect, to explore new gov ern ment of Russia. Among the honored genres. New productions— e Duel; e Idiot; dancers are Maria Abashova, Lyubov Andrey - e Mad March Day, or e Marriage of Figaro; eva, Dmitry Fisher, Oleg Gabyshev, and Sergey e Legend; e Twelh Night; Master and Volobuev. Margarita; Murderers, and others—were dis - e year 2011 marked an important devel - tinguished by strikingly sharp choreographic opment for the company when the govern ment
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ABOUT THE ARTISTS
of Saint Petersburg committed to begin con - Marianna Chebykina struction of the Boris Eifman Dance Acade my (Gala ) on the initiative of the renowned choreogra - Born August 18, 1995 pher. e school opened its doors for its first ac - in Kungur. 2014: grad - ademic year in September 2013. e acade my uated from the Perm complex will expand further later this year, once State Choreographic construction of the Saint Petersburg Children’s College. 2014 to the Dance eatre, a new venue that will host dance present: dancer with festivals, contests, and performances, has been Eifman Ballet. Featured completed. roles with Eifman Bal let: Olga ( Eugene One gin ); e Boris Eifman Palace of Dance, envi - Wife ( Requiem ); Masha, Olga ( Tchaikov sky. sioned as one of the world’s great centers of PRO et CONTRA ); e Wife of the Heir choreo graphic art, is due to open in Saint (Russian Hamlet ); Gala ( e Pygmalion Effect ). Peters burg in the near future. It will be a home for Eifman Ballet and also provide space and Dmitry Fisher facilities to other companies and performers (Holmes ) representing different styles and genres of Born April 2, 1984 in dance. Perm. 2002: graduated Boris Eifman’s vision and mission is to create from the Perm State a unique repertoire of ballet productions in - Choreographic College. spired by the best examples of Russian psycho - 2002 to the present: so- logical theater, to explore innovative forms of loist with Eifman Ballet. choreography of the 21st century, and broaden Featured roles with Eif- the boundaries of ballet art. man Ballet: Gamache, the rich nobleman ( I, Don Quixote ); Hebrew ( My Jerusalem ); Alex Lyubov Andreyeva (Who’s Who ); Karenin ( Anna Karenina ); Treplev (Gala ) (e Sea gull ); Lensky ( Eugene Onegin ); Rodin Born September 13, (Rodin, Her Eternal Idol ); Alexey Karamazov 1988 in Minsk (Repub - (Beyond Sin ); Son, Old Man ( Requiem ); Nicole’s lic of Belarus). 2007: Father, Tommy ( Up & Down ); Teacher ( Red graduated from the Bela - Giselle ); Tchaikovsky ( Tchaikovsky. PRO et russian State Chor eo - CONTRA ); Holmes ( e Pygmalion Effect ). graphic College. 2009– Honors: Laure ate of the President’s Prize, 11: dancer with the Golden Soffit Award Laureate. National Academic Bolshoi Opera and Ballet eatre of the Republic of Belarus. 2011 to the Oleg Gabyshev ( Leon ) present: soloist with Eif man Ballet. Featured Born August 10, 1985 in roles with Eifman Ballet: Girl from Tavern/ Volgograd. 2003: gra du - Dulcinea ( I, Don Quixote ); Anna ( Anna ated from the Novosi - Karenina ); Tatyana, Olga ( Eugene Onegin ); birsk State Choreo gra - Camille ( Rodin, Her Eternal Idol ); Grushenka phic College. 2004 to (Beyond Sin ); Wife, Woman ( Requi em ); Nicole the present: soloist with Warren, Rosemary Hoyt ( Up & Down ); Anto - Eifman Ballet. Featured nina Milyukova, Tchai kovsky’s Wife ( Tchai - roles with Eifman Bal - kovsky. PRO et CONTRA ); e Wife of the Heir let: Basil, Patient who imagined himself to (Russian Hamlet ); Gala ( e Pygmalion Effect ). be Don Quixote ( I, Don Quixote ); Don Juan Honors: Golden Mask Award Laureate, Golden (Don Juan, or Molière Passions ); Vron sky ( Anna Soffit Award Laureate. Karenina ); Treplev ( e Sea gull ); Onegin (Eugene Onegin ); Rodin ( Rodin, Her Eternal
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Idol ); Dmitry Karamazov ( Beyond Sin ); Hus - (Up & Down ); Nadezhda von Meck, e band, Man ( Requiem ); Dick Diver (Up & Down ); Countess ( Tchaikovsky. PRO et CONTRA ); Partner ( Red Giselle ); Tchaikovsky ( Tchaikovsky. e Empress ( Russian Hamlet ); Tea ( e PRO et CONTRA ); e Heir ( Russian Hamlet ); Pygmalion Effect ). Leon ( e Pygmalion Effect ). Honors: Honored Artist of Russia, Laureate of the President’s Igor Polyakov ( Holmes ) Prize, Golden Mask Award Laureate, Golden Born January 14, 1982 Soffit Award Laureate. in Leningrad. 2000: gra - du ated from the Vaga - Lilia Lishchuk ( Greta ) nova Ballet Academy in Born January 23, 1989 Saint Petersburg. 2000 in Donetsk (Ukraine). to the present: dancer 2008: graduated from with Eifman Ballet. Fea - the Vaganova Ballet Aca- tured roles with Eifman demy in Saint Peters - Ballet: Lorenzo, Kitri’s Father ( I, Don Quixote ); burg. 2008–13: member Sganarel ( Don Juan, or Molière Passions ); Buffon of the Mari insky Ballet (Musagete ); Fyodor Pavlovich Karamazov Company. 2014 to the (Beyond Sin ); Holmes ( e Pygmalion Effect ). present: soloist with Eifman Ballet. Featured roles with Eifman Ballet: Anna ( Anna Karen - Yulia Stolyarchuk ina ); Tatyana ( Eugene Onegin ) Rose Beuret (Tea ) (Rodin, Her Eternal Idol ); Rosemary Hoyt ( Up Born April 17, 1997 in & Down ); Ballerina ( Red Giselle ); Nadezhda Magadan. 2016: gradu - von Meck, e Countess, Tatyana ( Tchaikovsky. ated from the Moscow PRO et CONTRA ); e Empress ( Russian Ham- State Academy of Cho- let ); Greta ( e Pygmalion Effect ). re ography. 2016–2018: dancer with the Stani - Polina Pavlenko slavsky and Nemirovich- (Greta ) Danchenko Mos cow Academic Music eatre. Born November 14, 2018 to the present: soloist with Eifman Ballet. 1997 in Moscow. 2016: Featured roles with Eifman Ballet: Rosemary graduated from the Hoyt ( Up & Down ). Moscow State Academy of Choreography. 2016 Igor Subbotin ( Coach ) to the present: dancer Born August 17, 1991, with Eifman Ballet. 2011: graduated from the Belarusian State Alina Petrovskaya Cho reographic College. (Tea ) 2007–09: member of the Born September 21, Dnepropetrovsk State 1995 in Minsk (Repub - Aca demic Opera and lic of Belarus). 2014: Ballet eatre. 2011–12: graduated from the Bela - soloist with the Imperial Russian Ballet. 2012– russian State Choreo - 13: soloist with the Russian State Ballet eatre graphic College. 2014 of Moscow. 2013 to the present: soloist with Eif- to the present: dancer man Ballet. Featured roles with Eifman Ballet: with Eifman Ballet. Featured roles with Eif - Karenin, Vronsky ( Anna Karenina ); Onegin, man Ballet: Rose Beuret ( Rodin, Her Eternal General ( Eugene Onegin ); Dmitry Karamazov Idol ); Mother ( Requiem ); Rosemary Hoyt (Beyond Sin ); Husband ( Requiem ); Tommy ( Up
ABOUT THE ARTISTS
& Down ); Commissar ( Red Giselle ); Tchai- Pyotr Kostyshev, acting director kovsky’s Double, von Rothbart, Drosselmeyer, German Gureev, director of touring Onegin, Herman ( Tchaikovsky. PRO et CON - and external affairs TRA ); Favorite of the Empress ( Russian Ham - Victoria Bykova and Natalia Kuchinskaya, let ); Coach ( e Pygmalion Effect ). HR department Maya Yanson, company manager Sergey Volobuev Sergey Ilchenko, head of public relations (Leon ) Kristina Kuleva, external affairs associate Born June 3, 1986 in Timofey Paribok, Ivan Egorov, administrators Kovel (Ukraine). 2004: Kirill Grigoryan, production manager graduated from the Sergey Barabanov, stage manager Kiev State Choreogra - Konstantin Ierusalimskiy, Alexander Korovin, phic School. 2004 to Vitaly Musikhin, Evgeny Ovsyannikov, the present: soloist with Vladislav Potapov, Vadim Shemarov, Yury Eifman Ballet. Featured Timofeev, and Alexander Yuryev, lighting roles with Eifman Ballet: Patient who imagined Lidia Mikhailova, sound engineer himself to be Don Quixote ( I, Don Quixote ); Leonid Eremin, sound production Commandore ( Don Juan, or Molière Passions ); Andrey Dashkov, Ilya Dukhov, Dmitry Gul, Karenin, Vronsky ( Anna Karenina ); Trigorin Mikhail Ivankov, Vasily Khromov, (e Seagull ); One gin, General ( Eugene One - Yury Kuznetsov, Dmitry Yakobson, gin ); Rodin ( Rodin, Her Eternal Idol ); Ivan and Alexander Yaroslavtsev, stagehands Karamazov ( Beyond Sin ); Father, Husband, Alla Kazakova, Maria Lipkina, Tatiana Man ( Requiem ); Dick Diver, Nicole’s Father (Up Smirnova, and Ekaterina Zimina, wardrobe & Down ); Commis sar, Partner ( Red Giselle ); Anna Bernard and Elena Ivanova, make-up Tchaikovsky’s Double, von Rothbart, Drossel- Alexander Meshcherin and Natalia Samoy lenko, meyer, Onegin, Herman ( Tchaikovsky. PRO et masseurs CONTRA ); Favorite of the Empress ( Russian Hamlet ); Leon, Coach ( e Pygmalion Effect ). Ardanni Artists Honors: Laureate of the President’s Prize. Sergei Danilian, president Gaia Danilian, vice-president Michael Vool, production manager Tour Staff Beth Shvarts, accountant Boris Eifman, Artistic Director, People’s Artist MOSCO, official travel agent of Russia, Laureate of the State Prizes Atlas Travel, domestic travel agent Clark Transfer, official cargo company Valentina Morozova (People’s Artist of Russia), Olga Kalmykova, North-American Representative Valery Mikhailovsky, Andrey Ivanov, Ardani Artists Management, Inc. Anton Labunskas, Ilya Osipov, 130 West 56th Street, Floor 5M Oleg Paradnik, Elena Sheshina, and New York, NY 10019 Oxana Tverdokhlebova (Honored Artists of Russia), assistant ballet masters and tutors
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