CAL PERFORMANCES PRESENTS

Friday, May , , pm Saturday, May , , pm Zellerbach Hall Hubbard Street Dance Chicago Jim Vincent, Artistic Director Gail Kalver, Executive Director Lou Conte, Founder Photo by Todd Rosenberg Todd by Photo

Hubbard Street Dance Chicago gratefully acknowledges the generous support of the National Endowment for the Arts, the Illinois Arts Council and the Chicago Department of Cultural Aff airs.

Th is performance is made possible, in part, by Th e Bernard Osher Foundation. Cal Performances thanks our Centennial Season Sponsor, Wells Fargo.

4 CAL PERFORMANCES CAST

Hubbard Street Dance Chicago Jim Vincent Artistic Director Gail Kalver Executive Director Lou Conte Founder

Dancers Shannon Alvis Alejandro Cerrudo Tobin Del Cuore Erin Derstine Meredith Dincolo Brian Enos Sarah Cullen Fuller Sebastian Matthias Gehrke* Mistaya Hemingway Taryn Kaschock Martin Lindinger Cheryl Mann Terry Marling Jamy Meek Hope Muir Pablo Piantino Yarden Ronen Penny Saunders Patrick Simoniello Larry Trice* Robyn Mineko Williams Julia Wollrab * HSDC Apprentice

Artistic Staff Lucas Crandall Artistic Associate Monica Trogani Rehearsal Director

Production Staff M. Garrett Hohimer Production Manager Anne Grove Company Manager Aprill C. Clements Stage Manager Kilroy G. Kundalini Audio Engineer Rebecca M. Shouse Wardrobe Supervisor Cailen Waddell Lighting Supervisor Josh Selander Production Electrician

Company Teachers Claire Bataille Julie Nakagawa Böttcher Patrick Simoniello

6 CAL PERFORMANCES PROGRAM

Friday, May , , pm Saturday, May , , pm Zellerbach Hall Hubbard Street Dance Chicago

PROGRAM

Strokes Through The Tail () Choreography Marguerite Donlon Costume Design Branimira Light Design Ryan J. O’Gara Music Wolfgang Amadeus Mozart

Erin Derstine Sebastian Matthias Gehrke Larry Trice Tobin Del Cuore Martin Lindinger Alejandro Cerrudo

Strokes Th rough Th e Tail has been generously underwritten by Sidney and Sondra Berman Epstein, John and Caroline Ballantine, Meg and Tim Callahan and Joel and Katie Cory.

Created for and premiered by Hubbard Street Dance Chicago with the Chicago Symphony Orchestra in December  at the Symphony Center, Chicago, Illinois. “Movements –” from Symphony No.  in G minor, K. , composed by Wolfgang Amadeus Mozart.

SHORT PAUSE

Kiss () Choreography Susan Marshall Lighting Design Mitchell Bogard Music Arvo Pärt, Cantus in memory of Benjamin Britten

Cheryl Mann Tobin Del Cuore

Peter and Karen Lennon are the Exclusive Underwriters for Kiss.

Originally commissioned by and premiered at New York’s Dance Th eater Workshop in . Staged for HSDC by Eileen Th omas and Mark DeChiazza. Premiered by Hubbard Street Dance Chicago in March  at the Joan W. and Irving B. Harris Th eater for Music and Dance, Chicago, Illinois.

INTERMISSION

8 CAL PERFORMANCES PROGRAM

Enemy in the Figure () Photo by Todd Rosenberg Todd by Photo Choreography William Forsythe Choreographic Assistance Ana C. Roman, Th omas McManus, Ayman Harper Original Score Th om Willems Set Design William Forsythe Costume Design William Forsythe Lighting Design William Forsythe Lighting Design Recreation Tanja Rühl Sound Design Recreation Dietrich Krüger Costume Design Recreation Dorothee Merg

Friday, May ,  Tobin Del Cuore, Erin Derstine, Meredith Dincolo, Sarah Cullen Fuller, Martin Lindinger, Jamy Meek, Hope Muir, Pablo Paintino, Patrick Simoniello, Robyn Mineko Williams, Julia Wollrab

Saturday, May ,  Shannon Alvis, Tobin Del Cuore, Brian Enos, Sarah Cullen Fuller, Mistaya Hemingway, Taryn Kaschock, Martin Lindinger, Hope Muir, Pablo Piantino, Yarden Ronen, Penny Saunders

Enemy in the Figure is partially funded by a matching challenge grant from Alfred McDougal and Nancy Lauter, and matched by additional funding from David Herro/Jay Franke, Debbie Bricker and Timothy R. Schwertfeger and Gail Waller. Originally commissioned by and premiered at the Frankfurter Schauspielhaus on May , . Staged for HSDC by Th omas McManus and Ana C. Roman and premiered by HSDC at the Joan W. and Irving B. Harris Th eater for Music and Dance, April .

INTERMISSION

CAL PERFORMANCES 9 PROGRAM

Gnawa ()

Choreography Nacho Duato Music Hassan Hakmoun, Adam Rudolph, Juan Arteche, Xavier Paxadiño, Abou-Khalil, Velez, Kusur and Sarkissian Costume Design Modesto Lomba Lighting Design Nicholas Fischtel Set Design Nacho Duato Organization Mediaart Producciones SL (Spain)

Friday, May ,  Penny Saunders Tobin Del Cuore Julia Wollrab Jamy Meek Robyn Mineko Williams Brian Enos Meredith Dincolo Patrick Simoniello Erin Derstine Pablo Piantino Sarah Cullen Fuller Yarden Ronen Hope Muir Martin Lindinger Taryn Kaschock Alejandro Cerrudo

Saturday, May ,  Taryn Kaschock Patrick Simoniello Shannon Alvis Jamy Meek Robyn Mineko Williams Brian Enos Meredith Dincolo Sebastian Matthias Gehrke Sarah Cullen Fuller Pablo Piantino Mistaya Hemingway Alejandro Cerrudo Hope Muir Martin Lindinger Julia Wollrab Larry Trice

Karen and Peter Lennon are the Exclusive Underwriters of Gnawa.

Created for and premiered by Hubbard Street Dance Chicago at the Joan W. and Irving B. Harris Th eater for Music and Dance in March . “Ma Bud Allah” written by Hassan Hakmoun and Adam Rudolph; from the disc Hassan Hakmoun & Adam Rudolph: Gift of the Gnawa; liscensed by Flying Fish. “Carauri” written by Juan Arteche; from the disc Finis Africae; published by Ediciones Cubicas (Spain). “Window” written by Abou-Khalil, Velez, Kusur and Sarkissian; from the disc Nafas; published by ECM Records/Verlag Musik GmbH (Germany). © Nacho Duato, all rights reserved

10 CAL PERFORMANCES ABOUT THE ARTISTS

Hubbard Street Dance Chicago (HSDC) was Spoleto Festival of Two Worlds (Italy), Spoleto founded in  by dancer and choreographer Festival U.S.A. (Charleston, South Carolina), Lou Conte, who served as artistic director until Sadlers Wells Th eatre, Th e Brighton Festival and his retirement from HSDC in . Originally Wolf Trap. In January , HSDC joined forces the company’s sole choreographer, he developed with the Chicago Symphony Orchestra for an en- relationships with emerging and world-renowned gagement conducted by Pinchas Zukerman that choreographers as the company began to grow, brought one of Vincent’s goals to fruition by per- adding bodies of work by a variety of artists. In forming his piece, counter/part, to live music. Since the s, Conte commissioned several works by then, HSDC has rejoined Maestro Zukerman for Lynne Taylor-Corbett, Margo Sappington and an engamement with the National Arts Centre Daniel Ezralow. He continued to build HSDC’s Orchestra in Ottawa and a return performance repertoire by forging a key partnership with Twyla with the CSO for the world premiere of SF/LB. Th arp in the s, acquiring six of her works and In December , HSDC once again joined commissioning an original work for the company. Maestro Zukerman and the CSO for a celebration Conte further expanded the company’s repertoire of dance and music in honor of Mozart’s th to include European choreographers Jirí Kylián birthday. HSDC looks forward to performing in and Nacho Duato. Th ese long-term relationships, the summer of  with the Los Angeles Philhar- along with Conte’s participation in selecting Jim monic at the Hollywood Bowl, conducted by Sir Vincent as the company’s new artistic director, Andrew Davis, and to its annual engagement with have paved the way for HSDC’s future. Th rough the CSO in . a relationship cultivated by both Conte and Vin- cent, HSDC further expanded its repertoire with Jim Vincent (Artistic Director) joined HSDC in the works of Israeli choreographer Ohad Naharin, August  following an extensive career as a including Tabula Rasa, Minus , Passomezzo, dancer, teacher, ballet master and choreographer. Queens and Black Milk. Vincent’s dance training began at the age of fi ve Today, under the dynamic leadership of Ar- and continued through his childhood with Mer- tistic Director Jim Vincent, HSDC is among the cer, Burlington and Princeton Ballets in New Jer- most original forces in contemporary dance. Criti- sey. He studied on scholarship at the Washington cally acclaimed for its exuberant, athletic and in- School of Ballet in Washington, D.C., Harkness novative repertoire, HSDC presents performances House of Ballet in New York City and North that inspire, challenge and engage audiences world- Carolina School of the Arts at the University of wide. Th e company’s  dancers display unparal- North Carolina. Vincent’s distinguished career leled versatility and virtuosity, allowing HSDC to as a professional dancer includes a -year ten- continually expand its eclectic repertoire and serve ure with Jirí Kylián’s Nederlands Dans Th eater, as a living archive for signifi cant choreographic a guest appearance with Lar Lubovitch and two works by world-class choreographers and a plat- years with Nacho Duato’s Compañía Nacional form for new dance works by emerging choreog- de Danza in Spain. As a dancer, he worked with raphers. HSDC also contributes to the evolution many choreographers, including Kylián, Duato, of dance by developing new choreographic talent Lubovitch, William Forsythe, Mats Ek, Hans van and collaborating with artists in music, visual arts Manen, Christopher Bruce and Ohad Naharin. and theatre. Vincent served as ballet master for Nederlands HSDC performs in downtown Chicago and Dans Th eater II and Opéra National de Lyon, its metropolitan area and tours nationally and where he rehearsed repertory by renowned cho- internationally throughout the year. Th e com- reographers Kylián, Duato, Forsythe, Ek, George pany has appeared in  states and  countries Balanchine, Angelin Prejlocaj and Bill T. Jones, at celebrated dance venues, including the Ameri- among others. Vincent also served as the assis- can Dance Festival, DanceAspen, the Holland tant artistic director for Compañía Nacional de Dance Festival, Jacob’s Pillow Dance Festival, Danza. He has choreographed a number of works Th e Joyce Th eater, the Kennedy Center, Philadel- for Nederlands Dans Th eater I and II, Quebec’s phia’s “Dance Celebration,” the Ravinia Festival, Bande à Part and Switzerland’s Stadt Th eater Bern.

12 CAL PERFORMANCES ABOUT THE ARTISTS

In , during his second season with HSDC, Chicago Dance Coalition’s inaugural Ruth Page Vincent choreographed counter/part for the com- Artistic Achievement Award in , the Sidney pany, his fi rst work as artistic director, which he R. Yates Arts Advocacy Award in  and the has dedicated to the HSDC Board of Directors. In Chicagoan of the Year award from Chicago maga- , Vincent premiered his newest work Unifor- zine in . In , he was elected a Laureate mity, at the Joyce Th eater in New York. for Lincoln Academy, the state’s highest award for individual achievement. He has been credited by Gail Kalver (Executive Director), a native Chica- many for helping raise Chicago’s international cul- goan, joined HSDC in . She received a de- tural profi le and for creating a climate for dance in gree in music education from the University of Il- the city, where the art form now thrives. linois (Champaign/Urbana) and a master’s degree in clarinet from the Chicago Musical College of Lucas Crandall (Artistic Associate) was born in Roosevelt University. Kalver founded the Windy Madison, Wisconsin and started studying dance at City Wind Ensemble and also performed with the age of . After receiving several scholarships the Chicago Symphony Orchestra, Lyric Opera in the United States and an apprenticeship with Orchestra and Grant Park Symphony. She joined the Milwaukee Ballet, Crandall went to Europe the Ravinia Festival staff in , where she be- to perform with the Ballet du Grand Th eatre in came associate manager before joining HSDC. Geneva, Switzerland. In , he joined Neder- Kalver was also music consultant to the Peabody lands Dans Th eater, where he fi rst worked with Award-winning National Radio Th eatre. She has Jim Vincent, HSDC’s current artistic director. In served on the boards of the Chicago Dance Coali- , Crandall returned to the Ballet du Grand tion, Dance/USA and the National Association of Th eatre, working with many choreographers, in- Performing Arts Managers and Agents and on nu- cluding Ohad Naharin, Jirí Kylián, Mats Ek and merous funding panels. She currently serves on the Christopher Bruce. In , he became the Bal- boards of Dancers United and the Arts & Business let du Grand Th eatre’s rehearsal director, assisting Council of Chicago; and on the advisory coun- and rehearsing numerous works. Since Crandall’s cils of Dancers Responding to AIDS and Child’s arrival at HSDC in August , he has contin- Play Touring Th eatre; and on the Excellence in ued to assist choreographers, notably Marguerite Dance Initiative Advisory Committee of the Chi- Donlon. He has also been on faculty with the Lou cago Community Trust. Kalver is the recipient of Conte Dance Studio, as well as ballet and reper- the Chicago Dance Coalition’s  Ruth Page tory instructor for master classes throughout the Award, was recognized by Today’s Chicago Woman United States, including residencies at the Univer- in  and has co-chaired Dance for Life and sity of California, Santa Barbara; the University of the Midwest Arts Conference. In , Kalver Iowa in Iowa City, where he created Pulse for the was the recipient of the Arts & Business Council Dance Department’s annual Gala; and the Uni- of Chicago’s ABBY Award for Arts Management versity of Illinois at Bloomington/Normal, where Excellence. he created Bittersweet. A choreographer since , Crandall has created pieces that have been Lou Conte (HSDC Founder; Director, Lou Conte performed in a variety of countries. His fi rst pro- Dance Studio), after a performing career including duction for HSDC, Atelier, premiered in March Broadway musicals such as the original production . In March , HSDC premiered his of Bob Fosse’s How to Succeed in Business Without work Gimme at the Harris Th eater for Music and Really Trying, Cabaret and Mame, established the Dance. In July , Crandall participated in the Lou Conte Dance Studio in Chicago in . In Northwest Professional Dance Project with Sarah , he founded what is now Hubbard Street Slipper and Steve Gonzales. Dance Chicago with four dancers performing at senior citizens’ homes in Chicago. In , he re- Monica Trogani (Rehearsal Director), a native of tired as artistic director of HSDC but remains the New Jersey, began her career with New Jersey director of the Lou Conte Dance Studio. Th rough- Ballet in . She spent fi ve years in New York out his  years as the company’s artistic director, City, where she divided her time between dancing, Conte received numerous awards, including the directing rehearsals and administrative education,

CAL PERFORMANCES 13 ABOUT THE ARTISTS

fi rst with a marketing research fi rm and then as part laborative work with composers such as Claas of Th e First New York International Festival of the Willeke and Sam Auniger, video artists and live Arts. Trogani spent  years in Canada, includ- musicians have become a regular occurrence and ing  years in Montreal, where she worked with key to the uniqueness of the Donlon Dance Com- Les Grands Ballet Canadiens, where she fi rst met pany. Two thousand one also marked her fi rst col- HSDC Artistic Director Jim Vincent. In , laboration with Hubbard Street Dance Chicago Trogani moved to Chicago with her husband Jay, for the creation of Reverse Deconstruct. Blind Date, a painter and former soloist with Les Grands Ballet for Donlon Dance Company, earned her compa- Canadiens, and her children Esmé and Casey, to ny awards from Ballettanz for “Best Premiere for join HSDC as rehearsal director. In this capacity, ” and “Best Male Dancer.” In , Donlon Trogani acts as artistic liason for residency activi- Dance Company was recognized by Die Zeit for ties, is a member of the faculty at the Lou Conte the “Most signifi cant development in politics and Dance Studio and has taught master classes and the art” as well as by Arnd Wesemann of Ballet- Dance Informances across the United States and tanz as “One of the  artists who carry hope and in Canada. Trogani has worked on repertoire rang- can move the future of dance.” ing from classics to modern, including the works Nacho Duato (Gnawa) was born in Valencia, of Lou Conte, Nacho Duato, Daniel Ezralow, Jiri Spain in  and trained at the Rambert School Kylian, Lar Lubovitch, José Limon, Mark Morris in London, Maurice Béjart’s Mundra School in and Ohad Naharin. In collaboration with Roslyn Brussels and Alvin Ailey American Dance Center Anderson, she has set Jiri Kylian’s Sechs Tänze for in New York. In , Duato joined the Cullberg Les Grands Ballets Canadiens, as well as having set Ballet in Stockholm, and a year later Jirí Kylián choreographies for Dance Th eatre of Harlem, Bal- brought him to Nederlands Dans Th eater, where let du Nord and Texas Ballet Th eater. he was named resident choreographer in . Since June , Duato has been artistic director Choreographers of Compañía Nacional de Danza (Spain), where he has created several works, including Concierto Marguerite Donlon (Strokes Th rough Th e Tail) Madrigal, Opus Piat, Empty, Coming Together, was born in County Longford, Ireland and Mediterrania, Cautiva and Tabulae. In , the worked as a solo dancer and choreographer with Spanish government awarded Duato the Golden the Deutsche Oper Berlin since . Prior to Medal for Merit in Fine Arts. that, she danced with the English National Ballet with Peter Schaufuss, and has worked with leading William Forsythe (Enemy in the Figure) was born international choreographers Jirí Kylián, William in New York City in . He studied dance at Forsythe, Meg Stuart, Sir Kenneth MacMillan, Jacksonville University and later at the Joff rey Bal- Bill T. Jones and Maurice Béjart. let School. In , Forsythe joined Germany’s Donlon has choreographed several works, Stuttgarter Ballett as a dancer, and later began cho- including Celtic Touch and Patch of Grass, for reographing works for the company. It was there Deutsche Oper Berlin and Taboo or Not for Vi- that he made his fi rst piece, Urlicht, a duet to the enna State Ballet. She has also created pieces for music of Gustav Mahler. Over the next years, For- Nederlands Dans Th eater II, Stuttgart Ballet and sythe made numerous ballets for the Stuttgart Bal- Komische Oper Berlin. Donlon’s installation let and for other leading companies, including the works and dance fi lms have been shown in mu- Basel Ballet, Munich Ballet, the Deutsche Oper seums and fi lm festivals in Europe and the United Ballett in Berlin, the Joff rey Ballet and Nederlands States. In , she was appointed Artistic Direc- Dans Th eater. Forsythe’s key works over the last tor of the Saarlaendisches Staatstheater Ballet Saar-  years include Gänge, Artifact, Impressing the brücken in Germany (now named Donlon Dance Czar, Limb’s Th eorem, Th e Loss of Small Detail, A Company), where she has created a considerable L I E/N A(C)TION, Eidos:Telos, Endless House and body of new work including full length ballets Kammer/Kammer. He continues to stage pieces for Carmen-Privat and Midsummer Night’s Dream, companies around the globe, and his work is in the as well as her forthcoming Giselle Reloaded. Col- repertoire of New York City Ballet, the National

14 CAL PERFORMANCES ABOUT THE ARTISTS

Ballet of Canada, the Royal Ballet, Covent Gar- Danza de Madrid and in  joined the Victor den, and the Paris Opéra Ballet, among others. In Ullate Company, where he danced for one year. January , William Forsythe became director From  to , Cerrudo danced with the of both Ballett Frankfurt and TAT. Stuttgart Ballet and in  he joined Nederlands Dans Th eater  under the direction of Gerald Susan Marshall (Kiss) has created  danceworks Tibbs. Cerrudo danced with NDT  for three in collaboration with the dancers of Susan Marshall years before becoming an HSDC company mem- & Company, including One and Only You, Th e ber in August . Most Dangerous Room in the House, Spectators at an Event, Fields of View, Arms, Interior with Seven Tobin Del Cuore (Norway, Maine) began danc- Figures and Kiss. Marshall’s collaboration with her ing at age  with Debi Irons after studying act- company’s dancers has been the main infl uence on ing, mime, juggling and acrobatics with a group the development of her choreographic process and of “New Vaudevillians” in Maine. In , he was work. Marshall choreographed and directed Les invited to begin his ballet training at the Walnut Enfants Terribles in collaboration with composer Hill School in Natick, Massachusetts. Del Cuore Philip Glass in , and has also created dances attended Th e Juilliard School, New York, graduat- for the Lyon Opera, Frankfurt and Boston ballets ing in  with a BFA. He joined Hubbard Street and Montreal Danse. She has collaborated with  in June , became an apprentice with HSDC director Francesca Zambello on operas staged in January  and a full company member in for the Los Angeles Music Center and New York September . Th anks to Bob, Cris and Collin City Opera. A  recipient of a MacArthur for their unwavering love and companionship. Fellowship, Marshall has also received a Dance Erin Derstine (Darien, Illinois) started dancing Magazine Award, a Guggenheim Fellowship, a at age fi ve and trained at the School of the Salt Brandeis University Creative Arts Citation and Creek Ballet in Westmont, Illinois. In , she the American Choreographer Award. She has graduated from the University of Chicago where received fi ve National Endowment for the Arts she had attended on full academic scholarship. Fellowships, two New York Foundation for the She received a BA in history, philosophy and Arts Fellowships and two New York Dance and social studies of science and medicine and was Performance Awards (“Bessies”) for Outstanding initiated into Phi Beta Kappa. Derstine joined Choreographic Achievement. Th e fi rst Bessie came Hubbard Street  in  and HSDC in . in  following Susan Marshall & Company’s She thanks her husband, Jon, her family, Patti, Su- premiere concert at Dance Th eater Workshop, san, Sue and Randi for their love and support. and the second came in  for her collaboration with Philip Glass on Les Enfants Terribles. Meredith Dincolo (Indianapolis, Indiana) began dancing at age seven in Indianapolis before moving Th e Company to Michigan to study under Iacob Lascu. She grad- uated from the University of Notre Dame in  Shannon Alvis (Indianapolis, Indiana) trained at and moved to Chicago to pursue dance. Dincolo Jordan Academy of Dance at Butler University joined Hubbard Street Dance Chicago in , and at the University of Utah. She has performed where she spent four years under the direction of with the Utah Ballet, Indianapolis Ballet Th eatre Lou Conte. In , she joined Lyon Opera Bal- and the Chautauqua Ballet Company and has let in Lyon, France, and in  she joined the attended numerous summer programs, includ- Nationaltheater Mannheim inGermany under ing Boston Ballet, Pennsylvania Ballet, School Kevin O’Day and Dominique Dumais. Dincolo of American Ballet, Royal Winnipeg Ballet and rejoined HSDC in November . American Ballet Th eatre. Alvis joined Hubbard Street  in June  and moved to the full com- Brian Enos (Cotati, California) began his dance pany in June . training at age  and has studied at the Houston Alejandro Cerrudo (Madrid, Spain) received his Ballet Academy, with Maria Vegh and Sara Stuber training at the Real Conservatorio Professional de and at the Santa Rosa Junior College. At , he

CAL PERFORMANCES 15 ABOUT THE ARTISTS joined the Houston Ballet, where he performed through  with the Capitol Area Dance Th eatre works by Trey McIntyre, David Parsons, Lila while spending summers on scholarship with the York, Ben Stevenson, Dominic Walsh, Priscilla Central Pennsylvania Youth Ballet and Boston Nathan-Murphy, James Kudelka and Fredrick Ballet. She was then a member of Th e Joff rey Ashton. Enos performed with the Houston Ballet Ballet from  through , performing for two years before joining HSDC in July . extensively in works by Agnes DeMille, George He was commissioned to create work for Houston Balanchine, Martha Graham, John Cranko, Ballet in fall , departing HSDC in August David Parsons and Geral Arpino. Kaschock joined and rejoining the company in January . HSDC in . She is grateful to be surrounded by such inspirational artists and individuals here at Sarah Cullen Fuller (Santa Cruz, California) be- Hubbard Street. gan her formal dance training at age nine at Th e Academy of Movement and Music in Oak Park, Martin Lindinger (Munich, Germany) trained Illinois, and the schools of the Boston and Joff rey at the Royal Ballet School, England, where he ballets. She graduated from the University of Il- graduated in  with the prestigious Dame Alicia linois, Champaign/Urbana, with degrees in dance Markova Award. He then joined City Ballet of and psychology. Fuller was the recipient of the London as a soloist before joining Rambert Dance Lisa Carducci award for outstanding performance Company in . Lindinger has performed works and a Ford Foundation grant to study dance in by Jirí Kylián, Mats Ek, Glen Tetley, Christopher Madrid, Spain. She has studied with Paul Taylor Bruce, Merce Cunningham, Hans van Manen, Dance Company and Dance Space NYC and has Javier De Frutos and Twyla Th arp. In January performed with Th e  Group in Chicago. Fuller , he won the “Critics Circle National Dance joined HS in January  before becoming an Award for Outstanding Young Male Artist” in apprentice with the main company in November the United Kingdom. Lindinger joined HSDC in  and a full company member in January . November . She would like to thank her mom, dad, Brian and Laura for all of their love and support. Cheryl Mann (Orlando, Florida) graduated from Point Park College in Pittsburgh and has performed Sebastian Matthias Gehrke (Gelsenkirchen, with the Pittsburgh’s Civic Light Opera, Southern Germany) received his Abitur from Gymnasium Ballet Th eater in Orlando and at Florida’s Walt Essen-Werden in  and his BFA from Th e Disney World. Mann danced with River North Juilliard School in . Upon graduation, Gehrke Chicago Dance Company for three years before joined Tanztheater Nürnberg in Germany. In joining HSDC in . In , she received , he was awarded the Hector Zaraspe Prize the Artist Achievement Award from the Chicago for Choreography and his work has been shown Dance and Music Alliance for her performance in in the United States, Canada, Peru and Germany. HSDC’s Cor Perdut by Nacho Duato. She adores Gehrke became an apprentice with Hubbard Street her family for all of the inspiration and love a girl Dance Chicago in August . He is happy to could ask for. return to the United States and join HSDC. Mistaya Hemingway (Edmonton, Canada) Terry Marling joined HSDC in April . His studied dance at the National Ballet School bio is available at www.hubbardstreetdance.com. in Toronto before dancing for the Stuttgarter Jamy Meek (Lubbock, Texas) received a BA Staatstheatre in Germany. She also performed with degree in performing arts from Oklahoma City the Dutch National Ballet and the Alberta Ballet University. He danced with Ballet Lubbock, Willis before becoming a soloist with La La La Human Ballet and the San Antonio Metropolis Ballet, Steps in Montreal. Hemingway joined Hubbard joining HSDC in June . He thanks everyone Street Dance Chicago in December . She in his life for being such incredibly supportive thanks her parents for always supporting her. people and for teaching him the value of true and Taryn Kaschock (Harrisburg, Pennsylvania) unconditional friendship. received her dance training from the ages of four

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Hope Muir (Toronto, Canada) began her formal Patrick Simoniello (Los Angeles, California) began dance training at the London Festival Ballet training at age  in Huntington Beach. At , he School under the direction of Peter Schaufuss in took a full scholarship to attend Th e Joff rey Ballet , during the company’s founding year. In School Summer Program in New York and joined , she graduated into the resident company, Tulsa Ballet Th eatre upon completion. In January now known as English National Ballet, where she , he joined Th e Joff rey II Dancers before danced numerous solo and principal roles. Muir being promoted to Th e Joff rey in May . He joined Rambert Dance Company in , under performed works including Robert Joff rey’s Th e the directorship of Christopher Bruce, where Nutcracker, Fredrick Ashton’s Monotones II and she performed the work of Jirí Kylián, Mats Ek, Agnes De Mille’s Rodeo before joining HSDC Javier De Frutos, Hans van Manen, Glen Tetley, in . He thanks Momma for believing in any Siobhan Davies, Merce Cunningham, Twyla gifts he has to give. Th arp and Christopher Bruce, among others. She Larry Trice (Kansas City, Missouri) began dancing joined HSDC in November . at age nine at various schools, including Monica Pablo Piantino (Mendoza, Argentina) began School of Dance, the Kansas City Ballet and Th e dancing at the age of . His training includes Center Dance with Tyrone Aiken. A three-time private seminars with Hector Zaraspe and studies scholarship recipient of the summer fellowship at at both the Colón Th eatre School and Th e Juilliard the Ailey School, he then received a scholarship to School, where he received his BFA. Having danced attend the Boston Conservatory where he received with both the Colón Th eatre Ballet Company and his BFA in  under the direction of Yasuko Th e Juilliard School Dance Ensemble, Piantino Tokunaga. Trice is the  recipient of the Ruth joined San Francisco Ballet in  and became S. Ambrose Award and the Jan Veen Scholarship. an HSDC company member in August . He has performed works by Sean Curran, Donald He thanks his parents, grandmother and Maestro Byrd, Martha Graham, José Limón, Daniel Zaraspe. Perlzig and Paul Taylor. He joined HSDC as an apprentice in July . Yarden Ronen (Tel-Aviv, Israel) trained at the Robyn Mineko Williams (Lombard, Illinois) Jerusalem Academy of Music and Dance and began dancing at age fi ve under the direction of received a full scholarship to continue his training Yvonne Brown Collodi. She continued studying at the Bat-Dor School of Dance in Tel Aviv. dance at the Lou Conte Dance Studio on full Upon completing his military service in , scholarship from  to . Williams danced he joined Bat-Dor Dance Company. In , with River North Chicago Dance Company for Ronen relocated to New York City and became four years before becoming an apprentice with a member of Ballet Hispanico of New York and HSDC in June . She became a full company Buglisi/Foreman Dance before joining HSDC in member in September . Th ank you to her August . mom, dad and brother, J.T. Penny Saunders (West Palm Beach, Florida) Julia Wollrab (St. Louis, Missouri) studied at the received her formal dance training at, and graduated National Ballet School of Canada in Toronto and from, Th e Harid Conservatory in Boca Raton. She entered the National Ballet of Canada in , later also participated in summer programs with the becoming a soloist. In , she joined the Ballet School of American Ballet, Central Pennsylvania du Grand Th eatre de Genève and performed the Youth Ballet and the Princeton Ballet. While works of Amanda Miller, Ohad Naharin, Michel furthering her training under Elisabeth Carroll, Kelemenis, Nacho Duato, William Forsythe and she joined the American Repertory Ballet in Maguy Marin, among others. Wollrab became New Jersey. Saunders also has danced with Ballet a member of HSDC in September . Many Arizona, toured extensively with MOMIX and thanks to her mother Sandra, her brother Jim, and was a member of Cedar Lake Ensemble in New her teacher Natalie Levine for their support and York before joining HSDC in November . inspiration.

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