sign in sign up
<<
Home , Agnes de Mille, Allegro Brillante, Ballet Minnesota, Ballo della Regina, Bugaku (ballet), Chaconne (ballet)

2014 // 15 SEASON

Northrop Presents THE Thu, Dec 4, 7:30 pm Carlson Family Stage

Swan Lake Brillante (Or, The Perils of Everybody)

Natalia Magnicaballi and Michael Cook in Balanchine's . Photo © Rosalie O'Connor. Dear Northrop Lovers, Northrop at the University of Minnesota Presents What a wonderful addition to our holiday season in Minnesota–a sparkling ballet sampler with the heart-lifting sounds of live . Tonight’s presentation of The is one of those “only at Northrop” dance experiences that our audiences clamor for. We’re so happy you are here to be a part of it.

Suzanne Farrell is a name recognized and respected the world over as the legendary American ballerina and muse of choreographer . As a dancer, Farrell was SUZANNE FARRELL, Artistic Director in a class all her own and hailed as “the most influential ballerina of the late 20th century.” For most of her career, which spanned three decades, she danced at City Ballet, where her artistry inspired Balanchine to create nearly NATALIA MAGNICABALLI HEATHER OGDEN* MICHAEL COOK thirty works especially for her–most of them are masterpieces. ELISABETH HOLOWCHUK Christine Tschida. Photo by Patrick O'Leary, Since retiring from NYCB in 1989, Farrell has dedicated her University of Minnesota. life to preserving and promoting the legacy of her mentor. She has staged Balanchine for many of the world’s VIOLETA ANGELOVA PAOLA HARTLEY leading companies, including St. Petersburg’s (known at the time as Leningrad’s Kirov). In KIRK HENNING* BRETT VAN SICKLE 2000, she created The Suzanne Farrell Ballet, a company at the John F. Kennedy Center for the Performing Arts, where she serves as Artistic Advisor for Ballet. She is the Artistic Director of the lovely company on MIRIAM ERNEST KATIE GIBSON AUDRA JOHNSON GISELLE MARIE MACDONALD stage tonight–a unique, chamber-size company of 33 members–who also perform starring roles in many AMBER NEFF JENNA NELSON ELIZABETH OUSLEY MELISSA REED regional ballet companies across the country. JORDYN RICHTER MELANIE RIFFEE AMY SAUNDER TOWA SHINAGAWA CLAIRE STALLMAN EMANUEL ABRUZZO JESSE CAMPBELL TAUREAN GREEN IAN GROSH TED SEYMOUR Tonight’s program brings us two exciting Balanchine works. We open with his one-act revision of Tschaikovsky’s Swan Lake, with its corps of sleek white swans and moonlit landscape, infusing this MARIAM DARCHIA LAUREN GARSIDE BETHANY LOWRIE HALEY NEISSER enchanting classic with new passion and heartbreak. JORDAN ARTHUR NELSON NICHOLAS ANTONIO PEREGRINO

Balanchine called , “…everything I know about in 13 minutes.” With more of XIAOXIAO CAO CLAIRE MILLARD Tchaikovsky glorious dance music, who wouldn’t want to take this “crash course”? JEFFREY STEVEN SENIOR JR.

For the finale, we’ll see a work that is often called the greatest comic ballet of all time, ’ NATHAN FIFIELD, Conductor The Concert. With its quirky characters and their hilarious antics, The Concert is a delicious dessert for tonight’s feast of dance! *On leave this season Thank you again for being with us for this last event of our fall series. With all good wishes for the holidays, I look forward to seeing you at our Northrop dance events in the new year.

Christine Tschida Director of Northrop

NEXT UP AT NORTHROP: on Tuesday, February 17 at 7:30 pm

This activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to legislative appropriation from the arts and cultural heritage fund, and a grant from the Wells Fargo Foundation Minnesota.

2 3 THE ORCHESTRA SWAN LAKE NATHAN FIFIELD, Conductor Prepared by Rebecca Arons, Music Contractor

First Violin Cello Music by Peter Ilyitch Tchaikovsky Allison Ostrander, Rebecca Arons, Principal Karrin Meffert-Nelson John Koopmann Choreography by George Balanchine* Concertmaster Teresa Richardson Jennifer Gerth Craig Hara Swan Lake costumes and scenery designed by David Guthrie and provided by Natalia Moiseeva William Richardson Lighting Design by Jeff Bruckerhoff Conor O’Brien Bass Michael Dayton Phil Ostrander Melinda Marshall Fred Bretschger Robert McManus Larry Zimmerman Heidi Amundson Charles Block Odette, Queen of the Swans NATALIA MAGNICABALLI Miriam Griffiths Bass Trombone Harp Norbert Nielubowski John Tranter Prince Siegfried BRETT VAN SICKLE Second Violin Ann Benjamin Coreen Nordling Brenda Mickens, Principal Rothbart, a Sorcerer TED SEYMOUR Laurie Petruconis Horn Steven Skov Elizabeth Decker Jane Garvin Matt Wilson Audra Johnson, Bethany Lowrie, Stephan Orsak Amy Morris Chuck Hodgson Timpani Amber Neff, Melanie Riffee Tim Bradley Robert Adney Viola Flute/Piccolo William Eisenberg Sabina Thatcher, Principal Susie Kuniyoshi Percussion Pas de Neuf Elisabeth Holowchuk Jenny Nilsson Cornet Matt Barber Coca Bochonko Lynn Erickson Paul Hill Miriam Ernest, Katie Gibson, Jane Morgan, Ashley Hall Andrew Myers Jenna Nelson, Elizabeth Ousley, Melissa Reed, Jordyn Richter, Claire Stallman

Swans Elisabeth Holowchuk Paola Hartley

Xiaoxiao Cao, Mariam Darchia, Miriam Ernest, Lauren Garside, Katie Gibson, Audra Johnson, Bethany Lowrie, Giselle Marie MacDonald, Claire Millard, Jane Morgan, Amber Neff, Haley Neisser, Jenna Nelson, Elizabeth Ousley, Melissa Reed, Jordyn Richter, Melanie Riffee, Amy Saunder, Towa Shinagawa, Claire Stallman

Hunters Emanuel Abruzzo, Jesse Campbell, Taurean Green, Ian Grosh, Jordan Arthur Nelson, Nicholas Antonio Peregrino

*© The George Balanchine Trust

World Premiere: November 20, 1951, Ballet, City Center of Music and Drama, New York. The Suzanne Farrell Ballet Premiere: November 28, 2014, The John F. Kennedy Center for the Performing Arts, Washington D.C.

INTERMISSION

Natalia Magnicaballi in Balanchine's Swan Lake. Photo © Rosalie O'Connor. Courtesy . 4 5 ALLEGRO BRILLANTE THE CONCERT (OR, THE PERILS OF EVERYBODY) A Charade in One Act

Music by Peter Ilyitch Tchaikovsky Music by Frédéric Chopin Choreography by George Balanchine* Choreography by Jerome Robbins Lighting Design by J. Russell Sandifer Set design by Saul Steinberg* Costume design by Glenn Sales, Piano Solo Lighting by Jennifer Tipton. Recreated by Nicole Pearce Repetiteur: Kipling Houston

PAOLA HARTLEY MICHAEL COOK Glenn Sales, Pianist

Audra Johnson, Jenna Nelson, Jordyn Richter, Claire Stallman Emanuel Abruzzo, Jesse Campbell, Taurean Green, Ted Seymour ELISABETH HOLOWCHUK MICHAEL COOK CLAIRE STALLMAN

*© The George Balanchine Trust JESSE CAMPBELL, TAUREAN GREEN, IAN GROSH, TED SEYMOUR, BRETT VAN SICKLE World Premiere: March 1, 1956, , City Center of Music and Drama, New York. PAOLA HARTLEY, JENNA NELSON, JORDYN RICHTER The Suzanne Farrell Ballet Premiere: November 28, 2014, The John F. Kennedy Center and for the Performing Arts, Washington, D.C. Lauren Garside, Audra Johnson, Giselle Marie MacDonald, Jane Morgan, Elizabeth Ousley Costumes for Allegro Brillante courtesy of . Emanuel Abruzzo, Jordan Arthur Nelson, Nicholas Antonio Peregrino, Jeffrey Steven Senior Jr.

PAUSE Performed by permission of The Robbins Rights Trust. World Premiere: March 6, 1956, New York City Ballet, City Center of Music and Drama, New York. The Suzanne Farrell Ballet Premiere: November 28, 2014, The John F. Kennedy Center for the Performing Arts, Washington, D.C.

Scenery and Costumes Courtesy of The National Ballet of Canada. *© The Saul Steinberg Foundation / Artists Rights Society (ARS), New York.

The performances of Swan Lake and Allegro Brillante, Balanchine® Ballets, are presented by arrangement with The George Balanchine Trust and have been produced in accordance with the Balanchine Style® and ® Service standards established and provided by the Trust.

The Balanchine® Ballets presented in this program are protected by copyright. Any unauthorized recording is prohibited without the expressed consent of The George Balanchine Trust and The Suzanne Farrell Ballet.

Program and casting is subject to change.

Michael Cook and Elisabeth Holowchuk in The Concert. Photo © Rosalie O'Connor. 6 7 THE PROGRAM Taken from Suzanne Farrell’s Notes from the Ballet

Swan Lake some of the choreography, costumes, and scenery (who was the ballet's origi- sort. Rather, it’s an inspired imitation of people When I first joined Balanchine's company in October have changed—but for my company’s premiere of nating male lead). we may know, such as the bashful schoolboy, the 1961, their hallmark program included four ballets: Swan Lake, I’m staging it as close as possible to the slightly-too-serious music aficionado, or the cigar- Balanchine's Swan Lake, Firebird, and Western version I first learned when I joined Balanchine’s This meant we traveled to various high schools in chomping husband henpecked by his overbearing Symphony, along with Jerome Robbins's Afternoon company. All of the corps swans will have white, upstate New York to perform Allegro Brillante for wife. (For that last example, imagine of a Faun. It was a very popular program, repeated knee-length tulle costumes, which to me heightens students. I was one of the supporting girls, and as and Imogene Coco types.) several times each season. I have fond memories all of the ethereal romance and emotion. (Black I write in my autobiography: "We were in Batavia of learning my part as a monster in Firebird and tutus replaced these costumes in 1986, three years on the tiny, well-waxed stage of a high school Jerry’s brilliant ability to help you instantly identify as a sassy saloon girl in —but after Mr. B passed.) At one point, Mr. B created a auditorium. There are four couples already moving with his characters is further enhanced by his starting off as one of the swans in Swan Lake holds different variation for the Swan Queen, but I’m with fast runs and jumps in a tight circle. Before “performance within a performance” motif, which a special place in my heart. bringing back the original variation. the curtain was all the way up—crash! I was down, begins with a few audience members sitting with flat on my rump. The audience of high school their back to us in front of a curtain. The Chopin Swan Lake is the classic tale of Princess Odette, We’ll also restore the famous pas de quatre for students broke into loud laughter… I wanted to recitalist enters the stage to great fanfare, takes a who has been transformed into the queen of four cygnets, or little swans. Though Balanchine leave the stage in shame, but I didn't. I heaved bow, dusts off his piano bench, and begins to play. the swans by the evil sorcerer Rothbart. He has eventually substituted a valse bluette in its place, myself onto my feet to the sound of whistling But then additional audience members arrive one allowed Odette and the swans to regain human I remember audiences loving this sequence, an eleventh-graders (kids my own age) and finished by one, leading to somewhat of a comical ruckus— form between midnight and dawn, but only the example of “precision dance” in which the cygnets the ballet. I have never particularly minded falling some are in the wrong seats, some block the view power of eternal love can break the spell forever. crisscross their arms, hold hands, and perform on stage since. Nothing could ever be as cruel as of others, the pianist has to stop and hush the Overflowing with passion and drama, it’s a ballet the same steps in unison. After America saw this that first time, and even then I realized that I only audience, etc. that all ballerinas want to dance at some point in dance, similar configurations made their way felt destroyed. I wasn't." their lives. Growing up in , I would dance into vaudeville and, perhaps most famously, The All the pantomime helps heighten the fun, but to Tchaikovsky's wonderful music in one of my Rockettes! I eventually performed the principal ballerina Jerry’s message is clear: we can all relate to the conservatory friend's living room. Using reflections role in Allegro Brillante, including for the company's experience of attending a concert, where strangers from the large windows as our mirror, and two Allegro Brillante "Great Performances / Dance in America" television unite, live performance takes the spotlight, and armchairs as our partners, we'd put on our record Allegro Brillante is a ballet for ten dancers: a central series with the Corporation for Public Broadcasting virtually anything can happen. of Swan Lake and dance for each other, alternating couple and four additional couples. The dancing is in the late 1970s. When you come see the ballet, being the Swan Queen until all four acts were over. virtually non-stop; Balanchine once said the work I'm sure you'll agree it's a joyous and exhilarating The ballet’s ensuing sections zoom in on several I think my capacity for endurance was born in those “contains everything I know about classical ballet work to behold. individual characters from the audience. As they sessions! in 13 minutes.” The four supporting couples begin listen to the recitalist play other Chopin pieces, to dance in a circle even before the curtain goes Plus, be on the lookout for the very talented pianist we enter each of their imaginations and see what Balanchine's one-act version, made on Maria up. So when the audience first sees them, they're Glenn Sales, who has rehearsed and played the they are visualizing or dreaming about, giving us Tallchief in 1951, takes its inspiration from the second already spinning the world of Allegro Brillante. music for many of our other ballets. He’ll be joining further insight into their worlds. There’s a section act of the full-length ballet by Russian choreogra- us. I always enjoy rehearsing with a pianist versus where the overbearing wife imagines herself trying phers and Lev Ivanov. However, he For a dancer, Allegro Brillante is a very gratifying a recording of the music. Some notations of on different hats in a mirror to the prelude of Les used music from both the second and fourth acts. ballet to perform—all the women are in chiffon, choreography directly in the score make our final Sylphides. Other sections feature everything from a and the mood is just so exuberant and lovely. The rehearsals with the orchestra more efficient. waltz gone wrong to spinning umbrellas and dancing Balanchine loved Tchaikovsky and choreographed work is danced to Tchaikovsky's Piano Concerto butterflies. Jerry choreographed to 12 Chopin pieces several ballets to his music. The score for Swan No. 3, which was composed in 1893, the year of his The Concert (Or, The Perils of Everybody) altogether, and he even used the transitions between Lake is particularly emotional. As the story reaches death. I find it astonishing the music is so vibrant What begins as a cross-section of characters coming them to make you chuckle. its heartbreaking conclusion, the music gets more and full of energy at a time Tchaikovsky was so together for an onstage pianist’s Chopin recital achingly sad. On stage, all of the swans are swirling close to the end of his life. It’s just so passionate! turns into a whimsical and witty reflection on I’m delighted to add The Concert to my company’s and cascading, creating beautiful patterns, cross- the foibles of human nature in this Jerry Robbins repertory because it’s amusing, well-constructed, ing through each other and around the central As with Swan Lake, Balanchine made Allegro classic, which premiered in 1956 with a cast of 21 and all very theatrical but full of truth. I never couple. As a young dancer in the corps, it was hard Brillante on , in 1956. I joined New dancers that included and Tanaquil danced the ballet, though I have experienced some for me not to get swept away by it all! York City Ballet five years later. Soon after, LeClercq. of the same scenarios that Jerry’s “audience Balanchine divided the company into four sections members” and “performers” find themselves in. Three years later, I danced the lead role of the as part of an education initiative with the New I become concerned when people make fun of We all have—so come to The Concert to discover Swan Queen, partnered with Jacques d'Amboise York State Council on the Arts. I was in the Allegro classical ballet—it’s such a sensitive and complex what rings true for you! (one of my childhood "armchairs!"). Since then, Brillante group headed by Melissa Hayden and profession—but The Concert isn’t a parody of any

8 9 THE SUZANNE FARRELL BALLET ARTISTIC DIRECTOR SUZANNE FARRELL

New York Times Chief Dance Critic Alastair Macaulay Arts recipient and 2005 Kennedy Center Honoree, Balanchine’s most prominent ballerina, she was a has praised The Suzanne Farrell Ballet for “tackling Farrell is also a tenured professor at Florida State symbol of the era, and remains so to this day. She arduous roles…with degrees of energy, scale, detailed University, where the company has enjoyed an restated and rescaled such Balanchine masterpieces nuance, and musical sophistication seldom found annual residency since 2005. as , , and . anywhere.” And Washington Post dance critic Sarah Balanchine went on to invent new ones for her, Kaufman has stated that, “among Washington’s Furthermore, the company has performed annually Diamonds, for example, and and cultural highlights,” the company “is undeniably at the Kennedy Center since 2001, mounted , in which the limits of ballerina technique one of the classiest.” numerous national tours, and participated in the were expanded to a degree not seen before or Jacob’s Pillow Dance Festival (2006), the first annual since. By the time she retired from the stage Under the Artistic Direction of George Balanchine’s Gettysburg Arts Festival (2008), Fall for Dance at in 1989, Ms. Farrell had achieved a career that is most celebrated muse, The Suzanne Farrell Ballet (2008), and the Kennedy without precedent or parallel in the . continues to flourish as the Kennedy Center’s Center’s own Ballet Across America (2010). own in Washington, D.C. With her Internationally, the company has performed at the During her 28 years on the stage, she danced a deep, inimitable insight into the Balanchine canon, Edinburgh International Arts Festival (2006), the repertory of more than one hundred ballets, nearly Farrell carries forth his enduring legacy, sharing National Theater for Opera and Ballet in Sofia, a third of which were composed expressly for her his profound vision and influential works with Bulgaria (2010), and the Royal Opera House in by Balanchine and other choreographers, including world audiences. Muscat, Oman (2013). Artistic partnerships include Jerome Robbins and Maurice Béjart. Her numerous collaborations with The National Ballet of Canada performances with Balanchine’s company (more More than 65 Balanchine works now stand in the (, 2005), (Chaconne, than two thousand), her world tours, and her company’s repertoire, including the iconic ballets 2007), (, 2008), the Bulgarian appearances in television and movies have made her , Apollo, Mozartiana, Episodes, Liebeslieder National Ballet (Agon, 2010), and The Sarasota one of the most recognizable and highly esteemed Walzer, , , and Swan Lake. Ballet (Diamonds, 2011). artists of her generation. She is also the recipient of Several were originally created on Farrell, and she numerous artistic and academic accolades. Since owns the exclusive restaging rights to three of More so than ever, The Suzanne Farrell Ballet is “an Photo © Paul Kolnik. the fall of 2000, Ms. Farrell has been a full-time them: Don Quixote, Meditation, and Tzigane. Others exciting company to keep re-watching season after professor in the dance department at Florida State include Chaconne, Slaughter on Tenth Avenue, season” (Alastair Macaulay, ). Suzanne Farrell is one of George Balanchine’s University in Tallahassee, Florida. Movements for Piano and Orchestra, and Diamonds From Balanchine, Farrell “has found a way to most celebrated muses and remains a legendary from , which the company performed in full give us something new… and to offer us fresh figure in the ballet world. In addition to serving In addition to her work for the Balanchine Trust, for its 10th anniversary in 2011. perspectives on his genius” (Sarah Kaufman, The as Artistic Director of her own company, she is she is active in a variety of cultural and philan- Washington Post). also a repetiteur for The George Balanchine Trust, thropic organizations such as the New York State Additionally, Farrell’s own program “The Balanchine the independent organization founded after the Council on the Arts, the Arthritis Foundation, the Couple,” which she scripted and narrates, highlights choreographer’s death by the heirs to his ballets Professional Children’s School, and the Princess landmark from his body of work, to oversee their worldwide licensing and production. Grace Foundation. Summit Books published her while through her Balanchine Preservation Initiative, Since 1988, she has staged Balanchine’s works for autobiography, Holding On to the Air in 1990 and she has restaged more than a dozen rarely performed such companies as the Berlin Opera Ballet, the Suzanne Farrell–Elusive Muse (directed by Anne or “lost” ballets, including Ragtime, Divertimento Vienna State Opera Ballet, the , Belle and Deborah Dickson) was an Academy Brillante, for Orchestra, and Pithoprakta. the , the Kirov Ballet, the Bolshoi Award nominee for Best Documentary Film in 1997. The company’s repertoire also includes works by Ballet, as well as American companies, including two of her other mentors, Jerome Robbins and those in Boston, Miami, Seattle, Cincinnati, Fort Maurice Béjart. Worth, and New York. She was born in Cincinnati, and she received her early training at the Cincinnati What began in 1993 as an invitation from the Conservatory of Music. Kennedy Center—asking Farrell to lead a series of master classes for local ballet students—has Ms. Farrell joined Balanchine’s New York City Ballet grown to become one of the Center’s crown jewels in the fall of 1961 after a year as a in its educational and performance offerings. scholarship student at the School of American The three-week summer intensive Exploring Ballet Ballet. Her unique combination of musical, physical, with Suzanne Farrell now attracts students from and dramatic gifts quickly ignited Balanchine’s all around the world. A 2003 National Medal of imagination. By the mid-1960s, she was not only

10 11 CHOREOGRAPHERS

GEORGE BALANCHINE Balanchine collaborated again with Kirstein in 1946 JEROME ROBBINS In addition to his two Academy Awards, Robbins’s George Balanchine is fondly to form , a company that introduced Jerome Robbins is world awards and citations include four , five considered “the father of New York subscription-only audiences over the renowned for his work as a , an Emmy Award, the Screen .” In late 1933, next two years. In October of 1948, Morton Baum, choreographer of ballets as Directors’ Guild Award and the New York Drama an invitation from Lincoln the chairman of the City Center finance committee, well as his work as a director Critics Circle Award. Robbins was a 1981 Kennedy Kirstein brought Balanchine was so impressed by a Ballet Society performance and choreographer in theater, Center Honors Recipient, was awarded the to the after that he negotiated to have the company join the movies, and television. Although Commandeur de L’Order des Arts et des Lettres, a career as dancer, ballet City Center municipal complex (home to the New he began as a modern dancer, was an honorary member of the American Academy master, and choreographer York City Drama Company and the New York City his start on Broadway was as and Institute of Arts and Letters, and was awarded that took him from Russia Opera) as the New York City Ballet. a chorus dancer before joining a as well as the Governor’s throughout . Kirstein had been impressed the of in Arts Awards by the New York State Council on the by Balanchine’s company, Les Ballets in Paris, and The son of a composer, Balanchine gained knowledge 1939, where he went on to dance principal roles in Arts. Some of his Broadway shows include On the proposed that Balanchine come to the United of music early in life that far exceeds that of most the works of Fokine, Tudor, Massine, Balanchine, Town, , , West States to help him establish an American ballet choreographers. At the age of five, he began Lichine, and de Mille. His first ballet, Side Story, , Gypsy, , Miss company equivalent to the European ones. studying piano and enrolled in the Conservatory (1944) for ABT, still in many repertoires, celebrated Liberty, , and Fiddler on the Roof. of Music and graduated in 1921 from the Imperial its fiftieth birthday on April 18, 1994. In 1989, Jerome Robbins’s Broadway won six Tony The first result of the Balanchine-Kirstein Ballet School in St. Petersburg. His extensive Awards including Best Musical and Best Director. collaboration was the School of American Ballet, musical training made it possible for him to While embarking on his career in the theater, He was awarded the French Chevalier dans l’Ordre founded in early 1934; an institution that still communicate with Stravinsky, and it enabled him Robbins simultaneously created ballets for New National de la Legion d’Honneur. Jerome Robbins exists today. Students of the school performed to reduce orchestral scores on the piano and to York City Ballet, which he joined in 1949, and passed away in 1998. Balanchine’s first ballet in the United States as a translate music into dance. became an Associate Artistic Director with George workshop. Set to music by Tchaikovsky, Serenade Balanchine. Robbins directed for television and premiered outdoors on a friend’s estate near Balanchine defended his technique of deemphasizing film as well, with his co-direction and choreography White Plains, New York. the plot in his ballets by saying, “A ballet may of West Side Story winning him two Academy contain a story, but the visual spectacle, not the Awards. After his Broadway triumph with Fiddler In 1935, Kirstein and Balanchine set up a touring story, is the essential element….It is the illusion On the Roof in 1964, Robbins continued creating company of dancers from the school called The created which convinces the audience, much as it ballets for New York City Ballet. He shared the American Ballet. The same year brought an is with the work of a magician. If the illusion fails, position of Ballet-Master-in-Chief with Peter invitation from the for The the ballet fails, no matter how well a program Martins until 1989. He created more than 60 American Ballet to become its resident ballet and note tells the audience that it has succeeded.” He ballets, including Afternoon of a Faun (1953), The for Balanchine to become the Met’s . will always be remembered for the calm and Concert (1956), (1965), At a Tight funding, however, permitted Balanchine to generous way in which he worked with his dancers. Gathering (1969), (1970), stage only two completely dance-oriented works (1975), Other Dances (1976), (1983), and for the Met, a dance-drama version of Gluck’s In 1978, George Balanchine was among the first Ives Songs (1989) which are in the repertories of and and a Stravinsky program group of artists to receive the Kennedy Center the New York City Ballet, the Ballet de l’Opera de featuring a revival of one of Balanchine’s first Honors. Balanchine died in 1983 at the age of 79. Paris and major dance companies throughout the ballets, Apollo, plus two new works, Le Baiser de la world. His more recent ballets include A Suite of Fee and Card Game. Dances with (1994), 2 & 3 Part Inventions (1994), (1995), and Although Balanchine enjoyed much success critically (1996) all of which premiered at New and popularly with the Met, he left in early 1938 to York City Ballet. teach at the school and to work in musical theater and in film. He and Kirstein assembled the American Ballet Caravan, which made a goodwill tour of Latin American countries featuring such new Balanchine ballets as Concerto Barocco and Ballet Imperial. From 1944 to 1946 Balanchine helped revitalize the Ballet Russe de Monte Carlo by becoming artistic director.

12 13 ARTISTIC TEAM

NATHAN FIFIELD GLENN SALES KIPLING HOUSTON promoted to Ballet Mistress. Gallagher started her Conductor Pianist Repetiteur for The Concert 18-year performing career at the Richmond Ballet. Nathan Fifield is a sought- Glenn Sales has been well- Kipling Houston was born in While dancing in Richmond, she also served as after conductor of ballet known to audiences since Cambridgeshire, England, but Rehearsal Assistant. She danced many principal repertoire around the world. his debut with the National was raised in the United States roles including 20th century classics such as He has conducted at many Symphony Orchestra at age where he began his study of Balanchine’s Serenade and Apollo, José Limón’s The top companies including The 14, performing Beethoven’s ballet at the Moors Pavane, ’s , and Antony National Ballet of Canada, Piano Concerto No. 3. He has School in Massachusetts. He Tudor’s Jardin Aux Lilas, to name a few. She was San Francisco Ballet, Houston since been a with the completed his training at the also part of many new works that choreographer Ballet, and Pacific Northwest National Symphony Orchestra School of American Ballet in Val Caniparoli produced for Richmond Ballet and Ballet. He was music director of the in Rachmaninoff’s Piano Concertos Nos. 2 and 3 New York City, and performed with Los Angeles has subsequently staged his works for Cincinnati for five years and is currently the Principal plus the Rhapsody on a Theme of Paganini. He has Ballet prior to being asked to join New York City Ballet, Aspen Ballet Company, Point Park University, Conductor at Nashville Ballet. He conducts over also been a soloist with The Boston Pops orchestra Ballet (NYCB) as a member of its corps de ballet. and Jacksonville University. When not working 50 performances each year as a conductor with under the direction of Arthur Fiedler. Sales has with The Suzanne Farrell Ballet, she lives and . Highlights from this past season been a recitalist in venues such as the Isabella Houston danced many featured roles with NYCB, teaches in Richmond, V.A. include Romeo et Juliet at Opera de Bordeaux, Stewart Gardner Museum in Boston, The Phillips in a wide variety of ballets, before being promoted a new arrangement of Peter Pan for Nashville Collection in Washington, D.C., and Weill Recital to the rank of Soloist by George Balanchine. J. RUSSELL SANDIFER Ballet, Jiří Kylián’s Petite Mort featuring Mozart Hall at Carnegie Hall in New York, among others. His repertoire included the ballets of many Lighting Designer piano concertos (which he conducted from the He has been praised as “a first-rate musician... choreographers such as Jerome Robbins, George J. Russell Sandifer is co-chair- keyboard), and a world premiere piano concerto played with impressive clarity and passion.” (The Balanchine, , , person and professor of the by pop icon Ben Folds, also at Nashville Ballet. New York Times). Petipa, and Bournonville, to name but a few. School of Dance at . Outside of This season, Fifield conducts an all Lifar program Having attended The Juilliard School under the Houston toured extensively with the NYCB and Florida State, Sandifer designs at Opera de Bordeaux, makes his debut with The tutelage of Earl Wild, Sales has been coached independent concert troupes, appearing as a guest lighting for The Suzanne Suzanne Farrell Ballet and , in chamber music by members of The Guarneri artist with many companies throughout the United Farrell Ballet (since 2001) and has a return engagement with San Francisco String Quartet. He has been featured on PBS in a States. He has been seen on Broadway in principal and for Ballet. Equally at home in the opera world, Fifield performance of Chopin’s Etudes, Opus 25 hosted by roles in Jerome Robbins’ Broadway, and in numerous (since 1998). For The Suzanne Farrell Ballet he has led productions of Carmen, Le Nozze di Figaro, Victor Borge. He has been an invited guest pianist dance specials on film and television. has designed Variatons for Orchestra, Mozartiana, Hansel and Gretel, and many others, working with for American Ballet Theatre since 1990. Sales has Agon, and Slaughter on Tenth Avenue, among such companies as Utah Festival Opera, Opera in also played for , The Royal Author, artist, teacher, coach, artistic director, others. He also designed lighting for Seaside Music the Heights, Chelsea Opera, and Light Opera of Ballet, The Paris Opera Ballet, The Suzanne Farrell producer, online media associate, office and project Theater from 1984 until it closed in 2008. In his Oklahoma where he was music director. Other Ballet, Dance Theatre of Harlem, and manager – Houston has pursued many different professional career, Sandifer has designed lighting orchestras he has led include the New World American Dance Theater, among others. He has directions since retiring from the stage, but his for well over 1,700 dance works, 85 musicals, and Symphony, the Albany Symphony, and One World played the premieres of several ballets and has most satisfying has been to raise four beautiful eight operas. These works have been presented Symphony. His teachers and mentors include performed works of choreographers Choo San children in New York City with his beloved wife, Rita. across the United States, South America, and , David Hayes, and Goh, George Balanchine, , Europe. In addition he also continues to design Gustav Meier. John Cranko, Mark Morris, Maurice Béjart, Twyla KRISTEN GALLAGHER scenery and multimedia work. He has presented Tharp, and Jerome Robbins, among others. His Ballet Mistress and served on panels for the National Association collaborations with Suzanne Farrell since 1995 Kristen Gallagher has been of Schools of Dance, United States Institute for include performances of works by Stravinsky, a part of The Suzanne Farrell Technical Theatre, and the Southeastern Theatre Gershwin, Glinka, Faure, Tchaikovsky, Bach, Brahms, Ballet since its inception in Conferences. Sandifer is a member of the Council and a film for The George Balanchine Foundation 1999. She danced with the of Dance Administrators, United Scenic Artists, of Tchaikovsky’s Meditation. Sales was invited company until 2007 and and a lifetime member of the American College to participate in the first dance workshop ever continued to work with the Dance Association. given in the East Room of the and company as the Artistic has collaborated with Damian Woetzel and Yo-Yo Assistant. She has assisted Ma in the Arts Turnaround Program for public in staging and rehearsing schools. He is presently Director of Music at the many Balanchine ballets including those of The American Dance Institute located in Rockville, M.D. Balanchine Preservation Initiative. In 2012, she was

14 15 ARTISTIC TEAM THE COMPANY

JEFF BRUCKERHOFF Ballet. Abroad, her designs can be seen at companies NATALIA MAGNICABALLI ballets that include Episodes, Intermezzo from Lighting Director and Designer including (London), La Scala, Brahms-Schoenberg Quartet, Valse Fantasie, Jeff Bruckerhoff has served Mariinsky, Bolshoi, Ballet, Norwegian Natalia Magnicaballi was born Diamonds, Divertimento No.15, Tempo di Valse, as lighting director of The National Ballet, Bulgaria State Ballet, and The in , and Meditation, Pas de Dix, Apollo, Jewels, Serenade, Suzanne Farrell Ballet since Royal Danish Ballet. graduated from Teatro Colón. and Mozartiana. As a guest artist, Ogden has 2007. He designed for Ballade, She became a principal dancer performed in many international galas—most Brahms-Schoenberg Quartet, In addition to her design work, she serves as a at the age of 19 with Julio recently in the 50th Anniversary Gala for Stuttgart Liebeslieder Waltzer, Concierto consultant with authority to teach costume Bocca’s Ballet Argentino. Since Ballet, the Tour de Force Gala in Orange County, de Mozart, and Swan Lake. reproductions of various established designs 2002, she has performed with and with the for the Nijinsky Gala VII. Other design projects include The Great Gatsby, for the Jerome Robbins Estate and The George Ballet Arizona as a principal dancer. Her classical Wunderland choreographed by Edwaard Liang Balanchine Trust, serving many companies in Europe repertoire includes the lead roles in Swan Lake, MICHAEL COOK (for which he won the Metro DC Dance Award for and the United States including the Mariinsky , , Paquita, La Sylphide, Principal Dancer Excellence in Lighting Design), and La Sylphide for Ballet, Paris Opera Ballet, Bavarian State Ballet, Don Quixote, Coppélia, and Giselle. Magnicaballi has Michael Cook received his The Washington Ballet. For The Washington The Royal Danish Ballet, State Opera of Berlin, premiered works by Jirí Kylián, Mauro Bigonzetti, dance training from the Tempe National Opera he designed Il Barbiere di Siviglia, Hamburg Ballet, Het National, and The Royal Ballet , Dwight Rhoden, Christopher Wheeldon, Dance Academy in Arizona Lucrezia Borgia, Hansel and Gretel, the American (London). Hines has designed over 250 ballets in and Ib Andersen. Magnicaballi has been a principal and the School of American premier of the opera Sophie’s Choice, and the her career as a costume designer. For 21 years she dancer with The Suzanne Farrell Ballet since its Ballet. From 1999 to 2007, world premieres of Democracy–an American was the Director of Costumes for New York City inception, performing in Balanchine’s Tzigane, Don Cook danced with Ballet Comedy and The Enchantment of Dreams. His work Ballet where she has designed over 70 ballets. She Quixote, Apollo, Divertimento No. 15, , Arizona as a principal dancer. has also been seen at the San Francisco Opera, is also currently working on a new design for Kansas Slaughter on Tenth Avenue, Agon, , Serenade, While performing with Ballet Arizona, Cook Madison Opera, the Kentucky Opera, Seattle Opera, City Ballet’s new Nutcracker for the 2015 Christmas , Meditation, Episodes, Diamonds, Rubies, originated roles in Ib Andersen’s Romeo and and Portland Opera. Bruckerhoff is a graduate of season. , Movements for Piano Juliet as Romeo, Mosaik, and Swan Lake as Prince the Theatre School at DePaul University and resides and Orchestra, Mozartiana; and Robbins’s Afternoon Siegfried. His repertoire includes works by Paul in Vermont. of a Faun and In the Night. She has been featured Taylor, Julia Adam, , Dwight Rhoden, as one of Dance Magazine’s “25 to Watch” and Maurice Béjart, Jerome Robbins, and George named the “Best Dancer of the State of Arizona” by Balanchine. As a part of The Suzanne Farrell Ballet, Costume Consultant The Arizona Republic. Cook has danced principal roles in Agon, Apollo, and Designer Prodigal Son, Brahms-Schoenberg Quartet, Duo Holly Hynes has been the HEATHER OGDEN Concertant, La Valse, and Diamonds, among resident costume designer Principal Dancer others. He has also danced in Ragtime, as a part of of The Suzanne Farrell Ballet Heather Ogden was born in the Balanchine Preservation Initiative. His passion since its inception in 1999 and Toronto and trained at the for dancing extends beyond the stage to teach and has designed 36 ballets. Her Richmond Academy of Dance inspire young students. Through the Education costumes were featured at The in British Columbia before Department at the Kennedy Center, he teaches a Kennedy Center in a display celebrating 10 years joining The National Ballet of series of master classes in Ballet and partnering. of designing for The Suzanne Farrell Ballet in 2011. Canada in 1998. Her repertoire He also owns and directs Tempe Dance West in For Theater for Young includes principal roles in Laveen, Arizona. Cook has been a member of The Audiences at The Kennedy Center she has designed Swan Lake, Romeo and Juliet, The Sleeping Beauty, Suzanne Farrell Ballet since 2007. Kite on the Wind, Trumpet of the Swan, and Barrio Onegin, La Bayadère, La Sylphide, Cinderella, Études, Grrrl, as well as the national tour of Barrio Grrrl. James Kudelka’s The Four Seasons, John Neumeier’s , Davide Bombana’s Carmen, and In North America her theatrical designs have Christopher Wheeldon’s Alice’s Adventures in been seen at the Metropolitan Opera, Broadway, Wonderland. Ogden originated roles in works by and Off-Broadway. Her ballet designs have been James Kudelka, Jorma Elo, Crystal Pite, Matjash featured in such major companies as American Mrozewski, Domonique Dumais, and Aszure Ballet Theatre, San Francisco Ballet, The National Barton. Ogden joined The Suzanne Farrell Ballet in Ballet of Canada, , , 2005 dancing the role of Dulcinea in Balanchine’s Pennsylvania Ballet, , Don Quixote and has been a principal dancer with , Richmond Ballet, and Boston the company since 2007 performing in Balanchine

16 17 THE COMPANY

ELISABETH HOLOWCHUK* PAOLA HARTLEY BRETT VAN SICKLE KATIE GIBSON* First Soloist Soloist Soloist Corps de Ballet Elisabeth Holowchuk was Paola Hartley was born in Brett van Sickle was born Katie Gibson is a native of born in St. Catharines, Ontario, Bonn, Germany, and grew up in Hamilton, Ontario and Boston, Massachusetts and Canada. She received her in South Africa and Chile. She received his training at Canada’s began her training at Ballet early training from Christine studied at the University of National Ballet School, The Workshop of New England Taylor Schmelz and went on North Carolina School of the School of American Ballet, under the instruction of to continue her studies at The Arts with Melissa Hayden, and the Jacqueline Cronsberg. Gibson School of American Ballet. Duncan Noble, and Gyula School. Van Sickle danced with continued her training at the She is an alumna of Exploring Ballet with Suzanne Pandi. In 1993, she joined Ballet de Santiago with American Ballet Theatre, San Francisco Ballet, San Francisco Ballet School where she had the Farrell. Holowchuk's repertoire includes principal Marcia Haydée as her director and was promoted Dutch National Ballet, and Nacho Duato’s Compañía opportunity to perform with San Francisco Ballet. roles in Balanchine’s Serenade, Baiser de la Fée, to soloist in 1997. Hartley joined Ballet Arizona as a Nacional de Danza. He joined The National Ballet Gibson joined under the Meditation, Agon, Slaughter on Tenth Avenue, principal dancer in 1998, under the directorship of of Canada in 2006 and was promoted to First direction of Christopher Stowell in 2003 and joined and Duo Concertant as well as Jerome Robbins’s Ib Andersen where she premiered leading roles in Soloist in 2011. Van Sickle’s repertoire includes Miami City Ballet under the direction of Edward Afternoon of a Faun and In Memory of… and his productions of A Midsummer Night’s Dream, leading roles in: Other Dances, Swan Lake, Onegin, Villella from 2005-2010. Gibson now resides in London Paul Mejia’s Romeo and Juliet. Holowchuk has also Play, and Indigo Rhapsody. Her modern repertoire Alices’s Adventures in Wonderland, Hamlet, The where she works with choreographer Antonia danced in The Suzanne Farrell Ballet’s Balanchine includes pieces by Kevin O’Day, Paul Taylor, Twyla Sleeping Beauty, Giselle, , The Seagull, Franceschi and also performs with Ballet NY. She is Preservation Initiative ballets: Pithoprakta, Concierto Tharp, Julia Adams, Moses Pendleton, and Dwight Opus 19/The Dreamer, , an alumna of Exploring Ballet with Suzanne Farrell. de Mozart, the Contrapuntal Blues pas de deux Rhoden. Full-length productions include Swan Lake, Mozartiana, Symphony in C, Song of the Earth, Gibson joined The Suzanne Farrell Ballet in 2011. from Clarinade, Ragtime, and Haieff Divertimento. Romeo and Juliet, La Sylphide, and Don Quixote. Elite Syncopations, In the Night, and Chroma. Holowchuk created a line of merchandise for The Hartley joined The Suzanne Farrell Ballet in 2013 This is Van Sickle’s first season with The Suzanne AUDRA JOHNSON Suzanne Farrell Ballet, which can be found in the and has performed leading roles in George Farrell Ballet. Corps de Ballet Kennedy Center gift shop. Holowchuk has been a Balanchine’s Pas de Dix, Tempo di Valse, Episodes, Audra Johnson began her member of The Suzanne Farrell Ballet since 2001. Agon, and Paul Mejia’s Romeo and Juliet. MIRIAM ERNEST training under the direction Corps de Ballet of Christine Taylor and Luba VIOLETA ANGELOVA KIRK HENNING Miriam Ernest began her ballet Guylaeva, and continued her Soloist Soloist studies at the Southern New studies at The Ballet Violeta Angelova was born in Kirk Henning grew up in Hampshire Dance Theater School, The , Sofia, Bulgaria. She began her Momence, Illinois. At the age and continued training at the and Center for dance studies with her mother of seventeen, he began his School of the Grand Rapids Dance Education. She has danced with American and later graduated with a ballet training in the west Ballet Company. Ernest Repertory Ballet and The Washington Ballet. She master’s degree from the suburbs of Chicago at Faubourg danced for two years as a has been featured in Twyla Tharp’s Eight Jelly Rolls, National School of Dance Art School of Ballet. Henning joined Professional Division student at Pacific Northwest Octect, and Nine Sinatra Songs and in new works and the Vienna State Opera in Ohio then Ballet School, where she performed corps de ballet by Kirk Peterson, Susan Shields, Graham Lustig, Ballet School in Austria. She was invited to represent moved to Richmond, Virginia where hejoined roles with the company in Kent Stowell’s Cinderella Laurie Stallings, and Melissa Barak. Her Balanchine Bulgaria at the Royal Festival of Arts in Jordan and Richmond Ballet. He currently performs with and The Nutcracker, Jerome Robbins’s Glass Pieces, repertoire includes Tempo di la Valse, Episodes, a number of other international ballet events. Jessica Lang Dance and as a freelance artist. During ’s Giselle, George Balanchine’s A Mid- Serenade, Concerto Barocco, and Divertimento from Angelova has performed with The Vienna State his career he has enjoyed performing a variety of summer Night’s Dream, and Ronald Hynd’s The Le Baiser de la Fee. Johnson joined The Suzanne Opera Ballet, Ballet Internationale, The New Jersey works both contemporary and classical includ- Sleeping Beauty. She has performed with Texture Farrell Ballet in 2011. Ballet, and The National Ballet of Bulgaria. She has ing the lead roles in Giselle, Sleeping Beauty, A in Pittsburgh, Grand Rapids performed in Marius Petipa’s The Sleeping Beauty, Midsummer Night’s Dream, Peter Pan, and Hamlet. Ballet Company, Ballet NY and New Chamber Ballet Don Quixote and La Bayadère, among others; as well In 2006, Henning became a member of The Suzanne in New York City, and in Casse-Noissette with Les as ballets by William Forsythe, Mikhail Fokine, Ali Farrell Ballet and has performed in Slaughter on Grands Ballets Canadiens in Montreal. Ernest Pourfarokh, and Robert North. After joining The Tenth Avenue, Romeo and Juliet, Mozartiana, and joined The Suzanne Farrell Ballet in 2012. Suzanne Farrell Ballet in 2006, Angelova has Apollo. Henning received the Josie Award (2003) performed lead roles in George Balanchine’s for most outstanding performer in the Dayton area Concerto Barocco, Agon, Valse Fantasie, Sonatine, and as a member of The Suzanne Farrell Ballet, La Sonnambula, Apollo, , and Divertimento Henning was awarded a 2007 Movado Future No. 15. Legends Award. *Exploring Ballet with Suzanne Farrell Alumni *Exploring Ballet with Suzanne Farrell Alumni 18 19 THE COMPANY

GISELLE MARIE MACDONALD* JENNA NELSON was invited to attend the Harid Conservatory in The Sleeping Beauty, ’s Don Quixote, Corps de Ballet Corps de Ballet Boca Raton, Florida on a full-tuition scholarship, and Harold Lander’s Études. Riffee originated roles Giselle Marie MacDonald Jenna Nelson is from Seattle, where she studied with Svetlana Osiyeva, Victoria in Jorma Elo’s One Concerto and Yury Yanowsky’s started her ballet training at Washington and began ballet Schneider, and Olivier Pardina. Upon graduating The Eighth Layer. Riffee joined The Suzanne Farrell BalletNova Center for Dance at the age of 12 in Maple in 2009, Reed received additional training and Ballet in 2012. Her repertoire includes Balanchine’s under artistic director Nancie Valley. Nelson trained on full performing experience at and Episodes, Jewels, , Divertimento Woods and spent summers scholarship with The School Richmond Ballet. She is currently a part-time faculty No. 15, Slaughter on Tenth Avenue, Valse Fantaisie, training on full merit scholar- of American Ballet, American member for the Boston Ballet School. Reed joined , Coppélia, and Symphony in Three ship with American Ballet Ballet Theatre, and Pacific The Suzanne Farrell Ballet in 2012. Movements. She also danced principal roles in Theatre, Houston Ballet, and Richmond Ballet. Northwest Ballet, where she was accepted into Balanchine’s a la Russe and August Macdonald is also a trainee with the Washington the professional dance division, then hired as an JORDYN RICHTER* Bournonville’s Konservatoriet. Ballet, where she has performed in the Washington apprentice in 2010 and promoted to corps de ballet Corps de Ballet Ballet’s productions of Giselle, The Nutcracker, and in 2011. In 2013, Nelson joined Oregon Ballet Theatre. Jordyn Richter was born in AMY SAUNDER Peter Pan. She is an alumna of Exploring Ballet She has performed principal roles in Balanchine’s Chandler, Arizona, but raised Corps de Ballet with Suzanne Farrell and The Kennedy Center Chaconne, Nacho Duato’s Por Vos Muero, and Maggie in Spokane, Washington Amy Saunder was born in Ballet Master Class Series. This is Macdonald’s first Mullen’s Lost in Light. She has also performed feature where she trained at the Harare, Zimbabwe and moved season with The Suzanne Farrell Ballet. roles in Jean-Christophe Mallots’s Romeo et Juliette, Academy of Dance under the to the United States when she Nicolo Fonte’s Bolero, Kiyon Gaines’s Sum Stravinsky, direction of Kristen Potts. She was 11 years old. She graduated JANE MORGAN and Kent Stowell’s Swan Lake. She also choreo- has attended various summer from the University of North Corps de Ballet graphed a new work for Oregon Ballet Theater programs including Exploring Ballet with Suzanne Carolina School of the Arts Jane Morgan is from Annapolis, entitled Particle, which premiered in May. This is Farrell, American Ballet Theatre in New York City, high school program under Maryland. She began her Nelson's first season with The Suzanne Farrell Ballet. and Pacific Northwest Ballet in Seattle. Richter the tutelage of Ethan Stiefel and has attended training at Ballet Theatre of danced professionally with BalletMet in Columbus, various summer programs on scholarship including Maryland. She has also studied ELIZABETH OUSLEY Ohio, and has been a guest artist with academies Pacific Northwest Ballet, Chautauqua Institute, at the Kirov Academy of Ballet, Corps de Ballet and companies including Ballet Spokane, Ballet and the Harid Conservatory. She was a trainee with American Ballet Theatre, and Elizabeth Ousley was born in Fantastique, and Backer Ballet. Richter joined The Richmond Ballet for two years and has been an Pacific Northwest Ballet. Philadelphia, PA and moved Suzanne Farrell Ballet in 2007 and has performed apprentice with Terpsicorps Theatre of Dance Morgan was selected three times for the Kennedy to Carlisle to train at Central many Balanchine roles including Five Pieces from for the past two summers. Saunder joined The Center’s Ballet Master Class Series in which she Pennsylvania Youth Ballet. In Episodes, the Purple from Danses Suzanne Farrell Ballet in 2012. studied under directors from several internationally 2009, she joined Concertantes, and the second and fourth movements acclaimed companies. Morgan joined The Suzanne as a trainee and was promoted of Brahms Schoenberg Quartet, to name a few. TOWA SHINAGAWA Farrell Ballet in 2010. to the corps de ballet the Corps de Ballet following season. Her repertoire includes featured MELANIE RIFFEE* Towa Shinagawa started her AMBER NEFF roles in Robert Weiss’s Four Seasons and The Corps de Ballet training with Masako Tamura Corps de Ballet Nutcracker; George Balanchine’s Raymonda, Who Melanie Riffee had her early Ballet in Japan. In 2006, she Amber Neff began her training Cares?, Valse Fantaisie, and A Midsummer Night’s ballet instruction with Oleg moved to the United States to in New York at The Dance Dream; and Lynne Taylor-Corbett’s Carolina Jamboree, Tupine and Tania Rousseau train with Pacific Northwest Design School, where she The Little Mermaid, and Dracula. This is Ousley’s first in Virginia, and went on to Ballet under the direction completed all of the Royal season with The Suzanne Farrell Ballet. train on scholarship at The of Peter Boal and had the Academy of Dance vocational Washington School of Ballet, opportunity to perform in Cinderella, Coppélia, and examinations. She went on to MELISSA REED Maryland Youth Ballet, and Kent Stowell’s The Nutcracker with the company. train at the Harid Conservatory Corps de Ballet Boston Ballet School. She is an alumna of Exploring She also apprenticed with Ballet Austin. This is on full scholarship and later graduated from the Melissa Reed is originally from Ballet with Suzanne Farrell. Riffee also participated Shinagawa’s first season with The Suzanne Farrell Jacqueline Kennedy Onassis School at American Amherst, New Hampshire in a scholarship exchange program with Canada’s Ballet. Ballet Theatre. Neff has danced with Boston Ballet where she began her early National Ballet School and studied with American and Richmond Ballet. She also performs with New training at Bedford Dance Ballet Theatre. In 2008, Riffee joined Boston Ballet Chamber Ballet and Intermezzo Dance Company. Center and continued at as a trainee and became a member of Boston Ballet II Neff joined The Suzanne Farrell Ballet in 2012. Southern New Hampshire in May 2010. She danced multiple roles in Mikko Youth Ballet. In 2007, she Nissinen’s The Nutcracker, Konstantin Sergeyev’s *Exploring Ballet with Suzanne Farrell Alumni *Exploring Ballet with Suzanne Farrell Alumni 2018 21 THE COMPANY

CLAIRE STALLMAN Gerald Arpino’s Birthday Variations and The Ketten- TED SEYMOUR* LAUREN GARSIDE Corps de Ballet brucke Waltz in Kettentanz, in addition to classical Corps de Ballet Apprentice Claire Stallman began dancing stagings of Cinderella, Don Quixote, Paquita, Romeo Ted Seymour was born in Lauren Garside grew up in at age four in her hometown and Juliet, Sleeping Beauty, and The Nutcracker. Dallas, Texas where he trained Pittsburgh, Pennsylvania, of Saratoga, California. She Campbell joined The Suzanne Farrell Ballet in 2013. at the Dallas Metropolitan where she studied with the studied ballet with Karen His Balanchine repertoire includes Elegy in Serenade Ballet with Dan Duell as a Pittsburgh Ballet Theatre Millar before joining the San and Sanguinic in The Four Temperaments as well as member of the Ballet Chicago School for 11 years and danced Francisco Ballet School under Episodes I and Pas de Dix. Studio Company. Seymour with the Richmond Ballet. the direction of Gloria Govrin. later attended the School of She performed George During the summers, she also trained at The School TAUREAN GREEN American Ballet where he choreographed two ballets Balanchine’s Valse Fantaisie in London, England of American Ballet and American Ballet Theatre. Corps de Ballet for the school and was invited by Peter Martins to as well as roles such as the Snow Queen in Stoner Over the last eight years, Stallman has danced with Taurean Green was born in create a new ballet for the New York Choreographic Winslett’s The Nutcracker and the Summer Fairy in Boston Ballet, Pacific Northwest Ballet, and Atlanta Portland, Maine, and has Institute. Seymour danced with Cedar Lake Malcolm Burn’s Cinderella. She has also performed Ballet. She has been featured in Jerome Robbins’ danced with Dance Theatre Contemporary Dance Company, and later with The new works by various choreographers such as Afternoon of a Faun, George Balanchine’s Serenade of Harlem, Pacific Northwest Suzanne Farrell Ballet where he has danced featured Ma Cong, Val Caniparolli, , and Jessica and Western Symphony, and Christopher Wheeldon’s Ballet, City Ballet of San Diego, roles in Balanchine’s Episodes, La Valse, and the Act II Lang. Additionally; Garside danced with the Texture Rush. This is Stallman’s first season with The Suzanne and Company C Contemporary pas de deux from A Midsummer Night’s Dream Contemporary Ballet in Pittsburgh, Pennsylvania Farrell Ballet. Ballet. Green has danced and Clarinade among others. He is also an alumnus in 2012. This is Garside’s second season with The featured roles in ’s A Song for Dead of Exploring Ballet with Suzanne Farrell. Seymour Suzanne Farrell Ballet. EMANUEL ABRUZZO Warriors, St. Louis Woman, Don Quixote, Apollo, joined The Suzanne Farrell Ballet in 2007. Corps de Ballet A Midsummer Night’s Dream, The Four Seasons, BETHANY LOWRIE* Emanuel Abruzzo, born and La Bayadère, as well as Jerome Robbins’s Fancy MARIAM DARCHIA Apprentice and raised in Argentina, has Free, among others. This is Green’s first season Apprentice Bethany Lowrie began her worked with Julio Bocca’s Ballet with The Suzanne Farrell Ballet. Mariam Darchia is a native of training at Ballet Lubbock Sub 16, Les Ballets Grandiva, Tbilisi, Georgia and has trained under the instruction of Yvonne Baardar Danseteater, La IAN GROSH at the Tbilisi State Ballet Racz-Key. She continued Rayuela, WALKERDANCE, Corps de Ballet School and the studying on merit scholarship and Les Ballets Trockadero Ian Grosh is originally from Academy. Under the direction at summer intensives including de Monte Carlo. Abruzzo has been on faculty at Greencastle, Pennsylvania. of Nina Ananiashvili, Darchia Exploring Ballet with Suzanne Jacob’s Pillow Dance Festival and Steps on Broadway. As a recipient of the Peter performed with the Georgian Farrell, the School of American Ballet, Pacific Recently, Abruzzo was in the off-broadway show Schetter Scholarship, he State Ballet Company in Don Quixote, Giselle, From Northwest Ballet, and The Rock School. Lowrie HEAT WAVE: The Jack Cole Project and part of the received his formal training Siberia to , and The Nutcracker. After gradu- joined Pittsburgh Ballet Theatre’s graduate short entitled Stairway to Heaven by the Lombard at the Milwaukee Ballet ation, she studied at The University of Performing program on merit scholarship in 2012. She performed Twins. Abruzzo joined The Suzanne Farrell Ballet School, and continued his Arts in , where she danced with the corps de ballet roles in their company productions in 2012. training with The Joffrey Ballet and Boston Ballet Bayerisches Staatsballet 2. In 2013, she was awarded including Don Quixote, Swan Lake, and Terrence School. Grosh has danced with Boston Ballet, a silver medal at the Tanzolymp International Orr’s The Nutcracker as a Snowflake and Flower. JESSE CAMPBELL Milwaukee Ballet, and North Carolina Dance Ballet Competition. Darchia was a New York City Lowrie performed with The Suzanne Farrell Corps de Ballet Theatre. With The Suzanne Farrell Ballet, Grosh finalist in 2013 at the Youth America Grand Prix Ballet as a trainee in Balanchine’s Episodes and Jesse Campbell received his has danced featured roles in Agon, Mozartiana, where she received a full scholarship of traineeship Tempo di Valse, and Paul Mejia’s Romeo and Juliet. dance training on scholarship Danses Concertantes, and Episodes, among others. with The Washington Ballet. This is Darchia’s first This is Lowrie’s second season with The Suzanne both at the University of His repertoire also includes works by Twyla Tharp, season with The Suzanne Farrell Ballet. Farrell Ballet. Arizona’s School of Dance and Nacho Duato, Alvin Ailey, and Paul Taylor. Grosh The Joffrey Ballet School. He joined The Suzanne Farrell Ballet in 2006. graduated Magna Cum Laude with a BA in Communication from the University of New Mexico and a BFA from the University of Arizona. Campbell has been a company member with Rochester City Ballet, Ballet Montana, and Dayton Ballet. He has performed *Exploring Ballet with Suzanne Farrell Alumni 22 23 THE COMPANY AND STAFF McKNIGHT ARTIST FELLOWSHIPS For Dancers and Choreographers

HALEY NEISSER THE SUZANNE FARRELL BALLET STAFF McKNIGHT Fellowship News Apprentice Haley Neisser began her dance Suzanne Farrell, Artistic Director training at the Los Angeles Kristen Gallagher, Ballet Mistress Ballet Academy. She later Bonnie Pickard Schofield, Rehearsal Assistant graduated from the Virginia Holly Hynes, Costume Consultant and Designer School of the Arts and spent Currie Leggoe, Wardrobe Supervisor two years as a trainee with The Jeff Bruckerhoff, Lighting Director & Designer Joffrey Ballet in Chicago. She J. Russell Sandifer, Lighting Designer performed in The Nutcracker, Cinderella, and Coppelia, Kyle Grant, Lighting Supervisor under the direction of Alexei Kremnev and Anna Amy Brandt, Shoe Coordinator Reznik. Neisser has also performed in original works by Ma Cong, Ray Mercer, Carlos dos Santos, and Nathan Fifield, Conductor Christopher Huggins. This is Neisser’s first season Glenn Sales, Pianist with The Suzanne Farrell Ballet. Carolyn Mason, Music Librarian McKnight Dance Fellows: L to R: Sally Rousse, Max Wirsing, McKnight Choreography Fellows: L to R: Penelope Freeh, Joanie Kenna-Camara Cottman. Photo © Camille Lizama. Smith, Wynn Fricke. Photo © Camille Lizama. Linda Kipps, Class Accompanist JORDAN ARTHUR NELSON McKnight Fellows Reception Apprentice Meg Booth, Director The McKnight Foundation funds artist fellowships in 10 program areas, including dance and choreography. Jordan Arthur Nelson began Allegra Markson, Manager Recently The McKnight Foundation hosted a celebratory reception at their art-filled offices, honoring the dancing at the age of 18 at The Jane Rabinovitz, Coordinator 2014 McKnight Artist Fellows in all disciplines. School of . Ashley David, Assistant Over the past seven years, Amanda Hunter, Senior Press Representative he has been offered scholar- Mickey Berra, Vice President of Production ships to Boston Ballet, Ballet Deirdre Lavrakas, Senior Manager of Production Chicago, the Dance Institute, Owen Burke, Production Manager and Bosov Ballet. In 2012, he performed with The Kathleen Warr, Principal Stage Manager Suzanne Farrell Ballet as a trainee in Slaughter on Teresa Wood, Assistant Stage Manager Tenth Avenue before joining the corps at Columbia City Ballet. This is Nelson’s first season with The Suzanne Farrell Ballet as an apprentice. Find The Suzanne Farrell Ballet online: suzannefarrellballet.org NICHOLAS ANTONIO Facebook: TheSuzanneFarrellBallet PEREGRINO Twitter: @FarrellBallet Apprentice Booking and General Information: Liz Engelman (TLC owner), Penelope Freeh (choreo 2014), Kenna-Camara Cottman (dance 2014) with TLC owner Liz Nicholas Antonio Peregrino, Natalie Wilson (McKnight Program Assistant), Wynn Fricke Engelman. Photo © Nicole Stumpf. originally from Coos Bay, Allegra Markson, 202.416.8044, (choreo 2014), Mary Ellen Childs (McKnight Program Director), Oregon, started dancing at [email protected] Sally Rousse (dance 2014), and Kenna-Camara Cottman (dance the Pacific School of Dance 2014). Photo © Nicole Stumpf. and then the Oregon Ballet Contribution and Sponsorships: Academy under the direction Katherine Van Wyk, 202.416.8073, Retreat at Tofte Lake Center of John Grensback. He received a full scholarship [email protected] The McKnight Fellows Retreat is a 4-day retreat for McKnight Dance and Choreography Fellows at Tofte to train at The Rock School for Dance Education Lake Center (TLC) near Ely, MN. Fellows are given the opportunity to reflect on career goals, plan for in Philadelphia, Pennsylvania. He has performed Press Inquiries: their fellowship year, and take time to rejuvenate in Minnesota’s natural wilderness. TLC is a creative retreat as a guest artist with several companies including Amanda Hunter, 202.416.8441, center for artists located on the shores of a beautifully secluded lake in the Boundary Waters Canoe Area Roxy Ballet, Peoria Ballet, Charleston Ballet, [email protected] Wilderness of Minnesota. Philadelphia Ballet Theatre, Houston Bay Area Ballet Theatre, and the Basingstoke Academy of Dance in the U.K. Currently, Peregrino also dances The McKnight Artist Fellowships for Dancers and Choreographers with BalletFleming in Philadelphia, PA. This is and the McKnight International Artist programs are funded by The McKnight Foundation and administered by Northrop. Peregrino’s first season with The Suzanne Farrell Ballet. 24 25 Stay Sharp

UNIVERSITY OF MINNESOTA NEW! ALUMNI ASSOCIATION ALUMNI WEBINAR SERIES CAREER – LIFE – LEARNING Free conversations with experts Live or on-demand UNIVERSITY DANCE THEATRE PRESENTS Don’t disappoint the Dowager Countess!

January 9 Your New Year’s Playbook: Dream Big, Set Goals DANCE February 12 The Job Search Inside Scoop: Tips From Recruiters REVOLUTIONS Downton Abbey Holiday Festival DIRECTED BY TONI PIERCE–SANDS March 6 Guiding Parents in the Age of Overindulgence Saturday, December 13th – Northrop FEATURING CHOREOGRAPHY BY Gregory Dolbashian, Justin Jones, Maurya Kerr, and Scott Rink March 12 Navigating the Mid-Career Years: How to Grow and Advance in Your Job See the first episode of the new season before it airs! April 10 Pet Wellness: Components of a Comprehensive Lifetime Care Plan DECEMBER 4–6 AT 7:30 PM featuring DECEMBER 7 AT 2:00 PM Costume Contest with celebrity emcee Don Shelby, Marketplace, photos in front of the Abbey & more! April 30 It’s Not Just Luck: Increasing Your Odds for Early Career Success RARIG CENTER tpt.org/downtonabbey or call 888-229-1500

TICKETS: $6 – $16 DANCE.UMN.EDU | 612–624–2345 SEASON 5 PREMIERES Tune in to our free webinars at January 4, 2015

MinnesotaAlumni.org/AlumniWebinarSeries Presented by:

Photo: Brandon Stengel

26 27 America’s Got Talent GUEST SERVICES NORTHROP STAFF 2012 Finalists! Ground Level East & West Coat Check Norsyazana Ab Jalil, Student Production Assistant Guest Services Provide: Tom Archibald, Event Manager »Listening devices »Coat check Nate Bahr, Special Projects Assistant Henry Bielenberg, Student Production Assistant »Large print programs »Lost and found services Kali Bruhnke, Ticket Office Assistant »Taxi calling service (If calling your own taxi, our address Justin Burke, Technical Director is 84 Church St SE, Minneapolis, MN 55455) Jack Caughey, Student Production Assistant Dec 17 – 18 Krissy Chepp, Senior Ticket Office Assistant 33.50 - $43.50 Surdyk’s Café Mary Ellen Childs, Program Director, McKnight Artist Fellowships Surdyk’s Café is on the first floor, west side of Northrop. for Choreographers and Dancers Hours: 7:30 am–7:00 pm, Monday–Friday and 10:00 am– Robb Clasen, House Manager Haley Cramer, External Relations Assistant 3:00 pm Saturday. Surdyk’s concessions (including wine Brooke Dillon, Communications Manager and beer) are located on the east and west sides of each Sally Dischinger, Operations Director level before and during performances happening on the Laura Durenberger-Grunow, Systems Configuration Assistant Carlson Family Stage. Welles Emerson, Annual Giving Officer Melanie Featherstone, Student Production Assistant Restrooms Dan Forke, Graphic Design Intern Restrooms are located on every level and side of the Ola Gbadebo, Ticket Office Assistant Alec George, Ticket Office Assistant building, including family restrooms (except on the Matt Greenfield, Assistant to Principal Specialist fourth floor, where there is a women’s restroom on the Ken Hahn, Systems Configuration Assistant east side, and a men’s restroom on the west side only). Leah Hart-Cadd, Grants & Sponsorships Specialist Cari Hatcher, Marketing & Publicity Director General Ticket Information Rahfat Hussain, Financial Analyst thecowlescenter.org | 612.206.3600 For any ticketing questions, visit U of M Tickets and Alex Johnson, Senior Ticket Office Assistant Events on the ground floor of west and east sides of the Brad Kern, Stage Manager & Audio Video Supervisor Grace Lansing, Student Supervisor building or visit northrop.umn.edu for the most current Candy Lord, Principal Specialist 528 Hennepin Avenue listing of events. Joe Lunaburg, Ticket Office Assistant Minneapolis, MN 55403 Molly Mattson, Ticket Office Assistant Replacing Lost Tickets Sammy Matuke, Senior Ticket Office Assistant For your convenience, U of M Tickets & Events keeps Mac Mischke, Ticket Office Assistant record of your purchase, should you lose or forget Mallory Mitchell, External Relations Assistant your tickets. Maxwell Nelson, Student Production Assistant Allana Olson, Stage Manager & Lighting Supervisor Alexander Pham, Marketing & Publicity Intern Accommodating Special Needs Bryanne Presley, Senior Ticket Office Assistant Northrop has accessible seating; please ask an usher Holly Radis-McCluskey, Director, U of M Tickets & Events for assistance. Elevators are located on both the east Michael Reedy, Student Production Assistant and west sides of the building. Accessibility services, Claire Richie, Ticket Office Assistant including parking information, are available upon request. Daniel Ringold, Graphic Designer Alexis Roy, Ticket Office Assistant If a guest wishes to transfer from their wheelchair to Eve Roycraft, Business Analyst David Russell, Audience Services Manager fixed seats, the wheelchair will be taken to the outer Megan Sangster, Event Coordinator lobby to comply with local fire code regulations. At Robin Sauerwein, Business Manager/Accountant the end of the performance an usher will return the Rob Schmidt, Stage Manager wheelchair to the guest. Adam Schrankler, Student Production Assistant Alex Smith, Ticket Office Assistant Cameras and Cell Phones Julie Strothman, Event Manager Use of cameras and recording equipment are not Emma Strub, Student Engagement Intern permitted in the theater. Please be considerate and Nicole Stumpf, Marketing & Publicity Intern Have a Glass, On Us Megan Sykora, Ticket Office Assistant turn off your cell phones or other electronic devices Allyson Taubenheim, Student Engagement Coordinator during the performance. Abby Taylor, Student Engagement Intern Make your post-Theater debut at The Beacon, and enjoy a complimentary glass of wine Becky Taylor, Ticket Office Assistant Motorist Assistance Sarah Thompson, External Relations Director with purchase of any lunch or dinner farm-to-fork entrée. University of Minnesota provides free jump starts, Jake Torkelson, Student Production Assistant vehicle unlocking, and flat tire changes to vehicles in Christine Tschida, Director of Northrop Natalie Wilson, Program Associate University parking facilities Mon–Fri, 7:00 am–10:00 pm. Miranda Woehrle, Creative Director Call 612-626-PARK (7275) for assistance. Dan Wozney, Data Manager Melissa Wray, Assistant to the Director Campus Security Escort Reservations recommended and Private Dining available Chen (Ian) Ye, Assistant to Principal Specialist Trained security monitors are available 24/7 to walk Call 612.362.6666 for reservations or visit www.beaconpublichouse.com or bike with anyone on campus. This free service is provided by the University of Minnesota Police Department. Please call 612-624-WALK (9255) or ask an usher to contact them for you. commonshotel.com | 800.822.6757 Questions? 615 Washington Avenue S.E., Minneapolis, MN 55414 If you have any questions or concerns, please ask an usher or anyone with a Northrop name tag.

28 29 THANK YOU FRIENDS OF NORTHROP Northrop would like to thank its Institutional Supporters. We would like to thank the following individuals whose generous support makes Northrop’s transformative cultural experiences possible. Make your mark on Northrop’s future by becoming a Friend today! $100,000+ Learn more about giving opportunities at northrop.umn.edu/support-northrop

THE McKNIGHT FOUNDATION DIRECTORS CIRCLE Leni and David Moore Michael Symeonides and Mary Vicki Lansky and Stephen 50,000+ Capt. Buddy Scroggins and Pierce Schaefer Allen and Kathleen Lenzmeier Kelly Schroeder Murray Thomas and Stephen William Larson Cherie Shoquist Davis Linda Leamer Susan Tracy Delores and Sheldon Levin + 10,000+ Jacques and Lydie Stassart $50,000 Helen and Benjamin Liu Barbara Stoll Victoria Veach James and Sharon Lewis Antone and Genevieve Ruth Usem Rick Vogt Perrin Lilly Melton-Meaux Donald Williams and Pamela John Wald and Marianne Bill Lough and Barbara Pinaire Remedios Sally and Kenneth Spence Neuenfeldt Cal Lueneburg Audrey White Tony and Sally Manzara Margaret and Angus Wurtele Judy R. Matysik 5,000+ Sue and Alan Zelickson M.D. The Akins Family 100+ Kathy McGill In Memory of Dr. William Anonymous (8) James and Mary Ann McKenna 500+ Margaret Albrecht Toni McNaron G. Akins R. and J. Cameron + Dr. Jo-Ida Hansen Tom and Jill Barland Andrew and Francie O’Brien $25,000 Rob Carlson and Gregg Larson Janet Bartels and Phillip Bohl Maureen Pearo Randy Hartten and Ron Lotz Lynn Hamer Paul and Sarah Karon Rebecca Biderman and David William and Eleanore Pederson Gail Kochie Fraher Karyn Pierce Voigt & Mary Jean Lenmark Jerome Ingber and Judith Byrne In Memory of Voigt and Sharon and Albert Bigot Marcos and Barbara Pinto Palmer Jerome and Patricia Boge Chas. Porter Catherine Lenmark Frank Mayers Robert Lunieski G. Bolt Holly Radis-McClusky Thomas Murtha Joan Bren and Steven Nelson Jon Schasker Dale Schatzlein and Emily Regan Byrne Palmer and Maltz Fund Suzanne Burns Ralph Schnorr Timothy Palmer Darlene and Richard Carroll Cindy Sessions Regent Patricia Simmons and Possibilitree Dr. Lester Wold The CDF Foundation Darlene Sholtis and Heino $10,000+ Dr. David and Kathy John Christiansen Beckmann Rothenberger 2,500+ Jeanne and David Cornish Joan T. Smith Gordon Rouse and Beach David and Desiree Abele Jeff and Barb Couture Cecily Sommers Robert Bruininks and Susan Ginny and Will Craig Lucy and Dave Sontag 250+ Susan Crawford Jane Starr Hagstrom Anonymous (1) Annette and Brian Call Liz Danielson Cheryl Stearns Mary Ellen and Peter Alden Jo DeBruycker Stasia Steinhagen Richard Gregory Pauline M. Altermatt Gail and Stuart Hanson In Memory of Meghan Penny P. Truax Jeanne Andre and Dennis DeBruycker Katharine Tyler Glenn Lindsey Schapiro Jennifer Marrone and David Thomas Devine Nancy Vanderheider Janice Apple Jean Ann Durades Dr. Cheryl Wall and Ellen Short Kathryn Cahill and Ferne Thomas and Conchy Morgan William Durfee and Devorah Westenburg Rowland Goldstein Cathy Westrum and Annelynn In Memory of Sylvia and J. P. Collins Henry Frisch Steven Eckles Westrum Dale and Rosemary Dahl Maria Luisa Eiffler Cody Ward Wolkowitz Stephen Davis and Murray $5,000+ FRIENDS CIRCLE Heather Faulkner Millie Woodbury Thomas John Fitzgerald 1,000+ Sally Dischinger Majel Fletty Current as of 11/14/14 Linda Andrews David Gerdes Elli and Anoush Ansari From a 35 Year Subscriber To correct the listing of your name Luella and Stanley Goldberg Melitta George above, please contact Mallory Mitchell at Jerry L. Artz Maureen Haworth Richard Gwynne [email protected] or 612-625-0887. Karen Bachman and Robert Karen Berry Johnson Joan and John Haldeman Fisch Lance and Jan Johnson Lindsy Halleckson Ruth and Dale Bachman Alan and Peggy Lathrop Cathy and Sue Hart Thomas and Barbara Brown Sanford Lipsky Eugene and Joyce Haselmann Colleen Carey Candy Lord Blair W Hawkins, Jr. Nicky B. Carpenter Holly MacDonald Annemarie Herrlich Jay and Page Cowles Thomas Marthaler Worth L. Hudspeth Ellie Crosby CP McKegney and RF Seurer Kimberly Hutchens Fran Davis Mark and Cece Morrow Ramona Jacobs The Douglas and Wendy Mason and Gwen Myers Phil Johnson and Don Dayton Foundation Jenny Nilsson Donahugh Susan H. DeNuccio Bill Palmquist Karen Kaehler Elizabeth M. Parker Bill and Kathy Fox Michael Kanner Ann L. Piotrowski IN-KIND Katherine and Robert Goodale Thomas Keller III Karen Scholl Dwayne King Theresa Harris and Jim Kathryn J. Sedo Rowader Darlene Kirch Jacky & Jim Sherohman Michael Kirchman Emily Knox and Brian Lammers Marilyn and Dale Simmons Chirs Kraft Sally and Richard Leider Jeff Stout and Ron Overlid Barbara Land Jennifer Martin 30 31 2014 // 15 SEASON

DANCE THEATRE OF HARLEM Tue, Feb 17, 7:30 pm

Celebrate Black History Month with this beautifully diverse classical ballet company, founded by , the first African American principal dancer in the New York City Ballet.

THE NILE PROJECT Tue, Feb 24 Music from the heart of the Nile

CCN CRÉTEIL ET VAL-DE-MARNE / COMPAGNIE KÄFIG Tue, Mar 10 Hip-hop, capoeira, acrobatics, and bossa nova

MARTHA GRAHAM DANCE COMPANY Fri, Apr 10 & Sat, Apr 11 Two different programs, one with U of M dancers

EIFMAN BALLET Tue, Apr 28 & Wed, Apr 29 Rodin, a full length ballet about the terrible price of genius

PERFORMANCE PREVIEWS: LEARN MORE ABOUT THE ARTISTS Gain insight into our dance season performances with in-depth performance previews with members of the company. All Performance Previews begin one hour and fifteen minutes before the performance start time, in the 4th floor Best Buy Theater. All are welcome!

Dance Theatre of Harlem in Far But Close. Photo © Rachel Neville.