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Annual Report 2019|2020 3 ARTISTIC STAFF

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Annual Report 2019|2020 3 ARTISTIC STAFF ANNUALREPORT 20192020 Cover: Rodrigo Hermesmeyer and the artists of Tulsa Ballet in Creations. Photo by Kate Luber. A NOTE FROM THE ARTISTIC DIRECTOR At this time last year, By now we were finally poised for the event we were on the heels of the year: the U.S. premiere of Annabelle of an extraordinary Lopez Ochoa’s Vendetta, a Mafia Story. Yet season, one that history had a different plan. The rehearsal saw our second process for this masterpiece was both exciting multi-national and unnerving: it was exciting because European tour, the Annabelle, inspired by the technical bravura World Premiere of of our dancers, re-choreographed a good part Tchaikovsky: The Man of the work. In her words, our version was the Behind the Music, definitive version of the piece, the one every and the first and company after us had to dance going forward. only work Andy The dark cloud of COVID-19, however, grew Blankenbuehler, menacing on the horizon. On March 16 famed we ran the piece from start to finish for the choreographer of Hamilton, has ever created first time. The next day we closed our doors for a ballet company. We were poised for an to all employees because of the developing equally exciting 2019|2020 season. What pandemic. we didn’t know then was that it would be Within a few weeks our staff and dancers were truncated right when it was supposed to furloughed, with just a handful of individuals reach its climax. staying on to make sure we stayed afloat and Creations in Studio K comprised two creations, somewhat on course. Within weeks, Zoom one by Resident Choreographer Ma Cong and became part of our vocabulary and was the other by rising superstar Garrett Smith. transformed from a noun to a verb. With A third work served as a trip down memory the constant support and patient guidance lane, one that brought us back more than of the Chair of our Board of Directors, Susie 20 years: Prawn-watching by Val Caniparoli. Wellendorf, we tossed ideas, shared concerns, Giselle, meanwhile, was meant to serve and shed a few tears. Our goal was crystal as a juxtaposition to Creations in Studio K. clear: to save Tulsa Ballet. Whereas Creations showcased our appetite for I am happy to report we met our initial goals: evolution and physicality, Giselle highlighted MISSION we finished the fiscal year with no deficit and, our commitment to impeccable elegance To serve as an essential by doing so, we poised the organization for a and classical training. Two programs on the asset of our region through rebound. As I write this message, every staff opposite sides of the artistic, stylistic, and member and dancer is back to work, helping exciting internationally- technical spectrum, yet the company shone us navigate the very difficult waters of the acclaimed artistic excellence in both. and exemplary education and next 12 months. After the celebration of another successful outreach. I can’t wait to write the second chapter of season of The Nutcracker, we moved to our this letter next summer. With your help, annual Icons and Idols event, celebrating my by this time next year we will be positioned We commit to: 25th anniversary with the company and my to resume the upward trajectory charted by two worlds of belonging: the United States, • Preserve the tradition of our founders, Moscelyne Larkin and Roman my adoptive home, and Italy, my home classical ballet Jasinski; one that I have embraced, slightly country. Thanks to the creativity and innate • Promote the appreciation recalibrated and hopefully upheld during the artistry of my friend Luciano Cannito, and of contemporary dance last 25 years. the superb organizational skills of Chair • Create works of superior Frauke Petersen, Icons and Idols 2020 ranks and enduring quality among the most fun and exciting Icons • Educate through in the history or the company. For me the exceptional dance training, highlight of the evening was driving a Vespa performances and outreach again, something I hadn’t done since I was a teenager in Italy. Dorothy and the Prince of Oz, the first full- VISION length ballet commissioned by Tulsa Ballet To be an innovative leader, and the organization’s first major co- powerful partner and global production, entertained us again in February. cultural representative of a Oz is one of four major works made possible community in which the by the generosity of my friend and first Marcello Angelini performing arts are valued and President Mollie Williford: Dorothy and the George Kaiser promoted as an indispensable Prince of Oz, Tchaikovsky: The Man Behind The Family Foundation resource. Music, Strictly Gershwin and Romeo and Juliet. Artistic Director The artists of Tulsa Ballet in Giselle. Photo by Kate Luber. 2019|2020 SEASON CREATIONS IN STUDIO K DOROTHY AND September 12-22, 2019 | Studio K Prawn-watching, Choreography: Val Caniparoli THE PRINCE OF OZ Fading Figures, Choreography: Garrett Smith February 13-16, 2020 | Tulsa PAC Escaping the Weight of Darkness, Choreography: Ma Cong Choreography: Edwaard Liang Featuring the Tulsa Symphony Orchestra GISELLE October 31-November 3, 2019 | Tulsa PAC VENDETTA, A MAFIA STORY* Choreography: Jules Perrot and Jean Coralli March 26-29, 2020 Postponed | Tulsa PAC Additional Choreography and Staging: Marcello Angelini Choreography: Annabelle Lopez Ochoa Featuring the Tulsa Symphony Orchestra SIGNATURE SERIES* THE NUTCRACKER May 7-10, 2020 Canceled | Lorton PC December 7-22, 2019 | Tulsa PAC Glass Figures, Choreography: Ma Cong Choreography: Marcello Angelini O Balcão de Amor, Choreography: Itzik Galili Featuring the Tulsa Symphony Orchestra Untitled World Premiere, Choreography: Penny Saunders *Due to the COVID-19 pandemic, Vendetta, A Mafia Story was postponed and Signature Series was canceled. In place of these productions, Tulsa Ballet streamed a series of prerecorded performances from years past. Over 10,000 viewers tuned in to watch these streamed performances. Annual Report 2019|2020 3 ARTISTIC STAFF Marcello Angelini Daniela Buson Susan Frei Alfonso Martín Ma Cong Peter Stafford Artistic Director Assistant Artistic Ballet Mistress & TBII Artistic Manager Resident Wilson Director Artistic Coordinator & Ballet Master Choreographer Principal Conductor MAIN COMPANY Sena Hidaka Na Eun Kim Madalina Stoica Arman Zazyan Jennifer Grace Rodrigo Maine Kawashima Principal | Japan Principal Principal | Romania Principal | Armenia Soloist | USA Hermesmeyer Soloist | Japan South Korea Soloist | Brazil Jonnathan Shuhei Yoshida Jaimi Cullen Daniel van de Laar Regina Chandler Proctor Chong Sun Ramirez Soloist | Japan Demi-Soloist | USA Demi-Soloist Montgomery Demi-Soloist | USA Demi-Soloist | China Soloist | Colombia Netherlands Demi-Soloist | USA Simone Acri William Beckham Sasha Chernjavsky Giulia Neri Aina Oki Nao Ota Jessica Payne Corps de Ballet Corps de Ballet | USA Corps de Ballet | USA Corps de Ballet | Italy Corps de Ballet Corps de Ballet Corps de Ballet | USA Japan Japan Japan Daniel Wagner Gianluca Maria Coelho Michael Paradiso Yuki Toda Corps de Ballet | USA Benedetti Apprentice | Brazil Apprentice | USA Apprentice | Japan Apprentice | Italy TULSA BALLET II Daniele Sumika Jun Masuda Junnosuke Ritsuko Simone Guido Rheya Mattia Haley Mae Sabrina Yap Arrivabene Fujiwara Nakamura Ogino Pompignoli Sarnataro Shano Teora Wilson 4 Tulsa Ballet COMMUNITY CENTER FOR DANCE EDUCATION During the 2019|2020 Season, Tulsa Ballet CDE students performed on stage in company productions of The Nutcracker and Dorothy and the Prince of Oz. CDE students also interacted with main company dancers through class observations, special demonstrations, and masterclasses. In the wake of the COVID-19 Pandemic, CDE stopped in- person classes and offered the remainder of its 2020 spring semester classes via Zoom. Tulsa Ballet Center for Dance Education awarded $40,189.50 in the form of 26 scholarships to area youth. PARTNERS IN ART AND HOPE FOR THE HOLIDAYS Partners in Art, as well as its holiday counterpart Hope for the Holidays, provides free Tulsa Ballet tickets to under-served community groups, including low-income schools, social service agencies, domestic violence shelters, at-risk youth organizations, and transitional housing organizations. During the 2019|2020 Season, community members enjoyed performances of Giselle, The Nutcracker, and Dorothy and the Prince of Oz. EDUCATIONAL OUTREACH Tulsa Ballet offers educational outreach programs for area students. Students participated in one of two programs: Leaps Ahead/Leaps in Motion or Peter and the Wolf. Leaps Ahead is an in-studio class designed to introduce elementary school students to the physical conditioning of classical ballet, and Leaps in Motion is its traveling counterpart. Students experience the rich tradition of ballet while learning the importance of movement, exercise, and a healthy lifestyle. Peter and the Wolf is an original ballet by Resident Choreographer Ma Cong. Thanks to the Kennedy Center’s Any Given Child program, every fifth grade student in Tulsa Public Schools experienced this production last year.* Prior to the COVID-19 pandemic, nearly 3,500 students attended Peter and the Wolf. In May, Tulsa Ballet streamed a prerecorded performance of Peter and the Wolf on YouTube. The performance was available to stream for one week, during which it was viewed by more than 4,000 households. *Underwriting support for Peter and the Wolf provided by the Hardesty Family Foundation and the Stinson Family. Annual Report 2019|2020 5 FINANCIALS 25% Special Events $1,548,950 21% Individual Support $1,263,894 17% Ticket Sales $1,029,205 13% Foundation, Government, and Corporate Support $775,675 REVENUE 9% Other Earned Revenue $579,461 7% Center for Dance Education $457,846 5% Building Rentals $283,214 3% In-Kind Support $214,232 Total $6,152,477 46% Artistic $2,805,520 18% Administrative $1,102,362 15% Center for Dance Education $933,563 13% Development/Marketing $823,616 EXPENSES 8% Building $487,268 Total $6,152,329 The information presented here is based on Tulsa Ballet's unaudited revenue and expenses for Fiscal Year 2020.
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