MARCH 30 | 7:30 PM the Kaye Playhouse at Hunter College | New York

MARCH 30 | 7:30 PM The Kaye Playhouse at Hunter College | New York

This program is made possible in part by funds from the New Jersey State Council on the Arts, a Partner Agency of the National Endowment for the Arts. Proud to support the American Repertory Ballet ©2015 Bloomberg L.P. All rights reserved. S619816840 0815©2015 Bloomberg L.P. arballet.org | 11 Julie Diana Hench Douglas Martin Aydmara Cabrera Audrée Estey Executive Director Artistic Director School Director Founder The Company Douglas Martin | Artistic Director Mary Barton | Resident Choreographer/Ballet Master Kirk Peterson | Resident Choreographer

Tanner Bleck Ruben Rascon Daniel Cooke Erikka Reenstierna-Cates Shaye Firer Ryoko Tanaka Annie Johnson Marie Tender Aldeir Monteiro Journy Wilkes-Davis Emily Parker Nanako Yamamoto ARB2 Greta Battistin, Jonathan Montepara, Moeno Oba, Matanya Solomon, Jorge Urbina, Nina Yoshida Apprentices | Kirara Fuse, Zoya Pavlovsky, Hallie Rumsey-Lasersohn, Elisabeth White, Haley Wright

Trainees Sahsha Amaut, Amelia Aroneo, BreAriel Bennett, Kennedy Curtis, Coral Dennison, Madeleine Douglas, Madison Elizabeth, Sydney Faber, Isabela Ferreira, Isabella Fernandes, Paige Finlay, Emma Lissette, Yeonji Heo, Yi-Hsuan Huang, Amanda Hwang, Noe Iwamatsu, Althea Johnson-Staub, Hannah Lipman, Ruixue Monica Lu, Julia Mayer, Grace McCann, Anna McDowell, Lydia Alyse Miller, Ana Beatriz Miranda, Chloe Morales, Martina Panato, Emily Quarantillo, Michelle Quiner, Elizabeth Rainone, Angelica Sofia Salustri, Catherine Sperduto, Iliana Esteli Terrazas, Yu Hsi Wang, Mary Faith Wielgos, Faith Woodyard

arballet.org | 2 A letter from the Artistic Director

American Repertory Ballet is honored to celebrate the life and work of Paul Taylor, a Modern dance giant, with our performances of his great masterpiece Airs. His ingenious and innovative style, movement and musicality influenced generations of dancers and choreographers and he leaves a legacy of more than half a century of work for future generations to explore. I am grateful to Sean Mahoney for his efforts to bring this work to ARB and for his masterful staging and coaching. Mr. Taylor’s work had a profound effect on my early career, and it has long been my dream for the dancers of ARB to have this experience.

Kirk Peterson’s beautifully expressive and dazzling Tears of the Moon to Beethoven's exquisite Moonlight Sonata highlights the sparkling technique, beautiful neo-classical lines and speed of ARB's dancers.

We also celebrate the world premiere of ARB resident choreographer, Mary Barton's newest work Trois Voix. Set to Francis Jean Marcel Poulenc's Trio of Oboe, Bassoon and Piano, Ms. Barton's unique musical brilliance brings the humor and whimsy and haunting beauty of this delightful music to life.

Check out our website, arballet.org for more exciting news about upcoming events at ARB and the Princeton Ballet School.

Come celebrate live performance with ARB and feed your soul with the magic of dance. I’ll see you at the ballet.

Sincerely,

Douglas Martin Artistic Director

Photo By: Leighton Chen

arballet.org | 3 A letter from the Executive Director

Dear Friends,

Welcome to American Repertory Ballet's 2019 Spring Season! We are thrilled to once again be dancing at the Kaye Playhouse at Hunter College, one of our favorite venues that enables us to showcase the nuance, intimacy, and depth of our repertoire programs.

This season marks another exciting year for American Repertory Ballet (ARB) as we broaden our statewide reach, return to New York City, and nurture our roots at hometown theaters. The Company will be performing 30 shows in 8 different venues, including 2 world premieres, and will reach 20,000 audience members - or more - throughout the season!

Our second company, ARB2, has blossomed into a singular troupe of its own, with appearances scheduled for community events and performances at public schools in New Brunswick and Piscataway, New Jersey. At Princeton Ballet School, ARB’s affiliate school, dancers continue to learn from outstanding faculty and benefit from the visionary leadership of new School Director Aydmara Cabrera. Please visit our website, arballet.org, to learn more about our wide range of classes featuring live music and world class training for all levels and abilities.

ARB's mixed repertoire program tonight highlights our dancers' versatility and sets the tone for many more entertaining and inspiring performances ahead. We thank you for joining us, and hope to see you at another ARB event in the near future!

Sincerely,

Julie Diana Hench Executive Director

Photos By: Eduardo Patino

arballet.org | 4 About American Repertory Ballet

American Repertory Ballet’s (ARB) mission is to bring the joy, beauty, artistry and discipline of classical and contemporary dance to New Jersey and nationwide audiences, and to dance students through artistic and educational programs. Led by Executive Director Julie Diana Hench, the organization comprises: the preeminent professional classical and contemporary ballet company in the state; Princeton Ballet School, one of the largest and most respected non-profit dance schools in the nation; and ARB’s Access & Enrichment initiatives, including the acclaimed DANCE POWER program, the longest continuously running community and arts partnership in New Jersey. ARB is committed to presenting classical and contemporary ballets from the 19th and 20th centuries alongside new and existing works by choreographers from today. Founded in 1963, the company is under the leadership of Artistic Director Douglas Martin, former principal dancer at the Joffrey Ballet, Cleveland Ballet and American Repertory Ballet. ARB’s rich history of repertory includes works by leading choreographers including Balanchine, Forsythe, Limón, Parsons, Peterson and many others. ARB has been consistently designated a “Major Arts Institution” by the New Jersey State Council on the Arts for the past two decades, and has repeatedly been awarded a Citation of Excellence by the Council. ARB was voted the JerseyArts People’s Choice for “Favorite Dance Company” in 2008, 2011, 2012, and 2015-2018. Princeton Ballet School has gained a national reputation for its excellent dance training since its founding in 1954 by Audrée Estey. Under the direction of Aydmara Cabrera, the school serves approximately 1,000 students, starting at age three, and includes a large open enrollment division for adults. The school has studios in Cranbury, New Brunswick and Princeton and offers classes in ballet, modern dance, jazz, hip-hop, CardioBallet, and CoMBo (Conditioning for the Mind and Body). Students have gone on to dance in professional ballet and contemporary dance companies around the world, including New York City Ballet, Paul Taylor Dance Company, Miami City Ballet, Complexions, Mark Morris Dance Company, Twyla Tharp, Pittsburgh Ballet Theatre, Ballet West and on Broadway. The Access & Enrichment wing of ARB reaches into the community through its DANCE POWER program, signature On Pointe lecture series, and with free programming, master classes, residencies, lecture demonstrations and School-Time Matinees. In 1986, ARB partnered with the New Brunswick Board of Education to create DANCE POWER. Today, it is the longest-running uninterrupted arts/community partnership in New Jersey. The legendary Gregory Hines was DANCE POWER’s Honorary Chair for 18 years before his untimely passing in 2003. In 2001, Mr. Hines endowed a scholarship at Rutgers University that earmarks annual funds for a DANCE POWER student to attend the university. In 2019, American Repertory Ballet will be a founding resident company of the New Brunswick Performing Arts Center. arballet.org | 5 DANCE

WEDNESDAY, OCTOBER 17 – 7:30pm THURSDAY, OCTOBER 18 – 7:30pm BalletX The Pride of Philadelphia

FRIDAY, NOVEMBER 16 – 8pm Jessica Lang Dance Tesseracts of Time (and other works)

SUNDAY, FEBRUARY 10 – 3pm Swan Lake National Ballet Theatre of Odessa

SATURDAY, FEBRUARY 23 – 8pm Farruquito Return of a Flamenco Legend

FRIDAY, APRIL 26 – 8pm Trinity Irish Dance Company

FRIDAY, MAY 17 – 8pm Mark Morris Dance Group Lou 100: In Honor of the Divine Mr. Harrison

TICKETS START AT $25

mccarter.org | 609.258.2787

BalletX, photo by Bill Hebert Sponsored by Made possible by funds from the New Jersey State Council on the Arts, a partner agency The Jerome Robbins Foundation of the National Endowment of the Arts.

arballet.org | 6 The Kaye Playhouse at Hunter College American Made New York, NY Paul Taylor and Other Works Sat. March 30 | 7:30 PM

Tears of the Moon Choreography | Kirk Peterson Music | Ludwig von Beethoven Costumes | Michelle Ferranti Lighting | Kirk Peterson & Todd Loyd

1st pas | Nanako Yamamoto & Jorge Urbina 2nd pas | Emily Parker & Daniel Cooke 3rd pas | Ryoko Tanaka & Aldeir Monteiro 4th pas | Erikka Reenstierna-Cates & Journy Wilkes-Davis

Intermission - 15 minutes

Trois Voix (three voices) Choreography | Mary Barton Music | Francis Jean Marcel Poulenc - Trio for Oboe, Bassoon and Piano Costumes | Mary Barton & Janessa Cornell Urwin Lighting | Jason Flamos

1st movement | Nanako Yamamoto, Nina Yoshido, Jorge Urbina

2nd movement | Emily Parker, Journy Wilkes-Davis, Daniel Cooke, Hallie Rumsey-Lasersohn, Moeno Oba, Jonathan Montepara

3rd movement | Marie Tender, Annie Johnson, Elisabeth White, Tanner Bleck, Journy Wilkes-Davis, Daniel Cooke

Intermission - 15 minutes

First performed by the Paul Taylor Dance Company in 1978

Emily Parker, Erikka Reenstierna-Cates, Matanya Solomon 1st duet | Nanako Yamamoto, Aldeir Monteiro 2nd duet | Ryoko Tanaka, Journy Wilkes-Davis

arballet.org | 7 The Kaye Playhouse at Hunter College New York, NY Sat. March 30 | 7:30 PM DON'T MISS OUR 2018-19 SEASON All Tickets On Sale Now!

The Trial of A Doll’s House Little Girl Blue: Donna Caine Part 2 The Nina Simone Musical by Laiona Michelle by Walter Anderson by Lucas Hnath directed by David Saint directed by Betsy Aidem music by Nina Simone and others

BUY NOW for the BEST SEATS Too Heavy for and BEST Your Pocket The Immigrant by Jiréh Breon Holder PRICES by Mark Harelik directed by LA Williams directed byJim Jack

TIX: GeorgeStreetPlayhouse.org | 732-246-7717 GEORGE STREET PLAYHOUSE 103 College Farm Road • New Brunswick, NJ 08901 David Saint, Artistic Director • Kelly Ryman, Managing Director

arballet.org | 8 “I think there will always be a need for dance, for dancers to dance and for watchers to watch. I believe that. I have to believe that.” – Paul Taylor

ARB Dancers Reflect on the Legacy of Paul Taylor By Dan Bauer, September 2018

Paul Taylor, a towering icon of American modern dance, whose career spanned six decades and generated a vast body of work, died on August 29, 2018 at the age of 88.

For the dancers of American Repertory Ballet, performing Taylor’s 1978 masterpiece, Airs, there is an enormous sense of responsibility to be presenting the work so soon after his passing. Longtime Paul Taylor Dance Company member Sean Mahoney, an alum of Princeton Ballet School and American Repertory Ballet, expertly staged the work and shared his wealth of experience from working with the legendary choreographer.

“We were all in the studio when Sean told us that Mr. Taylor had died,” recalls Aldeir Monteiro. “At that moment, all I could think of what let's do this for him. I think we all felt that way.”

Monteiro and two other dancers in the company -- Journy Wilkes-Davis and Ryoko Tanaka -- have had the experience of dancing other works by Taylor. Monteiro danced Piazzolla Caldera with Miami City Ballet, Wilkes-Davis performed Company B at the University of South Carolina, and Tanaka attended the Paul Taylor Summer Intensive program in New York City.

For Artistic Director Douglas Martin, Paul Taylor’s Arden Court proved to be a pivotal work in his career as a dancer. “As a new member of the Joffrey Ballet, it was a great opportunity for me to prove my mettle in the company. The work pushed me to understand the complexities of his choreographic style and nuance,” says Martin. “33 years later, I’m thrilled for ARB dancers to have a similar experience with Airs. Mr. Taylor’s work is physically demanding and incredibly challenging to master the stylistic demand. Yet Airs is such a perfect piece for our company, with its very balletic qualities of movement.” arballet.org | 9 Wilkes-Davis remembers the early days of rehearsal. “Sean brought a lot of humor to the rehearsal room,” he says. “What we do in Airs is foreign to classically trained dancers, so being able to laugh at yourself, while still enjoying the process of being uncomfortable with modern dance vocabulary, was a great gift.”

For ARB dancers, working without shoes is a new way of approaching choreography. “Dancing barefoot is not something we do on a regular basis,” says Wilkes-Davis. “For modern dancers that’s more common, but for a ballet dancer, it takes a little getting used to.”

In staging Airs, Mahoney emphasized the importance of the dancers looking into each other’s eyes.

“His work has a lot to do with connecting with other dancers and working through the dance as a team,” adds Tanaka. “The audience should be able to recognize and enjoy the dancers’ energy and how we all bring and express our love for the dance on stage.”

The dancers agree that working on Airs has allowed them the opportunity to learn a very unique style of movement. Wilkes-Davis describes it as a “big joy” to be able to branch out in a different way, while Tanaka feels the work has pushed her both technically and artistically, making her a strong dancer.

ARB recognizes the importance of having works staged by artists who have worked directly with the original choreographers. In addition to having Mahoney set Airs, Sarah Stackhouse recently restaged José Limon’s There is a Time, and Douglas Martin and Trinette Singleton set Gerald Arpino’s Sea Shadow.

“Learning a piece from someone who worked with the original choreographer is very special,” says Monteiro. “They really know the intricacies of the work, and they can share that experience with a new generation of dancers.”

Paul Taylor continued to make new works into his final year. His distinctive choreographic voice will endure, but his presence will be sorely missed.

Taylor, in an essay entitled, Why I Make Dances, once described choreographing as an addiction. “To put it simply, I make dances because I can’t help it. Working on dances has become a way of life, an addiction that at times resembles a fatal disease. Even so, I've no intention of kicking the habit.”

In the days after his passing, the Paul Taylor American Dance website posted a tribute with these words about his dances, “They illustrate the best that human beings can be - and sometimes times, the most evil. Although he thought of himself as an observer of human nature, he was much more than that. He showed us how to be better people.”

arballet.org | 10 American Repertory Ballet Leadership

Julie Diana Hench (Executive Director) earned a BA from the University of Pennsylvania, graduating summa cum laude, and served as President of the University of Pennsylvania’s Association of Alumnae. She has written for Playbill and continues to research and write for various dance publications such as Dance, Dance Spirit, and Pointe, and has been named Contributing Editor at Dance Teacher. Ms. Hench served as Executive Director of Juneau Dance Theatre (JDT), a non-profit arts organization in Juneau, Alaska, where she managed all administrative aspects of the school and facilitated collaborations with local artists and arts groups to enrich the dancers’ experiences, grow audiences, and broaden the organization’s impact. She helped JDT become a partnering organization with the Kennedy Center’s Any Given Child initiative to expand arts education in Juneau public schools and worked with JDT Artistic Director Zachary Hench to create JDTs first ever summer intensive program. She taught all levels of the school and served as a coach for the George Balanchine Trust, enabling the school to present Balanchine’s work onstage. A native of New Jersey, Ms. Hench studied at the School of American Ballet in New York where she was a Princess Grace Award nominee. She danced professionally as a principal with San Francisco Ballet and Pennsylvania Ballet, performing lead roles in classical, neoclassical, and contemporary repertoire and working with choreographers such as Christopher Wheeldon, William Forsythe, and Mark Morris, among others. She appeared as a guest artist with New York City Ballet and several international touring groups and participated in a dancer exchange with the Royal Ballet in London, receiving coaching from Lynn Seymour and Sir Anthony Dowell. She taught for several renowned ballet schools, worked as a private coach and ballet master at Pennsylvania Ballet. She has been featured in print and online commercials, in addition to Pennsylvania Ballet’s 50th Anniversary special for PBS. She received Isadora Duncan Awards and the Continuing Education Award for her studies at University of Pennsylvania

Douglas Martin (Artistic Director) started his ballet training with Dimitri Romanoff at the San Jose Ballet School and was one of six dancers selected by Mikhail Baryshnikov to study in the newly-formed American Ballet Theatre School. He was invited to join Joffrey Ballet in 1984 where, as a principal dancer, he performed roles in ballets by Ashton, Arpino, Cranko, Balanchine, Joffrey, Taylor, Pendleton,

arballet.org | 11 Ty Richardson

arballet.org | 12 Kudelka and many other great 20th century choreographers. Mr. Martin was featured in performances of Dance in America on PBS and was an original cast member of the historic recreation of Nijinsky’s Le Sacre du printemps. He was among the last dancers of the Joffrey Ballet to spend the majority of his career in the company working under founder Robert Joffrey. Mr. Martin joined Cleveland Ballet in 1991 and danced principal roles including the Minister in Agnes de Mille’s Fall River Legend. He joined ARB in 1993 and as leading dancer and ballet master, Mr. Martin collaborated with directors in creating ballets, including productions as the original cast lead in Romeo and Juliet, Swan Lake, The Dream and The Nutcracker. He served as ballet master for ARB and PBW and Principal Faculty for the summer intensive until his retirement from dancing in 2002. Mr. Martin then expanded his teaching, production and choreographic work and has been an integral part of the teaching staff at PBS, Rutgers University and Westminster Choir College. He also served as PBS’ Music Director. Martin staged full-length and repertory ballets including Romeo and Juliet and Philip Jerry’s Our Town. He also choreographed several PBS productions, including Sleeping Beauty, Swan Lake, Don Quixote and Coppélia. Since Mr. Martin became Artistic Director of ARB in 2010, he premiered a new production of Nutcracker, choreographed several new works including Ephemeral Possessions, Pathways, Rite of Spring, Firebird and a full-length Romeo and Juliet, A Midsummer Night’s Dream and Pride and Prejudice, and has commissioned 29 company premieres, including 19 world premieres.

Aydmara Cabrera (School Director) began her ballet studies at the age of nine at the National Ballet School in Havana and became a principal dancer at the National Ballet of Cuba , under the direction of Alicia Alonso. Ms. Cabrera's professional dance experience includes international ballet festivals and worldwide tours, performing lead roles in all classical and contemporary ballets with the National Ballet of Cuba and Ballet Hispanico of New York. She studied with iconic teachers such as Alicia Alonso, Loipa Araujo, Josefina Mendez, Joaquin Banegas, and Ramona de Daa. In the course of her career, Ms. Cabrera partnered with some of the most famous male dancers of our time, including José Manuel Carreño, Carlos Acosta, Orlando Salgao, Lienz Chang, Jorge Vega and José Zamorano, before moving to the United States and directing her own school in Miami. She has also been invited to teach at many internationally recognized schools, including Princeton Ballet School, developing a training curriculum that incorporates much of her Cuban roots.

Audrée Phipps Estey (founder of the Princeton Ballet Society) founded Princeton Ballet Society in 1956 and the Princeton Regional Ballet Company in 1963. She served as president and executive vice president of the

arballet.org | 13 PrinCeton sYmPhonY orChestrA rossen milAnov, musiC DireCtor Get Tickets Today! 2018-2019 Saturday September 29 8pm Sunday September 30 4pm A Bernstein CeleBrAtion Daniel Rowland, violin Meghan Picerno, soprano

Saturday October 27 8pm Sunday October 28 4pm Beethoven PiAno ConCertos Marcelo Lehninger, guest conductor Inon Barnatan, piano

Sunday November 18 4pm rAChel BArton Pine plays Paganini Rachel Barton Pine, violin

Saturday Februrary 2 8pm Sunday Februrary 3 4pm Beethoven’s FiFth EDWARD T. CONE CONCERT Dominic Cheli, piano

Saturday March 23 8pm Sunday March 24 4pm Dvořák/lieBermAnn/ mAzzoli Chelsea Knox, ﬂute

Sunday May 19 4pm Derek Bermel’s mango suite Mikaela Bennett, soprano Griset Damas-Roche, ﬂamenco dancer

All concerts at Richardson Auditorium, Princeton University

princetonsymphony.org 609/497-0020

Dates, times, artists, and programs subject to change.

This program is made possible in part by funds from the New Jersey State Council on the Arts.

arballet.org | 14 Northeast Regional Ballet Association from 1967 to 1971 and headed the dance department at Les Chalets Francais, a French camp for girls in Deer Isle, Maine. In 1978, Estey turned the Princeton Regional Ballet into the professional Princeton Ballet Company (which was renamed the American Repertory Ballet in 1991). Estey retired as director in 1982 and moved to Florida, but continued her involvement with the company as a consultant and advisor until her passing in 2002.

Mary Barton (Resident Choreographer and Ballet Master) received her dance training at the Washington School of Ballet under the direction of Mary Day and participated in summer courses at The School of American Ballet and Joffrey Ballet School. Her professional experience began when she performed with The Washington Ballet as a soloist in Balanchine’s Scotch Symphony and the principal role in Tom Paczik’s Tzigane. Early professional credits include the Oldenburg Staat Ballet in Germany and several seasons with Dayton Ballet. In 1986, Barton joined the Joffrey Ballet/NY where she performed a variety of roles in the great ballets of the 20th century. Robert Joffrey created the role of Clara for her in the world premiere of his new Nutcracker, and she was featured with Gerald Arpino in an interview with Charlie Rose for the world premiere of Joffrey’s Nutcracker. Ms. Barton’s TV credits include performances in Dance in America on PBS and she was an original cast member of the historic recreation of Nijinsky’s Le Sacre du printemps. From 1993–2004, she was a principal dancer with ARB, dancing roles such as Sugar Plum Fairy, Odette/Odile in Swan Lake, Juliet in Romeo and Juliet, Cinderella, Titania in A Midsummer Night’s Dream, Emily in Our Town and leads in Balanchine’s Four Temperaments, Rubies, Concerto Barocco and Serenade. Ms. Barton has been on the PBS faculty since 1994 and is one of the primary teachers and choreographers for the summer intensive program. She is a former ballet faculty teacher at Princeton University and current faculty at Rider University’s Music Theater Department. As ARB’s Resident Choreographer and Ballet Master, her works include Straight Up with a Twist, Five Men and a Concerto, Faerie Tyme, Fantasy Baroque, Shades of Time, A Shepherd Singing (And I Still Heard Nothing) and Scarlet Sonata. She has also choreographed over two dozen works for PBS’ spring full-length ballets and summer programs.

Kirk Peterson (Resident Choreographer) had a distinguished career for 17 years with American Ballet Theatre as principal dancer, choreographer, Artistic Director of ABTII, Ballet Master, Principal Character Artist and as Master Teaching Associate. Peterson was also Artistic Director of the Hartford Ballet for five years. As a choreographer, Peterson has created over 50 ballets including new versions of The Firebird and Le Sacre du Printemps. His choreography has been seen with San Francisco Ballet, Pacific Northwest Ballet, Pennsylvania Ballet, Washington Ballet,

arballet.org | 15 Cincinnati Ballet, Atlanta Ballet, BalletMet, San Francisco Opera and The Royal Ballet School. He is a specialist in restaging the full-length classical repertoire such as Swan Lake, The Sleeping Beauty and Giselle, utilizing original choreography and technique. He was nominated for the prestigious Prix Benois de la Danse in Moscow for Othello, created for Alberta Ballet. Mr. Peterson was resident choreographer for Cincinnati Ballet for six years and he is also a repetiteur for the Antony Tudor Ballet Trust. ARB has restaged his Glazunov Variations and The Eyes That Gently Touch, and in 2013, Peterson choreographed Tears of the Moon for ARB, fulfilling his long-held desire to create a work to music by Beethoven. Last season, ARB premiered Mr. Peterson’s newest staging of Carmen, his thrilling adaptation of Bizet’s opera to set to Rodion Shchedrin’s masterful score. His new Beauty and the Beast will premiere this spring.

American Repertory Ballet and Princeton Ballet School Board of Trustees

Charles Metcalf | Chair Daphne Jones | Vice Chair DonnaJean Fredeen | Vice Chair Nancy MacMillan | Treasurer/Finance and Audit Chair

William L. Daley Stephen Loughran Melissa Marschner Marie Mascherin Jo-Ann Munoz Jeri Schaefer Jane Silverman

arballet.org | 16 Coppelia One of the greatest comic ballets of all time! Saturday, April 6 | 7PM Bergen PAC 30 N. Van Brunt St., Englewood, NJ 201.227.1030 bergenpac.org

    

arballet.org | 17 connect with us

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arballet.org | 18 T:4.5”

Here’s to the program that keeps kids on their toes. T:7.5”

Photo by George Jones

Johnson & Johnson is proud to support the work of the American Repertory Ballet. Their DANCE PROGRAM gets kids’ toes tapping and spirits soaring.

©Johnson & Johnson Services, Inc. 2016

arballet.org | 19

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Comp Mechanical American Repertory Ballet Dancers

Tanner Bleck started his ballet training at age seven in his hometown of Lexington, Kentucky at Bluegrass Youth Ballet. At 14, Mr. Bleck moved to Tampa, Florida, to attend Next Generation Ballet at Patel Conservatory on full merit scholarship under the direction of Peter Stark. He won several gold medals and scholarships at the Youth American Grand Prix for performing variations from Don Quixote, Coppélia, Diane and Acteon, La Fille Mal Gardee, and Satenella. At 15, he was a finalist at Prix de Lausanne in Switzerland, winning multiple scholarship offers from prestigious ballet companies around the world. He accepted San Francisco Ballet’s full scholarship offer and as a Trainee with San Francisco Ballet, he learned and performed work from some of the top choreographers of today and danced in productions such as Nutcracker, Christopher Wheeldon’s Cinderella, John Neumeier’s Yondering, and the U.S. premiere of Liam Scarlett’s Frankenstein. Last season, Mr. Bleck was with Pennsylvania Ballet II and performed in ballets such as Sleeping Beauty, Swan Lake, and George Balanchine’s Theme and Variations. This is his first season with ARB.

Daniel Cooke received early training in his hometown of Washington DC. He continued his studies at the Orlando Ballet School and the Patel Conservatory in Tampa, FL. As a Mary Day Scholar and Youth America Grand Prix medalist, Mr. Cooke completed his post secondary training at Canada’s National Ballet School and joined the National Ballet of Canada, dancing works by Frederick Ashton, Rudolf Nureyev and James Kudelka, among others. He was then invited to join the Dutch National Ballet Junior Company. His repertoire at the Dutch National Ballet included classics by Sir Peter Wright, Alexei Ratmansky, and Hans van Manen. He also danced new works by George Williamson, Eric Gauthier, Remi Wortmeyer, Ted Brandsen and Ernst Meisner. In addition to performing, Mr. Cooke began to choreograph in the Netherlands, creating two works for the Dutch National Ballet Junior Company. After returning to the U.S., Mr. Cooke joined The Suzanne Farrell Ballet for its penultimate seasons, adding the works of George Balanchine to his repertoire. Mr. Cooke most recently danced as a member of Complexions Contemporary Ballet, dancing the works of Dwight Rhoden and originating roles in new creations.

arballet.org | 20 arballet.org | 21 Shaye Firer was born in Cape Town, South Africa, and raised in Vancouver, Canada. She received her early training at the Royal Winnipeg Ballet School and attended various intensive programs such as The National Ballet of Canada, Alberta Ballet, Kaatsbaan International Dance Centre, Houston Ballet’s Ben Stevenson Academy, and Ellison Ballet. Ms. Firer joined the inaugural class of ARB/ Princeton Ballet School’s Trainee program. As a Trainee, she performed company roles in Nutcracker, Our Town, and Glazunov Variations, as well as the lead role of Swanhilda in PBS’s production of Coppélia. Ms. Firer has received choreographic awards from the Royal Winnipeg Ballet School and was chosen as one of five choreographers in Houston Ballet Academy’s collaboration with the American Festival for the Arts. Since joining ARB, she has performed as The Chosen One in Douglas Martin’s Rite of Spring, Titania in Martin’s A Midsummer Night’s Dream, the Sapphire Princess in Martin’s Firebird, Charlotte Lucas in Martin’s Pride and Prejudice, principal roles in Nutcracker and featured roles in works by Patrick Corbin, Kirk Peterson and Trinette Singleton. She has been with ARB since 2011.

Annie Johnson began her training in her hometown of Hamilton, NJ, under the direction of Julie Caprio. She attended summer programs at Complexions Contemporary Ballet, Alvin Ailey American Dance Theater, and American Ballet Theatre, and continued her dance education at Butler University, graduating in 2016 with a Bachelor of Fine Arts in dance performance, as well studying Strategic Communications. While at Butler, Ms. Johnson performed in full-length ballets such as The Sleeping Beauty and Swan Lake while also performing original contemporary and modern works choreographed by Susan McGuire, Lesley Telford, and Derek Reid. In the summer of 2014 she toured Eastern Europe with members of Butler Ballet and had the opportunity to teach and perform at various schools in Poland, Slovakia, Austria, and the Czech Republic. After graduation, Ms. Johnson joined PBS as a trainee and became a member of ARB2 in 2017. Since joining ARB, she has performed in various productions with the company including Douglas Martin’s Nutcracker and Rite of Spring, Kirk Peterson’s Carmen, Mary Barton’s Straight Up With A Twist, and Jose Limon’s There Is A Time. This is her first season as an ARB company member.

Aldeir Monteiro began his training at the Centro de Arte e Dança de Campo Grande in Rio de Janeiro, Brazil, coached by Daniel Mendez and directed by Alice Arja. He continued his training at the Miami City Ballet School and joined the Miami City Ballet under the direction of Edward Villella, followed by Lourdes Lopez. Mr. Monteiro performed in the original cast of Euphotic choreographed arballet.org | 22

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arballet.org | 23 by Liam Scarlett for the Miami City Ballet, which premiered in 2013. His repertoire includes Les Patineurs, Balanchine’s The Nutcracker, Paul Taylor’s Piazzolla Caldera, Alexei Ratmansky’s Symphonic Dances, Balanchine’s La Valse, John Cranko’s Romeo and Juliet, Slaughter on Tenth Avenue and others. Since joining ARB in 2016, Mr. Monteiro has performed featured and principal roles in Douglas Martin’s Nutcracker and A Midsummer Night’s Dream, Gerald Arpino’s Sea Shadow, and Kirk Peterson’s Glazunov Variations and Carmen. He performed the role of Mr. Charles Bingley in the world premiere of Douglas Martin’s Pride and Prejudice.

Emily Parker from Forbes, New South Wales, Australia, started dancing at Lia’s School of Dance at age five. At age 12 she moved to Sydney to attend The McDonald College Performing Arts School training under Josephine Jason, Josh Consandine and Jane Kesby, completing all RAD levels with distinctions. She performed in a youth ballet company from ages 13-18 with her most prestigious roles being the Sugar Plum Fairy and Black Swan. Ms. Parker attended many summer programs, including Sydney Dance Company and Boston Ballet, and performed as a guest artist with The Australian Ballet. She joined the ARB trainee program (she won the Audrée Estey scholarship after her first year as an ARB trainee) appearing as the White Swan with ARB Workshop in 2016. She performed alongside the company in their productions of A Midsummer Night’s Dream, Rite of Spring, Romeo and Juliet, Firebird, Shades of Time, and Nutcracker, and performed the role of Miss Kitty Bennett in the world premiere of Douglas Martin’s Pride and Prejudice. Emily joined ARB as a full company dancer in 2017.

Rubén Rascon began his training in Santa Fe New Mexico at 7 years old. He studied at the National Dance Institute and Aspen Santa Fe Ballet School. He attended The University of North Carolina School for the Arts and studied at East Street Ballet in Massachusetts. He has been a scholarship student at summer programs with Boston Ballet, ABT and The Rock School. In 2011 Rubén went to The Bolshoi Ballet Academy and received a certificate of completion after completing exams with top marks in every category with the Russian graduating class. Rubén has danced with New Jersey Ballet Company from 2012-2018. Rubén joined American Repertory Ballet in August of 2018.

arballet.org | 24 Erikka Reenstierna-Cates, a California native, received her training under Leslie Ann Larson and Rene Daveluy. She started dancing professionally with Central West Ballet in 2009, and in 2015, joined Oklahoma City Ballet. She has also danced with Ballet Ireland. Ms. Reenstierna-Cates has been featured in a variety of roles including: Indian Maiden in Paul Vasterling’s Peter Pan; Harem Dancer in Dennis Spaight’s Scheherazade; both a soloist and principal in George Balanchine’s Who Cares?, Valse Fantasie and Serenade; a soloist in Ronn Guidi’s Trois Gymnopedies; Myrtha in Giselle; a soloist in Val Caniparoli’s Songs and Violin; the Sugar Plum Fairy, Snow Queen, Flower Queen and Arabian Coffee in Rene Daveluy’s The Nutcracker; Pas de Trois in Swan Lake and the Fairy Godmother in Daveluy’s Cinderella. Additionally, Ms. Reenstierna-Cates is also an up-and-coming choreographer, having created pieces for credits alongside names such as Balanchine and Caniparoli. Since joining ARB, she has performed a featured role in Mary Barton’s Scarlet Sonata and the role of Miss Caroline Bingley in the world premiere of Douglas Martin’s Pride and Prejudice. Ms. Reenstierna-Cates joined ARB in 2016.

Ryoko Tanaka was born and raised in Japan where she began her training at Masaru Akamatsu Ballet School. In 2013, she was selected to be in the Nancy Einhorn Milwaukee Ballet II Program from the Milwaukee Ballet School Summer Intensive. She performed in Michael Pink’s Romeo and Juliet, and Nutcracker with Milwaukee Ballet. In 2017, she joined the trainee program at American Repertory Ballet and soon moved up to ARB 2. Since joining ARB 2, she has danced featured roles in Nutcracker, including Sugar Plum Fairy, Snow Queen and other lead roles; Jane Bennet in Douglas Martin’s full length Pride and Prejudice; and Kirk Peterson’s Eyes That Gently Touch and Carmen; and featured roles in works by Mary Barton. This is her first season as a company member.

Marie Tender was born in Deerborn, Michigan, and raised in Champaign, Illinois. She began dancing at the age of five, training with Champaign Ballet Academy under the direction of Deanna Doty. In 2010, Ms. Tender continued her studies at the world renowned Harid Conservatory in Boca Raton, Florida, on a full-tuition scholarship. While at Harid, Ms. Tender received the Dance Study Award and the Jeannot Cerrone Award for Excellence in Dance Performance. Ms. Tender has also studied at the Ellison Ballet Professional Training Program in New York City. In 2016, she joined Colorado Ballet’s studio company and performed roles in Swan Lake, The Nutcracker, Serenade,

arballet.org | 25 Firebird, The Little Mermaid, Michael Pink’s Dracula and Derek Dean’s Romeo and Juliet. Ms. Tender was honored to perform Serenade with Colorado Ballet at Vail International Dance Festival in 2017. This is her first season with American Repertory Ballet.

Journy Wilkes-Davis was born in Fort Hood, Texas. He began his training at age 14 under Shannon Greenberg and Dagoberto Nieves in Savannah, Georgia, and later joined the Signature Dance Ensemble in Rocky Mount, North Carolina to continue his training under Cindy Mancini and Joseph Carrow. In 2010, Mr. Wilkes-Davis moved to Columbia City Ballet under the direction of William Starrett where he was promoted to Principal Dancer in 2012. At Columbia City Ballet, he danced roles in Mark Diamond’s A Streetcar Named Desire, Paul Taylor’s Company B, Balanchine’s Serenade, Donizetti Variations, Walpurgisnacht Ballet, Scotch Symphony, Allegro Brilliante, Western Symphony, Emeralds, Stars and Stripes Forever, Lila York’s Celts, Lynn Taylor Corbett’s Great Galloping Gottschalk, Rick McCullough’s Tryptych and Rite of Spring, as well as classics such as Majisimo, Satanella, Albrecht in Giselle, Romeo in Romeo and Juliet, Prince Desire in The Sleeping Beauty, Snow King, Arabian and a Sugarplum Cavalier in Nutcracker. In 2014, he became Artist in Residence with Ann Brodie’s Carolina Ballet and a guest artist with the Hilton Head Dance Theatre, Coastal Ballet USA, Greensboro Ballet, USC Dance Company and Montgomery Ballet. Mr. Wilkes-Davis also co-directed, choreographed, and danced in the H.E.R.O. Dance Benefit for an evening of dance to support our nation’s military. He danced with the Suzanne Farrell Ballet for their 2016 season at the John F. Kennedy Center and joined ARB in 2017.

Nanako Yamamoto was born and raised in Japan where she began her training at the Geijutsuza Ballet Studio “Jardin des Arts”, performing such roles as Clara in The Nutcracker, Rose Adagio in The Sleeping Beauty and the title role in Cinderella. In 2005, she was selected to attend the prestigious Royal Ballet Summer School, then was accepted to the Elmhurst School for Dance in Association with the Birmingham Royal Ballet. While a student, she performed in the Birmingham Royal Ballet’s National Tour of Firebird, Fokine’s Petrushka, Petipa’s Raymonda and David Bintley’s Beauty and the Beast. She performed for his Royal Highness Prince Charles and the Duchess of Cornwall and for the grand re-opening of Birmingham’s Town Hall. Since graduating in 2009, she has performed with New Tampa Dance Theatre, Dance Theatre of Tampa, Ballet Fleming, in Giselle with Boca Ballet Theatre alongside Julie Kent and Marcelo Gomes, and as soloist in La Bayadere with Gillian Murphy and Jose Manuel Carreño. Since joining

arballet.org | 26 ARB, she has danced featured roles in Nutcracker, including Sugar Plum Fairy and Snow Queen, and in Gerald Arpino’s Confetti and Sea Shadow, Kirk Peterson's Carmen and Glaznov Variation and many other featured roles in works by Douglas Martin, Kirk Peterson and Mary Barton.

Production Team

Rachel Jacquin Macleod (Production Manager) is excited to begin her 5th season with American Repertory Ballet. She is a graduate of Rider University: Westminster College of the Arts with BA in Theater, with a minor in American Studies. Rachel is also works as a Stage Manager & Production Assistant at NJPAC as well as a Stage Manager for DanceNow NYC @ Joe's Pub. She had the pleasure of working as a stage manager with other dance companies over the years, such as Douglas Dunn and Dancers, Keigwin+Company, Steps Repertory Ensemble and Soul Arts Academy. ARB credits include Pride and Prejudice, Nutcracker, A Midsummer Night’s Dream, Romeo & Juliet, and Firebird.

Janessa Cornell Urwin (Wardrobe Supervisor / Costume Designer) is originally from Albany, New York, and began her career as a ballet dancer, training at the Nutmeg Conservatory for the Arts and dancing with the Roxey Ballet Company and as a trainee with American Repertory Ballet. Since transitioning into costuming, she has coordinated wardrobe for many productions including ARB’s Nutcracker, Princeton Ballet School’s Don Quixote and Swan Lake, and other repertory programs. She served as seasonal Wardrobe Supervisor at the Bucks County Playhouse, working on numerous plays and musicals. She was privileged to work with the original cast of Mothers and Sons, a critically acclaimed drama on Broadway. Janessa’s design work with ARB includes Mary Barton’s Shades of Time, Scarlet Sonata, Kirk Peterson’s Glazunov Variations, and Carmen.

Allison Bonin (Wardrobe Assistant) In spring of 2016, Ms. Bonin graduated from the Maine College of Art with a Bachelor of Fine Arts in fashion and textile design with a minor in art history. During her time in Portland, she interned with Portland Ballet’s costume designer, Amy Baxter, for two full seasons where she created costumes for several productions including Boy Meets Girl, A Midsummer Night’s Dream and Portland Ballet’s Victorian Nutcracker. As Pamela Moulton’s studio assistant, Ms. Bonin completed a number of freelance projects for many creative clients, such as the creation of life-sized puppets for Fritz Grobe’s Traveling Light, and the design and installation of set pieces for Sara Juli’s Tense Vagina. arballet.org | 27 Nadia Macauley is a proud supporter of American Repertory Ballet!

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arballet.org | 28 NOW ENROLLING FOR SUMMER 2019! SUMMER INTENSIVE Photo Credit: Eduardo Patino June 24 – July 26, 2019 (Ages 13 and up)

SUMMER INTENSIVE JUNIORS Princeton University Campus (Ages 9-11)

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arballet.org | 33 Thank you to our generous supporters!

This program is made possible in part by funds from the New Jersey State Council on the Arts, a Partner Agency of the National Endowment for the Arts. Grant funding has been provided by the Middlesex County Board of Chosen Freeholders through a grant award from the Middlesex County Cultural and Arts Trust Fund.

arballet.org | 34 Thank you to our Supporters!

Grant funding has been provided by the Middlesex County Board of Chosen Freeholders through a grant award from the Middlesex County Cultural and Arts Trust Fund.

CHAIRMAN’S COUNCIL ($50,000 & OVER) Corporations Government Johnson & Johnson New Jersey State Council on the Arts Middlesex County of New Jersey Foundations Princeton Area Community Foundation Individuals Nancy and Duncan MacMillan EXECUTIVE DIRECTOR’S COUNCIL ($10,000−$49,999) Corporations Individuals Google* Anonymous Robert Wood Johnson Sports Therapy* Joan and Bob Campbell Church & Dwight Co., Inc. Cathy and Bill Hazard Princeton Spine and Joint Center Hans and Michelle Hwang Foundations John and Margaret Ruttenberg The Blanche and Irving Laurie Foundation Anthony and Marlene Volpe Bloomberg Philanthropies The Curtis W. McGraw Foundation The Geraldine R. Dodge Foundation The Karma Foundation The Shubert Foundation ARTISTIC DIRECTOR’S COUNCIL ($2,500–$9,999) Corporations Individuals The Actor's Fund Anonymous Geller & Company Tucker Brown Institute for Advanced Study Jennifer Fairfax JP Morgan Chase Bank Cynthia Flanagan Mason Gross School of the Arts DonnaJean and Kenneth Fredeen Mathematica Policy Research Peter Gerry PNC Bank James Heston Princeton Spine and Joint Center Daphne and Charles Jones Rider University Anish Kottana Russian Pointe* Stephen and Barbara Loughran Rutgers Cancer Institute of New Jersey Marie Mascherin and Ernie Cerino Shaw Contract* Charles and Mary Kay Metcalf Willkie Farr & Gallagher LLP Sydney Neuwirth* Foundations Ngoc Nguyen and Jan Schadrack The Campbell Family Foundation Michael Paluszek and Marilyn Ham E.J. Grassmann Trust Rennan Pan Hyde and Watson Foundation Marcus Porcelli Ronald McDonald House Charities Richard and Arlene Rebeck Secunda Family Foundation Rachel and Kenneth Samoil The M&T Charitable Foundation Jeri and Scott Schaefer Wells Fargo Foundation Robert and Elizabeth Wood Zegar Family Fund arballet.org | 35 PATRON ($1,000−$2,499)

Corporations William and Marian Craig The Bank of Princeton Jennifer Dismukes Convery, Convery, Shihar Dan and Jennifer Faber Hyatt Regency New Brunswick* Rachel Gray and Joel Studebaker Sonesta ES Suites* Steven and Florence Kahn Wick Companies Ron and Esther Krukowski Foundations David and Diane Kuhl The Heston Charitable Gift Foundation Anthony Lombardi MagyarBank Charitable Foundation Kevin MacMillan CHAIRMAN’S COUNCIL ($50,000 & OVER) The Merrill G. & Emita E. Hastings Foundation Marc and Alta Malberg Schiro Family Foundation Melissa and David Marschner Beth and Luis Padron Individuals Charles and Diane Pomo James Barry Jennifer Rebeck Hiller Jane Buttars Doreen and Michael Rosenberg Brent Chaffee and Brianne von Fabrice Jane Silverman Kathleen Chandler Vaccaro and Wayne Richard Stanley EXECUTIVE DIRECTOR’S COUNCIL ($10,000−$49,999) Vaccaro Jolly Vazapphilly and Tricia Ong Austin and Louisa Clayton Barbara Vogelstein Ian and Lauren Craig

SUSTAINER ($500−$999)

Corporations Daphne and Charles Jones Elephant in the Room Design Joseph and Grace Kincaid Glen Eagle Advisors Arlene and Maurice Lospinoso Lear and Pannepacker LLC Jennifer Marcus Monmouth University Benjamin and Kathleen Marino Nassau Communications* John and Ann McGoldrick State Theatre New Jersey Maura McKeever Wilentz Attorneys at Law Daren and Annisa Mele Foundation Erika Mero Investors Foundation Anna Maria Miller Scully Peretsman Foundation Seiko Miller Pamela Mingle and Ron Forrester Individuals Timothy and Jo-Ann Munoz Anonymous Carolyne Murff Stephanie Barton and Robert Turner Ambika and Anil Namboodiripad Todd and Ashley Bashore Lisa Patterson Patrick and Andrea Bradley Jahaira Peralta Jane Celentano Ty and Veronica Robinson Vanna and Ed Chan Janice and Thomas Roddenbery Maurice Clifton Tomasina Schiro Doug and Mariko Countess Sara Spengler-Campanella and Neale Kelly J. Craig Campanella Bergen Crockam Kathleen Stacy Dinesh and Priya Dhanaraj Elizabeth Stefanic Julie Diana Hench and Zachary Hench Gregory and Martha Story Kate and Paul Higgins Shawn Tepper-Levine Philip and Denise Driscoll Kevin and Ginger Tylus Steven and Linda Gecha Noel Valero Michael and Karyn Greco David Woffindin Brian Heidtke Anna Wolecka-Jernigan Chip and Claudia Hughes Tanya Woodward Elaine Jaskol Trebor and Nita Wright Julie Zheng and Young Zhu

*Indicates in-kind support arballet.org | 36 AMBASSADOR ($100−$499) Gemarie Ablan and Monette Gehret Charitable Fund Mette Otte Ablan-Domingo Joan Girgus and Alan Chimacoff Emily Parker Allison Adams Nancy Goldberg Laurie Parker Robert S. Akin Perry Granoff Elizabeth Phillips Jack and Carolyn Allen Kerri Greene Jody Rajesh David and Holly Ambler Bill Hait Lisa Ramos Ellis Anderson Gregory and Jennifer Hansen Stephane Rebeck McCormick Gary and Katherine Andreassen Lane Harwell Erikka Reenstierna-Cates Anonymous Sabrina Henderson Stacie Reilly Brody and Marc Brody Jose Armando Melgar Althea Hennedige and Wayne Taylor Carlene and Al Reyes Jeena Arora Carrie Hinrichs Wendy and Igor Roitburg Stephanie and David Bacskai John and Judith Hoffman Juan Rojas Hernandez Jacqueline Baldwin B. Sue Howard Edward and Marcia Santucci Mary Lee Barton HUB International Limited Peter Schroeck Barbara Bashaw Katherine Hunter Jeena and Jeff Schult John and Marcelline V. Baumann Chunyuan Jing Jocelyn Schwartzman Nancy Becker Sony John George Mary Ann Sciannamea Brannan Berman Glenn and Amy Jorgensen Sara Sessions Sean Bernard O’Kane Sheetal Kamani and Saroosh Ahmed Arlene Shuler Alison Black Andrew Katz John M. Siesputowski Sharron Bolen Terri Kehoe-Walker and Michael Walker Nishtha Singh Chris Boutross Anna Lee Kelly Angela Sirico Briteage Consulting Chaitra Keshav-Baum Joel Sobo Priya Brooke Barbara Kibler Daniel and Daya Solomon Aydmara Cabrera Patricia Kobayashi Irina Solovey Lindsay and Casey Cahill Thomas Kohler Amy Spencer Sharon Camarero Jyothsna Kollipara George Stauffer Robert and Evelyn Campbell Jennifer Kyle* Evan and Shiela Steinberg Caitlin Carter Penelope E. Lattimer Genevieve Thayer Valerie Castellanos Tony Lee Theatre Development Fund, Inc Elizabeth Cayer Pamela Levy and Horst Frankenberger Dafydd and Meredith Thomas Christine Chen and Adam Ingraassia Ellen Lewis Howard Tomlinson Leighton and Kay Chen Kathleen and Michael Lombardo Deborah Toppmeyer Lai No Chiu Ena Lumba Monica Tyus ConnectOne Bank Jaseem Mahmmdla Edward and Janessa Urwin Alma Corales Kaitlin Marino Cathy Urwin Amy Craig and Christopher Hefele Alysia Markey Stephen and Gabriella Vajtay Stephen Crane Douglas Martin and Mary Barton Jacqueline Van Gelderen Patricia Cunningham Geniva Martin Fernando and Patricia Vera Carol and Ron Czyzewski Yaniris Martinez-Banos Diodato Villani Warren Davis Teresa Mazur Elena Volkova Dawn Dell’Omo and Glenn Wolfson MariCris McDowell Trinette Washer Alice Devoe and John Szabo Govind Menon Sandra Weinberger Tamara Dombrowski Jenna Merendino Andrew Wentink Marlene Doyle Donald Mills Victoria and Robert Wheeler Wendy Dujmovic Kathleen Moore Tovar Linda Wilks Martha Elliot and Michael Pratt Stefanie Morgan Brian Wilson Leigh Engelhardt and David Kragseth Eva Mracek Vanessa Wise Lawrence and Elizabeth Estey Keith and Jennifer Murphy Dingli Wu Mindy Falcone Christine Murphy Mahesh Yadov Lisa Ferguson Tania Murphy Slimane Yahi Kevin Flood Iris Neuhaus Jennifer Yohrling Sandra Fowler Lucy Anne S. Newman Christine Yoon Dana Fucarino Esther Novak Yibin Zhang Carol Garguilo Kathryn Nyce American Repertory Ballet gratefully acknowledges the many donors whose generous support makes possible the mission to bring the joy, beauty, artistry and discipline of classical and contemporary dance to New Jersey and beyond - Thank you.

This list reflects gifts made between July 1, 2017 and November 1, 2018. Due to space restrictions, donors $100 and above are listed. Please contact Julie Diana Hench at 732.249.1254, ext. 16 to edit your recognition or pledge your support! Mette Otte Emily Parker American Repertory Ballet Laurie Parker Elizabeth Phillips Jody Rajesh Julie Diana Hench | Executive Director Audrée Estey | Founder Lisa Ramos Stephane Rebeck McCormick Erikka Reenstierna-Cates American Repertory Ballet Princeton Ballet School Stacie Reilly Brody and Marc Brody Douglas Martin | Artistic Director Aydmara Cabrera | School Director Carlene and Al Reyes Wendy and Igor Roitburg Artistic Staff Princeton Ballet School Staff Juan Rojas Hernandez Mary Barton | Resident Choreographer/ Cindy Mahoney | Registrar/ Edward and Marcia Santucci Peter Schroeck Ballet Master Children’s Coordinator Jeena and Jeff Schult Kirk Peterson | Resident Choreographer Carol Bellis | Summer Programs Jocelyn Schwartzman Maria Youskevitch | PBW Sr. Ballet Coordinator/Cranbury Principal Mary Ann Sciannamea Master Dr. Kim Chandler Vaccaro | Sara Sessions Trinette Singleton | Choreographer/ Rider University Program Director Arlene Shuler John M. Siesputowski Teacher Lisa de Ravel | Princeton Ballet School Nishtha Singh Cheryl Whitney | PBW Administrator/ and Special Projects Administrator Angela Sirico PBW Jr. Ballet Master Sara Mahoney | Children’s Stage Joel Sobo Erika Mero | PBW Jr. Teacher Manager/School Treasurer Daniel and Daya Solomon Receptionists | Elizabeth Acosta, Irina Solovey Amy Spencer ARB Administrative Staff Nancy Acosta, Sharron Bolen, George Stauffer Dawn Dell’Omo | Chief Operating Officer Shaye Firer, Luz Gonzalez, Lauren Levine, Evan and Shiela Steinberg & Director of Finance Jessica Marino, Emily Parker, Genevieve Thayer Linda McLeod | Executive Assistant Diane Santacroce Theatre Development Fund, Inc Tony Lee | Bookkeeper Dafydd and Meredith Thomas Howard Tomlinson Dan Bauer | Marketing Manager Faculty | Laurie Abramson, Mary Barton, Deborah Toppmeyer Kaitlin Marino | Graphic Designer Carol Bellis, Janell Byrne, Aydmara Monica Tyus Dana Cox | Development Associate Cabrera, Krystina Cardenas, Edward and Janessa Urwin Katherine Corbett, Jennifer Daino, Cathy Urwin Stephen and Gabriella Vajtay The Production Team Nancy Dow, Shaye Firer, Jacqueline Van Gelderen Rachel Jacquin Macleod | Production Manager/ Jennifer Gladney, Samantha Gullace, Fernando and Patricia Vera Stage Manager Julia Hambrecht, Sophie Johnson, Diodato Villani Janessa Cornell Urwin | Wardrobe Supervisor Rebeca Maso, Douglas Martin, Elena Volkova Allison Bonin | Wardrobe Assistant Amy Megules, Erika Mero, Trinette Washer Sandra Weinberger Kathleen Moore, Andrew Wentink Access & Enrichment Staff Michael Nickerson-Rossi, Shari Nyce, Victoria and Robert Wheeler Kathleen A. Smith-Lombardo | DANCE POWER Amanda Page, Emily Parker, Linda Wilks Coordinator Zoya Pavlovsky, Kirk Peterson, Brian Wilson Lindsay Cahill | Access & Enrichment Erikka Reenstierna-Cates, Vanessa Wise Dingli Wu Coordinator Kathleen A. Smith-Lombardo, Mahesh Yadov DANCE POWER Teaching Artists | Matanya Solomon, Adam Sterr, Slimane Yahi Nicole Bednar, Enrique Brown, Lindsay Cahill, Susan Tenney, Dr. Kim Chandler Vaccaro, Jennifer Yohrling Shannon Dolan, Sarah Ferreira, Cheryl Whitney, Journy Wilkes-Davis, Christine Yoon Serina Figueiras, Tyron Howard, Faith Woodyard, Audrey Yeager, Yibin Zhang Julia Hambrecht, Amanda Kazalonis, Maria Youskevitch Olivia H. Musanti, Nycole Nurse, Janette Rawls, Courtney Schumacher, Accompanists | Alexander Ashman, Kathleen A. Smith-Lombardo, Jonathan Benjamin, David Cheifer, Rachel Stanislawczyk, Jessica Whelan Will Comer, Mila Fursik, Gertrude Glazer, Ian Howells, Sook Kim, Doug Kramer, Don Nemeth, Marina Salganik, Tookah Sapper, David Tenney arballet.org | 38 WORLD PREMIERE / Choreography by Kirk Peterson BEAUTY AND THE BEAST Suspense! Intrigue!

1740 classic fairy tale performed to live music.

Friday, May 10 | 8:00 PM State Theatre New Jersey New Brunswick, NJ

Photo Credit: Lois Greenfield