DOCSLIB.ORG

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

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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 Tears of the Moon Trois Voix (three voices) Airs Choreography | Kirk Peterson Choreography | Mary Barton Choreography | Paul Taylor Music | Beethoven Music | Poulenc Music | Handel 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 The Production Team Production Manager/Stage Manager | Rachel Jacquin Macleod Technical Director | Christian (Pepe) Serrano Wardrobe Supervisor | Janessa Cornell Urwin Wardrobe Assistant | Allison Bonin Lighting Supervisor/Master Electrician | Jason Flamos 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
Load more

Recommended publications
  • Valerie Roche ARAD Director Momix and the Omaha Ballet
    Celebrating 50 years of Dance The lights go down.The orchestra begins to play. Dancers appear and there’s magic on the stage. The Omaha Academy of Ballet, a dream by its founders for a school and a civic ballet company for Omaha, was realized by the gift of two remarkable people: Valerie Roche ARAD director of the school and the late Lee Lubbers S.J., of Creighton University. Lubbers served as Board President and production manager, while Roche choreographed, rehearsed and directed the students during their performances. The dream to have a ballet company for the city of Omaha had begun. Lubbers also hired Roche later that year to teach dance at the university. This decision helped establish the creation of a Fine and Performing Arts Department at Creighton. The Academy has thrived for 50 years, thanks to hundreds of volunteers, donors, instructors, parents and above all the students. Over the decades, the Academy has trained many dancers who have gone on to become members of professional dance companies such as: the American Ballet Theatre, Los Angeles Ballet, Houston Ballet, National Ballet, Dance Theatre of Harlem, San Francisco Ballet, Minnesota Dance Theatre, Denver Ballet, Momix and the Omaha Ballet. Our dancers have also reached beyond the United States to join: The Royal Winnipeg in Canada and the Frankfurt Ballet in Germany. OMAHA WORLD HERALD WORLD OMAHA 01 studying the work of August Birth of a Dream. Bournonville. At Creighton she adopted the syllabi of the Imperial Society for Teachers The Omaha Regional Ballet In 1971 with a grant and until her retirement in 2002.
    [Show full text]
  • Study Guide for Teachers and Students
    Melody Mennite in Cinderella. Photo by Amitava Sarkar STUDY GUIDE FOR TEACHERS AND STUDENTS 1 TABLE OF CONTENTS PRE AND POST-PERFORMANCE ACTIVITIES AND INFORMATION Learning Outcomes & TEKS 3 Attending a ballet performance 5 The story of Cinderella 7 The Artists who Created Cinderella: Choreographer 11 The Artists who Created Cinderella: Composer 12 The Artists who Created Cinderella Designer 13 Behind the Scenes: “The Step Family” 14 TEKS ADDRESSED Cinderella: Around the World 15 Compare & Contrast 18 Houston Ballet: Where in the World? 19 Look Ma, No Words! Storytelling in Dance 20 Storytelling Without Words Activity 21 Why Do They Wear That?: Dancers’ Clothing 22 Ballet Basics: Positions of the Feet 23 Ballet Basics: Arm Positions 24 Houston Ballet: 1955 to Today 25 Appendix A: Mood Cards 26 Appendix B: Create Your Own Story 27 Appendix C: Set Design 29 Appendix D: Costume Design 30 Appendix E: Glossary 31 2 LEARNING OUTCOMES Students who attend the performance and utilize the study guide will be able to: • Students can describe how ballets tell stories without words; • Compare & contrast the differences between various Cinderella stories; • Describe at least one dance from Cinderella in words or pictures; • Demonstrate appropriate audience behavior. TEKS ADDRESSED §117.106. MUSIC, ELEMENTARY (5) Historical and cultural relevance. The student examines music in relation to history and cultures. §114.22. LANGUAGES OTHER THAN ENGLISH LEVELS I AND II (4) Comparisons. The student develops insight into the nature of language and culture by comparing the student’s own language §110.25. ENGLISH LANGUAGE ARTS AND READING, READING (9) The student reads to increase knowledge of own culture, the culture of others, and the common elements of cultures and culture to another.
    [Show full text]
  • 2019-2020 Season Overview JULY 2020
    ® 2019-2020 Season Overview JULY 2020 Report Summary The following is a report on the gender distribution of choreographers whose works were presented in the 2019-2020 seasons of the fifty largest ballet companies in the United States. Dance Data Project® separates metrics into subsections based on program, length of works (full-length, mixed bill), stage (main stage, non-main stage), company type (main company, second company), and premiere (non-premiere, world premiere). The final section of the report compares gender distributions from the 2018- 2019 Season Overview to the present findings. Sources, limitations, and company are detailed at the end of the report. Introduction The report contains three sections. Section I details the total distribution of male and female choreographic works for the 2019-2020 (or equivalent) season. It also discusses gender distribution within programs, defined as productions made up of full-length or mixed bill works, and within stage and company types. Section II examines the distribution of male and female-choreographed world premieres for the 2019-2020 season, as well as main stage and non-main stage world premieres. Section III compares the present findings to findings from DDP’s 2018-2019 Season Overview. © DDP 2019 Dance DATA 2019 - 2020 Season Overview Project] Primary Findings 2018-2019 2019-2020 Male Female n/a Male Female Both Programs 70% 4% 26% 62% 8% 30% All Works 81% 17% 2% 72% 26% 2% Full-Length Works 88% 8% 4% 83% 12% 5% Mixed Bill Works 79% 19% 2% 69% 30% 1% World Premieres 65% 34% 1% 55% 44% 1% Please note: This figure appears inSection III of the report.
    [Show full text]
  • Arts Council Ballet Policy Review
    ARTS COUNCIL BALLET POLICY REVIEW November 2013 1 TABLE OF CONTENTS INTRODUCTION EXECUTIVE SUMMARY CHAPTER 1: HISTORICAL CONTEXT 1.1 Chapter introduction 1.2 A brief overview of ballet history 1.3 Ballet’s relevance in western contemporary society 1.4 Irish ballet in brief 1.5 Chapter conclusion CHAPTER 2: EDUCATION 2.1 Chapter introduction 2.2 Impediments to the development of formal dance education in Ireland 2.3 A brief overview of the current provision for pre-vocational dance training in Ireland 2.4 A possible model for professional dance education in Ireland 2.5 Proposed outline of course content for a BA in Dance 2.6 The positioning of a professional dance programme within a university setting and the development of international associations for quality assurance 2.7 Chapter conclusion CHAPTER 3: AN AUDIENCE PERSPECTIVE 3.1 Chapter introduction 3.2 Audience data sources 3.3 Audience data observations 3.4 Participation observations 3.5 Strategies for nurturing and developing audiences/engagement. 3.5.1 Research 3.5.2 Skills 3.5.3 Partnerships 3.5.4 Branding 3.5.5 Programming 3.5.6 External perceptions 3.5.7 Participatory activities 3.6 Chapter conclusion CHAPTER 4: PROFESSIONAL PRACTICE 4.1 Chapter introduction 4.2 Common factors 4.3 Artistic considerations and planning 2 4.3.1 A commitment to creativity and moving the art form forward. 4.3.2 Producing a ‘balanced’ programme 4.3.3 Imaginative programming achieved taking account of practical considerations 4.4 Model of practice for Ireland 4.5 Chapter conclusion APPENDIX 1: ARTS COUNCIL CONSULTATION PROCESS NOTES APPENDIX 2: ABOUT THE AUTHORS 3 INTRODUCTION In May 2006 the Arts Council commissioned an independent review of the context and issues affecting professional ballet in Ireland.
    [Show full text]
  • Twyla Tharp Th Anniversary Tour
    Friday, October 16, 2015, 8pm Saturday, October 17, 2015, 8pm Sunday, October 18, 2015, 3pm Zellerbach Hall Twyla Tharp D?th Anniversary Tour r o d a n a f A n e v u R Daniel Baker, Ramona Kelley, Nicholas Coppula, and Eva Trapp in Preludes and Fugues Choreography by Twyla Tharp Costumes and Scenics by Santo Loquasto Lighting by James F. Ingalls The Company John Selya Rika Okamoto Matthew Dibble Ron Todorowski Daniel Baker Amy Ruggiero Ramona Kelley Nicholas Coppula Eva Trapp Savannah Lowery Reed Tankersley Kaitlyn Gilliland Eric Otto These performances are made possible, in part, by an Anonymous Patron Sponsor and by Patron Sponsors Lynn Feintech and Anthony Bernhardt, Rockridge Market Hall, and Gail and Daniel Rubinfeld. Cal Performances’ – season is sponsored by Wells Fargo. PROGRAM Twyla Tharp D?th Anniversary Tour “Simply put, Preludes and Fugues is the world as it ought to be, Yowzie as it is. The Fanfares celebrate both.”—Twyla Tharp, 2015 PROGRAM First Fanfare Choreography Twyla Tharp Music John Zorn Musical Performers The Practical Trumpet Society Costumes Santo Loquasto Lighting James F. Ingalls Dancers The Company Antiphonal Fanfare for the Great Hall by John Zorn. Used by arrangement with Hips Road. PAUSE Preludes and Fugues Dedicated to Richard Burke (Bay Area première) Choreography Twyla Tharp Music Johann Sebastian Bach Musical Performers David Korevaar and Angela Hewitt Costumes Santo Loquasto Lighting James F. Ingalls Dancers The Company The Well-Tempered Clavier : Volume 1 recorded by MSR Records; Volume 2 recorded by Hyperi on Records Ltd. INTERMISSION PLAYBILL PROGRAM Second Fanfare Choreography Twyla Tharp Music John Zorn Musical Performers American Brass Quintet Costumes Santo Loquasto Lighting James F.
    [Show full text]
  • AUDITION for FOUR COMPANIES in One Great Workshop
    Serious High School, College & Conservatory Dancers AUDITION for FOUR COMPANIES in One Great Workshop June 29, 2020 - August 2, 2020 Only 32 Dancers Accepted Classes with these Directors... Hope Muir Robert Curran Charlotte Ballet Louisville Ballet James Sofranko Adam Sklute Grand Rapids Ballet West Ballet PLUS other fantastic faculty! SUMMER 2020 INTENSIVE PERFORMANCE WORKSHOP June 29, 2020 – August 2, 2020 Study with Artistic Directors: Hope Muir, Charlotte Ballet Robert Curran, Louisville Ballet Adam Sklute, Ballet West James Sofranko Grand Rapids Ballet Monday - Saturdays 10am – 6pm (6 days per week) Tuition: $1,995 Cincinnati Ballet’s Victoria Morgan during a “Meet the Director” Lunch/Lecture • Use class as an Audition for these four companies. • Meet and ask questions of these Directors during the “Meet the Director” lecture series. • Classes in ballet technique, pointe technique, variations, together with jazz and modern will be included. Additional classes in Pilates and hip-hop will also be included. • Dance enrichment sessions of the workshops will include: question-and-answer ses- sions with professional dancers, technical theater production, video critique of his- toric ballet performances, plus discussions on resume, make-up and audition skills. • In the [Performance Intensive Workshop], you will learn what it is to be a member of a Corps de Ballet dancing with some of the finest professional dancers in the world. • All Performance Workshop Participants will be cast in a full-length production, La Bayadère. Performance: La Bayadère July 31, August 1 & 2, 2020 with Pennsylvania Ballet’s Sterling Baca and Nayara Lopes and San Francisco Ballet’s Sasha de la Sola! About Boca Ballet Theatre: Founded in 1990, Boca Ballet Theatre’s mission is to enrich the cultural landscape of our community and to educate our youth in classical ballet and concert dance through focused training, interaction with professional dancers and participation in full length ballets and contemporary choreog- raphy.
    [Show full text]
  • View Campaign Brochure
    CAROLINA BALLET’S Carolina Ballet would like to thank the following supporters for their early Pleaseinvestment visit Carolina in Choreographing Ballet’s website for aCarolina list of all Campaign Ballet’s Gifts Future. through October 31, 2018. $1,000,000+ Mr. and Mrs. Andrew Steidinger Ronald and Maryllen Blum Enviromental Control Judy and Steve Zelnak Synergy Face & Body Hal Bowman and Mercedes Auger Liz and Britt Ferrill Ms. Vera Tayeh Richard Catlin and Associates, Inc. Mrs. Mary A. Fisher $250,000+ Beverly Taylor Dr. Margaret K. Champion Ms. Christina Floyd Anonymous NC Family Mr. and Mrs. Richard A. Thomas Matt and Gina Chapin Fonville Morisey Realty Dr. and Mrs. Malcolm McDougal Brown Rob and Sally Tiller Citrix Mr. and Mrs. Stanley H. Fox The John William Pope Foundation Lars and Elisabeth von Kantzow Mr. Brian Cook Dan Gaugert and Terry Harper Stefanie and Douglas Kahn Robert Weiss and Melissa Podcasy Jacobi Daley Nicholas and Carol Gillham Moise Khayrallah Katherine White and Thomas Urquhart Deloitte Alicia and Sean Gilsenan Martin Marietta Materials Brooklyn and Mike Winters Jamie Drake Danielle Greco and Tony Bryant Ms. Patricia Dube Eileen Greenbaum and Larry Mintz $100,000+ $7,500+ George Evans and Karen Monaco Bob and Laura Gutman Anonymous (1) Anonymous (1) Drs. Richard Felder and Rebecca Brent Annette and Richard Hagopian Capitol Broadcasting Company Mrs. Franc A. Barada, Jr. Finnamore Real Estate Ms. Gayla H. Halbrecht Ms. Ellyn E. Daniels Nancy and Christopher Bolen Sharon and J.C. Garbutt Cheryl and Charles Hall Mrs. Jolene B. McGehee Brigs Restaurants Carolyn Happer and Leonard Graham Dr.
    [Show full text]
  • British Ballet Charity Gala
    BRITISH BALLET CHARITY GALA HELD AT ROYAL ALBERT HALL on Thursday Evening, June 3rd, 2021 with the ROYAL BALLET SINFONIA The Orchestra of Birmingham Royal Ballet Principal Conductor: Mr. Paul Murphy, Leader: Mr. Robert Gibbs hosted by DAME DARCEY BUSSELL and MR. ORE ODUBA SCOTTISH BALLET NEW ADVENTURES DEXTERA SPITFIRE Choreography: Sophie Laplane Choreography: Matthew Bourne Music: Wolfgang Amadeus Mozart – Gran Partita and Eine kleine Nachtmusik Music: Excerpts from Don Quixote and La Bayadère by Léon Minkus; Dancers: Javier Andreu, Thomas Edwards, Grace Horler, Evan Loudon, Sophie and The Seasons, Op. 67 by Alexander Glazunov Martin, Rimbaud Patron, Claire Souet, Kayla-Maree Tarantolo, Aarón Venegas, Dancers: Harrison Dowzell, Paris Fitzpatrick, Glenn Graham, Andrew Anna Williams Monaghan, Dominic North, Danny Reubens Community Dance Company (CDC): Scottish Ballet Youth Exchange – CDC: Dance United Yorkshire – Artistic Director: Helen Linsell Director of Engagement: Catherine Cassidy ENGLISH NATIONAL BALLET BALLET BLACK SENSELESS KINDNESS Choreography: Yuri Possokhov THEN OR NOW Music: Piano Trio No. 1, Op. 8 by Dmitri Shostakovich, by kind permission Choreography: Will Tuckett of Boosey and Hawkes. Recorded by musicians from English National Music: Daniel Pioro and Heinrich Ignaz Franz von Biber – Passacaglia for solo Ballet Philharmonic, conducted by Gavin Sutherland. violin, featuring the voices of Natasha Gordon, Hafsah Bashir and Michael Dancers: Emma Hawes, Francesco Gabriele Frola, Alison McWhinney, Schae!er, and the poetry of
    [Show full text]
  • The Shubert Foundation 2020 Grants
    The Shubert Foundation 2020 Grants THEATRE About Face Theatre Chicago, IL $20,000 The Acting Company New York, NY 80,000 Actor's Express Atlanta, GA 30,000 The Actors' Gang Culver City, CA 45,000 Actor's Theatre of Charlotte Charlotte, NC 30,000 Actors Theatre of Louisville Louisville, KY 200,000 Adirondack Theatre Festival Glens Falls, NY 25,000 Adventure Theatre Glen Echo, MD 45,000 Alabama Shakespeare Festival Montgomery, AL 165,000 Alley Theatre Houston, TX 75,000 Alliance Theatre Company Atlanta, GA 220,000 American Blues Theater Chicago, IL 20,000 American Conservatory Theater San Francisco, CA 190,000 American Players Theatre Spring Green, WI 50,000 American Repertory Theatre Cambridge, MA 250,000 American Shakespeare Center Staunton, VA 30,000 American Stage Company St. Petersburg, FL 35,000 American Theater Group East Brunswick, NJ 15,000 Amphibian Stage Productions Fort Worth, TX 20,000 Antaeus Company Glendale, CA 15,000 Arden Theatre Company Philadelphia, PA 95,000 Arena Stage Washington, DC 325,000 Arizona Theatre Company Tucson, AZ 50,000 Arkansas Arts Center Children's Theatre Little Rock, AR 20,000 Ars Nova New York, NY 70,000 Artists Repertory Theatre Portland, OR 60,000 Arts Emerson Boston, MA 30,000 ArtsPower National Touring Theatre Cedar Grove, NJ 15,000 Asolo Repertory Theatre Sarasota, FL 65,000 Atlantic Theater Company New York, NY 200,000 Aurora Theatre Lawrenceville, GA 30,000 Aurora Theatre Company Berkeley, CA 40,000 Austin Playhouse Austin, TX 20,000 Azuka Theatre Philadelphia, PA 15,000 Barrington Stage Company
    [Show full text]
  • Dance Department Consultants
    Dance Department Consultants Lisa Alfieri Ballo Ms. Ballo - Consultant in Ballet - trained on full scholarship at the Pennsylvania Ballet under Lupe Serrano and at the San Francisco Ballet and Cleveland Ballet schools. Her professional career includes dancing with Sandra Organ Dance Company, Fort Worth- Dallas Ballet and prior to that with Cleveland - San Jose Ballet where she rose to principal dancer during her ten year stay. She has also danced as a principal guest artist nationally as well as internationally. As a teacher, she has taught in schools for the Cleveland Ballet, Ballet Arkansas, Twin City Ballet and the Houston Ballet Academy. Recently, she was Ballet Mistress for the Houston Repertoire Ballet's senior company and is currently teaching at the Hope Center. Lauren Bay Consultant in modern dance, ballet and tap dance. Ms. Perrone holds a BFA in Modern Dance Pedagogy from the University of Oklahoma where she studied with Mary Margaret Holt, Denise Vale and Austin Hartel. She is a 2000 HSPVA Dance graduate and a native Houstonian where she began her dance training with Paula Sloan and performed with The Texas Tap Ensemble. After college she also studied in New York City with Mark Morris, the Limon Dance Company, Nicole Wolcott, and Julian Barnett, among others. Her professional credits include: Houston Grand Opera's Aida; Galveston Island Musicals' My Fair Lady, America the Beautiful, and Hello Dolly. She has toured nationally as the dance captain of Mame and internationally to France and Paraguay with the Modern Repertory Dance Theater. Her New York City credits include the Jeff Rebudal Dance Company, Murray Hill Productions, and Lance Cruze Performance Group.
    [Show full text]
  • Roberto Muñoz
    Roberto Muñoz Mr. Munoz has been teaching and coaching young dancers for over 30 years, both in the USA and abroad. Mr. Munoz served as Director of the Conservatory of Dance and Music Point Park College (now University) from 1983-1995. There, he created two successful programs for young aspiring dancers, The Pre-Professional Division and the International Summer Dance Program. During this time, he assembled an impressive faculty of world-renowned Master Teachers, including Laura Alonso, Barbara Sandonato, Karen Brown, Magda Aunon, Eva Evdokimova, Willy Burmann, Michael Uthoff, John McFall and Jose Molina. In the summer of 1993, Mr. Munoz, was invited to be part of the faculty at Pro Danza in Havana Cuba, where he taught classes at the Historical Theater Garcia Lorca. In the year 1995, was invited to teach at The Baltimore High School for the Performing Arts. From 1997-2005, Mr. Munoz was Ballet Master/Coach for both Pittsburgh Ballet Theater’s Company and its school. In 2005, he became Executive Director and Ballet Master at Gulfshore Ballet in Florida. Mr. Munoz’s former students are recognized for their high level of professionalism and their artistic and technical achievements. Most have gone on to successful careers with major companies across the US and Europe. Mr. Munoz has been a guest Master Teacher at a number of Ballet Companies, including Atlanta Ballet, Ballet Arizona, Ballet Met, Boston Ballet, Houston Ballet, Pittsburgh Ballet Theater and Colorado Ballet, among others. He has also taught master classes at Central Pennsylvania Youth Ballet, Magda Aunon Classical Ballet School, Wexford Dance Academy, Ballet Academy of Pittsburgh, Dmitri Kulev Classical Ballet Academy, Colorado Conservatory of Dance, Aspen Santa Fe Ballet School, both in Aspen and Santa Fe, Vail Valley Dance Academy, Ballet Conservatory of South Texas, Dance Conservatory of Maryland, Takeuchi Ballet Studio in Japan and the Kenny Wang Ballet School in Taiwan..
    [Show full text]
  • Nicolle Greenhood Major Paper FINAL.Pdf (4.901Mb)
    DIVERSITY EN POINTE: MINIMIZING DISCRIMINATORY HIRING PRACTICES TO INCREASE BALLET’S CULTURAL RELEVANCE IN AMERICA Nicolle Mitchell Greenhood Major paper submitted to the faculty of Goucher College in partial fulfillment of the requirements for the degree of Master of Arts in Arts Administration 2016 Abstract Title of Thesis: DIVERSITY EN POINTE: MINIMIZING DISCRIMINATORY HIRING PRACTICES TO INCREASE BALLET’S CULTURAL RELEVANCE IN AMERICA Degree Candidate: Nicolle Mitchell Greenhood Degree and Year: Master of Arts in Arts Administration, 2016 Major Paper Directed by: Michael Crowley, M.A. Welsh Center for Graduate and Professional Studies Goucher College Ballet was established as a performing art form in fifteenth century French and Italian courts. Current American ballet stems from the vision of choreographer George Balanchine, who set ballet standards through his educational institution, School of American Ballet, and dance company, New York City Ballet. These organizations are currently the largest-budget performing company and training facility in the United States, and, along with other major US ballet companies, have adopted Balanchine’s preference for ultra thin, light skinned, young, heteronormative dancers. Due to their financial stability and power, these dance companies set the standard for ballet in America, making it difficult for dancers who do not fit these narrow characteristics to succeed and thrive in the field. The ballet field must adapt to an increasingly diverse society while upholding artistic integrity to the art form’s values. Those who live in America make up a heterogeneous community with a blend of worldwide cultures, but ballet has been slow to focus on diversity in company rosters.
    [Show full text]