Student Ballet 4 PLUS! This Link Contains All of the Information You Need to Register for 2016–2017 at Princeton Ballet School

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301 North Harrison Street, Princeton, N.J. 08540 phone: (609)921-7758 fax: (609)921-3249 Photo: Horst Frankenberger Horst Photo:

From the Director’s Desk

Welcome to Student Ballet 4 PLUS! This link contains all of the information you need to register for 2016–2017 at Princeton Ballet School. Please be sure to read through each of these elements as you prepare to register; there is new information you will want to be aware of.

Table of contents:

• Student Ballet 4 PLUS information • Class schedule • Fees and registration information • Registration form • Student uniform order form (Giselle of Princeton)

»» Orders received after July 15 may not be available in time for the start of classes (more detailed information can be found on the order form) • Princeton Ballet School Handbook

»» Includes uniform requirements »» Includes school calendar • Directions to our studios

• Link to 2016 Summer Adult Open Enrollment brochure (located at the end of class schedules) • American Repertory Ballet Juniors audition (June 22) and membership information 301 North Harrison Street, Princeton, N.J. 08540 phone: (609)921-7758 fax: (609)921-3249

ARBW Junior Audition Information Dear dancer, If you’ve ever wondered how we get our thrilling productions up on the stage in such a way as to keep everyone talking about them for days; if you’ve ever wondered why people keep saying “it’s so professional”; if you’ve ever wondered how our dancers get this done — come and try for a chance to find out! We haven’t time to bask in the glow of our school show, Swan Lake: the American Repertory Ballet Workshop Juniors audition is just around the corner! We invite you to come audition for the opportunity to join this special group of dancers who comprise ARBW Jr, our entry level performing company. Our aim is the refinement of technique as it pertains to performing and the acculturation of young dancers in the performing life of the profession. We have two seasons, fall and spring and, to help keep you from being over-committed, you may opt to choose one or the other. You do get the most benefit from the experience by choosing both. Do you have a bat mitzvah in the fall? Participate in our spring session. A confirmation (school musical; concerto competition; family commitments) in the spring? Participate in the fall. Most of the ARBW Jr dancers who performed with our professional company, American Repertory Ballet, in its 2015 production of the Nutcracker, found that the experience gave them enough of a taste of the rehearsal/performing life--and improved their technique to such an extent--that they opted for the spring session as well. During Nutcracker, they toured throughout New Jersey in six (6) venues during November and December, each dancer performing in many of the twenty-two shows. Four of those shows offered them the all too rare experience of dancing with an orchestra. Other rehearsal and performance opportunities include Summer Repertory Week leading to the Cranbury Day festival; the annual gala; and the school show. In short, you get to be a better dancer by--dancing! The Audition Time and place: The ARBW Jr audition for the 2016–17 performance season is Wednesday, June 22, 2016 from 6:00 p.m.–8:00 p.m. in the Robertson Studio at our main location at 301 N. Harrison St., Princeton, N.J.. Arrive by 5:45 to sign in. Audition fee: $25.00

Eligibility: You must be a registered student at Princeton Ballet School, accepted into one of the following levels: • Student 4 or 4+ • Student 5 or 5+ Note: 2015–2016 ARBW Jr Student 5 or 5+ dancers need not audition again, regardless of their placement for 2016– 2017. 2015–2016 ARBW Jr Student 4/4+ dancers must audition for the coming season Clothing: a simple classroom leotard, tights, and technique shoes. Young ladies bring pointe shoes with you. If you are intrigued by the opportunity to see where all your dedicated classwork may take you, come audition on June 22. For questions about the audition or ARBW Jrs please contact Cheryl Whitney at this email address [email protected]. Sincerely, Cheryl Whitney, ARBW Junior Ballet Mistress 301 North Harrison Street, Princeton, N.J. 08540 phone: (609)921-7758 fax: (609)921-3249

Audition Form ARBW Juniors 2016-2017

Bring this form with you $25 audition fee must be paid in exact change, check, or charge when you sign in on Wednesday, June 22 at 5:45 p.m.

Name (first)______(last)______

Mailing Address (for audition results) ______

City ______State ______Zip ______

Home phone ______Cell phone______

Student email address______

Family email address ______

Age ______Date of birth ______/ ______/ ______(month) (day) (year)

Academic school grade 2015-2016 (this past year) ______

Princeton Ballet School level for 2016-2017 (circle one):

4 4 PLUS 5 5 PLUS

Applicant signature ______2016–2017 Schedule of Classes Student Ballet 4 PLUS Leotard color: ROYAL BLUE. For more information see the handbook. Student Ballet 4 PLUS dancers must register for 4 classes from this list. See letter for detailed registration instructions. STUDENT BALLET 4 PLUS: (choose four)

LOCATION DAY TIME ROOM TEACHER CODE Cranbury Monday 7:15–9:15 p.m. A Bellis CK+ 1

Princeton Tuesday 5:45–7:45 p.m. Lescroart (B) Bellis PK+ 1 Wednesday 6:00–8:00 p.m. Orphanides (C) Mero PK+ 2 Thursday 7:30–9:15 p.m. Robertson (A) Wolf PK+ 3 Saturday 10:00–11:45 a.m. Lescroart (B) Moore PK+ 4

------ARB Workshop Rehearsals (by audition only - optional) ------

Princeton Saturday 2:15–6:15 p.m. Orphanides (C) JRR 1 Sunday 11:00 a.m.–12:30 p.m. Orphanides (C) JRC 4 Sunday 1:00–6:00 p.m. Orphanides (C) JRR 2

STUDENT BALLET 4 PLUS ADVANCED MEN'S CLASS:

LOCATION DAY TIME ROOM TEACHER CODE Princeton Thursday 6:30–7:30 p.m. Lescroart (B) St.Pierre PX4

Tuition (including ARB Workshop dues): $4,050 + $60 = $4,110 (if paid in full at registration)

Initial payment Amount Due: 10/1, 11/14, 1/15/17, 3/16/17 Payment Plan Total Payment Plan: $60 registration fee $868 $4,400 + $868

Tuition (without ARB Workshop dues): $3,350 + $60 = $3,410 (if paid in full at registration)

Initial payment Amount Due: 10/1, 11/14, 1/15/17, 3/16/17 Payment Plan Total Payment Plan: $60 registration fee $718 $3,650 + $718

In order to claim the spot reserved for your child in the PLUS program the registration deadline is JULY 15th. Please list all classes by code when filling in the registration form.

Information on Summer Intensive Intermediates and Summer Open Enrollment can be found on our website at http://www.americanrepertoryballet.org/PBS/Summer-Intensive-Intermediates and http://www.americanrepertoryballet.org/PBS/Summer-Adult-Open-Enrollment-Classes

Princeton Ballet School Main Office: 301 North Harrison Street, Princeton, N.J. 08540 • (609)921-7758 • www.arballet.org

updated June 2016 2016–2017 Schedule of Classes

STUDENT BALLET 4

STUDENT BALLET 4: minimum two classes weekly for students with at least one year of pointe work. By evaluation only. The 30-minute pointe class following will be billed separately. Please note that one can take Ballet 4 without pointe, if desired, but if one wishes to dance on pointe, one must do so twice weekly. One can also register for Open Enrollment Intermediate or Advanced classes to have additional Student 4 class options. Leotard color: ROYAL. See Handbook for more information.

STUDIO LOCATION DAY TIME ROOM TEACHER CODE

Cranbury Tuesday 6:30–8:00 p.m. B Yeager CKL1 8:00–8:30 p.m. pte. B Yeager CKL1 pte. Thursday 7:00–8:30 p.m. B Mero CK2 8:30–9:00 p.m. pte. B Mero CK2 pte.

Princeton Monday 7:00–8:30 p.m. Orphanides (C) Byrne PK1 8:30–9:00 p.m. pte. Orphanides (C) Byrne PK1 pte. Wednesday 7:15–8:45 p.m. Robertson (A) Abramson PK2 8:45–9:15 p.m. pte. Robertson (A) Abramson PK2 pte. Friday 7:00–8:30 p.m. Orphanides (C) Mero PKL3 8:30–9:00 p.m. pte. Orphanides (C) Mero PKL3 pte.

NOTE: OPEN ENROLLMENT ADVANCED – These classes are excellent additions to schedule for Student Ballet 4 and 5.

STUDIO LOCATION DAY TIME ROOM TEACHER CODE

Princeton Monday 7:45–9:15 p.m. Robertson (A) St.-Pierre PR1 Tuesday 7:45–9:15 p.m. Lescroart (B) Bellis PR2 Saturday 10:45 a.m.–12:15 p.m. Robertson (A) Bellis PL1 ------Information on Summer Intensive Intermediates and Summer Open Enrollment can be found on our website at http://www.americanrepertoryballet.org/PBS/Summer-Intensive-Intermediates and http://www.americanrepertoryballet.org/PBS/Summer-Adult-Open-Enrollment-Classes

Princeton Ballet School Main Office: 301 North Harrison Street, Princeton, N.J. 08540 • (609)921-7758 • www.arballet.org

updated June 2016 PLACEMENT CLASS SCHEDULE New students are asked to take a placement class to determine level. This is not necessary for beginners of any age and dancers age 5 and under. A placement class costs $20. To register for a placement class call (609)921-7758.

Cranbury • New Brunswick • Princeton PAYMENT OPTIONS www.arballet.org • (609)921-7758 You may pay in full at the beginning of the year, or choose to enroll in our payment plan, outlined below. The payment plan includes a finance charge. Please call our finance office (Sean Keeley at (732)249-1254, ext.14) if you have any questions. REGISTRATION INFORMATION • Remember, tuition payments are non-refundable Registration may be conducted in person, by mail or by fax and MUST be accompanied by payment. INITIAL PAYMENT - DUE WITH REGISTRATION All registrations by mail should be sent to: • Please make checks payable to: Princeton Ballet School Princeton Ballet School We cannot accept cash for security reasons. 301 N. Harrison Street, Princeton, N.J. 08540 • MasterCard, Visa, Discover, and American Express are accepted. Fax registrations with credit card information to: (609)921-3249 • Payments are non-refundable. Fax registrations are not accepted without credit card information • Subsequent tuition payments will be billed, or you may choose section filled out. to set up automatic credit card payments by the due date. • Priority registration for returning students ends July 15th. (See Registration Form) • All new students in 1st grade or above who have previous dance CLASS CHANGE FEE: There will be a fee of $30 assessed for training need to attend a placement class. Please see below for class changes made after Monday, September 26. This fee will be procedure. applicable per each change made. PLEASE READ THE FOLLOWING BEFORE REGISTERING: • By filling out a registration form, you are registeringfor the entire LATE FEE: A late fee of $25 will be charged each time your school year. Division into payments is made only for the family’s account is more than 15 days past due date. Accounts more than 45 convenience. A processing fee will be charged. If you wish to days past due may result in classroom suspension until satisfactory withdraw during the school year for any reason, please contact arrangements have been made with Sean Keeley. the Dean of Students, Lisa de Ravel, ext. 11, to discuss. INSUFFICIENT FUNDS: Please note effective June 1st all returned A drop fee of $30 will be charged. checks will be charged a $30 service fee per account. • You may subtract $25 for each additional sibling registering for the full year. Discount will be applied to child’s last tuition payment. • Those registering af ter the star t of classes will be charged based 2016–2017 CALENDAR on a monthly pro-rate of the 34 week season. School year...... Sat., Sept. 10–Sun., June 4 • Please contact Sean Keeley at 732.249.1254, ext. 14, if an Thanksgiving ...... Closed Tues., Nov. 22–Sun., Nov. 27 alternative payment schedule is needed. Winter Break...... Closed Mon., Dec. 19–Sun., Jan. 1 • Financial Aid is available based on need. Applications are Spring Break...... Closed Mon., April 10–Sun., April 16 available on request. Deadline is June 30, 2016. School Show, The Sleeping Beauty (no classes)...... Sat., May 20 • Any class with insufficient registration may be cancelled at the Memorial Day Break...... Closed Sat., May 27–Mon., May 29 discretion of the School Director. Last day of classes...... Sun., June 4

TUITION SCHEDULE 2016–2017 SCHOOL YEAR

Classes per week Tuition Registration 1st Payment Installment Payment Fee due with registration due 11/15 Plan Total

1 (45 min.) $820 $60 $435 + $60 = $495 $435 $930

1 (60 or 75 min.) $995 $60 $528 + $60 = $588 $528 $1,116

Classes per week Tuition Registration 1st Payment Installments (4) Due Payment Fee due with registration 10/1, 11/14, 1/15/17, 3/16/17 Plan Total

1 (45 min.) $820 $60 $176 + $60 = $236 $176 $940

1 (60 or 75 min.) $995 $60 $214 + $60 = $274 $214 $1,130

2 $1,850 $60 PLANPAYMENT SCHEDULE $397 + $60 = $457 $397 $2,045

2 + 2pte. St. 4 only $2,550 $60 $547 + $60 = $607 $547 $2,795

Please note: Student 3 does not pay pointe fee. Princeton Ballet School is not responsible for items lost or stolen. Princeton Ballet School does not discriminate on the basis of race, sex, or creed in the administration of All of our studios are wheelchair accessible. its admission or financial aid programs. The Princeton Ballet School is an equal opportunity employer. updated 6/2016 REGISTRATION FORM FOR OFFICE USE ONLY

2016-2017 Date/Time ______Rec by ______

Are you new to us this year? Yes ___ No ___

Student’s First Name ______Last Name ______

Street Address______

City______State______Zip ______

Home Telephone______Birthdate _____/_____/______Male Female Height ______month day year Academic School______Academic Grade (year 2016-2017)______

Student Email ______Student Cell Phone ______

Information and announcements will be distributed via e-mail. Information and announcementsPlease will be providedistributed a reliable via e-mail. e-mail Please address provide and put a reliable arballet.org e-mail on address your safe and list. put arballet.org on your safe list. Parent/Guardian #1: Parent/Guardian #2:

Title ______Name ______Title ______Name ______

Home Phone ______Cell Phone ______Home Phone ______Cell Phone ______

Work Phone/Employer ______Work Phone/Employer ______

Relation to Student ______Relation to Student ______

Email ______Email ______

Student resides with (at above address): Parent or Guardian #1 Parent or Guardian #2

Emergency Contact: Title______Name______Relation to Student ______

Emergency Contact Phone 1:______Emergency Contact Phone 2:______

Does the student have any physical or emotional characteristics that this year’s teacher needs to know to make this a positive learning experience?

______

If you are new to us this year and are registering for Children’s Intermediate 1 or above have you attended a placement class? ______(Beginners of any age and dancers age 5 and under do not need a placement class.)

CLASS NAME DAY TIME ROOM INSTRUCTOR CLASS CODE

REG ______COMP RB ______NB______SD______CONF______REGISTRATION FORM 2016-2017 PAGE TWO

Student Name ______Preferred Phone Number ______

Names of siblings registering 2016-2017 ______

______TOTAL NUMBER OF CLASSES WEEKLY

______TUITION

______+60 REGISTRATION FEE

______

______TOTAL

______I would like to add tax deductible contribution of $______to the Princeton Ballet School scholarship fund, which goes to benefit need-based scholarships. Please include this donation in your initial payment.

______TOTAL PAID TODAY

PAYMENT: Check enclosed – Make payment payable to: Princeton Ballet School. We cannot accept cash.

I would like to charge my: _ Visa _ MasterCard _ American Express Discover

Name on Card ______Card Number ______

Signed ______Exp. Date ______Today’s Date ______

Check here to pay in installments. An authorization form will be sent to you.

How did you hear about American Repertory Ballet and Princeton Ballet School? Please check all that apply.

Brochure Ad in ______Website ______Word of Mouth Current Student Other______

Would you like to volunteer? Please specify.

Sewing Marketing Development Office Help Other (Please Specify) ______

NOTE: Order forms for the student uniform must be recieved by July 15 to guarantee delivery before September. All dancers need to be in uniform to participate in class.

THIS APPLICATION MUST BE SIGNED FOR ADMISSION INTO PRINCETON BALLET SCHOOL. I have read the registration information and handbook and understand the school’s policies and calendar as outlined. I understand that this registration contract represents a financial commitment from September through June for Beginning Dance through Trainee levels. IfI’ve chosen to pay in installments, I understand and agree to the payment schedule. Past due accounts may result in classroom suspension until satisfactory arrangements are made. There are no refunds on tuition. Adjustments may be made only under exceptional circumstances and upon receipt of written notification by the Director and are subject to the approval of the Board of Trustees. I certify that this student is in good health and capable of participating in all school activities and classes. I hereby give permission for Princeton Ballet School to take photographs and video recordings for promotional use in the organization’s materials online and in print. I understand that Princeton Ballet School cannot be responsible for any lost or stolen items.

Student Signature (If over 18 years of age) ______Parent or Guardian Signature (If under 18 years of age) ______

Complete this form and mail to: Princeton Ballet School Make-up classes cannot carry over into any 301 N. Harrison St. other session. Princeton, NJ 08540 or fax to: 609-921-3249 or e-mail to: [email protected] Princeton Ballet School cannot be responsible for any items lost or stolen. Web: www.arballet.org • Telephone: 609-921-7758 Princeton Ballet School Uniform Please order by July 15 to guarantee delivery prior to the start of classes. Uniforms will be shipped to you 3-4 weeks after the order is placed.

GIRLS’ UNIFORM Uniform A Levels: Hand-in-Hand, Beginning Dance & Children’s Ballet 1 Color: PINK in Style A Level: Children’s Ballet 2 & Intermediate 1 & 2 Sample leotards are on display at Color: LIGHT BLUE in Style A all times at the Level: Children’s Intermediate 3 Giselle of Color: ROSE in Style A Princeton Kiosk. Child sizes: sm (4-6), int (6x-7), med (8-10), lg (12-14) @$32 Ballet shoes are available for Uniform B Levels: Middle School Ballet & Student Ballet 1 purchase Color: MAROON in Style B September – May. Child sizes: int (6x-7), med (8-10), lg (12-14) @$34 Adult sizes: petite, small, sm-long, med, md-long, lg @$38 Levels: Student Ballet 2 Color: PERIWINKLE in Style B Child sizes: med (8-10), large (12-14) @$34 Adult sizes: petite, small, sm-long, med, med-long, lg, xlg @$38 Levels: Student Ballet 3 Color: NAVY in Style B Child sizes: med (8-10), large (12-14) @$34 Adult sizes: petite, small, sm-long, med, med-long, lg, xlg @$38 Levels: Student Ballet 4 Color: ROYAL in Style B Adult sizes: petite, small, sm-long, med, med-long, lg, xlg @$38 Levels: Student Ballet 5 Color: PLUM in Style B Adult sizes: petite, small, sm-long, med, med-long, lg, xlg @$38 Levels: Student Ballet 6 Color: SILVER GREY in Style B Adult sizes: petite, small, sm-long, med, med-long, lg, xlg @$38

Use this chart for sizing uniform leotards. These are general guidelines. All sizes are measured in inches. Child Bust Waist Hips Girth Adult Bust Waist Hips Girth SC 20-21 18-20 21-22 37-39 PA 30-32 23-25 31-34 51-54 IC 22-24 20-21 23-25 40-43 SA 30-33 23-26 33-35 54-57 MC 25-27 21-23 26-28 44-48 MA 34-37 25-28 35-38 57-60 LC 26-29 23-25 29-31 49-52 LA 37-41 28-32 38-42 61-64 XLA 41-43 32-35 42-45 64-67 Uniform C Levels: Professional Training Program & Trainee Color: BLACK in Style C Adult sizes: petite, small, medium, large, x-large @$38 Optional leotard styles for Student 1 through Trainee: Colors: MAROON, PERIWINKLE, NAVY, ROYAL, PLUM, SILVER GREY, BLACK Uniform D Style D (cap sleeve princess seam), Uniform E Style E (3/4 sleeve princess seam) Child sizes: int (6x-7), med (8-10), lg (12-14) @$34 Adult sizes: petite, small, medium, large, x-large @$38 BOYS’ UNIFORM Male Shirt or Leotard – Levels: All Boys WHITE (form-fitting) T-Shirt w/ARB logo in Style #3527 Child sizes: sm (4-6), int (6x-7), med (8-10), lg (10-12) @$34 Adult sizes: small, medium, large, x-large @ $38 Boys’ & Men’s Tights – Levels: Intermediate Ballet for Boys through Professional Training Program Footed BLACK Dance tight in Style #M90 Child sizes: (7-8) (9-10) (11-12) (14-16) @ $32 Adult sizes: small, medium, large, x-large @ $38

GIRLS’/WOMEN’S BODY WRAPPERS TIGHTS Footless Tights in THEATRICAL PINK (Hand-in-Hand and Beginning Dance only) Child style #C33 @ $13.50 Child size: s/m (4-7) Footed Tight in THEATRICAL PINK Child style #C30 @ $13.50 Child sizes: xs-sm (1-3), s-m (4-7), m-l (8-14) Adult style #A30 @ $15.50 Adult sizes: sm-med, lg-xlg Convertible Tight (with hole in bottom of foot) in THEATRICAL PINK Child style #C31 @ $14.50 Child sizes: m-l (8-14) Adult style #A31 @ $16.50 Adult sizes: sm-med, lg-xlg

Mesh Convertible with Backseam Tight in BALLET PINK Adult style #A45 @$19.50 Adult sizes: small, medium, large, tall

OPTIONAL PRINCETON BALLET SCHOOL DANCEWEAR Dance Sweater: KD Dance Sweaters Child – Color: PINK Sizes: medium, large @ $42 Adult – Color: BLACK Sizes: petite, small, medium, large, x-large @ $49

Skirts: For Student Ballet 4, 5, 6, Professional Training Program & Trainees Student Ballet 4 – ROYAL mini dance skirt / one size fits all @ $26 Student Ballet 5 – PLUM mini dance skirt / one size fits all @ $26 Student Ballet 6 – SILVER GREY mini dance skirt / one size fits all @ $26 Student Ballet PTP & Trainees – BLACK mini dance skirt / one size fits all @ $26 Princeton Ballet School Uniform Giselle of Princeton ORDER FORM Please order by July 15 to guarantee delivery prior to the start of classes. Uniforms will be shipped to you 3-4 weeks after the order is placed. Mail form with payment to: Princeton Ballet School, 301 North Harrison Street, Princeton, N.J. 08540 or fax to: (609)921-3249 QUESTIONS? Call the Giselle of Princeton office phone at(267)399-9944

Student’s Name ______Student Level 2016-17______

Home Phone______Parent/Guardian cell phone______

PRINT E-mail address______

Style description Style # Size Color Quantity Amount

Merchandise Total $

Shipping & Handling Fee $ 4.00

If paying by check, $2.00 deduct from your total. -$2.00

TOTAL ENCLOSED $ PLEASE NOTE: Merchandise payment is to Giselle of Princeton and must be kept separate from tuition payments to Princeton Ballet School. Questions? Call, Victoria Rogers, proprietor, (267)399-9944

Payment Method: (DO NOT SEND CASH)

Billing Address: Street ______Town ______Zip Code______

Check or Money Order payable to Giselle of Princeton Credit Card: MasterCard VISA *

*Save $2.00 off your order when paying by check.

Credit Card # (Please do not leave spaces between numbers) CVV Code Credit Card ExpIration Date

(3 numbers on back of card) Month Year Credit Card Signature______

Mailing Label - PLEASE PRINT Please order by July 15 to guarantee delivery prior to the start of classes. Customer Name:______Uniforms will be shipped to you 3-4 weeks after the order is placed. Address______NOTE: All leotards can be evenly exchanged for another size at the Giselle of Princeton kiosk City______State______Zip______with tags intact and still on the garment in the fall. Studio Princeton Ballet School StudioStudio Locations LocationsStudio PrincetonPrinceton BalletBallet School StudiosStudios Locations Princetonandand Business Business Ballet OfficeOffice School Studios LocationsLocations Princetonand@@ Princeton Princeton Business Ballet ShoppingShopping Office School CenterCenter Studios Princeton Ballet School Studios and@301301 Princeton N.Business N. Harrison Harrison Shopping Office St., St., Princeton Princeton Center and@301AboveAbove Princeton BusinessN. McCaffrey’s McCaffrey’sHarrison Shopping supermarket.Office supermarket. St., Princeton PleaseCenter Please do do not not stand/parkstand/park in inthe the turnaround turnaround area area to to pick pick up/drop up/drop off. @Above Princeton McCaffrey’s Shopping supermarket. Center Please do not Ample301off. N. parkingAmple Harrison parking is available is St., available in Princeton the inlot. the lot. 301stand/park N. Harrison in the turnaround St., Princeton area to pick up/drop off. Above McCaffrey’s supermarket. Please do not AboveAmple McCaffrey’s parking is available supermarket. in the lot.Please do not Princetonstand/park in the Ballet turnaround School area to Downtownpick up/drop off. stand/parkAmplePrinceton parking in the is Balletturnaround available School in areathe lot. to Downtownpick up/drop off. AmplePrinceton@ Arts parking Council is Ballet available of Schoolin Princeton the lot. Downtown @ Arts Council of Princeton @102 Arts Witherspoon Council of St, Princeton Princeton Witherspoon St. Princeton102 Witherspoon Ballet SchoolSt, Princeton Downtown Princeton102The Arts Witherspoon Council Ballet suggests SchoolSt, parking Princeton atDowntown the Hulfish Witherspoon St. @The Arts Arts CouncilCouncil suggests of Princeton parking at the Hulfish or Spring Street garages. Please do not wait in the @The orArts ArtsSpring CouncilCouncil Street suggests garages. of Princeton parkingPlease doat thenot Hulfishwait in the Witherspoon St. drop102 offWitherspoon area. The Arts Council St, Princeton parking lot is for Arts ordrop Spring off Street area. garages.The Arts PleaseCouncil doparking not wait lot is in for the Witherspoon St. 102TheCouncil ArtsWitherspoon staff Council only. suggests St, parking Princeton at the Hulfish dropArts off Council area. The staff Arts only. Council parking lot is for Arts Theor SpringArts Council Street suggestsgarages. Pleaseparking do at notthe waitHulfish in the Council staff only. ordrop Spring off area.Street The garages. Arts Council Please parking do not lotwait is infor the Arts dropPrincetonCouncil off area. staff Theonly. Ballet Arts Council School’s parking lot is for Arts CouncilPrinceton staff only. Ballet School’s Cranbury Studios PrincetonCranbury BalletStudios School’s 29 N. Main Street, Cranbury PrincetonCranbury29 N. Main StudiosBallet Street, School’s Cranbury PrincetonCranbury29PleasePlease N. parkMain park and andBallet StudiosStreet, enter enter at atSchool’s theCranbury the rear rear of of the the building. building. Cranbury29Please N. parkMain and Studios Street, enter at the Cranbury rear of the building. 29PleasePrinceton N. Mainpark and Street, Ballet enter at CranburytheSchool’s rear of the building. PleasePrincetonNew park Brunswick and Balletenter at the StudiosSchool’s rear of the building. Princeton Ballet School’s PrincetonNew7 Livingston Brunswick Ballet Ave, StudiosNewSchool’s Brunswick New Brunswick Studios PrincetonNew7In theLivingston Crossroads Brunswick Ballet Ave, Theatre. StudiosSchool’sNew Ring Brunswick bell on left side of the 7 Livingston Ave, New Brunswick New7Inbuilding. theLivingston CrossroadsBrunswick Ave, Theatre. Studios New Ring Brunswick bell on left side of the Livingston Ave. In the Crossroads Theatre. Ring bell on left side building. Livingston Ave. 7In Livingston ofthe the Crossroads building. Ave, Theatre. New Ring Brunswick bell on left side of the Inbuilding. www.arballet.org/ARB/Contact-Information-and-Studio-Locationsthe Crossroads Theatre. Ring bell on left side of the Livingston Ave. building.www.arballet.org/ARB/Contact-Information-and-Studio-Locations Livingston Ave. www.arballet.org/ARB/Contact-Information-and-Studio-Locations www.arballet.org/ARB/Contact-Information-and-Studio-Locations www.arballet.org/ARB/Contact-Information-and-Studio-Locations THE OFFICIAL SCHOOL OF AMERICAN REPERTORY BALLET

Celebrating over 60 Years of Excellence in Dance Education

Handbook 2016–2017

Pamela Levy, School Director Douglas Martin, Artistic Director Audrée Estey, Founder of Princeton Ballet School

www.arballet.org | (609)921-7758 WELCOME TO PRINCETON BALLET SCHOOL! Princeton Ballet School is the official school of American Repertory Ballet (ARB), the preeminent professional classical and contemporary ballet company in the state. ARB has been designated a “Major Arts Institution” by the N.J. State Council on the Arts consistently for the past two decades, and has repeatedly been awarded a Citation of Excellence by the Council. ARB has also been voted “N.J.’s Favorite Dance Company” in the Jersey Arts People’s Choice Awards, and is recognized nationally as a professional company and dance training school by Dance USA. Since its founding in 1964 by Audrée Estey, Princeton Ballet School has built a national reputation for excellence in dance training. The Princeton Ballet School syllabus, developed by former Princeton Ballet School Director Mary Pat Robertson and the faculty, has produced dancers working in a wide range of U.S. and European companies, from New York City Ballet to Paul Taylor. We take great pride in these alumni who have gone on to careers in dance, and we are also proud of supporting the development of the whole student within a nurturing educational environment, and educating the next generation of arts lovers and supporters as well. American Repertory Ballet and Princeton Ballet School offer many additional educational programs: • American Repertory Workshop, our pre-professional and advanced student performance group. • The Trainee program for post-high school students, authorized under federal law to enroll non-immigrant students, provides performance opportunities with ARB through a full-time study program, accepting international students with visas. • The Rider University/Princeton Ballet School Dance Program allows access to conservatory-level training within a liberal arts institution. • The Access & Enrichment program reaches communities outside the studio and the theater through initiatives such as DANCE POWER and On Pointe. Princeton Ballet School has studios in Cranbury, New Brunswick and Princeton and a presence at the Paul Robeson Center for the Arts in downtown Princeton. We are proud to have been serving our community for over 60 years. This handbook contains information on the traditions and expectations of ballet training. Please take some time to read through it prior to the start of classes, as it will explain what is expected of you as a student. Work hard, have fun and have a great year!

1 RESPECT AND CLASSROOM RULES The theater world clings to its traditions, which include respect for the theater, the rehearsal hall, the teacher and the other students. • Out of respect, and also for safety reasons, we request that young children not enter the classroom and run around before the teacher is present. Dancers in Student Ballet 1 and above are encouraged to go in and warm up. • Talking in class is not allowed. Hands should be raised when there is a question for the teacher. • Gum is never allowed in class or anywhere in the school. • We expect that the students will have used the bathroom before class. Students in Student Division and above are expected to confine trips to the bathroom to the break between barre and center work. • At the end of the class, traditionally the students thank the teacher and accompanist by applauding. If a student needs to leave class early, please alert the teacher before class. At the given time, the student should thank the teacher and then quietly leave. • Teachers may also have additional classroom rules, which will be discussed with students. • Self-discipline is what makes it all happen. Sometimes young dancers get bored with the repetitions of the same exercises, and get eager to learn new steps. Steps are not the most important part of dancing; form and musicality are what really matter. Correctness of execution matters not only because it is beautiful, and because it separates the advanced dancer from the eternal intermediate, but also because it is safe. Sloppy dancing leads to injuries. • You will notice in the classroom that each teacher continually gives “corrections” to the dancers. These corrections should be considered and worked on by all dancers. The good dancer got that way by listening to every comment and applying it to her or his work. While some young dancers may feel that they are being picked on, the teacher’s comments should not be construed as criticism of the student’s possibilities or personality, but as the only means of progressing in a physical art form. • These corrections are frequently “hands on.” Manual adjustment of a student’s body to correct alignment and technique is standard practice. All of our teachers teach this way. • We feel strongly about the importance of the group experience. In a ballet company, the beautiful corps patterns rely on the responsibility, alertness and sensitivity of each member of the group. Each dancer learns to be responsible not only for herself or himself, but for the accomplishment of the group goal.

2 BEFORE AND AFTER CLASS We are responsible for your children during the time of their class with us. However, you are responsible for their behavior and safety before and after class. Siblings must stay with parents; young children may not be left in the lobby unattended. We are concerned about the safety of every individual who we deal with. We want everyone to maintain awareness of how to be safe when coming to and from classes in all of our studios. • The safest situation in all of our studios is for you to park the car and walk with your child into our lobby. • We suggest that you come into the lobby of each location to pick up your child after class. • Please make sure that children are respectful of our property, including the carpeting and furniture. For their own safety please do not allow children to hang or sit on the barres, counters or tables. • Please, no shouting or running in any of our lobbies. No ball playing either. Please respect the on-going classes, and the people working in our reception areas. • If you drop off your child or arrange for your child to wait for you outside, you are assuming full responsibility for their safety. • Please be prompt for pick up. Any parent arriving more than 15 minutes after the end of a class may be charged a child care fee. • For reasons of personal safety, personal health and tradition, students are not permitted to walk around outside of the dance studio in dance clothing. Dancers may not wear dance shoes outdoors in order to preserve the life of the shoes and our special dance floors. All dancers should plan to change clothes in the dressing room, or wear appropriate cover-ups such as shorts, teeshirts or sundresses in the summer, and street clothes or warm-up suits in the winter. The dancer will feel warm and not interested in a jacket, but the muscles and respiratory system need the warmth. PROMPTNESS AND ATTENDANCE Because dance requires great concentration and focus, it is difficult for both the individual and the group when a student comes in late. We understand that running late is sometimes unavoidable, however, please do not let this become a habit. If you are finding it difficult to make it to a particular class, please think about moving your child to a class at a different time. It is important to remember to allow time to change clothes and use the bathroom before class. There are dressing rooms provided at each of our locations. Please use them, or dress your child at home if you prefer. Please do not use our lobby as a changing room. It is not safe to dance without warming up; therefore, any dancer (in Student Ballet 1 or above) arriving more than ten minutes late will not be allowed to participate in class. She/he will be allowed to watch class and then make it up at a later date.

3 MISSED CLASSES AND MAKE-UPS Regular attendance is important. Our minds can grasp quickly, but it takes constant repetition for the body to really “get” the movement. At Princeton Ballet School, we encourage you to make up missed classes. However, we have had increasing difficulty with abuse of this privilege, and have instituted these rules: • Please keep track of your missed classes. Attendance is kept only in the roll book, which is in the classroom. If you have any questions concerning your attendance, please ask the teacher. • Classes may only be made up in your own level or the level below. • PLUS program classes may not be used for make-ups, unless you are a member of the PLUS program. • Classes may be made up at any of our locations. Please confirm the time and place of classes with the front desk. • You may not make up classes during parent observation weeks in December and May. • We urge you to make up missed classes as soon as possible so that each month’s material is learned in a timely manner. • We encourage you to complete fall semester make-ups by the end of January. • If you find a make-up class is at a more convenient time than your regular class, talk to the receptionist about switching classes. You will not be allowed to do make-ups every week. • Carpools of three or more dancers may not take make-up classes together. This overloads the class and overwhelms the teacher. • You may also make up in advance a class you will miss at a future date. • You are not allowed to take make-ups for scheduled Princeton Ballet School holidays or breaks — these days off have already been accounted for in your 34 week calendar. When you go to a make-up class, please arrive a little early and check in at the desk. You will need the class code and date of the class you missed to complete your makeup slip.

4 CLASS CHANGES • Students may change from one class to another only with permission of the Dean of Students, who can be reached at (609)921-7758, ext.11 Parents are urged to consider such a change thoughtfully. Each time a child changes teachers, the educational process is slowed down as the child re-adjusts. Changing classes several times per year makes progress slow and evaluation almost impossible. • Pending agreement by the Dean of Students, class changes will be permitted as long as there is room in the class. • There will be a fee of $30 assessed for each class changed after September 26, 2016. This fee must be paid before the student can attend the new class. PARENTAL INVOLVEMENT There is no homework as such for dance class. We don’t encourage formal practice at home, because it’s so easy to fall into bad habits of posture and muscle use. Young children should be encouraged to move to music and make up dances. Older dancers should be encouraged to do some abdominal work or stretches that they have been given in class. And, of course, any live performance or televised concert is a wonderful experience for the student dancer. We encourage our students to see our affiliate professional company, American Repertory Ballet, perform live. Please visit www.arballet.org to see upcoming performance listings. PARENT CLASS OBSERVATION We request that you not watch class for the first few weeks, in order to give the students a chance to get a good group atmosphere going without distractions. The last weeks of each semester have been designated as our Parent Observation class weeks. Sometimes, teachers will invite you on a different week, due to their own performance commitments, or sometimes they will invite half of the class one week and half the next. •Digital photography and video can not be taken during class. •Please remember — you may not make up classes during parent observation weeks in December and May.

5 STUDIO GUIDELINES • No pets are allowed in the lobbies at any time. • Do not use the lobby or studio as a dressing room. When you enter the classroom, you should have on only your dance clothes. All belongings should be placed on the floor close to the mirror. • Princeton Ballet School is not responsible for any lost or stolen articles. • Unfortunately, we have had incidents of mischief and petty theft in all of our dressing rooms. We would like to encourage the use of the dressing rooms to change clothes, but ask that parents accompany their children to the dressing rooms, so that adult presences will discourage mischief. • Please do not leave unsupervised siblings/young children in the lobby, and please accompany them to the restrooms. • No food is allowed in the studios at any time. Please dispose of any containers left after eating in the lobby. Be particularly careful not to leave glass drink containers around. • Any lost and found items left unclaimed two weeks after the end of the semester will be given to charity or disposed of. • Only staff is permitted in office areas.

PARKING GUIDELINES FOR OUR STUDIOS: • Princeton Shopping Center: Please do not wait in your car in the circle. This circular driveway is only for dropping off and picking up students. • Princeton Downtown Studio: The parking lot next to the building is very small, and reserved for full-time employees of the Princeton Arts Council. Please do not park there. There are many other lots in the immediate area, plus on the street parking. Please do not drop off, pick up or wait in front of the building. This blocks access for patrons with disabilities. • Cranbury Studio: Please enter the studio from the back door. Cars can park on the right hand side of our lot–parking is not allowed on the left side. We are allowed to park in the large lot belonging to the elementary school. Please follow all local speed indications. Please do not allow your children to cut through between our neighbors’ buildings and ours, or to play in our neighbors’ yards. • New Brunswick Studio: Street parking may be available, and there are multiple New Brunswick Parking Authority lots in walking distance. Our studio and administrative offices are located in the Crossroads Theatre building on the fourth floor. Enter via the door on the left side of the building. You will need to ring our buzzer to the left of the door and confirm that you are a Princeton Ballet School student when prompted by our receptionist in order to gain entry.

6 WINTER WEATHER CLOSING PROCEDURES School Closing announcements will be posted on our website home page at: www.arballet.org, on American Repertory Ballet’s Facebook page and via Twitter feed (twitter.com/arballet). If you are not able to access the internet, you may call our school offices for information about snow closures at all of our locations at (609)921-7758, ext. 29. Because these lines cannot handle large call volumes, if you are able to check online we encourage you to do so. In the event of an unusual closing (for an electrical outage or other unforeseen circumstance), we will do our best to email you to alert you to the closing. Please be sure to supply a valid email address on your registration form, and be sure that “[email protected]” is on your “safe” list so you will receive these important updates. Please note: • Morning classes should check for announcements after 8 a.m. • Afternoon and evening closings will be announced after 1:30 p.m. • Princeton Ballet School does not necessarily cancel classes when the local school district does. • Please use your own judgment when deciding to drive in inclement weather. Missed classes can be made up at a later date. • Snow days can be made up at your convenience. No additional days will be added to the calendar.

EVALUATION PROCEDURES Each spring, the Director of Princeton Ballet School will evaluate the students’ progress in conjunction with the teachers. Here are the different, age-appropriate, evaluation procedures: • Hand-in-Hand, Beginning Dance, Children’s Ballet 1 — these children are not evaluated, as their classes are all about discovery and enjoyment. Instead of a written evaluation, they receive a Certificate of Achievement. • Children’s Ballet 2, Intermediate 1, 2 and 3, and Student 1 — all of these children receive written evaluations from their teacher. The director also visits these classes to add her observations to the evaluations. • Student 2–6, Professional Training Program — these dancers attend Assessment Classes at the end of the year. A panel of teachers observes the dancers and decides on advancement. The director also refers to written comments from each of the teachers in writing the evaluation for these dancers. • All evaluations are sent by mail shortly after the end of classes for the year.

7 THINGS TO REMEMBER • We communicate frequently via email to save on printing costs and environmental impact. Please be sure to supply a valid email address on your registration form, and be sure that the domain “arballet.org” is on your “safe” list so you will receive these important updates. • Occasionally, we also communicate with you by way of handouts. Please check with your child to see if anything was handed out in class. • Please label all your child’s dance clothing, particularly the shoes. We keep lost and found boxes at all three studios, but unlabeled dancewear is hard to track. • Please be aware that due to the large number of people who pass through our doors Princeton Ballet School is not an allergy-free zone. • If your child feels ill or has a fever, please do not bring her/him to class. • Please take all valuables with you into the classroom. We cannot be responsible for any valuables left in the dressing room (especially pointe shoes). • The Princeton Studio has a library. Books and videos can be checked out. Please inquire at the front desk for guidelines for book lending and video rentals.

BECOME A VOLUNTEER! Through volunteering, you will have the opportunity to meet other parents, learn more about American Repertory Ballet and Princeton Ballet School and enrich the lives of all students. Parent volunteers are a vital resource for our continued success. Volunteers are involved with activities around Nutcracker performances, ARB performances and throughout the school year. We are grateful for all volunteers. To learn more, please call (732)249-1254.

ARE YOU AN EDUCATOR OR COMMUNITY LEADER? Learn more about our Access & Enrichment educational and community programming by visiting www.arballet.org.

Bring American Repertory Ballet to your school or town!

8 DIRECTORS/FACULTY/STAFF BIOGRAPHIES PAMELA LEVY her passion for teaching was ignited. Ms. (School Director) Levy grew the company from eight students holds a BFA in Dance to 60, created and implemented a ballet from Mason Gross curriculum and launched a full-length School of the Arts, Nutcracker production within two years. Rutgers University, Ms. Levy continued as Artistic Director of and an MA in Dance WRYB for 10 years. Education/ABT Ballet Pedagogy from New York University. Her great love of dance Ms. Levy was a member of the inaugural began as a child when she enrolled at the graduating cohort of the New York Princeton Ballet School (known then as the University, Steinhardt School Master of Princeton Ballet Society), where she studied Arts degree program in Dance Education/ with Audrée Estey, Dermot Burke, Sherry American Ballet Theatre Ballet Pedagogy. Alban, Jane Miller Gifford, Judith Leviton, There, Raymond Lukens and Franco Alexei Yudenich, Mary Pat Robertson, DeVita mentored her. At NYU/ABT, Virginia Griffee, Christine Sarry and Ms. Levy was recognized by Mr. Lukens Karen Russo. She continued her studies at and Mr. DeVita for her teaching and Mason Gross School of the Arts at Rutgers leadership abilities and was immediately University, earning her BFA in Dance. hired to teach at American Ballet Theatre’s Jacqueline Kennedy Onassis School. Upon graduation, Ms. Levy took classes at During that time, Ms. Levy furthered her The Paul Taylor School and concurrently ballet studies as a student of Mark Morris, began studies at the Nikolais/Louis Dance Marjorie Mussman, Tina Fehlandt and Lab as a scholarship student, studying with Lauren Grant at the Mark Morris School Alwin Nikolais, Murray Louis, Beverly in Brooklyn and was the Director of the Blossom and Alberto Del Saz. She was soon Mark Morris Student Company II. thereafter invited to join the Murray Louis and Nikolais Dance Company, with whom Since then, Ms. Levy has served on the she danced for 10 years in Principal roles faculty of American Ballet Theatre – throughout the United States and Europe. Jacqueline Kennedy Onassis School With the company, Ms. Levy performed Children’s Division, ABT Young Dancer at ADF Seoul, South Korea, Montpelier Summer Workshop, ABT Summer Dance Festival, Kalamata Dance Festival, Intensives, as a Children’s Ballet Master Vignale Dance Festival, The Britt Festival for Alexei Ratmansky’s Nutcracker at in Oregon and numerous seasons at the ABT, Mark Morris Dance Center, Rider Joyce Theater in New York City, among University, Mason Gross School of the other venues. Ms. Levy also danced with the Arts and Princeton University. Ms. Levy is Metropolitan Opera Ballet, Don Redlich an ABT Affiliate Teacher and serves on the Dance Company and Claudia Gitelman ABT National Training Curriculum Board Dance Theatre. of Examiners. Upon retirement from performing, Ms. Levy She has also taught for American became the Artistic Director of the newly Ballet Theatre’s Make a Ballet Program, formed Washington Rock Youth Ballet and Teachers College – Columbia University,

9 Marymount Manhattan College, Berkeley ARB and ARBW and Principal Faculty for Ballet Theater, Brooklyn Ballet, Barbara the Summer Intensive until his retirement Thompson School of Dance, the Lewis from performing in 2002. After retiring School of Princeton, Princeton Ballet from ARB as a performer, Martin expanded School and was the Founding Director of his teaching, production and choreographic the ABT Certified School at Mason Gross work. Martin has been an integral part Extension Division. She has choreographed of the teaching staff at the Princeton more than 100 original dance pieces Ballet School, Rutgers University and on students of all ages and has re-staged Westminster Choir College, and has also numerous classical ballet pieces for student served as the School’s Music Director performances. and ARBW Ballet Master. He has staged full-length and repertory ballets for several DOUGLAS MARTIN companies, including Romeo and Juliet (Artistic Director) and Philip Jerry’s Our Town. Additionally, started his ballet training Martin has choreographed for several with Dimitri Romanoff Princeton Ballet School productions, at the San Jose Ballet including Sleeping Beauty, Swan Lake, Don School and was one of Quixote and Coppélia. In 2010, Mr. Martin six dancers selected by Mikhail Baryshnikov to study in the newly- became Artistic Director of American formed American Ballet Theatre School. He Repertory Ballet. Since then, he has was invited to join the Joffrey Ballet in 1984 premiered a new production of Nutcracker, where, as a principal dancer, he performed choreographed several new works including roles in ballets by Ashton, Arpino, Cranko, Ephemeral Possessions, Rite of Spring, Firebird, Balanchine, Joffrey, Taylor, Pendleton, and a full-length Romeo and Juliet and Kudelka and many other great 20th century A Midsummer Night’s Dream and has choreographers. Martin was featured in commissioned 27 company premieres, performances of Dance in America on PBS including 18 world premieres. and was an original cast member of the historic recreation of Nijinsky’s Le Sacre du MARY BARTON (Resident printemps. He was among the last dancers of Choreographer and Ballet Master, the Joffrey Ballet to spend the majority of Princeton Ballet Company faculty his career in the company working under memeber) received her dance training at founder Robert Joffrey. Martin joined The Washington School of Ballet under the the Cleveland Ballet in 1991 and danced direction of Mary Day and participated in an array of principal roles including the summer courses at the School of American Minister in Agnes deMille’s Fall River Ballet and Joffrey Ballet School. Her Legend. In 1993, Martin was invited to professional experience began when she join the American Repertory Ballet. As performed with The Washington Ballet as leading dancer and Ballet Master for ARB, a soloist in Balanchine’s Scotch Symphony Martin collaborated with directors in and in the principal role in Tom Paczik’s creating ballets, including productions as Tzigane. Early professional credits include the original cast lead in Romeo and Juliet, the Oldenburg Staat Ballet in Germany Swan Lake, The Dream and The Nutcracker. and several seasons with Dayton Ballet. Martin continued to be a principal dancer In 1986, Ms. Barton joined the Joffrey in the company as well as Ballet Master for

10 Ballet/NY where she performed a variety Presidential Scholar in the Arts and moved of roles in the great ballets of the 20th to N.Y. to join ABT II in 1980. Invited by century. Robert Joffrey created the role of Mikhail Baryshnikov to become a member Clara for her in the world premiere of his of the corps of ABT in 1982, Ms. Moore new Nutcracker. Ms. Barton was featured was appointed soloist in 1988 and Principal along with Gerald Arpino in an interview dancer in 1991. Her work included roles with Charlie Rose for the world premiere across the classical, dramatic, modern and of Robert Joffrey’s Nutcracker. Ms. Barton contemporary repertory. Agnes de Mille, TV credits include performances in Dance Twyla Tharp, Mark Morris and other in America on PBS and she was an original respected choreographers created roles for cast member of the historic recreation her and she was a member of the premiere of Nijinsky’s Le Sacre du printemps. From tour of the White Oak Dance Project under 1993–2004, Ms. Barton was a principal the direction of Mikhail Baryshnikov and dancer with American Repertory Ballet Mark Morris in 1990. Ms. Moore has where notable roles include Sugar Plum appeared in several dance documentaries, Fairy, Odette/Odile in Swan Lake, Juliet the Herbert Ross movie Dancers, and was in Romeo and Juliet, Cinderella, Titania in interviewed on The Charlie Rose Show. Ms. A Midsummer Night’s Dream, and Emily in Moore began teaching for Princeton Ballet Our Town and leads in Balanchine’s Four School in 1993 as a guest teacher and has Temperaments, Rubies, Concerto Barocco taught on a regular basis in the school and and Serenade. Ms. Barton has been on the worked with ARB since 2006. She is also faculty of the Princeton Ballet School since a member of the ballet faculty at the Lewis 1994 and is one of the primary teachers and Center of the Arts at Princeton University. choreographers for the Summer Intensive. Ms. Moore is certified to teach all levels of She is a former ballet faculty member at ballet through the ABT National Training Princeton University and current faculty Curriculum. at Rider University’s Music Theater Department. As Resident Choreographer SHERRY ALBAN (Nutcracker Party and and Ballet Master of ARB, Ms. Barton’s Battle Rehearsal Director) has taught at works include Straight Up with a Twist, Five Princeton Ballet School since 1973. She Men and a Concerto, Faerie Tyme, Fantasy has choreographed several ballets for Baroque, Shades of Time and her newest work PBII (now known as ARB Workshop), A Shepherd Singing (And I Still Heard Nothing). and served for many years as Rehearsal She has also choreographed over two dozen Director for Act I of Nutcracker, a role works for Princeton Ballet School’s spring she returned to in fall 2010. Since 2004, full-length ballets and Summer Intensive. Ms. Alban has annually staged the Act 1 KATHLEEN MOORE (ARB Company children’s dances for Washington Ballet’s Teacher, Princeton Ballet Company faculty The Nutcracker as well. Ms. Alban has been member) trained with Dame Sonia Arova a recipient of a New Jersey State Council and Thor Sutowski at the Alabama School on the Arts Choreography Fellowship and of Fine Arts (ASFA) and attended summer has directed and choreographed numerous intensives at the School of American Ballet musicals for Plays in the Park of Edison, and the American Ballet Theatre (ABT) N.J.; Rutgers Opera and NJPAC. She also School. She graduated from ASFA as a teaches ballet at Mason Gross School of

11 the Arts at Rutgers University. development, from Rutgers, The State University, in 2010. She is a Phi Beta CAROL BELLIS (Principal, Cranbury Kappa scholar and a member of Psi Chi Studio; Coordinator Summer Intensives; psychology honor society. Ballet) received her training on scholarship at the School of American Ballet, official CHERYL WHITNEY (ARBW Juniors school of the New York City Ballet. She Ballet Master, ARBW Administrator, danced with the Garden State Ballet Princeton Ballet School faculty and has taught for Garden State Ballet member) received an M.S. in Ballet School, Gloria Govrin’s New Hope Ballet from Indiana University and a B.A. in Academy, and the School of Performing English Literature and Music from St. Arts at Somerset Vo-Tech. She has been Lawrence University. She was trained and teaching here for more than 20 years, and performed professionally in the Baltimore/ is the principal of the Cranbury studio Washington, D.C., area. For more than and the Coordinator of Princeton Ballet 25 years, she has taught in Princeton School’s summer programs. Ms. Bellis is Ballet School’s Student Division also also an Adjunct Professor of Ballet at Rider serving as rehearsal director for the ARB University. productions of Nutcracker. Guest teaching credits include Brandywine Ballet, Peabody LISA de RAVEL (Dean of Students, Conservatory and N.J. Governor’s School. Alumni Relations Coordinator) received Her teaching in academic settings includes her training at North Carolina School Princeton University, Howard University, of the Arts, the School of American Indiana University, The Lawrenceville Ballet and Boston Ballet School. During School, Foxcroft School and Latin School her professional dance career, she also of Chicago. She is an associate professor studied in New York with Finis Jhung, in the dance program at Rider University. David Howard and Maggie Black. She Ms. Whitney has received grants from the joined American Repertory Ballet in New York and New Jersey State Councils 1988, and danced under the direction of on the Arts, and is the 2008 recipient of Dermot Burke in ballets by Ailey, Arpino, the Audrée Estey Award for Excellence in Balanchine, Bournonville, Limón, Tudor, Dance Education. She is Artistic Director Taylor, Burke, Webre and others. From of Reverence Dance Company. 1989–2006 she taught and choreographed for Princeton Ballet School, including MARIA YOUSKEVITCH (ARB coordinating the Cranbury summer Workshop Ballet Mistress, Ballet), the program, now called Summer Intensive daughter of legendary ballet star Igor Intermediates. She has been a recipient Youskevitch, was a soloist with American of the Audrée Estey Award for Excellence Ballet Theatre and Maryland Ballet, and in Dance Education, and has also been ballerina with Youskevitch’s concert inducted into Princeton Ballet School group, Ballet Romantique. She was Wall of Fame. She is the organization’s company teacher, rehearsal assistant and Alumni Relations Coordinator, and also senior faculty member at Hartford Ballet faculty liaison for the Junior Gala. Ms. under the Artistic Direction of Kirk de Ravel received her B.A. in Psychology, Peterson. She has been ballet mistress for specializing in child and adolescent BalletMet, Nevada Dance Theatre and

12 coach for the New York International Ballet an arts’ educator grant from the N.J. State Competition. In addition, Ms. Youskevitch Council on the Arts to teach and set has taught at such prestigious schools as choreography for various performing arts the David Howard Dance Center, Alvin high schools throughout the state. Ailey American Dance Center, Virginia School of the Arts under the direction JANELL BYRNE (Ballet), a native of Petrus Bosman, The Houston Ballet’s Ben California, studied with Stanley Holden Stevenson Academy and The Jacqueline and Margaret Hills in Los Angeles. A Kennedy Onassis School at American graduate of the Juilliard School, where she Ballet Theatre. A celebrated teacher and studied with Alfredo Corvino, Ms. Byrne coach for over 40 years, she was featured has taught at Mercer County Community in the June 2002 issue of Dance Teacher College, Princeton University, The College magazine. Well versed in the classical ballet of New Jersey and the Lawrenceville School. repertoire, she has mounted versions of She has performed with DanceWorks and Giselle, Coppélia, La Fille Mal Gardée and Teamwork Dance and is Director of Mercer her father’s one-act Romeo and Juliet. She Dance Ensemble, and has been teaching has also staged Michel Fokine’s Spectre de here for over 20 years. la Rose and Les Sylphides, and the children’s ANGELA CUSUMANO (Hip Hop) roles in Kirk Peterson’s Nutcracker. Ms. started dancing at age five in Brooklyn, Youskevitch was also on faculty for ABT’s N.Y. and has studied dance styles ranging Young Dancer Summer Workshop in New from ballet to hip hop (her forte’). She’s York City for eight years, and is an ABT toured nationally and internationally as a Certified Teacher, having completed the backup dancer for Who Da Funk. Angela also ABT National Training Curriculum. performed in numerous stage productions at Plays in the Park, was a member of the FACULTY BIOGRAPHIES alternative jazz based dance company, Push Factor Dance Company, and the hip hop LAURIE ABRAMSON (Ballet, ARBW based dance crew, Iconic. She served as Juniors Rehearsal Director) received her the hip hop instructor for Push Factor’s training at the Joffrey Ballet School and National Convention, DanzJam, and guest holds B.A. and M.A. degrees from New teaches in numerous locations throughout York University. She has also studied with the east coast. Other professional credits Alfredo Corvino, David Howard and at The include KTU’s Beatstock Concert, Chinna New Dance Group. In addition to her work Cinema (Bollywood film) and was featured at Princeton Ballet School, Ms. Abramson is on Paula Abdul’s CBS hit TV show, a member of the ballet faculty at the Lewis Live to Dance (Season 1). Angela served Center for the Arts at Princeton University, for years as a faculty member of ARB’s and at Montclair State University. She has DANCE POWER and DANCE POWER II served as a dance evaluator for the N.J. State programs, founded by Gregory Hines. Other Council on the Arts and helped construct choreography credits include music video and implement the exit exams for the work for Urban Melodic Entertainment, performing arts schools throughout the Inc. and Team Snooki Music. state for the N.J. Dept. of Education, Visual PAMELA DAY (Ballet) completed her and Performing Arts. Laurie has received

13 early ballet training with Ruth Petrinovic’ Glazunov Variations and as the lead role of at the Academy of Performing Arts in Ft. Swanhilda in Princeton Ballet School’s Lauderdale, Fla. During her professional production of Coppélia. Shaye has received career, she performed soloist roles with various choreographic awards from the the Israel Ballet, the Connecticut Ballet Royal Winnipeg Ballet School and was and Dancers (New York City). During her chosen as one of five choreographers in years as a professional dancer, she trained Houston Ballet Academy’s collaboration in New York City with Finis Jhung, David with American Festival for the Arts. Since Howard and Robertson Denvers; in New she joined ARB, she has performed The Haven, Conn., with Robert Vickrey, Chosen One in Douglas Martin’s Rite of Rochelle Zide-Booth and Bruce Wells; and Spring and Titania in Martin’s A Midsummer in Paris with Yves Casati. Ms. Day holds a Night’s Dream, as well as featured roles in B.A. from Albertus Magnus College, and an works by Patrick Corbin, José Limón, Kirk M.A. from George Washington University. Peterson and Trinette Singleton.

GEOFFREY DOIG-MARX (Jazz/Theater JENNIFER GLADNEY (Ballet), an alum Dance) moved to New York City in the mid- of Princeton Ballet School and American ’80s to start a career in dance and musical Repertory Ballet, graduated summa cum theatre. He appeared in equity national laude from Rider University in 2006, and tours and regional theater productions received a B.A. in Elementary Education, of West Side Story, Pippin, A Chorus Line, Early Childhood Education and Dance, as Dames at Sea, Cabaret, La Cage aux Folles, part of the Rider University/Princeton Ballet Jesus Christ Superstar and many others. As a School Dance program. She was a member producer, Geoffrey received a Certificate of of our Professional Training Program Excellence in Cultural Achievement from throughout high school, and was part of a the City of New York for his work as Artistic trainee program, ARB Ensemble, during Director of The Elan Awards. He also the 1999–2000 season. As a freelanc dancer teaches at Marymount Manhattan College she danced lead roles such as Aurora, Sugar and Montclair State University. Recent Plum Fairy and Cinderella. She’s worked as choreography projects include Cabaret and a freelance dancer and choreographer with Kiss of the Spider Woman. Geoffrey is also an Mercer Dance Ensemble, Rider Dances accomplished painter and photographer, and Teamwork Dance, and was a company and his work in these genres has been shown dancer with ARB during the 2010–2011 recently in New York. season, where she performed in works by Twyla Tharp, Kirk Peterson, Philip Jerry SHAYE FIRER (Ballet) was born in and ARB Company Director Douglas Cape Town, South Africa and raised in Martin. She has also been in numerous Vancouver, Canada. She received training world-premiere works by ARB Resident at the Royal Winnipeg Ballet School Choreographer, Mary Barton. Ms. Gladney and attended various intensive programs is a certified N.J. Educator, preschool to such as The National Ballet of Canada, fifth grade. Houston Ballet and Ellison Ballet. She joined the inaugural class of ARB’s Trainee SAMANTHA GULLACE (Ballet), a program. As a Trainee, she performed graduate of Princeton Ballet School’s company roles in Nutcracker, Our Town and Professional Training Program and spent 3

14 years with the Joffrey Ballet as a Trainee. She Vineland Regional Dance Company. She returned to New Jersey and joined American went on to receive her BFA in dance from Repertory Ballet in the fall of 2010, and State University of New York at Purchase, has been featured in many roles, such as where she received the Bert Terborgh Sugar Plum Fairy and Arabian in Nutcracker, Dance Award. She apprenticed with the the principal in Kirk Peterson’s Glazunov Joffrey Ballet of Chicago, and then danced Variations, Gerald Arpino’s Viva Vivaldi with American Repertory Ballet. She has and Mary Barton’s Shades of Time, and as a taught on the faculties of Princeton Ballet featured soloist in Ann Marie DeAngelo’s School, the National Dance Institute of Blackberry Winter and José Limón’s There Trenton and Mercer County Community is a Time. Ms. Gullace started teaching for College. While living in Cincinnati, Ms. Princeton Ballet School fall of 2012. Megules taught and choreographed for the Otto M. Budig Academy of Cincinnati JACOPO JANNELLI (Ballet) trained Ballet, the College Conservatory of Music with Fabula Saltis in Rome, with summer Preparatory Division of the University of programs at The Royal Ballet School and Cincinnati, and was the ballet instructor Princeton Ballet School. As an ARB Trainee, for the elite and accelerated gymnasts at the Jacopo performed lead roles in Princeton Cincinnati Gymnastics Academy. Ballet School productions: Toreador in Don Quixote and Siegfried in Swan Lake. ERIKA MERO (Ballet, ARBW Juniors) Since he joined the company, Jacopo has began dance training at Princeton Ballet danced the role of Tybalt in Romeo and School. She was a member of the Professional Juliet, The Ancient One in Rite of Spring, the Training Program and Princeton Ballet II. Prince in Nutcracker, Puck in A Midsummer As a dancer in ARBW, Ms. Mero appeared Night’s Dream, and featured roles in ballets as the ballerina role of Swanhilda in by Trinette Singleton and Kirk Peterson. He Coppélia, and during these years attended has been with ARB since 2014. The Juilliard School’s summer program. In 2006, Ms. Mero graduated Cum Laude TALIN KENAR (Ballet), from Solana with a BFA in Dance Performance from Beach, Calif., began her training there SUNY Purchase. Performance works and then at age 15 received a full year include Terra Firma Dance Theatre, opera scholarship to continue her training at productions with Opera New Jersey and The Royal Ballet School in London. She featured dancer/choreographer in Capriccio has been a dancer with the Hong Kong at AVA in Philadelphia. Erika holds an M.A. Ballet, Colorado Ballet, Carolina Ballet in Dance Education with a concentration in and American Repertory Ballet, where ABT Ballet Pedagogy from NYU. She is an she was featured in many roles, including ABT certified teacher, completing the ABT Sugar Plum Fairy in Nutcracker and Lady National Training Curriculum and sits on Capulet in Douglas Martin’s Romeo and the faculty of ABT’s Young Dancer Summer Juliet. Talin has been teaching for many Workshop. She is an adjunct faculty member years, and started teaching for Princeton at Rutgers University and The Lawrenceville Ballet School in fall of 2012. She is also a School, and the Curriculum and Assessment Gyrotonics instructor. Supervisor for DANCE POWER.

AMY MEGULES (Ballet) began dancing in KAREN LESLIE MOSCATO (Ballet) her hometown of Vineland, N.J., with the began classes at Princeton Ballet School

15 after seeing ARB’s Nutcracker when she Ballet and Princeton Ballet School for more was four years old. She continued up than 25 years — as a student, teacher and through the syllabus of the school, also administrator. Ms. Smith began her dance attending summer programs at Kaatsbaan training at Princeton Ballet School in International Dance Center and Boston 1988. She is a graduate of Princeton Ballet Ballet. After one semester of the Trainee School and rose through the levels of the Program, Karen Leslie joined American PLUS program, the Professional Training Repertory Ballet, where she has performed Program and ARB Workshop. She has featured roles in works by Gerald Arpino, also studied ballet at the Joffrey Ballet Mary Barton, Douglas Martin, Phillip Jerry, School in New York City. Performance Kirk Peterson and Twyla Tharp. In ARB’s highlights include the evil fairy Carabosse Nutcracker, she has performed the roles in Princeton Ballet School’s production of Sugar Plum Fairy, Snow Queen, Dew of Sleeping Beauty in 2003, various roles in Drop Fairy, Marzipan soloist and Doll. ARB’s The Nutcracker under the direction of She danced the role of Juliet in the world both Septime Webre and Graham Lustig. premiere of Douglas Martin’s Romeo and Ms. Smith has also performed numerous Juliet. Ms. Moscato joined the faculty of pieces with Susan Tenney Dance. Ms. Princeton Ballet School in fall of 2013. Smith was also the choreographer in the summer of 2010 at George Street MATTIA PALLOZZI (Boys’ Ballet) Playhouse’s Summer Theater Academy. was born and reared in Italy where he received his early training at the School of MARC ST-PIERRE (Ballet) started ballet Teatro Dell’Opera then at the Accademia at the Académie de Ballet Classique de Nazionale Di Danza in Rome. During this Montréal at age eight, after training in time, he performed as a soloist in Ugo the Canadian gymnastics program. At dell’Ara’s Ballo Excelsior, Vaionone’s The 10, he was admittted to the prestigious Nutcracker and Ismael Ivo’s Ballo Sports. École Supérieur de Ballet de Quebec. He In 2011 he joined ARB/Princeton Ballet has performed with Les Grands Ballets School’s Trainee Program, where he has Canadiens de Montréal, Ballet Ouest de had the opportunity to perform alongside Montréal, Gleich Contemporary Dances, the company in works by Gerald Arpino, Albany Berkshire Ballet and Roxey Ballet Mary Barton and Patrick Corbin. He Company where he performed many performed the lead role of Basilio in Princeton Ballet School’s production of Don Quixote before joining ARB in 2012 Join the ARB E-Club for news about as an Apprentice-Trainee. In 2013, he was Princeton Ballet School, our alumni, promoted to a full company member. He the professional performance danced the role of Romeo in the world company and our other educational premiere of Douglas Martin’s Romeo and programs! Juliet and the role of The Faun in Kirk Peterson’s Afternoon of a Faun, among other featured roles. Visit www.arballet.org KATHLEEN A. SMITH (Ballet, Beginning and click “Sign up for the ARB Dance) has been with American Repertory E-Club.”

16 leads. He has guested regularly with City while earning a B.A. in Choreography Center Ballet and with the International and Performance from the University of Ballet Theatre. Marc joined American California at Santa Barbara, an M.A. in Repertory Ballet in 2010, and has been Dance Education from UCLA, and an featured in works by Kirk Peterson, Philip Ed.D from Temple University. During Jerry, Patrick Corbin, Gerald Arpino, Mary that time she performed in numerous Barton and Douglas Martin, and also has modern dance companies, choreographed appeared as Romeo and as the Cavalier in and produced her own work, and taught Nutcracker. Mr. St-Pierre has since retired dance at colleges on both the east and west from performing and teaches men’s classes coasts. Dr. Vaccaro has taught at Princeton at Princeton Ballet School. Ballet School since 1989, and she has also been an educational consultant to the SUSAN TENNEY (Modern Dance, Ballet, organization. Her current research is on Choreography) began her dance training focus, creativity and mindfulness in dance at Princeton Ballet School with Audrée teaching. She is the creator and author of Estey. She received a B.F.A. in Dance from CoMBo: Conditioning for Mindbody. SUNY Purchase and danced professionally as a soloist for Jean Erdman, Andrew KEL VALLERY (Ballet, Beginning Dance) deGroat and Dancers, Novantiqua, Nat is a summa cum laude graduate of Rider Horne Musical Theater and Muna Tseng. University, where she received a major For Princeton Ballet School, she teaches in dance (2014). While at Rider, she Ballet and Modern Dance to students from participated in the Rider University/ 4–82 years old and teaches Choreography Princeton Ballet School Dance Program, for the Summer Intensive Intermediates and performed with Rider Dances. Since in Cranbury. Her fundraiser for Princeton graduation, she has been working for Ballet School brought over 150 dancers, ARB as a Teaching Artist in the DANCE musicians and community members on to POWER program. Ms. Vallery joined the the fields of Princeton University for an faculty of Princeton Ballet School in 2015. outdoor performance of her choreography She also is the assistant to the Summer and structured improvisation. She has Intensive Juniors program and dances with received commissions from the Coalition Artistic Visions Dance Company. for Peace Action and Princeton Arts Council. Her choreography has been TRISHA WOLF (Beginning Dance, produced Off-Broadway, in regional Ballet) received her ballet training at theatres and in film. She is a three-time the Nutmeg Conservatory for the Arts Award Winner for Outstanding Direction and participated in summer courses at and Choreography from N.Y.C.’s Planet ABT and Joffrey Ballet School. Also an Connections Theatre Festivity. accomplished pianist, Trisha has played at Steps on Broadway, Nutmeg Ballet DR. KIM CHANDLER VACCARO and has been accompanying classes here (Ballet, CoMBo, Pilates, Modern) is an at Princeton Ballet School since 2008. Associate Professor and the Director of Currently she is also on staff at Princeton the Dance program in the department of University’s Lewis Center for the Arts and Theatre and Dance at Westminster College is a company pianist at Pennsylvania Ballet of the Arts, of Rider University. She and American Ballet Theater. became a professional dancer and teacher

17 DRESSING FOR DANCE Ballet has very special and specific clothing. The very action of putting on this special clothing helps prepare the young dancer to focus in a different way, and to participate fully in the dance class. The clothing is specific in many ways, which relate to safety, utility and aesthetics. Here are some guidelines which will help dancers look the part and do well in dance class in this narrow but important way. If each family makes its own choice and adds accessories, the clean, clear look of the classroom becomes cluttered. We have a line of Princeton Ballet School leotards, some of them especially commissioned for us. This uniform can be purchased through Giselle of Princeton, either by filling in the enclosed order form, or in person in our Princeton lobby. Please note that a portion of each sale will be donated back to the ballet school. This service is being offered as a convenience. GIRLS AND YOUNG WOMEN • LEOTARDS cover the torso (and sometimes the arms). • TIGHTS cover the lower body.

LEOTARDS: Hand-in-Hand, Beginning Dance, Children’s Ballet 1: Uniform A in PINK. Children’s Ballet 2, Intermediate 1 and 2: Uniform A in LIGHT BLUE. Intermediate 3: Uniform A in ROSE. Student 1, Middle School Ballet: Uniform B in MAROON. This will be your special class leotard, for Nutcracker auditions, Parent Observation Days, Assessment Classes, etc. You can augment your wardrobe with the approved cap and or three-quarter sleeve leotard. Student 2: Uniform B in PERIWINKLE. This will be your special class leotard, for Nutcracker auditions, Parent Observation Days, Assessment Classes, etc. You can augment your wardrobe with approved cap and or three-quarter sleeve leotard. Student 3: Uniform B in NAVY. This will be your special class leotard, for Nutcracker auditions, Parent Observation Days, Assessment Classes, etc. You can augment your wardrobe with approved cap and or three-quarter sleeve leotard. Student 4: Uniform B in ROYAL. This will be your special class leotard, for Nutcracker auditions, Parent Observation Days, Assessment Classes, etc. You can augment your wardrobe with approved cap and or three-quarter sleeve leotard. You may also wear the pull-on skirt that we are ordering. Student 5: Uniform B in PLUM. This will be your special class leotard, for Nutcracker auditions, Parent Observation Days, Assessment Classes, etc. You can augment your wardrobe with approved cap and or three-quarter sleeve leotard. You may also wear the pull-on skirt that we are ordering. Student 6: Uniform B in SILVER GREY. This will be your special class leotard, for Nutcracker auditions, Parent Observation Days, Assessment Classes, etc. You can augment

18 your wardrobe with approved cap and or three-quarter sleeve leotard. You may also wear the pull-on skirt that we are ordering. Professional Training Program and Trainee: Uniform C in BLACK. Princeton Ballet School matching skirt is recommended for pointe class and will be required for ARBW in-studio performances. Please order at least one uniform leotard for these occasions. You may also wear other black leotards, as long as they do not feature cut-outs, mesh, lace, or rhinestones.

TIGHTS: • Dancers need tights to keep their legs warm and to keep down bacteria and odor in ballet shoes. • We recommend style #C30 (children’s sizes) or #A30 (adult sizes) available on the Giselle of Princeton order form. Plain pink tights from other dancewear makers are also fine. • We do not allow white, beige or black tights or patterned tights. • Full-footed tights are required. • Very young dancers (Children’s Division) may go bare-legged in very hot weather. If they choose to do this, they must wear thin anklet socks under their ballet shoes. • Tights belong UNDER the leotard, not over. • Dancers in Beginning Dance and Hand in Hand are not required to wear ballet shoes, so they will need tights without feet (Child style #C33), or bare legs. If they choose to wear ballet slippers, they will need full-footed tights. • Dancers old enough to wear pointe shoes might want convertible tights (C31 or A31). • ARB Workshop dancers might want to buy professional mesh tights with seams. These are the most suitable for dancers at this elite level. “Ballet Pink” color will be required of you for performance. If you prefer “Theatrical Pink” for classwear, that’s fine.

19 UNDERWEAR: • Dancers don’t wear underpants under their tights. To us, this would be like wearing panties under a bathing suit. • Leotards and tights should therefore be washed after each wearing. Manufacturers recommend hand washing and line drying for best results. One can wash them in the machine if you prefer (on cold), but don’t put them in the dryer. • Some dancers don’t wear bras, either — again, the leotard functions as its own support, in most cases. For those of you who would like the support of a bra, we have chosen the styles for Student 1–5 carefully to allow for wide enough shoulder straps and high enough back to suitably cover a bra. Please make sure your bra doesn’t show.

COVER UPS: We keep the studios fairly warm, but a dance sweater can be useful for the beginning of class. The only cover-ups allowed are long-sleeved cotton tee shirts and pull-over dance sweaters. Please DO NOT BUY wrap around and tie dance sweaters.

SKIRTS: No skirts are allowed except for the built-on skirts for the youngest levels, and the special skirts available to Student 4 and up.

HAIR: It is very important for hair to be pulled back neatly away from the face. It is not only safer and more comfortable, but also helps create the “look” of the dancer. Loose hair gets sweaty and uncomfortable, and when it is very long and the dancer is turning very fast, can actually sting the eyes and face. Girls with very short hair can come up with cute and appropriate combinations of barrettes and headbands (soft ones will stay on better) which will work just fine. Girls with longer hair should either make a ponytail (if they are very young) or a bun (if they are in Intermediate 3 or above). Here are some pointers on creating these classic dance hairstyles.

1. The classic ballerina bun: One of the best ways to start looking like a young dancer is to put your hair up in a bun. We would like to encourage the dancers to learn to do this for themselves. It takes practice, so summer would be a good time to try. It’s a very cool hair-do for

20 the hot months! All the girls in Intermediate 3 and above should have their hair in a bun, if it is long enough. If not, we have some tips for you below (see #4).

You will need: • hair spray, or gel, or a spray bottle with water • covered rubber band to make the pony tail • hair pins (these are large open pins. They can be hard to find in regular stores — Giselle of Princeton carries them) • bobby pins (these are the smaller, crinkly sliders, useful for under the bun to hold up the shorter hair at the nape of the neck) • fine hair net the same color as your hair (like your grandmother used to wear).

Now let’s make the bun: • Spray your hair with water to make it damp, and/or apply hair gel–this will help control all the little thin, wispy areas. Gather your hair and pull it back tightly. If you’re making this bun for on stage, get rid of any bangs. For dance class, bangs are OK, as long as they’re not too long and messy. Some dancers wear a thin elastic headband with their bun to hold back shorter lengths of hair. If you wish to do this, be sure to bobby pin the headband into place. • Use your brush to smooth the hair. Form a ponytail by brushing the hair up from the jaw line and then to the back of the head. The placement of the ponytail (ie high or low) determines the placement of the bun. For short hair use hair clips or bobby pins (the same color as your hair) to keep ends from coming loose. • Use a strong elastic, or even TWO elastic bands to secure the ponytail, especially if your hair is thick or very straight. A loose ponytail will result in a sloppy bun. • Start twisting the ponytail. As you twist, start to coil the ponytail into a tight circle. Use the hairpins to pin each section of the ponytail as you go (about every 1 or 2 inches). • As you add each new section, use hair pins all around the coil to secure the new section to the already done parts of the bun. Slide each hair pin through the outer part of the coil and into the base (center) of the bun. • Wrap a fine hair net over the bun. Keep twisting and wrapping so that the hairnet tightly fits the bun. You end up with several layers of hairnet. Secure the hairnet with bobby pins. Don’t count on the hairnet to keep the bun secured to the head. The

21 hairnet is just there to keep little lengths of hair from sticking out in different directions. What keeps the bun secure is the hair pins. •Make sure the hairnet is the same color as the hair. If this bun is for a performance, do not use a crocheted bun warmer or snood–the color will stand out badly onstage. These decorative additions are fine for classroom use. •Very thick hair can be challenging. A good technique is to divide thick hair into two coils. Do one first, then fit the other one around the edge of the first. 2. For an easier version, which works well on medium length hair, ie hair long enough to fit into a ponytail, but not long enough to easily coil: • Start as above • Braid the ponytail as far as possible, then secure the end with another elastic band. Fold the end of the braid under and press it flat against head. Secure in place with hairpins. If this is just for class, you could also use a very large, strong barrette to quickly do this. 3. One can also do a modified French twist. Start twisting the hair at the nape of the neck (no rubber band). Twist up a few inches to the middle of the head. Fold the top part of the hair back under to hide it, then secure the whole thing with a very large, very strong barrette. 4. For very short hair that will not fit into a ponytail, use any combination of hair clips, bobby pins, barrettes, and/ or headband to hold hair back and away from the face. You may wish to use hair spray for extra hold. For Our Youngest Dancer, through Intermediate 2: We suggest a ponytail, pigtails, braids, or a bun. If your hair is too short for any of these classic little girl hairstyles, then it’s probably short enough that you can just leave it as is for ballet class. But please do not send dancers with long loose hair flopping around. Any hair longer than chin length should be put up in some way, for the dancer’s comfort and coolness, and also for the neat look that is a part of ballet training.

22 SHOES Ballet shoes divide into two types. More definitions: 1. BALLET SHOES (also known as technique shoes or ballet slippers) are worn by both sexes. Girls should purchase pink, boys should buy black. They should be reputable brands such as Bloch, Sansha, Capezio. Do not buy off-brand house slippers that are made to look like ballet shoes. Buy the real thing. Be sure to write your first initial and last name inside all ballet slippers and pointe shoes. This is our only means of identifying lost or misplaced shoes. They all look alike! Frequently Asked Questions: • Canvas or leather? It’s up to you. Leather lasts a little longer. Canvas breathes a little better in very hot weather. So feel free to buy whichever is more comfortable for your dancer. • Full sole or split sole? We far prefer full sole. The split sole ballet shoe was invented to help the dancer’s foot appear to be more well-arched. We prefer to get that look by having them work their muscles more and actually arch the foot. • What about those little strings at the top? You are supposed to use these to pull the shoe snug on the dancer’s foot (the fitter will show you how to do this). Then tie them in a square knot. You can then cut off some of the excess. Contrary to pictures in children’s books, the little strings are not supposed to be tied in bows and left on top of the shoe–they are to be tucked neatly into the shoe. That’s why they shouldn’t be too long. If they are, they will be very uncomfortable against the toes. • What about elastic? Yes, all dancers should wear elastic on their shoes. Your dancewear supplier will show you how it is to be sewn (by you, but very simple to do). • Why don’t they come pre-sewn? Because each dancer’s foot is a little different, and you will want to find the best place to sew. • Can we safety-pin them? Please don’t! The pins could open and hurt the feet. Sew them firmly with doubled-over thread and a good knot. • Some shoes come with two elastics already half-sewn on to the shoe. These are to be completed in a criss-cross pattern–your shoe fitter can show you how. Please do not tie these elastics to each other, but sew them to the shoe. ALL OF THE ABOVE INFORMATION IS THE SAME FOR BOYS AND GIRLS.

2. POINTE SHOES: The second type of shoe worn by ballet dancers is the pointe shoe. (This is the shoe also commonly known as toe shoes). This shoe is only worn after several years of intensive training. Pointe shoes are discussed separately when the dancers are ready to purchase and wear these shoes. Student 3 should not purchase pointe shoes until instructed to do so, in late October. BOYS Boys who are just starting the study of ballet are encouraged to wear any loose, comfortable clothing, such as sweatpants or bike shorts, with the ARB/Princeton Ballet School logo T-shirt and ballet shoes.

23 Boys who have been advanced into Intermediate Ballet for Boys or above should wear: • White, form-fitting T-shirt with logo in style #3527, tucked into • Dance belt (a type of athletic supporter for dancers), worn with • Tights: black footed tights in style #M90 • Black ballet shoes (see SHOES) Please buy the tee shirt snug (see Giselle of Princeton order form or try on in lobby) — the point is to see how the core strength musculature is developing.

ARRIVING AND DEPARTING To those of us in the dance world, wearing leotards and tights in a non-theatre, public arena, such as a parking lot or grocery store, would feel like walking around in a bikini. You just don’t do it outside of the appropriate place. So please help your dancer understand that we are very proud and happy to dress in this special, unique way as we enter the special area of the dance studio, where we are in a safe, non-judgmental environment with teachers also wearing dance clothing. Arriving: We have large dressing rooms for females and males. Some dancers come “under- dressed,” i.e. they have their dancewear on and street clothes on top, in which case they visit the dressing rooms to remove street clothes and hang them on the hooks. Some dancers prefer to arrive in their street clothes and change clothes in the dressing room. That’s why we don’t allow parents of the opposite sex in these changing rooms. Please leave clothing neat, and please do not leave valuables (including pointe shoes) in the dressing room.

24 Departing: Some dancers just put on a sweatsuit and jacket on top of their clothes. As the dancers mature and sweat profusely in class, it becomes more pleasant for them to remove their dance clothes and put on full street clothing. The choice is yours. What we don’t want to encourage is dancers just walking out in their dancewear with nothing on top. This is not appropriate behavior. Parents, please do not encourage your children to do this in an effort to hurry them along. We need to help them understand what clothing is appropriate in what context. No one, male or female, before or after class, should ever wear dance shoes outside of the studio area. This shortens the life of your dance shoes, and of our dance flooring, by tracking in dirt, mud and floor wax.

PLEASE NOTE: • We are proud of the fact that many of our faculty maintain active professional schedules. When they are not available to teach, due to performance or directorial commitments, substitute teachers will be provided, generally from within our own faculty, professional company or Trainee programs. • The art of ballet accompaniment is a highly skilled craft, with very few practitioners. It is our goal to offer live musical accompaniment for all of our ballet classes, but we have few back-ups to turn to when our musicians are ill or unable to be here. We have recorded our musicians, and downloaded hundreds of selections onto our computers for use on these occasions. • Princeton Ballet School will make attempts to provide a suitable teacher and level for special needs children. However, we may require these parents/caretakers to stay on our premises during the child’s class. • Princeton Ballet School is not responsible for any lost or stolen articles.

25 ON POINTE: American Repertory Ballet (ARB) is reinventing the community’s inside access to the dance world through a free monthly series entitled On Pointe. Held at Princeton Ballet School’s studios, 301 N. Harrison Street above McCaffrey’s in the Princeton Shopping Center, ARB brings guest speakers, lecture-demonstrations, company performance previews and panel discussions to seasoned dance enthusiasts and new students alike. Look for our full schedule of On Pointe events on our website.

LeadershipPHOTO CREDITS: Season Sponsors Cover, Caroline Pallat; Page 2, Caroline Pallat; Page 4, George Jones; Page 5, Caroline Pallat; Page 6, Caroline Pallat; Page 7, George Jones; Page 8 (top), Caroline Pallat; Page American Repertory8 (bottom),Ballet’s programs George are made Jones; Page 19, George Jones; Page 20, Caroline Pallat; Page 21, possible in part by funds from the New Jersey State Council on the Arts/DepartmentCaroline Pallat; of State, Pagea Partner 22, Caroline Pallat; Page 24, George Jones; Page 25, Theresa Wood; Agency of the NationalPage Endowment 26, Caroline for the Arts Pallat

American Repertory Ballet’s programs are made possible in part by funds from the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts.

Ofﬁ cial Airlines of American Repertory Ballet

26 Corporate Sponsors

Church & Dwight Google* Inﬁ neum USA Merck Partnership for Giving Nordstrom Target M&T Bank Foundation Sponsors Anonymous The Blanche and Irving Laurie Foundation The Campbell Family Foundation Capezio Dance Makers Foundation The Curtis W. McGraw Family Foundation Hyde & Watson Foundation J. Seward Johnson Sr. 1963 Charitable Trust Merrill G. & Emita E. Hastings Foundation Princeton Area Community Foundation The Shubert Foundation

American Repertory Ballet and Princeton Ballet School gratefully acknowledge the many donors whose generous support helps make possible the organization’s performances and educational programs. This list reﬂ ects gifts made between July 1, 2013 and June 30, 2014.

Please contact Kristine Farmer at 732.249.1254 ext. 11 to change or correct a listing or to give a gift. * Indicates an In-Kind Donation. PRINCETON BALLET SCHOOL

SAVE THE DATE…

School year...... Sat., Sept. 10–Sun., June 4 Nutcracker auditions...... Sunday, September 18 Nutcracker rehearsals begin...... September 24–25 Nutcracker...... November 19–December 18 Thanksgiving ...... Closed Tues., Nov. 22–Sun., Nov. 27 Winter Break...... Closed Mon., Dec. 19–Sun., Jan. 1 Spring Break...... Closed Mon., April 10–Sun., April 16

The Sleeping Beauty (school show)...... Sat., May 20 • Please note that Princeton Ballet School will be closed on this date.

Memorial Day Break...... Closed Sat., May 27–Mon., May 29 Last day of classes...... Sun., June 4 Summer Open Enrollment session begins...... Mon., June 5–Thurs., July 27 Summer Courses for Children...... Mon., June 26–Thurs., July 27 Summer Intensive 2017...... Mon., June 26–Fri., July 28

Mark your calendar! Nutcracker auditions: September 18 For more information available this fall in all studios and online at www.arballet.org ------End-of-school-year production: The Sleeping Beauty Look for information packets in December with all the details about next year’s full-length ballet The Sleeping Beauty Remember that students of all ages (above Beginning Dance), including adults, will have possibilities to perform in this multi-age event. No audition necessary.

Call our Princeton studio at 609.921.7758 for any further questions.

Princeton: 301 N. Harrison Street, Princeton, NJ 08540 Princeton/Downtown: Paul Robeson Center for the Arts, 102 Witherspoon Street, Princeton, NJ 08540 Cranbury: 29 N. Main Street, Cranbury, NJ 08512 New Brunswick: Crossroads Theater, 7 Livingston Avenue, 4th floor New Brunswick, NJ 08901

Fax (Princeton): 609.921.3249 • Website: www.arballet.org