SAT, MAR 23 at 8PM SUN, MAR 24 at 7:30PM Joffrey Ballet

///////////////////////////////// SAT, MAR 23 at 8PM SUN, MAR 24 at 7:30PM Joffrey Ballet

///////////////////////// “One of the most recognizable arts organizations in America and one of the top dance companies in the world” – The Huffington Post

20 919-843-3333 /// carolinaperformingarts.org ///////////////////////////////// MAR 23/24 SAT, 8PM/SUN, 7:30PM

PROGRAM: SATURDAY, MARCH 23 Son of Chamber Symphony Choreography by Stanton Welch Music by John Adams By arrangement with Hendon Music, Inc., a Boosey ...... & Hawkes company, publisher and copyright owner. Lighting recreated by Val Walz

World Premiere: August 22, 2012, ...... Jacob’s Pillow, Becket, Mass.

INTERMISSION

After The Rain After The Rain© by Christopher Wheeldon Music by Arvo Pärt Staged by Jason Fowler Costumes designed by Holly Hynes Lighting design by Mark Stanley, recreated by Val Walz World Premiere: January 22, 2005, New York City Ballet, New York State Theater, New York, N.Y. Joffrey Premiere: October 13, 2010, Auditorium Theatre of Roosevelt University, Chicago, Ill.

Music credits: Arvo Pärt’s Ludus from Tabula Rasa and Spiegel Im Spiegel Used by arrangement with European American Distributors LLC, US and Canadian agent for Universal Edition Vienna, publisher and copyright owner

INTERMISSION

Le Sacre du printemps (The Rite of Spring) Choreography after Vaslav Nijinsky, reconstructed and staged by Millicent Hodson Music by Igor Stravinsky Scenario by Igor Stravinsky and Nicholas Roerich Costumes and décors after Nicholas Roerich, reconstructed and supervised by Kenneth Archer Artistic supervision of reconstruction by Robert Joffrey Lighting design by Val Walz after Thomas Skelton Scenery and Costumes executed by Robert Perdziola and Sally Ann Parsons

World Premiere: Diaghilev’s Ballets Russes, May 29, 1913, ...... Théâtre des Champs-Élysées, Paris, France. U.S. & Joffrey Premiere: The Joffrey Ballet, September 30, 1987, Dorothy Chandler Pavilion, Los Angeles, Calif.

2012/13 /// carolina performing arts 21 ///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////

PROGRAM: SUNDAY, MARCH 24 Ashley C. Wheater, Artistic Director Christopher Clinton Conway, Age of Innocence Executive Director Choreography by Edwaard Liang Robert Joffrey, Founder Music by Philip Glass and Thomas Newman Gerald Arpino, Founder Costume Design by Maria Pinto Lighting Design by Val Walz after Mark Stanley THE Joffrey Ballet Artists of the Company World Premiere: Joffrey Ballet, October 15, 2008, Chicago, Ill., Matthew Adamczyk The Auditorium Theatre of Roosevelt University Derrick Agnoletti Yoshihisa Arai Age of Innocence was created with funds from ...... Guillaume Basso the Prince Prize for Commissioning Miguel Angel Blanco Original Work, which was awarded to Ogulcan Borova Edwaard Liang and the Joffrey Ballet in 2008. Katherine Bruno Music Credits: Fabrice Calmels Movement 2 & 4 from Symphony No. 3, Raul Casasola The Secret Agent by Philip Glass In Contract April Daly © 1995 Dunvagen Music Publishers Inc. Used by Permission. Erica Lynette Edwards By arrangement with G. Schirmer, Inc. publisher and copyright owner. Yumelia Garcia Cara Marie Gary The Poet Acts composed by Philip Glass from the motion picture The Hours. John Mark Giragosian Michael Riesman, piano; Lyric Quartet; Nick Ingam, conductor. Dylan Gutierrez Elizabeth Hansen Little Children (end title) by Thomas Montgomery Newman Jaime Hickey © New Line Music (BMI) All Rights Administered by Warner-Tamerlane Publishing Corp. Rory Hohenstein All Rights Reserved. Used By Permission. Anastacia Holden Dara Holmes INTERMISSION Victoria Jaiani Fabio Lo Giudice In the Middle, Somewhat Elevated Graham Maverick Choreography by William Forsythe Caitlin Meighan Music by Thom Willems in collaboration with Leslie Stuck Jeraldine Mendoza Staging by Glen Tuggle Katherine Minor Scenic, Costume and Original Lighting Design by William Forsythe Jacqueline Moscicke Scenery and Costumes courtesy of Ballet West; Adam Sklute, artistic director Amber Neumann Alexis Polito World Premiere: May 30, 1987, Ballet de l’Opéra national de Paris Valerie Robin Joffrey Premiere: February 15, 2012, Auditorium Christine Rocas Theatre of Roosevelt University, Chicago, Ill. Aaron Rogers Ricardo Santos INTERMISSION Lucas Segovia Abigail Simon Le Sacre du printemps (The Rite of Spring) Michael Smith (See March 23 program) Temur Suluashvili Jack Thorpe-Baker Shane Urton Alberto Velazquez Mauro Villanueva Mahallia Ward Jenny Winton Joanna Wozniak Kara Zimmerman

22 919-843-3333 /// carolinaperformingarts.org /////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// JOFFREY BALLET

Scott Speck, music director As a choreographer, he likes to strip away the The ballet opens with one woman in this Nicolas Blanc, ballet master layers and to show the dancers, at the edge quintessential ballet costume, a tutu, Gerard Charles, ballet master of their ability, riding the top of their physical surrounded by four men. This could be the Graca Sales, ballet master/principal coach wave. Just as the composer took a classical set up for the Rose Adagio from Sleeping Katherine Selig, principal ...... musical structure and deconstructed it, so Beauty, but see how quickly this allusion is stage manager does the choreographer take standard ballet shattered and the choreography takes off in Amanda Heuermann, stage manager traditions and opens them out to discover new directions. The second movement is a pas new interpretations and greater awareness. de deux, another essential element of most Val Walz, lighting director Throughout the ballet there are references classical ballets, but there are many things (more of an inspiration than direct quotes) to going on here. It is more than just a dance for many classical works, turned inside out and two, there is struggle and complexity. In the PROGRAM NOTES evolved. Mr. Welch wants the audience to feel final movement there are allusions to a corps Son of Chamber Symphony familiar with what they are seeing, but it is not de ballet of swans, but the dynamics and thrust important for them to know exactly why. of the work show us so much more. Mr. Welch When it came to selecting music for his new has given the group of women steps that would work for The Joffrey Ballet, Stanton Welch began Mr. Welch says that, “so much of ballet is about normally be given to principal dancers – he feels by looking for a variety of music to offer to Ashley hiding the difficulties and seeking to attain an obligation to keep moving the classical art Wheater. During that process there was one seamless movement. Here I want to show forwards and to challenge the dancers in a way piece that really caught his imagination, Son of the seams.” The costuming underscores this that allows them to grow. But it is not only about Chamber Symphony by John Adams. Mr. Welch too. Recognizable forms are literally turned athleticism, at the same time Mr. Welch also thought that John Adams’ deconstruction of the inside out, and show the inner construction looks for sensuality in his choreography. music was like looking at the inner workings of a marks and understructure of the garments. clock. He found the music inspired him to move The women wear recognizable, but stylized Mr. Welch says that there is no correct response in both expected and unexpected ways. tutus, the geometric shape of which forms that an audience member should have to his an integral part of the movement and work, but he hopes that they will be left with a While listening to the music Mr. Welch already choreographic structure. feeling. Son of Chamber Symphony is a dance began to see the structure of his future ballet.

2012/13 /// carolina performing arts 23 ///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////

work that can be enjoyed on many levels. The major companies around the world. The faux everyone, including Diaghilev, was anxious dance can be enjoyed as a visual enhancement disdain of the dancers contrasts with the about the audience reaction to the new work. of the score (being married so well to the music), strict and severe technical demands of the At the premiere in Paris in 1913, pandemonium or for the pure physical achievements of the choreography, while the electronic score by broke out in the theater with audience members dancers, or, for those with a greater familiarity Dutchman Thom Willems cuts the air like howling, whistling and catcalling in response to with the classical repertoire, it can be fun to thunder. “Originally created for the Paris Opera the violent fertility rite, drowning out the music spot the short quotes or allusions to familiar Ballet, In the Middle, Somewhat Elevated is a and fighting in the aisles. There was chaos at the works within the piece. theme and variations in the strictest sense. Théâtre des Champs-Elysées and the ensuing Exploiting the vestiges of academic virtuosity riot has become legend. Le Sacre du printemps After the Rain that still signify ‘the classical,’ it extends and nevertheless made a profound impression, Christopher Wheeldon’s After the Rain is a ballet accelerates these traditional figures of ballet. considered by many to be the tumultuous birth of bold movements and heartfelt emotion. In By shifting the alignment and emphasis of of modernism in ballet. Stravinsky’s score is Part I, danced to the first movement of Pärt’s essentially vertical transitions, the affected in the repertoire of most of the world’s great Tabula Rasa, the three couples’ opening enchainments receive an unexpected force orchestras and more than 200 choreographers movements find the men lying on the floor with and drive that make them appear foreign to their have since done creations to the score, though the women standing over them, en pointe, with own origins.” only The Joffrey Sacre turned legend back into artifact. It was meticulously researched and their left legs thrust in the air. From that powerful – William Forsythe image, the couples perform a series of intricate reconstructed by Millicent Hodson and Kenneth Archer and is recognized internationally as the lifts and turns that often mirror one another. Le Sacre du printemps They are dressed in steel gray, reflecting the closest possible version of Nijinsky’s original. (The Rite of Spring) striking backdrop, in which a revolving palette of This reconstruction is a testimony to the ardent grays resembles glass covered with raindrops. Vaslav Nijinsky, as a member of Diaghilev’s desire of Robert Joffrey and Gerald Arpino to The colors and mood shift dramatically in Part II, Ballets Russes, was one of the greatest dancers revive rare classics, which the company still a pas de deux danced to Spiegel im Spiegel. The of the 20th century as well as an innovative presents with great care, allowing audiences to ballerina is dressed in pink and her partner is choreographer. Le Sacre du printemps gave experience the defining treasures of ballet. bare chested. In a series of unfolding partnering him the opportunity to revolutionize dance, moves, the dancers explore the shifting stimulated by his close collaborators, composer Joffrey Ballet emotions of their relationship. At times they Igor Stravinsky and scenarist/designer Nicholas The Joffrey Ballet has been hailed as “America’s are close and tender with one another, while Roerich. All three felt the desire to break free Company of Firsts.” The company’s long list of at other times they inhabit the same space but from prevailing classical ballet and evoke the “firsts” includes being the first dance company are separated and searching for one another. primitive soul of their native Russia, returning to to perform at the White House at Jacqueline The ballet is short in length – lasting about 22 colorful peasant costumes and the vast stony Kennedy’s invitation, the first to appear on regions of the Slavic north. minutes – but rich in invention and feeling. television, the first American company to visit Stravinsky captured in his music the first moment Russia, the first classical dance company to Repertory notes courtesy of and adapted from of the Russian Spring, which, as he said, was go multimedia, the first to commission a rock New York City Ballet Online Repertory Index. like the whole world suddenly cracking. Roerich ’n’ roll ballet, the first and only dance company and Stravinsky conceived a pagan rite involving to appear on the cover of Time magazine, Age of Innocence elders of a tribe watching the annual fertility and the first company to have had a major This ballet, inspired by the novels of Jane ritual where a young girl dances herself to death. motion picture based on it: Robert Altman’s Austen, tells the story of females of the late Such a work was realized – a ballet completely The Company. 18th century and early 19th century. It’s a story apart from the norm of their day. The movements For more than a half-century, the Joffrey Ballet’s of societal repression and of the strength of the that Nijinsky devised were so unfamiliar to the commitment to taking world-class, artistically human spirit. Age of Innocence was created with classically trained dancers that many of them vibrant work to a broad and varied audience funds from the Prince Prize for Commissioning rebelled against the steps he required. But has created a solid foundation that continues Original Work, which was awarded to Edwaard he stood firm. Stravinsky’s polyrhythms were to support the company’s unprecedented Liang and the Joffrey Ballet in 2008. monumentally difficult. Diaghilev asked a pupil capacity for achieving important “firsts.” Today, of Jaques-Dalcroze (founder of the music study the Joffrey, which has been hugely successful In the Middle, Somewhat Elevated system Eurhythmics) to assist Nijinsky with the in its former residences in New York and Los William Forsythe’s athletic choreography is a score for the corps de ballet. Her name was Angeles, lives permanently in its brilliant new union of classical ballet and modern dance Marie Rambert – she later directed the Ballet facility, Joffrey Tower, in the heart of America: – a bold regeneration of the academic dance Rambert in London. Chicago, Illinois. The company’s commitment to vocabulary. Commissioned by Rudolf Nureyev in Nijinsky created the role of the Chosen One accessibility is met through the most extensive 1987 for the Paris Opera Ballet, Forsythe’s In in Le Sacre for his sister, Bronislava, who touring schedule of any dance company in the Middle, Somewhat Elevated was recognized became pregnant and could not perform. She history, an innovative and highly effective immediately as a contemporary masterpiece was replaced by Maria Plitz, who danced the education program including the much-lauded and has since entered the repertories of role to acclaim. By the final rehearsals, most Joffrey Academy of Dance – Official School of the dancers believed in the ballet, though of The Joffrey Ballet – and collaborations 24 919-843-3333 /// carolinaperformingarts.org /////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// JOFFREY BALLET

with a myriad of visual and performing founded with the support of the states of Saxony application Improvisation Technologies: A Tool arts organizations. and Hesse, the cities of Dresden and Frankfurt for the Analytical Dance Eye, developed with am Main, and private sponsors. His most recent the Zentrum für Kunst und Medientechnologie, Classically trained to the highest standards, works are developed and performed exclusively is used as a teaching tool worldwide. 2009 the Joffrey Ballet expresses a unique, inclusive by The Forsythe Company, while his earlier marked the launch of Synchronous Objects perspective on dance, proudly reflecting pieces are prominently featured in the repertoire for One Flat Thing, reproduced, a digital online the diversity of America with its company of most major ballet companies in the world, score developed with The Ohio State University and audiences and its repertoire, which including The Kirov Ballet, The New York City that reveals the organizational principles of the includes major story ballets, reconstructions Ballet, The San Francisco Ballet, The National choreography and demonstrates their possible of masterpieces and contemporary works. Ballet of Canada, England’s Royal Ballet and The application within other disciplines. Founded by visionary teacher Robert Joffrey in Paris Opera Ballet. 1956 and guided by celebrated choreographer Edwaard Liang, choreographer Gerald Arpino from 1988-2007, the Joffrey Awards received by Forsythe and his ensembles Ballet continues to thrive under internationally include the New York Dance and Performance Edwaard Liang was born in Taipei and raised renowned Artistic Director Ashley C. Wheater “Bessie” Award (1988, 1998, 2004, 2007) in California, beginning his ballet training at and Executive Director Christopher Clinton and London’s Laurence Olivier Award (1992, the age of five at Marin Ballet. In 1989, he Conway. The Joffrey Ballet has become one 1999, 2009). Forsythe has been conveyed the entered the School of American Ballet. He of the most revered and recognizable arts title of Commandeur des Arts et Lettres (1999) joined New York City Ballet in 1993, and that organizations in America and one of the top by the government of France and has received same year was a medal winner at the Prix de dance companies in the world. the German Distinguished Service Cross Lausanne International Ballet Competition and (1997), the Wexner Prize (2002) and the Golden won the Mae L. Wien Award. He was promoted Ashley C. Wheater, artistic director Lion (2010). to soloist in 1998. Mr. Liang danced with New York City Ballet until 2001, when he joined the Born in Scotland and raised in England, In collaboration with media specialists Broadway cast of Fosse, performing a leading Mr. Wheater was trained at the Royal Ballet and educators, Forsythe has developed principle role. In 2002, he became a member of School. Mr. Wheater began his professional new approaches to dance documentation, Nederlands Dans Theater I, where he danced, career with The Royal Ballet, and danced at the research and education. His 1994 computer choreographed and staged ballets. He returned London Festival Ballet, The Australian Ballet, the Joffrey Ballet and San Francisco Ballet. In 1997, he became Ballet Master at the San Francisco Ballet, and in 2002, Assistant to the Artistic Director.

In 2007, Mr. Wheater was appointed Artistic Director of The Joffrey Ballet. New work is the lifeblood of a company, and he has introduced numerous premieres to the repertoire. In 2008, the Boeing Corporation recognized his commitment to community outreach and diversity in the world of dance, presenting him the “Game Changer” award. In 2010, Mr. Wheater, representing the Joffrey Ballet, was named Lincoln Academy Laureate, the highest honor presented by the State of Illinois.

William Forsythe, choreographer Raised in New York and initially trained in Florida with Nolan Dingman and Christa Long, William Forsythe danced with the Joffrey Ballet and later the Stuttgart Ballet, where he was appointed resident choreographer in 1976. Over the next seven years, he created new works for the Stuttgart ensemble and ballet companies in Munich, The Hague, London, Basel, Berlin, Frankfurt am Main, Paris, New York and San Francisco. In 1984, he began a 20-year tenure as director of the Ballet Frankfurt.

After the 2004 closure of the Ballet Frankfurt, Forsythe established The Forsythe Company, 2012/13 /// carolina performing arts 25 ////////////////////////////////////////////////////////////////////////////// JOFFREY BALLET

to New York City Ballet from 2004-07. Mr. He was nominated for the Golden Mask Award After creating Mercurial Manoeuvers for NYCB's Liang has also performed as a guest artist with for Choreography in Russia. Spring 2000 Diamond Project, Wheeldon retired companies including the Norwegian National from dancing to concentrate on choreography. Ballet and Complexions. Christopher Wheeldon, choreographer In NYCB’s 2000-2001 season, he served as the company’s first Artist in Residence, creating Mr. Liang’s Nederlands Dans Theater I Flight A former dancer with The Royal Ballet and soloist two ballets: Polyphonia, set to piano music by of Angels has since been staged for many with New York City Ballet (where he served as Györgi Ligeti, and Variations Sérieuses, set to companies. He choreographed a piece for the Resident Choreographer from 2001 to 2008), a score by Felix Mendelssohn. In July 2001, 2004 New York Choreographic Institute and Wheeldon founded Morphoses in 2007 with the Wheeldon was named NYCB's first Resident a piece for the Cedar Lake Dance Company. goal of introducing a new spirit of innovation to Choreographer. During his appointment, His Distant Cries, danced by New York City classical ballet by fostering collaboration among Wheeldon choreographed works that included Ballet, was premiered to rave reviews. Mr. choreographers, dancers, visual artists, design- Morphoses and Carousel (A Dance) (2002); Liang has since choreographed ballets for ers, composers and others who can bring new Carnival of the Animals and Liturgy (2003); many companies and projects including New life and perspective to ballet. After the Rain and An American in Paris (2005); York City Ballet, Pacific Northwest Ballet, The Born in Yeovil, Somerset, England, Wheeldon Klavier (2006), The Nightingale and the Rose Joffrey Ballet, San Francisco Ballet, Shanghai began his ballet training at eight years old and (2007) and Rococo Variations ( 2008). Ballet, Washington Ballet, Hubbard Street 2, began studying at The Royal Ballet School at National Ballet of Novosibirisk, Guggienhiem's eleven. Wheeldon joined The Royal Ballet in Wheeldon was the recipient of the Dance Works and Process, and Morphoses/The 1991 and won the Gold Medal at the Prix de Lau- Magazine Award and the London Critics' Circle Wheeldon Company. He was named one of sanne competition that year. In 1993, Wheeldon Award for Best New Ballet for Polyphonia in the 2006 Top 25 to Watch by Dance Magazine was invited to become a member of New York 2005; a performance of the work by NYCB for choreography, won the 2006 National City Ballet, where he was promoted to soloist in dancers received the Olivier Award. In 2006, Choreographic Competition, and was part of the 1998. Wheeldon choreographed his first work for DGV (Danse à Grande Vitesse) was nominated 2007 National Choreographers Initiative. His NYCB, Slavonic Dances, for the 1997 Diamond for an Olivier Award. Additional honors include television appearances include the nationally Project and, in collaboration with artist Ian Fal- the Martin E. Segal Award from Lincoln Center televised PBS Great Performances broadcast coner, created Scènes de Ballet for the School of and the American Choreography Award. Dance in America: From Broadway: “Fosse,” American Ballet's 1999 Workshop Performances /// which has subsequently been made into a DVD. and NYCB's 50th anniversary season. ///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// /// Tyler Walters & Julie Janus Walters on JOFFREY BAllet Our connection with Vaslav Nijinsky’s earth-shaking Inspired in part by the vision of the legendary impresario Sergei original Le Sacre du printemps (The Rite of Spring) Diaghilev (one of the most important driving forces behind the original dates back to the summer of 1987 when the Joffrey 1913 Le Sacre), Joffrey established a unique repertoire encompassing Ballet embarked on the task of realizing Millicent masterpieces of historical significance and commissioned work by Hodson’s meticulously researched re-construction of important contemporary dance-makers. For more than five decades, this seminal modernist ballet. Within the first hours of the Joffrey Ballet has continued to capture a uniquely American dance the start of rehearsals with Millicent we began to recognize the power zeitgeist with new and daring choreography. and the radical nature of the work. The percussive, introverted, inverted, The programs being presented on March 23 and 24 are a proud testament angular, weighted choreography still presents unique challenges for to Joffrey’s legacy. In addition to Le Sacre du printemps, the company is even the most highly trained dancers today. And as we practiced the performing ballets by some of the foremost choreographers working in the complex rhythms, patterns and dynamics of the movement, we came to classical idiom today. It should be most intriguing to see these contemporary understand some of the nature of the dance’s mystique and why it had ballets in juxtaposition with Nijinsky’s most controversial work. caused such a riot 100 years ago. Having danced Le Sacre on stages all around the world ourselves, we are One can only imagine the chaotic scene as described in historical delighted that it is being offered here at UNC’s Memorial Hall as part of accounts of Nijinsky screaming counts to the dancers from the wings of The Rite of Spring at 100 celebration. The work’s elemental ritual intensity the stage as the mounting audience disturbance drowned out the music. is still riveting in live performance a century after the premiere. We expect After only a handful of performances, the dance was lost to history for that after you see it, you’ll agree that this is an event not to be missed! more than 75 years. It was only the steadfast determination of Hodson, Kenneth Archer and Robert Joffrey that brought this “lost” work back to /// the dance stage so that we all may appreciate its revolutionary genius Both former principal dancers with the Joffrey Ballet, Tyler Walters and today. We fondly recall this re-construction as the fulfillment of one of Julie Janus Walters are currently associate and assistant professors of the Joffrey’s most cherished dreams. practice, respectively, at Duke University. 26 919-843-3333 /// carolinaperformingarts.org THE JOFFREY BALLET SATURDAY, MARCH 23 AT 8 PM

SON OF CHAMBER SYMPHONY (2012) Choreography by Stanton Welch

First Movement Amber Neumann & Matthew Adamczyk

Derrick Agnoletti, John Mark Giragosian, Aaron Rogers, Ricardo Santos

Second Movement Victoria Jaiani & Fabrice Calmels

Third Movement Jeraldine Mendoza & Temur Suluashvili

Elizabeth Hansen, Anastacia Holden, Dara Holmes, Alexis Polito, Mahallia Ward, Joanna Wozniak

~INTERMISSION~

AFTER THE RAIN (2005) Choreography by Christopher Wheeldon

Victoria Jaiani & Fabrice Calmels

Yumelia Garcia & Matthew Adamczyk

Kara Zimmerman & Rory Hohenstein

~INTERMISSION~ THE JOFFREY BALLET

LE SACRE DU PRINTEMPS (1913) (The Rite of Spring)

Choreography after Vaslav Nijinsky reconstructed and staged by Millicent Hodson

ACT I

An Old Woman of 300 Years...... Erica Lynette Edwards

The Young People...... Raul Casasola, Aaron Rogers, Lucas Segovia, Michael Smith, Shane Urton

The Youths...... Derrick Agnoletti, John Mark Giragosian, Graham Maverick, Ricardo Santos, Alberto Velazquez, Mauro Villanueva

The Young Men...... Yoshihisa Arai, Ogulcan Borova, Fabrice Calmels, Dylan Gutierrez, Rory Hohenstein

The Maidens in Red...... April Daly, Dara Holmes, Christine Rocas, Abigail Simon, Mahallia Ward, Jenny Winton, Kara Zimmerman

Small Maidens in Red...... Yumelia Garcia, Anastacia Holden, Elizabeth Hansen

The Women in Blue...... Katherine Bruno, Jeraldine Mendoza, Katherine Minor, Jacqueline Moscicke, Amber Neumann

The Tall Women in Mauve...... Jaime Hickey, Alexis Polito, Victoria Jaiani

An Old Sage...... Jack Thorpe-Baker

The Elders...... ,...... Matthew Adamczyk, Guillaume Basso, Fabio Lo Giudice, Temur Suluashvili

ACT II

The Chosen One...... Joanna Wozniak

The Young Maidens...... Cara Marie Gary, Jaime Hickey, Anastacia Holden, Dara Holmes, Katherine Minor, Jacqueline Moscicke, Alexis Polito, Christine Rocas, Abigail Simon, Mahallia Ward, Jenny Winton, Kara Zimmerman

The Ancestors in Bearskins...... Yoshihisa Arai, Matthew Adamczyk, Guillaume Basso, Dylan Gutierrez, Rory Hohenstein, Jack Thorpe-Baker

The Ancestors...... Derrick Agnoletti, Ogulcan Borova, Raul Casasola, John Mark Giragosian, Fabio Lo Giudice, Graham Maverick, Aaron Rogers, Ricardo Santos, Lucas Segovia, Michael Smith, Temur Suluashvili, Shane Urton, Alberto Velazquez, Mauro Villanueva THE JOFFREY BALLET SUNDAY, MARCH 24 AT 7:30 PM

AGE OF INNOCENCE (2008) Choreography by Edwaard Liang

First Dance Derrick Agnoletti, Ogulcan Borova, Katherine Bruno, Raul Casasola, Erica Lynette Edwards, John Mark Giragosian, Elizabeth Hansen, Anastacia Holden, Caitlin Meighan, Jeraldine Mendoza, Christine Rocas, Aaron Rogers, Lucas Segovia, Shane Urton, Mauro Villanueva, Joanna Wozniak

First Dialogue Jeraldine Mendoza & Mauro Villanueva

The Men Derrick Agnoletti, Raul Casasola, John Mark Giragosian, Aaron Rogers

Obey Thee Christine Rocas & Ogulcan Borova

Katherine Bruno, John Mark Giragosian, Anastacia Holden, Caitlin Meighan, Lucas Segovia, Shane Urton, Mauro Villanueva, Joanna Wozniak

Parting Full Cast

~INTERMISSION~

IN THE MIDDLE, SOMEWHAT ELEVATED (1987) Choreography by William Forsythe

Victoria Jaiani Rory Hohenstein Christine Rocas

Amber Neumann Graham Maverick Alexis Polito Alberto Velazquez

Anastacia Holden Jenny Winton