CAL PERFORMANCES PRESENTS
Friday, October 29, 2010, 8pm Saturday, October 30, 2010, 8pm Zellerbach Hall Hubbard Street Dance Chicago Glenn Edgerton Jason D. Palmquist Artistic Director Executive Director
Dancers Jesse Bechard Ana Lopez Christian Broomhall Pablo Piantino Jacqueline Burnett Alejandro Piris-Niño Alejandro Cerrudo Penny Saunders Meredith Dincolo Kevin Shannon Kellie Epperheimer Jessica Tong Laura Halm Benjamin Wardell Jason Hortin Robyn Mineko Williams
Taryn Kashock Russell Kristen Brogdon Director, HS2 and Artistic Associate Artistic Administrator
Terence Marling Alejandro Cerrudo Executive Director Resident Choreographer
Claire Bataille Director, Lou Conte Dance Studio
Andy Brown Ishanee DeVas Matt Miller Production Manager Company Manager Production Coordinator & Lighting Director Kilroy G. Kundalini April C. Clements Audio Engineer Stage & Properties Manager
Stephan Panek Emily Predny Rebecca Shouse Head Carpenter Lighting Supervisor Wardrobe Supervisor
Lou Conte Founder
These performances are funded in part by the National Dance Project of the New England Foundation for the Arts, with lead funding from the Doris Duke Charitable Foundation and additional funding from the Andrew W. Mellon Foundation, the Ford Foundation, and the Community Connections Fund of the MetLife Foundation.
Cal Performances’ 2010–2011 season is sponsored by Wells Fargo.
CAL PERFORMANCES 17 PROGRAM PROGRAM
Hubbard Street Dance Chicago
Deep Down Dos (West Coast Premiere) PROGRAM Choreography Alejandro Cerrudo Music Mason Bates Set & Lighting Design Nicholas Phillips Arcangelo Costume Design Branimira Ivanova (West Coast Premiere)
d a n c e r s Choreography and Staging Nacho Duato Music Arcangelo Corelli, Alessandro Scarlatti Ana Lopez, Jacqueline Burnett, Penny Saunders, Kellie Epperheimer General Supervision Carlos Iturrioz-Mediart Producciones (Spain) Benjamin Wardell, Pablo Piantino, Jason Hortin, Jesse Bechard, Kevin Shannon Lighting Design Brad Fields Scenic Design Nacho Duato Costume Design Nacho Duato INTERMISSION d a n c e r s Laura Halm, Alejandro Piris-Niño, Penny Saunders, Jesse Bechard Ana Lopez, Kevin Shannon, Jacqueline Burnett, Pablo Piantino 27'52"
Choreography Jiří Kylián Staging Cristina Gallofré Vargas, Gerald Tibbs INTERMISSION Music Dirk Haubrich Décor Jiří Kylián Lighting Design Kees Tjebbes Costume Design Joke Visser Blanco (West Coast Premiere) d a n c e r s — f r i d a y e v e n i n g
Choreography Alejandro Cerrudo Ana Lopez, Jason Hortin, Penny Saunders, Kevin Shannon, Meredith Dincolo, Benjamin Wardell Music Felix Mendelssohn, Charles-Valentin Alkan Set & Lighting Design Nicholas Phillips d a n c e r s — s a t u r d a y e v e n i n g Costume Design Branimira Ivanova Jessica Tong, Jason Hortin, Kellie Epperheimer, Alejandro Piris-Niño, Pablo Piantino, Laura Halm
d a n c e r s Laura Halm, Jessica Tong, Meredith Dincolo, Robyn Mineko Williams This program is partially supported by a City Arts Program 4 Grant from the City of Chicago Department of Cultural Affairs, the National Endowment for the Arts, and a grant from the Illinois Arts Council, a state agency.
PAUSE
18 CAL PERFORMANCES CAL PERFORMANCES 19 PROGRAM NOTES PROGRAM NOTES
Arcangelo Blanco rehearsal process for this work: He presented an idea to the dancers and would see how each As the only U.S. dance company to ever perform Featuring music by Felix Mendelssohn and dancer’s personality affected the way they played this beloved work by Nacho Duato, HSDC is Charles-Valentin Alkan, Alejandro Cerrudo’s with it. Mr. Cerrudo has tremendous faith in honored by this testament to the company’s Blanco is a mix of abstract and sculptural the dancers’ ability to use their instincts during reputation as a leader in contemporary dance. movements created for four women. This piece both the development and presentation of this Hubbard Street dancers had the opportunity to was developed through one-on-one interaction work. He says, “My choreography for this piece work directly with Mr. Duato to learn Arcangelo, with each of the four dancers, making it very is primarily based on the dancers’ feeling the giving them a chance to experience how his personal to each of them. The rehearsal process progression, changes and intricacies of the music.” rehearsal process exhibits the same organic nature was very gentle, and significant time was spent Lead individual sponsors of Deep Down Dos that might be discovered within the movement of on achieving a certain delicacy. HSDC Dancer are Meg and Tim Callahan, with additional the piece. Mr. Duato demonstrates great attention Meredith Dincolo recalls, “One day we worked support from Dirk Denison, John W. and Jeanne to detail, focusing on the intricacies of every on very minimal movements for an hour, and M. Rowe, Bill and Orli Staley, and Jane and movement, which helps the dancers discover with each movement Alejandro requested that Michael Strauss. Deep Down Dos is also funded how a movement that initially may feel awkward, it be smaller and smaller and smaller.... This in part by the National Dance Project of the such as flexing your foot unexpectedly, has piece is unlike any other work in our repertoire.” New England Foundation for the Arts. NDP is actually been strategically designed to transition Blanco, created for HSDC, was given its world supported by lead funding from the Doris Duke smoothly into the next movement, leading to a premiere at the Jacob’s Pillow Dance Festival Charitable Foundation, with additional funding seamless final result. As HSDC dancer Penny in Becket, Massachusetts, on August 25, 2010. from the Andrew W. Mellon Foundation, the Saunders states, “Most of the movement looks The development of Blanco was supported Community Connections Fund of the MetLife simple, but what an audience member sees on in part by the Choreographic Fellowship, made Foundation and the Boeing Company Charitable stage takes time, effort and extreme attention possible by a gift from the Davee Foundation. Trust. The development of Deep Down Dos was to detail.” Arcangelo was created for Compañia Music by Felix Mendelssohn, Prelude also supported in part by the Choreographic Nacional de Danza in Madrid. This piece, based No. 1 from Six Preludes and Fugues, Op. 35, Fellowship, made possible by a gift from the on the marvelous Concerti grossi by Arcangelo as performed by pianist Benjamin Frith on the Davee Foundation. Corelli and ending with an aria from Alessandro album Mendelssohn: Piano Works Vol. 1. Music The HSDC theatrical premiere ofDeep Down Scarlatti’s opera Il Primo Omicidio, presents a by Charles-Valentin Alkan, Première Suite No. 8 Dos took place at Jacob’s Pillow Dance Festival on dance reflection of heaven and hell. (“La chanson de la folle au bord de la mer — August 25, 2010. Arcangelo is sponsored, in part, by Sara Lentement”) from 25 Préludes dans touts les tons Albrecht. majeur et mineurs, as heard on the album Charles- Arcangelo received its world premiere by Valentin Alkan: Preludes, Op. 31, performed 27´52˝ Compañía Nacional de Danza at Teatro Real de by Laurent Martin and recorded by Naxos of Madrid on May 31, 2000. It was first performed America Inc. Jiří Kylián’s 27´52˝ takes the viewer along for a by HSDC at the Harris Theater for Music and game of seeking and being sought, of holding and Dance on September 30, 2010. being held, pulling and pushing, a game in which Deep Down Dos Music by Arcangelo Corelli, Concerto the dancer must ultimately exit the stage solo. The Grosso No. 6, from the album Corelli: Concerti Set to Music from Underground Spaces by Chicago piece creates an urge to see it again, perhaps in Grossi, Op. 6, performed by La Petite Bande and Symphony Orchestra composer-in-residence disbelief of what appears on stage and wondering recorded by Sony Music Entertainment GmbH. Mason Bates, Alejandro Cerrudo’s Deep Down how this could all be physically possible. Music by Alessandro Scarlatti, aria from Il Primo Dos was given its orchestral premiere on April 15, 27´52˝ is sponsored by the Elizabeth F. Cheney Omicidio, from the album Scarlatti: Cain Overo 2010, by HSDC with the Chicago Symphony Foundation. II Primo Omicidio, performed by Europa Galante Orchestra. This work is inspired by the imagery Premiered by Nederlands Dance Theater II and recorded by Opus 111. and sounds of tectonic plates, crystalline caverns on February 21, 2002, Lucent Danstheater, The and blazing infernos. Mr. Cerrudo uses this Hague, Netherlands. Hubbard Street premiere unique music as a palate of inspiration to create on March 18, 2010, at the Harris Theater for a piece that is infused with dynamic energy Music and Dance. This work is set to original and offers a visual compliment to the score. The music by Dirk Haubrich entitled 27´52˝, based on dancers played a major role in Mr. Cerrudo’s two themes by Gustav Mahler.
20 CAL PERFORMANCES CAL PERFORMANCES 21 ABOUT THE ARTISTS ABOUT THE ARTISTS
HSDC COMPANY HISTORY other new choreographic development initia- virtuosity. Hubbard Street Dance Chicago serves professional dance world. Additionally, HSDC tives, which have become staples of HSDC’s as an emblem of the city’s international cultural now offers a Summer Intensive, which provides The core purpose of Hubbard Street Dance programming—the Inside/Out Choreography profile. One of the only American dance compa- concentrated training in ballet and modern tech- Chicago (HSDC) is to bring artists, art and Workshop, during which HSDC dancers cre- nies to operate year-round, HSDC continues to nique classes, repertoire rehearsals, dance history audiences together to enrich, engage, educate ate original choreography with their peers, and produce bold and passionate performances for lectures and health and wellness presentations and affect lives through the experience of dance. the Choreographic Fellowship, which identi- Chicago, national and international audiences, to pre-professional dancers from across the na- HSDC holds a unique place within the American fies and develops emerging choreographic tal- always changing and evolving while maintaining tion. With a faculty of experienced performers, dance field. As one of the country’s most impor- ent from within the company. Dancer/Resident the highest artistic standards. The company has choreographers and musicians from the Chicago tant contemporary dance companies, HSDC en- Choreographer Alejandro Cerrudo and Rehearsal appeared nationally and internationally at cel- community and an exceptional facility, LCDS compasses a vast array of techniques and forms, Director/Artistic Associate Terence Marling have ebrated dance venues and has also been presented continues to be at the forefront of the nation’s as well as an understanding of abstract artistry developed works for HSDC. Named Resident by some of the most cutting-edge dance programs training institutions. and the emotional nuances of movement. HSDC Choreographer in 2009, Mr. Cerrudo has created at prestigious universities around the country. is a repertory company, representing numerous six works for the company. choreographers and styles. The company is a rec- Since 2000, HSDC has established collabora- Hubbard Street 2 (HS2) was formed in 1997 to ADMINISTRATION ognized leader in the creation and development tive partnerships with several of Chicago’s most prepare dancers ages 18–25 for the challenging of new choreography, unique collaborations and sig n i fic a nt c u lt u ra l a nd c om mu n it y org a n i z at ion s, life of a professional dancer in a contemporary Glenn Edgerton ( Artistic Director) joined HSDC innovative production concepts. Its importance including the Chicago Symphony Orchestra, pre- company. HS2 provides talented young dancers after an international career as a dancer and di- is based both as a repository of work from some senting new and existing choreography set to or- with a professional experience. Annually, HS2 rector. He began his dancing career at The Joffrey of the 20th and 21st century’s best contemporary chestral music performed by the symphony; the hosts the National Choreographic Competition, Ballet where, mentored by Robert Joffrey, he per- choreographers and as a commissioning agent of Art Institute of Chicago, producing dance works which gives opportunity to three chosen chore- formed leading roles in the company’s contempo- new works, having commissioned and presented within art exhibits and free information sessions ographers from hundreds of applicants to realize rary and classical repertoire for eleven years. In over 30 new dance works throughout its history. to the public to explore the vital connection be- their artistic expression on the dancers of the sec- 1989, Edgerton joined the acclaimed Nederlands Hubbard Street Dance Chicago grew out of tween dance and art; the Illinois Institute of ond company. HS2’s six dancers perform and tour Dans Theater, and after dancing for five years re- the Lou Conte Dance Studio, when dance teacher/ Technology School of Architecture, reimagining at a variety of venues around the world, includ- tired from performing to become artistic direc- choreographer Lou Conte was approached to the space in which dance is performed; and Rush ing residency activities for teachers, students and tor of the main company, leading NDT1 for a teach tap classes by several aspiring young art- University Medical Center, offering HSDC’s community members. HSDC’s dynamic environ- decade and presenting the works of Jiří Kylián, ists. Conte founded the company in 1977 and Parkinson’s Project. ment gives dancers the experiences necessary to Hans van Manen, William Forsythe, Ohad within a decade of its beginning it began to at- Just as the company has flourished artisti- develop strong technique and an individual voice. Naharin, Mats Ek, Nacho Duato, Jorma Elo, tract nationally known choreographers to set cally, HSDC has grown exponentially under the To date, eleven HS2 dancers have advanced to the Johan Inger, Paul Lightfoot and Sol Leon, among dances on Hubbard Street. Mr. Conte served administrative leadership of Barbara G. Cohen, main company and many more have joined other others. From 2006 to 2008, he directed The the company for 23 years, during which he de- Gail Kalver and current Executive Director national and international companies. During Colburn Dance Institute at the Colburn School veloped relationships with emerging and world- Jason Palmquist. Under the management of the 2009–2010 season, HS2 focused on sharing of Performing Arts in Los Angeles. Mr. Edgerton renowned choreographers, including Lynne Mr. Palmquist, the 2008–2009 season marked its art with Chicago audiences, with over half the joined HSDC’s artistic leadership team full-time Taylor-Corbett, Margo Sappington, Daniel the beginning of a new era for the company. By company’s performances taking place in the city. as associate artistic director in 2008. Since 2009, Ezralow, Nacho Duato, Jiří Kylián and Twyla presenting four distinct programs in separate Edgerton has guided the company forward as ar- Tharp, all of whom helped to shape HSDC reper- weeks at the Harris Theater for Music and Dance Under the direction of Claire Bataille, one of tistic director, building on more than three de- toire into what it is today. In 1997, HS2, Hubbard in Millennium Park, HSDC is deepening patron the original four HSDC dancers, Lou Conte cades of artistic leadership from both Lou Conte Street’s second company, and HSDC’s Education relationships and furthering its investment in the Dance Studio (LCDS) attracts aspiring dancers and Jim Vincent, whose extraordinary work has & Community Programs were developed. Mr. cultural life of Chicago. from around the nation and dance enthusiasts in established the company as a leader in dance per- Conte served as Artistic Director until his retire- In 2009, former Associate Artistic Director the Chicago area. Named “Best Dance Class for formance, education and appreciation. ment in 2000. At that time, Jim Vincent stepped Glenn Edgerton stepped into the role of Artistic Adults” by Chicago magazine, LCDS offers a wide into the role of Artistic Director and further ex- Director. Mr. Edgerton presents a dynam- variety of classes weekly in ballet, jazz, modern, Jason D. Palmquist (Executive Director) joined panded the company’s programming, repertoire ic artistic vision for creating new works and tap, African, hip-hop, yoga, Pilates and Zumba HSDC in May 2007, after serving the arts com- and acclaim, while also building a legacy of new strengthening the company’s repertoire while at all levels from basic to professional, as well as munity in Washington, D.C., for nearly 15 years. choreographic development. When Mr. Vincent cultivating and deepening relationships with workshops and master classes. As part of its com- Mr. Palmquist began his career at the John F. arrived, he enhanced the company’s relationships collaborative partners. mitment to providing quality training, LCDS Kennedy Center for the Performing Arts, com- with domestic and internationally known chore- The main company is composed of 16 danc- maintains a scholarship program for advanced pleting his tenure there as Vice President of ographers. In addition, Mr. Vincent introduced ers who display unparalleled versatility and dancers that provide a definitive step into the Dance Administration. At the Kennedy Center,
22 CAL PERFORMANCES CAL PERFORMANCES 23 ABOUT THE ARTISTS ABOUT THE ARTISTS he oversaw multiple world-premiere engagements of HSDC’s artistic staff and began teaching com- danced with the company until December 2009. method in New York with Romana’s Pilates. In of commissioned works in dance, the formation pany class, conducting rehearsals and re-setting At HSDC, he participated in the creation of new September 2005, she was appointed associate and growth of the Suzanne Farrell Ballet, and the choreography. Recently named the Director works with Jorma Elo, Toru Shimazaki, Jim director of the Lou Conte Dance Studio at the inception in 1997 of the Millennium Stage—an of Hubbard Street 2, she also now coordinates Vincent, Lucas Crandall and Alejandro Cerrudo, Hubbard Street Dance Center, and in September award-winning, free daily performance series HSDC’s National Choreographic Competition and danced works by Susan Marshall, Nacho 2008 she was promoted to director. that to date has served more than three million as well as nurtures the growth of promising Duato, Ohad Naharin, Margarite Donlon, Jiří patrons. Deeply enriching the Kennedy Center’s young artists. Kylián and others. Mr. Marling became artistic Lou Conte (Founder), after a performing career artistic programming, he successfully presented associate and rehearsal director for HSDC in including Broadway musicals such as How to engagements with many of the world’s most im- Kristen Brogdon (Artistic Administrator) joined January 2010. Succeed in Business Without Really Trying, Mame portant dance companies including the Royal HSDC as Artistic Administrator in July 2007, and Cabaret, established the Lou Conte Dance Ballet, Alvin Ailey American Dance Theater, after nine years at the John F. Kennedy Center Alejandro Cerrudo (Dancer, Resident Studio in 1974 and three years later founded the Kirov Ballet, Paul Taylor Dance Company, for the Performing Arts in Washington, D.C., Choreographer) from Madrid, Spain, received his what is now Hubbard Street Dance Chicago. American Ballet Theatre and New York City where she first worked with HSDC Executive training at the Real Conservatorio Professional Originally the company’s sole choreographer, Ballet. Mr. Palmquist also managed the Kennedy Director Jason Palmquist. During her tenure at de Danza de Madrid and in 1998 joined the he developed relationships with emerging and Center’s television initiatives, including the cre- the Kennedy Center, Ms. Brogdon was respon- Victor Ullate Company, where he danced for one world-renowned choreographers as the company ation of the Mark Twain Prize for American sible for programming the facility’s unparalleled year. From 1999 to 2002 Mr. Cerrudo danced began to grow, adding bodies of work by a va- Humor and a prime-time special on NBC memo- ballet and contemporary dance season. She man- with the Stuttgart Ballet, and in 2002 he joined riety of artists including Lynne Taylor-Corbett, rializing the first anniversary of the September 11 aged the Suzanne Farrell Ballet from its incep- Nederlands Dans Theater (NDT) II under the Margo Sappington and Daniel Ezralow. These re- attacks. In 2004, he accepted the position of ex- tion in September 2001 and was instrumental direction of Gerald Tibbs. Mr. Cerrudo danced lationships transformed HSDC into the interna- ecutive director of the Washington Ballet. Under in the creation and growth of the Metro D.C. with NDT II for three years before becoming an tionally acclaimed repertory company it is today. his leadership, the company presented full perfor- Dance Awards. Ms. Brogdon also created and HSDC company member in August 2005. Named Mr. Conte continued to build HSDC’s repertoire mance seasons annually at the Kennedy Center produced a commissioning program for local an HSDC Choreographic Fellow in 2008 and the by forging a key relationship with Twyla Tharp in and the Warner Theater, and nurtured its world- choreographers, facilitating work by 20 artists company’s first Resident Choreographer in 2009, the 1990s, acquiring seven of her works, includ- renowned school and extensive education and from D.C., Maryland and Virginia. Prior to the Mr. Cerrudo has created six works for the com- ing an original work for the company. Mr. Conte outreach programs. A graduate of the University Kennedy Center, she was the company manager pany, including Lickety-Split (2006); Extremely further expanded the company’s repertoire to of Northern Iowa, Mr. Palmquist currently serves and publicist for Li Chiao-Ping Dance, a modern Close (2007), commissioned by the Joyce Theater include European choreographers Jiří Kylián on the boards of the Arts Alliance of Illinois and dance company based in Madison, Wisconsin. in New York; Off Screen (2009); First Light (2010); and Nacho Duato and Israeli choreographer the Harris Theater for Music and Dance. Ms. Brogdon holds a masters of arts in business Deep Down Dos (2010); and Blanco (2010). Ohad Naharin. These long-term relationships, with a concentration in arts administration from along with Mr. Conte’s participation in select- Taryn Kaschock Russell (Director of HS2 the University of Wisconsin and a bachelor of arts Claire Bataille (Director, Lou Conte Dance ing Jim Vincent as the company’s new artistic and Artistic Associate) was born in Harrisburg, in economics from Duke University. She lives Studio) was a leading dancer with HSDC from director, have paved the way for HSDC’s future. Pennsylvania. She joined the Joffrey Ballet in with her husband David, daughter Sophie and 1977 to 1992, performing works created by Lou Throughout his 23 years as the company’s artistic 1995 and spent seven years performing and tour- son Nicholas in Oak Park, Illinois. Conte, Twyla Tharp, Lynne Taylor-Corbett, director, Mr. Conte received numerous awards, ing extensively with the company. During that Daniel Ezralow, John McFall and Margo including the Chinese Dance Coalition’s inau- time, she expanded her artistry by dancing the Terence Marling (Artistic Associate and Rehearsal Sappington. She received the Ruth Page Award for gural Ruth Page Artistic Achievements Award in principal roles in classic works by Agnes DeMille, Director), from Chicago, Illinois, began his bal- Outstanding Dancer in 1992. From 1977 to 2001, 1986, the Sidney R. Yates Arts Advocacy Award George Balanchine, Martha Graham and John let training in 1982 at the Ruth Page School of Ms. Bataille also served the company as assistant in 1995 and the Chicagoan of the Year award Cranko. She was also the first woman outside Dance under the direction of Larry Long. In artistic director, ballet mistress and rehearsal di- from Chicago magazine in 1999. He has been of David Parsons company to dance his signa- 1994, he joined the Pittsburgh Ballet Theater rector. As a resident choreographer, she created credited by many for helping to raise Chicago’s ture solo, Caught. Ms. Russell joined HSDC in directed by Patricia Wilde, performing works five works for HSDC between 1978 and 1985. international cultural profile and for creating a 2002 and the following January was named one by George Balanchine, Glen Tetley, Paul Taylor, Ms. Bataille toured nationally and internation- climate for dance in the city, where the art form of Dance Magazine’s “25 to Watch.” Her reper- Jiří Kylián, Ohad Naharin, Kevin O’Day and ally with HSDC. She began teaching at the Lou now thrives. toire, while dancing with HSDC, included mas- Dwight Rhoden as well as many full-length clas- Conte Dance Studio in 1975 and has been teach- ter works by Jiří Kylián, Nacho Duato, William sical ballets. In 2003, Mr. Marling was invited to ing dance in Chicago ever since. Currently, she Forsythe and Ohad Naharin. Ms. Russell also join the Nationaltheater Mannheim in Germany is on the faculty of the Lou Conte Dance Studio DANCERS found much growth and inspiration participating under the direction of Kevin O’Day, where he and River North Chicago Dance Company and in numerous original creations while a member participated in the creation of many new works. is a guest teacher for several Chicago companies. Jesse Bechard (Bolton, Massachusetts) began his of the company. In 2007, she became a member Mr. Marling joined HSDC in April of 2006 and In 2003, she earned her certification in the Pilates formal ballet training at 16 and graduated from
24 CAL PERFORMANCES CAL PERFORMANCES 25 ABOUT THE ARTISTS ABOUT THE ARTISTS
Walnut Hill School for the Arts. He attended under Kevin O’Day and Dominique Dumais. Pablo Piantino (Mendoza, Argentina) began 100 Years. He is a co-founder of Børderline Dance summer programs at Boston Ballet, Alonzo She returned to HSDC in November 2004. dancing at age 14. His training includes private Circle—a troupe under the choreographic direc- King’s LINES Ballet and Ballet Austin. In 2000, seminars with Hector Zaraspe and studies at both tion of Michelle Mola—for which he danced pro- having completed one year at the University of Kellie Epperheimer (Los Osos, California) be- the Colón Theatre School and the Juilliard School, fessionally and developed concepts since 2005. Chicago, he returned to dance. After a year with gan her dance training in 1988 with the Academy from which he received his B.F.A. Having danced Mr. Shannon joined HSDC in November 2007. Ballet Austin, he joined Richmond Ballet, where of Dance and Civic Ballet of San Luis Obispo. She with the Colón Theatre Ballet Company and the he danced for eight years, performing works by has participated in summer programs with the Juilliard School Dance Ensemble, Mr. Piantino Jessica Tong (Binghampton, New York) re- John Butler, Jessica Lang, Val Caniparoli, William Joffrey Ballet and the Juilliard School. In 2002, joined San Francisco Ballet in 1999 and became ceived her formal training at The Ballet School Soleau, Mauricio Wainrot and Colin Conner. she had the opportunity to tour Russia with the an HSDC company member in August 2005. in Salt Lake City, Utah, under Jan Clark Fugit, Mr. Bechard joined HSDC in August 2010. Deyo Dancers. Ms .Epperheimer joined Hubbard as well as at the University of Utah, where she Street 2 in January 2005 before becoming an ap- Alejandro Piris-Niño (Madrid, Spain) began danced as a member of Utah Ballet. She also at- Christian Broomhall (Columbus, Ohio) prentice with the main company in December his ballet studies at age ten, when he joined the tended the summer programs of American Ballet received classical training from Ballet Met 2006. She was made a full company member in Victor Ullate School of Dance on scholarship, lat- Theatre, San Francisco Ballet and Lou Conte Columbus under the direction of David Nixon January 2008. er becoming a company member in 1995. While Dance Studio, among others. Ms. Tong danced and Yoko Ichino. From 1999 to 2001, he danced with the Victor Ullate Company, he performed with BalletMet in Columbus, Ohio; Eliot Feld’s professionally with the Ballet Met Columbus. He Laura Halm (Baltimore, Maryland) began all over Europe as well as at many major events Ballet Tech in New York City; and Hubbard then performed with the Northern Ballet Theatre her dance training at age four and has studied in Spain. In 1999, Mr. Piris-Niño moved to New Street 2 before joining the main company in until 2005, when he returned to dance with Ballet at Central Pennsylvania Youth Ballet, Boston York to dance with ABT II and was promoted January 2007. Ms. Tong was named one of Dance to American Ballet Theatre’s main company in Met Columbus until 2008. Ms. Broomhall joined Ballet School, San Francisco Ballet School and Magazine’s “25 to Watch” in 2009. 2000. He joined HSDC in August 2008. Hubbard Street Dance Chicago in August 2008. the Baltimore School for the Arts. She received her B.F.A. in dance in May 2002 from the Benjamin Wardell (Memphis, Tennessee) began Penny Saunders (West Palm Beach, Florida) dancing at age ten. After completing his training Jacqueline Burnett (Pocatello, Idaho) received Juilliard School, where she performed works by received her dance training from The Harid at Classical Ballet Memphis School under the tu- her classical ballet training in Pocatello, Idaho, José Limón, Ohad Naharin and Robert Battle. Conservatory, the School of American Ballet, telage of Pat Gillespie, he danced with Cincinnati from Romanian Ballet Master Marius Zirra, She also had the privilege of performing with El Central Pennsylvania Youth Ballet and the Ballet for five seasons, achieving the rank of solo- with additional summer training at Ballet Idaho, Ballet Moderno y Folklorico de Guatemala as a Princeton Ballet in addition to private seminars ist. In 2006, Mr. Wardell moved to San Francisco Brindusa-Moore Ballet Academy, Universal guest artist before joining Hubbard Street 2 in with Elisabeth Carroll. In 1995, Ms. Saunders to join Alonzo King’s LINES Ballet, where he (Kirov) Ballet Academy, the Juilliard School and January 2004. Ms. Halm became an apprentice began her professional career with the American was given the opportunity to explore mind-open- the San Francisco Conservatory of Dance. She with HSDC in August 2006 before joining as a Repertory Ballet under the directorship of Septime ing philosophies and physicalities of movement full company member in August 2007. received a B.F.A. in dance performance from Webre. She also danced with Ballet Arizona, was while traveling extensively through the United the Ailey School/Fordham University joint pro- a guest artist with the Washington Ballet and the States and Europe. In addition to being a dancer, Jason Hortin (Olympia, Washington) gradu- gram in New York in May 2009, graduating Georgia Ballet, toured extensively with MOMIX Mr. Wardell is a photographer and writer. A large magna cum laude and with departmental honors. ated from the University of Nevada, Las Vegas, Dance Theater, and was a founding member of part of his artistic interest is to combine multiple Ms. Burnett joined HSDC as a center apprentice with a B.F.A. in dance under the direction of Cedar Lake Ensemble in New York City before disciplines through methods that allow each art in January 2008, while concurrently completing Louis Kavouras and has danced with Moving joining HSDC in November 2004. form to augment the capabilities of the others. He her B.F.A. degree, and became a member of the People Dance Theatre, the Erick Hawkins Dance joined HSDC in January 2008. main company in August 2009. Company and River North Chicago Dance Kevin Shannon (Baltimore, Maryland) be- Company. Mr. Hortin joined HSDC as an ap- gan his formal dancing under the guidance of Robyn Mineko Williams (Lombard, Illinois) Alejandro Cerrudo (see bio above). prentice in August 2007 and was promoted into Lester Holmes. He graduated from the Baltimore began dancing at age five under the direction of the main company in July 2008. School for the Arts, receiving additional summer Yvonne Brown Collodi. She continued studying Meredith Dincolo (Indianapolis, Indiana) training at the School of American Ballet, Miami dance at the Lou Conte Dance Studio on full began dancing at age seven in Indianapolis and Ana Lopez (A Coruña, Spain) began her formal City Ballet, Paul Taylor and David Parsons. He scholarship from 1993 to 1995. Ms. Williams continued her training under Iacob Lascu in training at Conservatorio de Danza Disputacion received his B.F.A. in 2007 from the Juilliard danced with River North Chicago Dance Michigan. She graduated from the University of de A Coruña. Upon graduating from high school, School, where he performed works by Susan Company for four years before becoming an ap- Notre Dame in 1993 and moved to Chicago to pur- she continued her training at Centro Internacional Marshall, Mark Morris, William Forsythe and prentice with HSDC in June 2000. She became a sue dance. In 1996, Ms. Dincolo joined HSDC, de Danza Carmen Roche. Ms. Lopez danced with Jiří Kylián. He has toured nationally with the full company member in September 2001. where she spent four years under the direction of Joven Ballet Carmen Roche, Compañía Nacional Juilliard School Ensemble and performed in the Lou Conte. In 2000, she joined Lyon Opera Ballet de Danza 2 and Ballet Theater Munich before nationally broadcast television special, Live from and went on to the Nationaltheater Mannheim joining HSDC in January 2008. Lincoln Center, The Juilliard School: Celebrating
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