George Balanchine’s The Nutcracker - Oregon Ballet Theatre by Artslandia

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47 FROM THE

EDITOR-AT-LARGE

11 LETTER FROM THE

ARTISTIC DIRECTOR A warm welcome to a beloved annual tradition from Kevin Irving and a warm heart from OBT’s Share the Wonder program.

14 NUTCRACKER FOR LIFE Gavin Larsen shares profiles of a just of a few of the many Nutcracker performers who’ve experienced the positive power of dance.

17 GEORGE BALANCHINE’S THE NUTCRACKER®

Yearning for positive action? Barry Johnson breaks down the steps for taking advantage of a unique provision in the Oregon tax code that offers the chance to make up for the state Legislature’s reluctance to fund the arts sufficiently.

50 MAKE-A-FRIEND BINGO Enjoy a delightful excuse to chat with fellow audience members before the lights go down, brought to you by Oregon Historical Society.

51 SPOT THE INSTRUMENTS Should your chosen performance include an orchestra, take the little ones for a peek in the pit to complete this activity.

52 ART DEPARTMENT:

KELLER AUDITORIUM MURAL While you’re traipsing around town taking selfies for the Instagram Hunt, swing by Una Kim’s mural at Keller Auditorium to enter our Art Dept contest.

54 OUR STAGES, THEN AND NOW: KELLER AUDITORIUM

Portlanders have long gathered at the downtown block on which the Keller Auditorium now stands, but our luminous present-day structure shows how far we’ve come with aesthetics.

LEFT TO RIGHT: Chloe Shelby, photo by James McGrew; Keller Auditorium Mural by Una Kim, photo by Blanche Minoza; Keller Auditorium (2016), photo by Jason Quigley.

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LETTER FROM THE ARTISTIC DIRECTOR

Oregon Ballet Theatre would like to express our most sincere thanks to our most generous sponsors.

THANK YOU! Photo by Michael Slobodian

WELCOME to Oregon Ballet Theatre’s wonder-filled production of George Balanchine’s The Nutcracker®! We are so glad you and yours are here with us to celebrate the joy, hope, and delight that is as much a cornerstone of this annual tradition as the unforgettable melodies in the beautiful score by Tchaikovsky. You may or may not know that by the time December comes around and you are making plans to attend one of our Nutcracker performances, your ballet company has been hard at work for months already, preparing the performance you will see. The dozens of OBT School students chosen to be in the production spend nearly every weekend between Labor Day and Thanksgiving practicing choreography, musicality, and staging under the watchful eyes of Children’s Coaches Olivia Pyne and Peter Franc. (For a look at how those experiences impact young people in this production, please see page 14 and a wonderful story by Gavin Larsen.) OBT’s wardrobe and scene shops lovingly update and repair every item worn or seen on the stage and, even dancers who have performed this remarkable ballet for years need to review, refresh, and reinvest in their roles in order to perform with insight and abandon. All this so the experience you and your family have will be one to cherish for years! It’s an art of community, ballet is, and it is offered to you each year with our gratitude for your support. One of the most wonderful aspects of our annual Nutcracker tradition is our “Share The Wonder” program, which extends OBT performance tickets to nonprofit youth and family organizations throughout the region, bringing the joy of this delightful experience to thousands who might otherwise not have the means to be here. We partner each and every year with organizations such as Albertina Kerr, Arc of MultnomahClackamas, Catholic Charities, Friends of Children, Lutheran Community Services, Make-A-Wish Foundation, & Ronald McDonald House Charities — and literally dozens more — because we are committed to sharing our very special art of community with our community. At this special time of year, it seems particularly meaningful to show generosity towards others, which is what “Share The Wonder” is all about.

PRODUCTION SPONSORED BY

ADDITIONAL SEASON SUPPORT PROVIDED IN PART BY

The Regional Arts & Culture Council including support from the City of Portland, Multnomah County, and the Arts Education & Access Fund.

Oregon Ballet Theatre receives support from the Oregon Arts Commission, a state agency funded by the State of Oregon and the National Endowment for the Arts.

Oregon Ballet Theatre is supported in part by an award from the National Endowment for the Arts.

ELIZABETH POWNALL SWINDELLS Family Fund of The Oregon Community Foundation

CORPORATE SPONSORS

SUPPORTING SPONSORS

So, from our family to yours, we hope this performance of George Balanchine’s The Nutcracker® is all you expect it to be and more — and be sure to make plans to come see our next blockbuster — Cinderella, February 16-23! Enjoy!

KEVIN IRVING

Artistic Director Oregon Ballet Theatre

Cover: Emily Parker & Zuzu Metzler | Photo by Yi Yin

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CINDERELLA PRESENTS BEN STEVENSONâ&#x20AC;&#x2122;S

UP NEXT February 16-23, 2019 Keller Auditorium

7 Shows Only! All featuring the OBT Orchestra. Xuan Cheng Photo by Tatiana Wills Photo by Blaine Truitt Covert

obt.org/cinderella Photo by James McGrew

Photo by Blaine Truitt Covert

good heaven the perfect set

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Scene from “The Enchanted Toyshop” at the Portland Ballet. Funded by the Oregon Cultural Trust.

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TOGETHER, WE FUND 1,400+ CULTURAL NONPROFITS IN OREGON. THAT MEANS MORE BALLERINAS. Oregonians have a unique opportunity to fund cultural activities in the state and double their impact for free - with the cultural tax credit. Make sure you are claiming yours. Doing so takes three simple steps that do so much for Oregon. Talk to your CPA, or learn more at (503) 986-0088 or CulturalTrust.org.

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FEATURE

NUTCRACKER FOR LIFE: The Indelible Effects of a Childhood on Stage BY GAVIN LARSEN

“It made me ecstatic — it changed me.” “You’re making something beautiful that’s bigger than yourself.” “It made me want a life on the stage.” “It’s part of who I am.”

IT’S IMPOSSIBLE TO IMAGINE The Nutcracker without children on stage. But for these smallest cast members, entrusted with adult-sized responsibilities at astonishingly young ages, the impact of performing is far stronger — and longer lasting — than the excitement and novelty of adding roles to a resumé. George Balanchine famously, and proudly, gave prominence to the children in his ballets through sophisticated choreography and, often, near-equal footing with the stars. His refusal to underestimate their potential proved that responsibility, motivation, and high expectations are the best teachers. Being a Nutcracker kid demands a lot: steely nerves at the audition (at which no one is guaranteed a role and many hopes are dashed), stamina through months of hours-long rehearsals, unwavering commitment (no excuses, no missed rehearsals), determination to not give up when the going gets tough. But the rewards, lasting far beyond closing night, are rich. Here, Nutcracker alumni reflect on the sense that their formative years on stage were something different — something special: an honor, an opportunity, and possibly, a life-changing experience.

COLLIN TRUMMEL Then: Bunny, Fritz, Party Boy, Polichinelle, Prince Now: OBTS Level 6 Student

A SELF-DESCRIBED “SUPER HYPERACTIVE KID,” Collin began ballet to channel his energy. Collin’s mother, Jennifer Strelkauskas, watched in awe (and sometimes in tears) as the boy whose teachers said couldn’t focus took center stage and performed the Prince’s pantomime without missing a beat. “Ballet, and in particular performing Nutcracker, gave Collin discipline balanced with joy, structure balanced with creativity, and most of all, confidence he never would have had. He can focus past fear. He can challenge himself every day knowing it’s never perfect and he’ll be back the next day trying again. Performing gives kids the chance to recognize the pure pleasure of reward. You work, you sweat, you put it all out there and share the light inside you.”

Collin Trummel (right).

OBT.ORG

Collin: “The first year I did Nutcracker was scary. I had trouble learning the steps, and the acting was hard. But as the concept of repetition was drilled into me, I saw a change in myself: It became easier, and made me want to learn more. Being on stage made me ecstatic. And now I know I want to do this for my future.”

Jenny White (right).

JENNY WHITE

CHLOE SHELBY

ETHAN MYERS

Then: Angel, Party Girl, Polichinelle, Marie Now: Freshman, Loyola Marymount University

Then: Angel, Soldier, Party Girl, Party Boy, Polichinelle, Candy Cane Now: Manufacturing Technician at Intel

Then: Party Boy, Fritz, Prince Now: Junior at Arts and Communication Magnet Academy; member of Dance West

BY AGE 8, Jenny White proved she was already a Nutcracker pro when a diagnosis of rheumatoid arthritis only deepened her commitment. “Dancing professionally at such a young age taught me more than discipline. When you’re in the children’s cast, especially as you get older, you recognize you’re part of something bigger than yourself, bigger than just a show. I treated it as seriously as if it was my job, just like the professional dancers surrounding us. That realization sets you up for success wherever you go in the future. You get comfortable being in front of people, with yourself, and working on making yourself better.”

“TRAINING IN BALLET is training in focus, determination, teamwork, and communication. In Nutcracker, no matter your role, there are high expectations that you will stay focused and dedicated. Working together to make it successful gives a sense of accomplishment, and seeing progress built my confidence a lot. Most people now don’t know that I danced, but they notice that I can just go at something for a really long time without breaking focus.”

THE NUTCRACKER SHOWED Ethan Myers the value of his instinct for showmanship and love of dance: “Being a child performer was a wonderful gift. While regular ballet classes taught me discipline, technique, and stamina, the stage filled my soul. I would be a much different person had I not been exposed to the incredible responsibility of a professional production at such a young age. Nutcracker brought maturity and character to my life, and helped me in countless ways ever since. Just as Balanchine said, “Dancing is music made visible,” once I was on stage, everything else washed away and my body began to move in the most brilliant ways.

MACY SULLIVAN Then: Soldier, Party Girl, Polichinelle, Marie Now: Juilliard graduate (2012 BFA), freelance dancer in New York

MACY, DANCING MARIE in the inaugural year OBT presented George Balanchine’s The Nutcracker®, set the standard for every little girl who followed in her steps. As a self-assured but egoless 13-year-old, she understood the weight of her responsibility and the freedom it could bring. “Doing Nutcracker made me acutely aware that my role within a larger system had consequences: In a production this big, the ripple effect can range from inconveniences to disasters. I developed a thick skin, and became incredibly independent making decisions related to fulfilling goals (set by myself and other people), which carries over to being a professional in any field. I’m a shy person. But on stage, I can pursue the deeper, stronger, riskier, and more vulnerable way of moving, and explore parts of myself. Somehow, making these discoveries in front of colleagues, and then an audience, is far less scary to me than doing it alone.”

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TODAY’S PROGRAM

PRESENTS

GEORGE BALANCHINEʼS

THE NUTCR ACKER

BALLET IN TWO ACTS, FOUR SCENES, AND PROLOGUE Based on E.T.A. Hoffmann’s tale, The Nutcracker and the Mouse King (1816) MUSIC:

CHOREOGRAPHY:

ORIGINALLY STAGED BY:

PYOTR ILYICH TCHAIKOVSKY

GEORGE BALANCHINE © The George Balanchine Trust

ELYSE BORNE & DARLA HOOVER

ADDITIONAL STAGING BY:

SET AND COSTUME DESIGN:

SANDRA JENNINGS

PETER FARMER

LIGHTING DESIGN: MICHAEL MAZZOLA

The children appearing in George Balanchine’s The Nutcracker® are students of Oregon Ballet Theatre School

OBT PREMIERE: December 11, 2003, Keller Auditorium, Portland, Oregon WORLD PREMIERE: February 2, 1954, New York City Ballet, City Center of Music and Drama in New York. The performance of George Balanchine’s The Nutcracker®, a Balanchine® Ballet, is presented by arrangement with The George Balanchine Trust® and has been produced in accordance with the Balanchine Style® and Balanchine Technique® service standards established and provided by the Trust.

SYNOPSIS ACT ONE It is Christmas Eve in Germany 150 years ago. Doctor and Frau Stahlbaum, along with their children Marie and Fritz, are hosting an elegant holiday party. In a festive parlor with a splendid Christmas tree, they entertain their friends and relatives with games, dances, and gifts. At the stroke of eight, an owl suddenly flaps its wings over the grandfather clock in the corner of the room, and the lights flicker and fail. The party is swept with a sense of wonder as Marie’s godfather, the mysterious Herr Drosselmeier, makes a dramatic entrance with his young nephew. They have brought with them life-sized dancing toys that they unveil to the delight of the assembled guests. Drosselmeier then presents Marie with a special gift: a Nutcracker. Marie proudly shows off her new toy until Fritz, in a jealous tantrum, seizes the doll and breaks it.

Drosselmeier mends the Nutcracker with his handkerchief and gives the doll to Marie, who tucks it into a toy bed beneath the Christmas tree. After a final dance, which Marie shares with the nephew, the guests say goodnight and the family goes off to bed. At midnight, Marie sneaks back to look for her Nutcracker. She soon falls asleep and, when she does, the room begins to change. Giant mice scurry through the shadows while the Christmas tree and the toys beneath it grow bigger and bigger. Under a now towering tree, the mice, led by their fierce king, do battle with the Nutcracker and his army of toy soldiers. It seems the mice will be triumphant until, at the very last moment, Marie throws her slipper at the King, distracting him long enough for the Nutcracker to run him through with his sword and seize victory. Exhausted, Marie falls onto her bed and is magically transported to the Land of Snow.

As snowflakes dance, she is reunited with the Nutcracker, now transformed into a handsome young Prince.

ACT TWO The Nutcracker Prince leads Marie on a journey to the Palace of the Land of Sweets, where the Sugar Plum Fairy reigns. There, the Prince tells the court how Marie saved him in his battle with the Mouse King. As a reward, the Sugar Plum Fairy seats them both upon a special throne to enjoy the dancing of Hot Chocolate, Coffee, and Tea. Candy Canes also perform for the two, along with Marzipan Shepherdesses, Mother Ginger and her Polichinelles, and the beautiful Dew Drop Fairy and her Flowers. As a final honor, the Sugar Plum Fairy and her Cavalier dance a majestic pas de deux. Marie and the Nutcracker Prince thank the Sugar Plum Fairy for her grand entertainment and everyone in the Land of Sweets gathers to bid them farewell.

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2019 CLASSIC WINES AUCTION PRESENTING SPONSOR

ARTISTIC & EXECUTIVE STAFF KEVIN IRVING

ARTISTIC DIRECTOR Sponsored by Bob Sweeney & Cate Millar

A rare dancer whose career spanned multiple disciplines, Kevin Irving began dancing with jazz classes in his hometown dance school (Long Island, New York), before joining the school and training ensemble of Alvin Ailey – an experience that impacted him deeply. From 1982-1985, he danced with The Elisa Monte Dance Company of New York, a company often referred to as “post-modern” but, at 24, he took a sharp turn toward classical dance, and joined Les Grands Ballets Canadiens in Montréal. Promoted to soloist and principal, Irving became a well-known figure wherever LGBC performed, excelling in classical, neoclassical, and contemporary roles – including roles and ballets created by LGBC’s resident choreographer James Kudelka. In 1993, Irving joined Twyla Tharp Dance, touring the U.S. and Europe with the acclaimed choreographer, including performances at L’Opéra de Paris, and the PBS filming of Tharp’s much-lauded ballet In the Upper Room. From 1994-2002, Irving was ballet master and associate director with Nacho Duato’s Compañía Nacional de Danza in Madrid. From 2002-2007, he was artistic director of The Göteborg Ballet in Sweden. The company, during Irving’s tenure, was named the most important dance company in Sweden in Ballet International’s critic poll. From 2007-2013, Irving was a frequent guest ballet master with The Royal Danish Ballet, where he staged and rehearsed works by Ji í Kylián, George Balanchine, and Jerome Robbins. He has also been a guest teacher with numerous companies and schools in the U.S. and abroad for over 20 years. Additionally, he staged ballets by Nacho Duato and Nicolo Fonte for companies such as The Royal Ballet Covent Garden, Nederlands Dans Theater, Hubbard Street Dance Chicago, Lyon Opera Ballet, and The Australian Ballet, to name just a few. In the U.S., Irving became associate director at Morphoses (formerly The Wheeldon Company) from 2011-2012, coordinating special initiatives aimed at defining the

company’s unique profile in the dance world. In 2010, he founded I-DANCE (Inspiring Dance: American Nations’ Choreographic Exchange), a nonprofit that sends teachers and choreographers to dance communities in Central and South America. Irving was named artistic director of Oregon Ballet Theatre in July 2013. Photo by Michael Slobodian

MICHAEL GREER

EXECUTIVE DIRECTOR Michael Greer brings leadership experience from both for-profit and nonprofit worlds. Most recently, he led an arts nonprofit through a successful transition; previously, he led China-side operations, projects, and sales teams for multinational companies. A native of Missouri, Greer spent the early part of his life as a dancer at the world’s most prestigious institutions: Interlochen Arts Academy, School of American Ballet, San Francisco Ballet School, and The Royal Ballet School. Upon completing his training, he danced professionally with Ballet West in Salt Lake City, Utah, under the direction of Jonas Kage. After retiring from performing, Greer completed an economics degree with an emphasis in industrial organization, as an Arturo Schomburg Scholar at Hampshire College in Amherst, Massachusetts. He was offered a merit scholarship to continue economics at Stanford University, but declined to gain international business experience as a Gilman Scholar through the U.S. State Department. Greer worked with companies in India and China for nine years; he managed teams and operations for several multinational corporations. A Mandarin speaker, he enjoyed life in China with his wife and two children. In 2015, Greer returned to the U.S. and the dance world, to direct Portland Ballet in Portland, Maine. Combining business experience with passion for the arts, he worked to increase earned and contributed revenue, which resulted in Portland Ballet’s substantial turnaround. Now, Greer and his family are thrilled to be a part of the Portland, Oregon community. Photo by Nate Eldridge

LISA KIPP

REHEARSAL DIRECTOR Lisa Kipp began studying ballet in Olympia, Washington, and finished her training at Pacific Northwest Ballet School. She danced with Pacific Northwest Ballet, Pacific Ballet Theatre, Ballet Oregon, City Ballet of Los Angeles, and James Sewell Ballet, as well as performed in the touring company of Andrew Lloyd Webber’s The Phantom of the Opera. Kipp danced principal roles in George Balanchine’s Rubies, Tchaikovsky Pas de Deux, Square Dance, Concerto Barocco, and Apollo, and appeared as the Cowgirl in Agnes de Mille’s Rodeo. Prior to joining Oregon Ballet Theatre in 2004, she was ballet headmaster for The School of Spectrum Dance Theater in Seattle, as well as the company’s rehearsal director. Kipp has been ballet master for OBT for over ten years, and rehearsal director for five. As ballet master, she has assisted James Kudelka, Lar Lubovitch, Lola de Ávila, Nicolo Fonte, Francia Russell, Bart Cook, Christine Redpath, and Helgi Tómasson. She staged George Balanchine’s Rubies, Square Dance, and Who Cares? for the company, and is responsible for the corps de ballet in its classical repertoire. Photo by Joni Kabana

OLIVIA PYNE

HEAD CHILDRENʼS COACH Oregon native Olivia Pyne began studying ballet in the Portland area at the age of six, and joined Oregon Ballet Theatre School as a student in 2008 during Damara Bennett’s tenure as School Director. She was soon promoted to the position of teacher’s assistant and in 2009, Olivia joined the OBT’s faculty. In 2017 she became Head Children’s Coach for George Balanchine’s The Nutcracker®. In summer of 2018, Olivia attended the Teachers Workshop at the world-renowned Central Pennsylvania Youth Ballet. In addition to teaching she has also been a rehearsal assistant for OBT students for works that include Con Amore, Peter and the Wolf, The Nutcracker, Circus Polka, and Coppélia. Miss Pyne has also appeared in Oregon Ballet Theatre’s productions of Swan Lake, Sleeping Beauty, and The Nutcracker. Photo by Jim Thomson

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ARTISTIC & EXECUTIVE STAFF

JEFFREY STANTON

BALLET MASTER Jeffrey Stanton trained at San Francisco Ballet School and the School of American Ballet. In addition to classical ballet, he studied ballroom, jazz, and tap dance. He joined San Francisco Ballet in 1989, before joining Pacific Northwest Ballet in 1994. He was promoted to soloist in 1995, promoted to principal in 1996, and retired from PNB in 2011. He originated leading roles in: Susan Stroman’s TAKE FIVE…More or Less; Stephen Baynes’ El Tango; Donald Byrd’s Seven Deadly Sins; Val Caniparoli’s The Bridge; Nicolo Fonte’s Almost Tango and Within / Without; Kent Stowell’s Carmen, Palacios Dances, and Silver Lining; and Christopher Stowell’s Zaïs. Stanton has performed as a guest artist for Le Gala des Étoiles in Montréal, the Prague Gala of Stars, and the TITAS Command Performance of International Ballet in Dallas, Texas. In 2000, he participated in The George Balanchine Foundation’s Interpreters Archive, dancing excerpts from Balanchine’s Episodes, coached by Melissa Hayden. Photo by Joni Kabana

MICHAEL MAZZOLA

RESIDENT LIGHTING DESIGNER Michael Mazzola’s critically acclaimed lighting and scenery have been seen in venues throughout the U.S., Europe, and Asia, from opera houses to amphitheaters, and circus tents to hay barns. The three-time New York Dance and Performance Award winner has designed lighting and scenery for: Oregon Ballet Theatre, Pacific Northwest Ballet, San Francisco Ballet, Whim W’Him, Queensland Ballet, the Finnish National Ballet, Stuttgart Ballet, Grand Rapids Ballet, Ballet West, Ballet Nacional de Cuba, Ballet Hispánico, Trey McIntyre Project, The Washington Ballet, Royal Winnipeg Ballet, Houston Ballet, Rachel Tess Dance at the Wanås Foundation in Sweden, Baryshnikov Arts Center, LMCC’s River To River Festival, Third Rail Repertory Theatre, Bebe Miller Company, and Liz Lerman’s Dance Exchange.

For the National YoungArts Foundation’s Miami Galas, Mazzola has designed lighting and scenery since 2015. For the 2015 and 2016 U.S. Presidential Scholars Program and YoungArts Awards, he designed lighting and created media content at the Kennedy Center Concert Hall. He also went to Italy for a whirlwind tour with Tulsa Ballet, and to Cuba for his second world premiere at Ballet Nacional de Cuba for choreographer Annabelle Lopez Ochoa. Recently he went to Winnipeg for the world premiere of a full-length ballet by James Kudelka at Royal Winnipeg Ballet. He then traveled to Chicago for a new Giselle by The Joffrey Ballet, among others. Mazzola has been the scenic designer for Comedy Central Roasts, and the 2015 Lincoln Awards at the Kennedy Center Concert Hall for upLIGHT. Photo by Alison Roper

NIEL DEPONTE

MUSIC DIRECTOR AND CONDUCTOR Niel DePonte has been the music director for OBT and its predecessor, Pacific Ballet Theatre, since 1985. He guest-conducted for Boston Ballet, Mussorgsky Ballet Theatre (Maly Ballet), and Nureyev Ballet Festival. He also conducted symphonic, pops, and youth concerts with the symphonies of Oregon, Syracuse, and Charlotte, among others. He is the artistic director and conductor of the Young Artists Debut! Concerto Concert. He was a 2003 Grammy Award nominee for Best Instrumental Soloist Performance (with orchestra) – for his performance of Tomáš Svoboda’s Concerto for Marimba with the Oregon Symphony. His compositions and arrangements written for the ballet stage include: Christopher Stowell’s Adin, Carmen, A Midsummer Night’s Dream, and Ekho; Houston Ballet’s Peter Pan (2002); and OBT’s Nutcracker (1993). DePonte holds a Master’s degree and Performer’s Certificate from the Eastman School of Music, as well as an education degree from the State University of New York. Photo by Lloyd Lemmermann

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GUEST ARTISTS LETTER FROM THE CHAIRWOMAN OF THE BOARD OF TRUSTEES

POISON WATERS

The co-hostess of Darcelle XV Showplace, Poison Waters captivates audiences of all demographics at auctions, award ceremonies, nonprofit gala fundraisers, and private parties of all sizes – from corporate level to family gathering. Whether dressed as Poison Waters or as her alter ego Kevin Cook, it’s always a perfect fit. Poison Waters is an experience you’ll not soon forget! For more Poison, visit www.poisonwaters.com. Photo by Carlos Silvas

JEFFREY PEYTON

GUEST CONDUCTOR Jeffrey Peyton received his master’s degree on full scholarship from the Juilliard School, and doctoral studies in conducting and performance at the University of Oregon. Peyton has appeared as guest conductor with the Eugene & Anchorage Symphony, Peter Britt & Cascade Music Festivals, and Oregon Bach Festival. Peyton has served as music director and conductor of the Third Angle New Music Ensemble, one of the nation’s foremost chamber music ensembles. Peyton has held conducting and academic appointments at Portland State University, Lewis and Clark College, University of Oregon, Pacific University and George Fox University. Peyton continues his mentoring of young musicians as conductor of the Metropolitan Youth Symphony Concert Orchestra. Peyton serves as principal timpanist of the Oregon Ballet Theatre Orchestra, section percussionist with the Portland Opera, and a regular guest percussionist and timpanist with the Oregon Symphony.

DEAR FRIENDS, Photo by Jeff Lee

MOTHER GINGER Poison Waters is not just a personality; Poison Waters is an experience. Hundreds of thousands have enjoyed the one-of-a-kind entertainment and dynamic presence only Poison Waters can provide. Almost three decades young, the Poison Waters experience continues to grow and update itself with our everchanging times, while holding tight the unique qualities this Community Leader is synonymous with: Dedication, Passion, Humor, Joy, and Positive Light!

On behalf of Oregon Ballet Theatre’s dancers, trustees, and staff, I warmly welcome you to Portland’s favorite holiday tradition! — George Balanchine’s The Nutcracker®. For those of you experiencing this beautiful production for the first time, you are about to see something truly magical, and we hope you will make it a part of your own holiday season for years to come. For those of you, like me, for whom The Nutcracker is a deep-rooted family tradition, I know you are reliving all of your wonderful memories. Oregon Ballet Theatre is more than just The Nutcracker, though. Each year, we share with our audiences works from some of the greatest choreographers of the past and present. We bring dancers from across the country and around the world, to live, perform, and create right here in Portland. We are also developing the next generation of dance artists — those who will share their ability and creativity with the rest of the world for generations to come — through the OBT School. And we reach beyond our stages and studios, out into the community and our local schools, to inspire the imaginations of children from all backgrounds, regardless of their economic circumstances. Later this season, Oregon Ballet Theatre will perform a work by one of America’s most iconic choreographers — Alvin Ailey. Mr. Ailey once said, “Dance is for everybody. I believe that the dance came from the people and that it should always be delivered back to the people.” Here at OBT, we believe that with all of our hearts, and we are pleased you are with us today, to share this dance with us. If you enjoy your experience, please tell your friends and neighbors about OBT, and join us again for our remaining programs this season — Cinderella in February, Director’s Choice in April, and the launch of a new series, The Americans, in June. And we hope you will consider supporting all we do with an end-of-year donation that might enable a low-income family or someone in need to experience a little bit of holiday magic with us, as well. Your gift could support free ticket initiatives, in-school dance residencies, or the creation of great public art that enlivens our city and contributes to the artistic vitality of our entire region. To learn more about the ways you can help, visit our OBT table in the main lobby at the Keller during the performance, or visit our website at any time: www.obt.org/donate. May these holidays be truly wonderful for you and yours. Sincerely,

NANCY LOCKE

Chairwoman of the OBT Board of Trustees

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COMPANY PRINCIPAL DANCERS

ANSA CAPIZZI

Ansa Capizzi is from Nagoya, Japan. She began training at age five, initially with Chika Goto Step Works Ballet, followed by San Francisco Ballet School. She joined OBT as an apprentice (2003), and was promoted to soloist (2007) and principal (2018). Among her favorite performances are: William Forsythe’s The Vertiginous Thrill of Exactitude, George Balanchine’s Tarantella, Marius Petipa’s The Sleeping Beauty, James Canfield’s Romeo & Juliet, Nacho Duato’s Por Vos Muero, Michel Fokine’s The Dying Swan, Nicolo Fonte’s Presto, and Ji í Kylián’s Falling Angels.

XUAN CHENG

Xuan Cheng is from Chenzhou, China. She attended Guangzhou Ballet School, joined the corps de ballet for Guangzhou Ballet of China (under prima ballerina Dan Dan Zhang), and rose to principal. In 2004, she was a silver medalist in the 3rd Shanghai International Ballet Competition; in 2005, a finalist in the 8th New York International Ballet Competition; in 2006, a gold medalist in China’s Tao Li Bei World Dance Competition. Upon Édouard Lock’s invitation, she joined La La La Human Steps, and performed in 20 countries across three continents: Europe, Asia, and North America. She joined Les Grands Ballet Canadiens, became an OBT principal (2011), and

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continued to lead as: Cinderella, Juliet, Giselle, and Odette/Odile in both Christopher Stowell’s and Kevin Irving’s Swan Lake.

PETER FRANC

Peter Franc is from Lancaster, Pennsylvania. He trained with Metropolitan Ballet Theatre and Houston Ballet Academy, where he received the Michael Wasmund Award upon graduation. He then joined Houston Ballet for eight years and rose to the rank of demi-soloist. He later moved to Aspen Santa Fe Ballet (2012) before joining OBT as a soloist (2015). OBT promoted him to principal in 2018. He regards his role in Jerome Robbins’ Afternoon of a Faun as a favorite, as well as: Romeo in James Canfield’s Romeo & Juliet; and Prince Siegfried in Kevin Irving’s Swan Lake. Other favorites include features in works by: Ji í Kylián, Hans Van Manen, Stanton Welch, Christopher Bruce, Nicolo Fonte, Cayetano Soto, and Alejandro Cerrudo.

CHAUNCEY PARSONS

Chauncey Parsons is from Santa Barbara, California, where he studied at Santa Barbara Festival Ballet with Michelle Pearson and Denise Rinaldi. He regards Meelis Pakri – former ballet master at Colorado Ballet – as his favorite mentor, and his first promotion at Colorado Ballet – from soloist to principal – as his favorite honor. Prior to Colorado Ballet, he was accepted into Kirov Academy, and

performed with both The Washington Ballet and his hometown’s State Street Ballet. He joined OBT as a soloist (2008), and was promoted to principal (2009). While he has performed a wide variety of roles, he cherishes Giselle’s Count Albrecht, and The Sleeping Beauty’s Prince Désiré.

BRIAN SIMCOE

Brian Simcoe is from Grants Pass, Oregon. He received training from Penny King, Sylvia Bolton, OBT School, Pacific Northwest Ballet School, and Long Beach Ballet – and considers Sylvia Bolton his top teacher. Initially an apprentice with OBT in 2004, he was promoted to soloist in 2011, and to principal in 2013. His favorite performances include: Jerome Robbins’ Afternoon of a Faun, Nicolo Fonte’s Petrouchka and Beautiful Decay, James Canfield’s Romeo & Juliet, Julia Adam’s il nodo, Yuri Possokhov’s La Valse, and Helen Pickett’s Petal. SOLOISTS

EVA BURTON

Eva Burton was born in Los Angeles, where she received training from Patrick Frantz, followed by San Francisco Ballet School. In 2010, she joined OBT as a dancer in the corps de ballet; in 2016, she was promoted to soloist. She cites OBT’s Giants program as especially significant: She performed in George Balanchine’s Serenade and William Forsythe’s In the Middle, Somewhat Elevated, and was promoted after

the opening performance. By extension, favorite roles include the Waltz Girl in Balanchine’s Serenade, as well as The Nutcracker’s Sugar Plum Fairy.

MICHAEL LINSMEIER

Michael Linsmeier, raised on a family dairy farm, is from Cato, Wisconsin. He trained at Jean Wolfmeyer School of Dance, and at Virginia School of the Arts under Petrus Bosman. He joined Milwaukee Ballet, before joining OBT’s corps de ballet (2011), and was later promoted to soloist (2013). He relishes the roles of Stepsister in Ben Stevenson’s Cinderella, and Mercutio in James Canfield’s Romeo & Juliet; he holds in high regard Nacho Duato’s Jardí Tancat, Darrell Grand Moultrie’s Fluidity Of Steel, and Helen Pickett’s Terra.

H O L I S T I C FA C I A L S A N D M A K E U P

KATHERINE MONOGUE

Katherine Monogue is from Washington, D.C. She trained at The Washington School of Ballet under Kee Juan Han, and her top mentor was Kristina Windom, head of faculty. She joined OBT in 2013 as a Professional Division student; subsequently, she was promoted to apprentice (2014), company artist (2015), and soloist (2018). Nacho Duato’s Jardí Tancat remains one of her favorite performances. Two favorite roles include: Sylvie in William Forsythe’s In the Middle, Somewhat Elevated; and Dew Drop Fairy in George Balanchine’s The Nutcracker®.

KELSIE NOBRIGA

Kelsie Nobriga is from Orange County, California, where she began dancing by age five. By 2010, she was a Professional Division student at Pacific Northwest Ballet; by 2011, an OBT apprentice; by 2014, company artist; and by 2018, soloist. She also danced with Colorado Ballet for one season. As for beloved roles, she was Dew Drop and Sugar Plum Fairy in George Balanchine’s The Nutcracker®. As for peak performances, she notes William Forsythe’s In the Middle, Somewhat Elevated; George Balanchine’s Serenade; and Nacho Duato’s Jardí Tancat.

MATTHEW PAWLICKI-SINCLAIR

Matthew Pawlicki-Sinclair is from Tucson, Arizona, where he trained with Ballet Arts. He received his (high school) diploma from North Carolina School of the Arts, before attending the summer session of The School at Jacob’s Pillow. He joined Kansas City Ballet in 2005. He joined the corps de ballet of Dutch National Ballet in 2008, and was promoted twice: coryphée (2014) and grand sujet (2016). Favorite roles include: Romeo in Sasha Waltz’s Roméo et Juliette, Hilarion in Marius Petipa’s Giselle, and Morold in David Dawson’s Tristan + Isolde. Favorite ballets include: George Balanchine’s Rubies, William Forsythe’s The Second Detail, and Justin Peck’s Year of the Rabbit. OBT welcomes Matthew as a soloist. COMPANY ARTISTS

THOMAS BAKER

Thomas Baker is from San Jose, California. He began training at Westside Studio of Performing Arts under Bené Arnold, and attended San

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Naked Mole Rat Gets Dressed: The Rock Experience. First commissioned and produced by Seattle Children’s Theatre. Script and lyrics by Mo Willems. Music by Deborah Wicks la Puma. Based on the book Naked Mole Rat Gets Dressed, copyright © 2009 by Mo Willems, published by Hyperion Books for Children, an imprint of Disney Publishing. All rights reserved. Used with permission. Background by Liz Wong.

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COMPANY Francisco Ballet School on full scholarship. While he joined OBT as an apprentice in 2010, and returned as a company artist in 2014, he sandwiched in two seasons at Ballet San Jose. He has collaborated with Barak Ballet and National Choreographers Initiative. With OBT, he has performed roles such as the Cavalier in George Balanchine’s The Nutcracker®, and White Rabbit in ALICE (in wonderland) – as well as principal roles in works by George Balanchine, William Forsythe, Nacho Duato, and Nicolo Fonte.

HANNAH DAVIS

Hannah Davis is from Chapel Hill, North Carolina, where she began dancing at age three. She furthered her classical and contemporary studies at University of North Carolina School of the Arts – under Brenda Daniels and Susan Jaffe. As an OBT2 dancer (2015), she enjoyed the roles of: Teresina in August Bournonville’s Napoli; and Swanilda in the Annual School Performance of Coppélia. She was promoted to apprentice in 2016, and company artist in 2018. While she loved James Canfield’s Romeo & Juliet, and the flamingos’ pas de quatre in Septime Webre’s ALICE (in wonderland), Ji í Kylián’s Falling Angels is her favorite performance experience yet.

ABIGAIL DIEDRICH

Abigail Diedrich is from Lake Shore, Maryland. She trained at Ballet Theatre of Maryland with Diana Cuatto, and then at Baltimore School for the Arts with Norma Pera. She regards Pera and former OBT School Director Anthony Jones as two memorable mentors. Prior to OBT, she joined Pacific Northwest Ballet’s Professional Division. She was selected, too, for the Flemming Halby Dance Student Exchange Program, between PNB School and The Royal Danish Ballet School. She joined OBT2 in 2015; she was promoted to apprentice in 2016, and to company artist in 2018. Three favorite pieces include George Balanchine’s Serenade, Nicolo Fonte’s Left Unsaid, and Ji í Kylián’s Falling Angels.

MAKINO HAYASHI

Makino Hayashi is from Kumamoto, Japan, where she trained at Kumamoto Ballet School, and where she later received a Hitozukuri Grant. She joined Colorado Ballet as an apprentice (2001), and was promoted to corps de ballet (2004), before joining OBT (2010). Among her favorite roles are Nacho Duato’s Rassemblement and Matjash Mrozewski’s The Lost Dance. In addition, she was featured in: Darrell Grand Moultrie’s Instinctual Confidence; William Forsythe’s In the Middle, Somewhat Elevated; Helen Pickett’s Petal; and as Helena in Christopher Stowell’s A Midsummer Night’s Dream.

CHRISTOPHER KAISER

Christopher Kaiser is from Los Angeles, California, where he trained at Los Angeles High School for the Arts. He spent his summers training at The Joffrey Ballet, Boston Ballet, and Milwaukee Ballet. Afterward, he was accepted to The Juilliard School, where he graduated with a Bachelor of Fine Arts, and danced in the Edinburgh International Festival. He joined Alberta Ballet for three seasons before joining OBT. This will be his third season with OBT. He has enjoyed performing roles in Nacho Duato’s Gnawa, William Forsythe’s Herman Schmerman, and Paul Taylor’s Sunset.

JESSICA LIND

Jessica Lind is from San Jose, California, where she began training at Dance Theatre International. Following one year at San Francisco Ballet School, she joined OBT’s Professional Division (2011), became an apprentice (2013), and was promoted to company artist (2016). She also traveled to Copenhagen with five fellow dancers, to attend a Bournonville intensive. As for favorite OBT performances and roles, they are: William Forsythe’s In the Middle, Somewhat Elevated; the pas de trois in Kevin Irving’s Swan Lake; Purple Girl in Nacho Duato’s Jardí Tancat; Sugar Plum Fairy in George Balanchine’s The Nutcracker ®; and Tarantella Girl in August Bournonville’s Napoli.

KIMBERLY FROMM

EMILY PARKER

ADAM HARTLEY

COLBY PARSONS

Kimberly (Nobriga) Fromm is from Orange County, California, where she began dancing at age four. She trained and performed with Pacific Northwest Ballet School’s Professional Division; she then joined OBT as an apprentice (2013), and was promoted to company artist (2015). Among her favorite roles with OBT are the Arabian in George Balanchine’s The Nutcracker®, and Dark Angel in Serenade. Her favorite performances with OBT have been: William Forsythe’s In the Middle, Somewhat Elevated; Ji í Kylián’s Falling Angels; and Nacho Duato’s Jardí Tancat. Adam Hartley is from Orange, California. He trained with Victor and Tatiana Kasatsky of V & T Dance Academy. He joined OBT as an apprentice in 2009, and was promoted to company artist in 2011. He regards his roles in William Forsythe’s In the Middle, Somewhat Elevated, and in Nacho Duato’s Por Vos Muero, as two favorites.

Emily Parker is from Boston, Massachusetts, and has been dancing since age four. She became an OBT apprentice (2014), whose performance in spring 2016’s Beautiful Decay program resulted in promotion to company artist. Her performance highlights include: Nacho Duato’s Jardí Tancat; William Forsythe’s In the Middle, Somewhat Elevated; Ji í Kylián’s Falling Angels – and OBT’s Choreography XX (three world premieres by women) in Portland’s Washington Park Rose Garden. She also earned her Bachelor of Science degree from Indiana University in ballet and biology. Colby Parsons is from Santa Barbara, California, where he studied at Santa Barbara Ballet Center with Denise Rinaldi. He then trained on full scholarship at American Ballet Theatre, danced with ABT II, and had soloist and principal roles with Alberta Ballet in Calgary. He joined OBT as a company artist in 2014, and has enjoyed the roles of: Lover in James Kudelka’s Sub Rosa;

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COMPANY lead in August Bournonville’s Napoli; Prince in Ben Stevenson’s Cinderella; and Cavalier in George Balanchine’s The Nutcracker®. He has also been a guest artist in Japan, Costa Rica, Spain, Italy, Switzerland, and Canada. In summers, he is a principal dancer with American Contemporary Ballet.

SKYE STOUBER

Skye Stouber is a Portland, Oregon native. He began training at The Portland Ballet under Alex Ballard, as well as Jason Davis and Nancy Davis Lane. He continued training at Houston Ballet Academy and San Francisco Ballet School. After a knee injury paused his career, he joined skinner/kirk DANCE ENSEMBLE and was a guest artist at OBT for Septime Webre’s ALICE (in wonderland) in 2018. In August, he joined OBT as an apprentice and, after Napoli, was promoted to company artist.

THEODORE WATLER

Theodore Watler is from Long Beach, California, where he trained at Long Beach Ballet under Johnny Zhong. He attended summer courses at San Francisco Ballet School, Oregon Ballet Theatre, and Hubbard Street Dance Chicago. He holds degrees in art history and Law, Letters, and Society from the University of Chicago. In 2017, he joined OBT as an apprentice, and he was promoted to company artist in 2018. His favorite roles include Tea in George Balanchine’s

ZUZU METZLER

The Nutcracker®, and Fish in Septime Webre’s ALICE (in wonderland).

Zuzu Metzler is from Camas, Washington. She trained with OBT School, joined OBT2 (our preprofessional company), and became an apprentice in 2018. She was awarded the Elena Carter Memorial Scholarship, and has spent summers at: Pacific Northwest Ballet School, San Francisco Ballet School, the School of American Ballet, and Exploring Ballet with Suzanne Farrell. Favorite performances and roles include: Nicolo Fonte’s Accidental Signals; Cupid in the Annual School Performance of the Dream Scene from Don Quixote; and both Harlequin and Marzipan in George Balanchine’s The Nutcracker®. She has enjoyed being in the corps de ballet for James Canfield’s Romeo & Juliet, and George Balanchine’s Serenade.

APPRENTICES

ALEXA DOMENDEN

Alexa Domenden is from Seattle, Washington. She received training with Pacific Northwest Ballet School’s DanceChance program in 2004. In 2013, she danced under the direction of Kevin Kaiser and Louise Nadeau at Evergreen City Ballet. She joined OBT2 in 2015, and was promoted to apprentice in 2017. Some of her favorite performances include: Ji í Kylián’s Falling Angels and Nicolo Fonte’s Never Stop Falling (in Love). In OBT2, she had the opportunity to perform in George Balanchine’s Walpurgisnacht Ballet, and Nacho Duato’s Na Floresta.

ZOIE SALUDARES

MARC LAPIERRE

Zoie Saludares is from Las Vegas, Nevada. She trained at Nevada Ballet Theatre. She moved to Miami to attend the preprofessional program at Miami City Ballet (2015), and in 2016, moved to Utah as a member of the Ballet West Professional Training Division. She joined OBT2 in 2017, and was promoted to apprentice following Napoli in 2018. She was also featured in Bournonville’s Flower Festival in Genzano and George Balanchine’s Walpurgisnacht Ballet. Favorite roles include: Flamingo in Septime Webre’s ALICE (in wonderland), and Cupid in the Annual School Performance of Don Quixote.

Marc LaPierre is from Stratford, Connecticut. He trained at Ballet Academy East, and the School of American Ballet at Lincoln Center; he regards Nanette Vallas as an early favorite mentor. Prior to OBT, he joined Los Angeles Ballet, where he performed the pas de six and Tarantella (solo role) from Napoli’s third act. His solo role in Alejandro Cerrudo’s PACOPEPEPLUTO is another personal favorite, along with Aszure Barton’s Second to Last and George Balanchine’s Stravinsky Violin Concerto.

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Nicolo Fonte / Franz Liszt & Franz Schubert Featuring pianist Hunter Noack

Jardí Tancat Nacho Duato / Maria del Mar Bonet

Director’s Choice will mark the final bows of retiring principal dancer Chauncey Parsons.

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COMPANY PRINCIPAL DANCERS

ANSA CAPIZZI

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PETER FRANC

CHAUNCEY PARSONS

BRIAN SIMCOE

Sponsored by Nancy Locke & Don Harris

Photos by Joni Kabana

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29X

CHILDREN’S CAST ACT I

PARTY SCENE

FRITZ

Alexos Carabas Danger Ocampo

MARIE

Madeleine Brooks Esther Harrison* Annika Sheridan

MAIDS

Angelika Gratchner Holly Haakonsen Samantha Kanning Elena Siekmann

PARTY GIRLS

Evelyn Chan Clare Crawley Kylin Nine Kaitlyn O’Neill Coco Pike Lucy Walkush Gracelyn Webert Poppy Yue

PARTY BOYS

Alexos Carabas Finnegan Grab Luke Hanifan Paul Hanifan Violet Kozak Samuel Loving

Scarlett Metzler Xavier O’Donnell Samuel Pettinger Henry Roth

GRANDCHILDREN

Esther Harrison Evelyn Peters Arwyn Stech Malvina Summers

NEPHEW/PRINCE Samuel Coté Diego Ocampo

BATTLE SCENE

TRUMPETER

Rhoen Flanagan Neah Lim

SENTRY

Blakely Bresee Aisha Callahan

BUNNY

Finn Mayer Luke Pettinger

SOLDIERS/SABRES Madoka Blandy Mika Blandy Clara Brown Evelyn Chan Clare Crawley

Grace Dickerson Maia Gronner JayQueen Gutierrez-Monroy Esther Harrison Malena Kiker Violet Kozak Violet Levin-Greenhaw Anna Loving Maggie Maierle Scarlett Metzler Katerina Murphy Maya Otsuka Charlotte Pener Evelyn Peters Vivian Proctor Addie Rodriguez Linnea Smith Arwyn Stech Malvina Summers Mia Thrower Annika Vallabhanath Lucy Walkush Lily Walsh Gracelyn Webert Anjali Weerasinghe Violet Williams Poppy Yue

ACT II ANGELS

Valeria Baldwin Lila Beard Soleil Callahan Audrey Chan

Marlee Cook Elizabeth Denny Zooey Ford-Burris Layla Foster Kaya Goddard Natalie Katko Evelyn Keatley Malena Kiker Lucy Krug Madalyn Lucia Isla Mallison Clara Metzler Ellie Nine Kiera Oliver Yuri Richards Annali Smith Apolena Summers Ava Trathen Alexandra Thompson Fay Ulibarri

POLICHINELLES

Madoka Blandy Mika Blandy Madeleine Brooks Evelyn Chan Clare Crawley JayQueen Gutierrez-Monroy Luke Hanifan* Elliana Kluherz Violet Kozak* Anna Loving* Scarlett Metzler Kylin Nine Kaitlyn O’Neill

Coco Pike* Vivian Proctor Annika Sheridan Malvina Summers* Annika Vallabhanath Lucy Walkush Gracelyn Webert Anjali Weerasinghe Violet Williams* Poppy Yue*

CANDY CANES

Madoka Blandy Olivia Bradlee* Aisha Callahan Emily Cole Josephine Courtney Rhoen Flanagan Ruby Janzen Elliana Kluherz Ruby Mae Lefebvre Neah Lim Yukino Logan Maggie Maierle Gracie Moffitt Vera-An Nguyen Ayokemi Olajuyin Elena Siekmann* Annika Vallabhanath Anjali Weerasinghe* Samantha Zamora

*denotes understudy

CHILDREN’S CLASSES NOW ENROLLING WINTER SESSION Begins January 2

PORTLAND & WEST LINN STUDIOS • Ages 3 & UP • Leveled Preparatory Division • Pre-Ballet • Preprofessional • Primary • Contemporary

school.obt.org | schoolofobt@obt.org

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ORCHESTRA

VIOLIN I

CELLO

Hamilton Cheifetz, Principal Katherine Schultz, Assistant Principal Corey Averill Jae Choi Heather Blackburn

BASS

VIOLIN II

Janet Dubay, Principal Janet George, Assistant Principal Ann Medellin Camilla Scott Linda Vasey Jamie Chimchirian Heather Mastel-Lipson Irene Gadeholt

VIOLA

Angelika Furtwangler, Principal Daphne Gooch, Assistant Principal Brenda Liu

OBT-9-18.pdf

BASSOON

Kim Burton Adam Hoornstra Shauna Keyes

Nelly Kovalev, Concertmaster Hae-Jin Kim, Assistant Concertmaster Andrea Oh Della Davies Robin Baldino Casey Bozell Jenny Estrin Elizabeth Peyton Emily Sokoloff Palom Griffin HÃ©bert Eva Richey

8/21/18

David Parmeter, Principal Dave Anderson, Assistant Principal Michelle Lindberg, Assistant Principal*

FLUTE

Georgeanne Ries, Principal Sarah Tiedemann Sydney Carlson

OBOE

Kelly Gronli, Principal Alan Juza

CLARINET

Adam Trussel, Principal Tom Fleming, Principal* Joe Hartman Nicole Buetti Danielle Goldman

FRENCH HORN

Steve Hayworth, Principal Matt Monroe Mike Hettwer Leander Star Jen Harrison

TRUMPET

Sarah Viens, Principal* David Bamonte, Principal* Robert Rutherford

PERCUSSION

Gordon Rencher, Principal

TIMPANI

Jeff Peyton, Principal

HARP

Matthew Tutsky, Principal

KEYBOARD

Janet Coleman, Principal* Lydia Chung, Principal*

ORCHESTRA PERSONNEL MANAGER

Janet George

MUSIC LIBRARIANS

TROMBONE

Henry Henniger, Principal Lars Campbell, Principal* Dave Bryan

Kirsten Norvell Rachel Rencher Eva Richey

TUBA

Mike Grose, Principal*

Louis DeMartino, Principal Melanie Yamada

*denotes acting title Italics denotes substitute

2:09 PM

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OPB TV | opb.org/artbeat

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CELEBRATING OREGON BALLET THEATRE’S PRODUCTION OF CINDERELLA | FEBRUARY 16-23, 2019

Saturday, February 2, 2019 Portland Art Museum Begins at 6 PM

The Board of Trustees, the Company Dancers, and Staff of Oregon Ballet Theatre cordially invite you to our annual fundraising gala. OBT’s gala theme comes from its winter story ballet. This year, the gala will celebrate OBT’s production of Ben Stevenson’s Cinderella. With the backdrop of Sergei Prokofiev’s lush score, the fairytale transformation of Cinderella – from cinder girl to princess – will unfold and delight. Just like Cinderella, we hope your one wish is to join us at the ball. IT’S A DATE!

FOR GALA INFORMATION email cinderella@obt.org visit obt.org/gala

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GENEROUSLY SUPPORTED BY Harold & Arlene Schnitzer CARE Foundation Morel Ink • Watson Creative

OREGON BALLET THEATRE STAFF

BOARD OF TRUSTEES

ARTISTIC

Nancy Locke, Board Chair

Kevin Irving, Artistic Director Tracey Sartorio, Executive Assistant to the Artistic Director & Artistic Coordinator Nicolo Fonte, Resident Choreographer Lisa Kipp, Rehearsal Director Jeffrey Stanton, Ballet Master Olivia Pyne, Peter Franc, Children’s Coaches Niel DePonte, Music Director & Conductor Jeffrey Peyton, Guest Conductor Irina Golberg, Principal Accompanist

ADMINISTRATION AND FINANCE Michael Greer, Executive Director Neville Wellman, Director of Finance & Operations Donna Jackson-Siekmann, Accounting Manager Linda Brown, Business Office Coordinator Nadia Chopra, Wellness Coordinator

PRODUCTION Bill Anderson, Director of Production Shannon Goffe, Stage Manager & Production Administrator Ian Rutledge, Assistant Stage Manager & A/V Coordinator Michael Mazzola, Resident Lighting Designer Ian Anderson-Priddy, Production Electrician Tim Boot, Sound Designer Matt Wilcox, Sound Engineer Brian Keith, OBT2 Technical Director Eileen Ehlert, Costume Shop Supervisor Annika Schindler, Draper Morgan Reaves, First Hand Sue Morgan, Marilyn L. Rudin, Costume Shop Volunteers Sara Beukers, Makeup Volunteer Coordinator Sage Ebert, Molly Clark, Milos Dugas, Lexine Keen, Nicole La Magna, Sophie Midles, Adonis Ralston, Emma Resk, Amy Ryan, Savannah Somerville, Makeup Volunteers Leslie Bernhard, Brian Keith, Peter Sherman, Lance Woolen, Production Support Staff Sumi Wu, Props Master Janet George, Orchestra Personnel Manager Kirsten Norvell, Head Music Librarian Rachel Rencher, Eva Richey, Assistant Music Librarians

DEVELOPMENT Gregory Smith, Director of Development Tiffany Carter, Corporate & Special Events Officer Keely McIntyre, Grants Manager Emily Tucker, Development Data Specialist Lauren Watt, Development Associate

MARKETING Camille Spaccavento, Director of Marketing & Communications Jim Thomson, Senior Graphic Designer & Video Producer Nicole DeCosta, Marketing Associate

PATRON SERVICES Mariah DeLude, Patron Services Manager Kristin Dillon, Patron Services Lead Julieta Castro, Kayla Block, Patron Services Representatives

EDUCATION OUTREACH Kasandra Gruener, Director of Education Outreach Sarah Ward Brown, Education Outreach Assistant Brook Manning, Lecturer & Historian Linda Besant, Archivist & Historian Sarah Ward Brown, Kasandra Gruener, Brook Manning, Robyn Ulibarri, Allison Wales, Teaching Artists Amy Stahl, Education Outreach Volunteer

OREGON BALLET THEATRE SCHOOL Marion Tonner, School Director James Holstad, School Administrator Sean Surprenant, School Registrar Lisa Sundstrom, OBT2 Program Director Colleen Hanlon, West Linn Branch Manager & Children’s Coordinator Kembe Adam, Natasha Bar, Phillip Carman, LeeWei Chao, Peter Franc, Elise Legere, Valerie Limbrunner-Bartlett, Chauncey Parsons, Jessica Post, Olivia Pyne, Alison Roper, Katarina Svetlova, Robyn Ulibarri, School Faculty Irina Golberg, Garnet Hayes, Karen Lam-America, Ayako Matsuo, Raymond McKean, Katie Pyne, Tiffany Sanford, Jordan Strang, Western-Li Summerton, Accompanists

Jimmy Crumpacker, Vice Chair Cate Millar, Co-Secretary Allison Lane Lyneham, Co-Secretary Ken Ivey, Treasurer Ken Carraro Aaron Courtney Brian Forrester Peter Franc, ex officio Nancy Frisch William Gaar Michael Greer, ex officio Gary Hanifan Brianne Hyder Kevin Irving, ex officio Julia Winkler Jacobson Charles L. Jones Kathleen Lewis Kristin Malone Keith Martin Christina McNown Angela Saunders Polin Reegan Rae Tina Skouras Ashley Trimble Betsy Warren Matt Watson Mike Weddle

SPECIAL THANKS AFM Local #99, Chris Balo, IATSE Local #28, Portland Opera ARTSLANDIA.COM

INDIVIDUAL DONORS Oregon Ballet Theatre would like to express its sincere gratitude to those listed below for gifts received through October 10, 2018. Donations received after this period will appear in the next playbill in February.

BRAVURA CIRCLE

($50,000 & UP)

Anne & James Crumpacker Jimmy Crumpacker Arlene Schnitzer Jordan Schnitzer Cate Crumpacker Stafford & Graham Stafford Bob Sweeney & Cate Millar Barbara Yeager

TOUR DE FORCE

($25,000–$49,999)

Jack Blumberg, In Memory of Thomas P. Anderson Thomas & Elizabeth Gewecke

Howard Hedinger Henry & Amber Hillman Sue Horn-Caskey & Rick Caskey Cary Jackson Nancy Locke & Don Harris Jean Pierce John Van Buren Elizabeth B. Warren Nani Warren Wendy Warren & Thomas Brown David Wedge, In Memoriam

DIRECTORʼS CIRCLE ($10,000–$24,999)

Linda & Scott Andrews Dan Bergsvik & Don Hastler Barbara & Bob Brady Kathleen & Benoit de Montlebert Cooper Dubois Karen & Bill Early Ken & Ann Edwards Alan Garcia & Lyn Reynolds Garcia Jamey Hampton & Ashley Roland

Melissa & Gary Hanifan Gregory K. & Mary Chomenko Hinckley Ronna & Eric Hoffman Fund of The Oregon Community Foundation Sydney Holland Charles L. Jones John & Linda Lenyo Kenneth & Joyce Lewis Devin & Natalia Megy Brad & Nancy Miller Sharon & Adam Mirarchi Tom & Cynthia Mulflur Loren Parks Marilyn L. Rudin, MD & Richard S. Testut, Jr. Caleb Schlesinger Hazel & Barry Schlesinger Mike & Karen Weddle

ÉTOILE POINTE SOCIETY ($5,000–$9,999)

Anonymous Anonymous, In Honor of Cate Millar Robert Aughenbaugh

Linda Besant & Martha Goetsch Richard Louis Brown & Thomas Mark Bill Dickey, In Honor of David E. Wagner Jessica & Mark Flaa Brian Forrester Fromm Family Charitable Fund William Gilliland Kiki, Juliet & Summer Hillman Sandra & Stephen Holmes Diane Knudsen Dr. Dolores Leon & Dr. Fernando Leon Peter & Allison Lyneham Kristin Malone Keith Martin Denise & James Parker Allison & Steven Pike Angela Saunders Polin Dean M. Richardson Luwayne Sammons, In Memoriam Patti & Tommy Skouras Lindsay & Corinne Stewart

Prashanth Vallabhanath & Evelyn Curioso Charles W. Webb, DO Ben & Alli Wood Dr. Kathy Zeller & Dr. David Hill

VIRTUOSO POINTE SOCIETY

($2,500–$4,999)

Anonymous The Ajitahrdaya Gift Fund Dr. Anna Bar Brent Barton & Liz Fuller Adriane Blackman Walter Bowen Mark & Blake Bruun Irene Cancilla Charles & Sandra Carmeci Ken Carraro Debi Coleman Cameron & Dick Davis Gail Hayes Davis & Michael Davis Rita Duyn Jasmin & Matt Felton William E. Gaar & Lauren E. Barnes

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INDIVIDUAL DONORS (CONT.) Ted & Cynthia Gaty Richard & Juliana Gellman Marilyn & Hans Grunbaum Andrew & Ilene Harris Kevin Irving & Nicolo Fonte Bernice & Ken Ivey Julia Winkler Jacobson & Jonas Jacobson Stephen Karakashian Carol Schnitzer Lewis Fund of The Oregon Community Foundation Kathleen Lewis Fund of The Oregon Community Foundation Tania Mason Mark Moffett, In Honor of Jacqueline Straughan Ellen & Carl Nielsen John & Ginger Niemeyer Suzann & Dennis Ott Jane S. Partridge Gesina & Matt Pedersen Melanie & Darren Pennington, In Honor of Lainie Pennington Lisa Pfost

Frank Piacentini & Sara Weinstein Allan & Marney Pike Family Fund of the Oregon Jewish Community Foundation Mary Rose & Maxwell Whipps Jone Sampson & Sam Weirich Daniel & Dawn Simcoe Tina Skouras Joan W. Sterrett David & Eileen Threefoot Ashley & Dwayne Trimble The Peter & Ann van Bever Charitable Fund Toby & Linda Warson Jay Wilt Charlene Zidell

PRINCIPAL DANCERʼS CIRCLE

($1,000–$2,499)

Anonymous Kembe Adam & Jim Hinkley Jen & Don Arancibia Patti & Lloyd Babler Barbara & Sidney Bass Maria Borda & Ignacio Giraldo

Matthew Boyes & Frederic Koeleman Ryan Bradshaw Nancy & Andy Bryant Alex Carlson Jeff Chase & Patti Warner Fund of The Oregon Community Foundation Justin & Marisol Delaney William Dolan & Suzanne Bromschwig Larry & Deborah Friedman Nancy Frisch Alexandra & Zan Galton Christine Diana Gay Leonard & Yvonne Gionet Rob Goodman Frank Groff Jesse & Leah Gronner Chris Grubb & Carrie Merritt Valarie Grudier & Richard Langdon Beth Harper Kim & Chris Hasle John & Karen Hoke Gretchen Holce Maryanne & David Holman

Michael Hummel & Mamie Diaz Hummel Jina Kim & Hyung-Jin Lee Amy & Kevin Kohnstamm Elise Legere & James Mitchell Jerome Magill M. and L. Marks Family Fund of The Oregon Community Foundation Adrienne & Ian McClellan Keith & Kristin McInerney Christina & Cade McNown Laura S. Meier Laurie & Gilbert Meigs Kirsten & Richard Meneghello Angela & Rob Moneyhan Jeffrey Morgan Margaret & Gordon Noel Jay & McKay Nutt Carolyn & Hank Robb Lori & Mike Russell Leslie Ann Sammons-Roth Jinny Shipman & Richard Kaiser Carol & Tom Shults Lisa Sorenson Steve & Michelle Stapp

Wendy Lane Stevens & Dr. Jeffrey Stevens Carol Streeter & Harold Goldstein Stephen Sweeney John Thoren Dr. & Mrs. Carl E. Trinca Evans Van Buren & Marsha Warner K. Vorderstrasse Richard Wasserman & Ann Coskey-Wasserman Matt Watson & Jessica Harkin Matt Weaver Zela & Elsa

SOLOIST DANCERʼS CIRCLE ($500–$999)

Anonymous Susan Thompson Armentrout Gregory & Elizabeth Arntson Charles G. Barany Tom Bard Pat Behm & Gary Jacobsen

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BENEFITS OF

BECOMING AN OBT DONOR

Your support of Oregon Ballet Theatre helps us to produce quality performances, provide scholarships to our school, bring arts education to our entire region – and so much more! Please visit obt.org/contribute or the OBT kiosk in the lobby for information on how you can support the ballet, and for a full list of benefits by tier!

PERKS OF BEING AN OBT DONOR Just a select preview of benefits. Donor benefit eligibility varies based on contribution level.

RECOGNITION IN OBT PLAYBILL

POINTE SOCIETY LOUNGE

OPENING NIGHT PARTIES WITH OBT DANCERS

INVITATION TO POINTE SOCIETY LOUNGE INTERMISSION RECEPTIONS

DATES TO BE ANNOUNCED

GIVING LEVEL: APPRENTICE and above

GIVING LEVEL: VIRTUOSO and above

SEASON UNVEILING SOCIAL INVITATION

FINAL DRESS REHEARSAL TICKETS

INVITATIONAL STUDIO REHEARSALS WATCH COMPANY DANCERS REHEARSE A CURRENT PRODUCTION AT OBT STUDIOS

TO SEASON UNVEILING SOCIAL

GIVING LEVEL: APPRENTICE and above

GIVING LEVEL: COMPANY ARTIST and above

GIVING LEVEL: APPRENTICE and above

COMPLIMENTARY PARKING & COAT CHECK

VIP BOX OFFICE & TICKET SERVICE

PERSONALIZED BACKSTAGE TOURS

DEDICATED BOX OFFICE REPRESENTATIVE AND VIP TICKET SERVICE

FOR FOUR GUESTS AND SUBJECT TO AVAILABILITY AND ADVANCE ARRANGEMENT

GIVING LEVEL: VIRTUOSO and above

GIVING LEVEL: ÉTOILE and above

GIVING LEVEL: VIRTUOSO and above

Thank you for suppor ting Oregon Ballet Theatre For questions about making a donation and donor benefits: Lauren Watt, Development Associate - 503.227.0977 ext. 259 - Lauren.Watt@obt.org Photo by Yi Yin

INDIVIDUAL DONORS (CONT.) Max Birnbach Charity Fund of the Oregon Jewish Community Foundation Melanie Bjorge Jim Blandy Annie & Todd Borus W. “Buzz” Braley, Jr. Charles Brasher & Betty Lavis Kay Bristow Irene & Patrick Burk Drs. James Chan & Jennifer Edman Kyle & Alison Chown Bill Clodfelter & James Canfield Margery Cohn Jeanie McGuire Coleman Stephanie Copeland & Ken Weber Sandra & Douglas Cress Sue Darrow Grayson & Jack Dempsey Mark Diachok & Jamie Hendrikson Doris Ennis Conrad Eustis & Roberta Kanter Jeanine Fukuda & Kevin Walkush

James R. Golden Luisa Adrianzen Guyer & Leigh J. Guyer Karen & Jim Halliday Carl Halvorson Dan Harmon & Jennifer Rabiah Donald Helfgott Susan & Richard Helzer Karen Henell & Gregg McCarty Eva Hosseinion Vince & Michele Howell Pamela Johnston Mary Klein & Francis T. Schneider Barbara Lamack & James Kalvelage Gary S. Leavitt Nancy Lee Vida & Jonathan Lohnes Gerri & Yorick Lutes Marisa Mack Tom & Lori Malone John F. Mathews Dan & Jackie Moore Doug & Malinda Moore Carol N. Morgan Steven Neighorn

Storry Norman & Jack Hollis David & Theresa Nute Susan Olson & Bill Nelson Milo & Beverly Ormseth David & Kelly Park Melissa & Steven Peterman Janet Plummer & Don Rushmer Davia & Ted Rubenstein Miriam Ruth Dan Ryan Lynette Sahnow John & June Schumann Diana Scoggins Debbie & Greg Sherwood Jonathan Singer Rosemary Southwood Albert & Victoria Starr Sue Stegmiller H. Richard & Pamalynn Steinfeld Jim & Meredith Thompson Misty & Derek Tompoles Judith & Gordon Umaki Peter Vennewitz Patrick Weishampel Weiss Fund of The Oregon Community Foundation Angela & Eric Williams

Janet Williamson Cynthia A. Yee

COMPANY ARTIST DANCERʼS CIRCLE ($250–$499)

Anonymous Sheryl Acheson Abigail Alford Molly Anderson Susan Bailey & Mike Warwick Natasha Bar Paul & Pat Benninghoff John Bosshardt & Diana Petty Mark Buser Connie Butler Casey & Lindsey Callinsky Stephanie Celenza & Jeffrey Kinberg Drs. Theresa & Timothy Chen Richard Clucas & Beth Blenz-Clucas Jeremy Cochran Kent Copeland Terri Cross Susan Cyganiak, In Honor of Selena Steinmetz

Kearny & Diane Davis, In Honor of Hannah Davis John & Rocio Deatherage Jody DeChaine Jeff & Barbara Dickerson Abigail Diedrich Family Mrs. Jing DiPiero Lora Dow Peter W. Edgerton Edward & Marilyn Epstein Charitable Fund Joshua Ferrer Philip Fidler & Jane Cummins Tim Finch & Nariyo Kono Rebecca Fleischman Doreen Flores Mr. & Mrs. Patrick Franc Andrew Fromm Morris J. Galen Sarah & Raul Gomez-Rojas Melissa & Robert Good Helen A. Goodwin Marvin & Barbara Gordon-Lickey Dennis Gould & Quinton Hallett Rebecca Granquist Gail & Irv Handelman Jay Harter & Ken Salaman

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Jeanette Heinz Thomas & Verna Hendrickson Celeste Henninger-Lindaman Beverly Hoeffer Kenneth L. Holford James Holstad Pam & Bob Howard Kathryn Hummel Brianne & Zachary Hyder Angela Irvine Darlyn Jablonski Keith & Jane Johnson Shirley Johnson Becky & Jarrett Jones Molly Jones Kathy Jorda Sanjiv & Cindy Kaul Christina Kellogg & John Gratchner Ryoka Kim Heather Kmetz & Stanley Cocke Kristan Knapp & Janna Auslam Nancy & Steve Kraushaar Mrs. Joseph A. Labadie Isis & Mana Lamonte Diane & Greg Landers Mary N. Laughlin Joan Levers & David Manhart Stanley & Joyce Loeb Martha J. Logan Anne Lynch & James Anderson Jackie MacGregor Linda J. Magness Linda L. Mann Earlean Marsh Pamela Matheson Oscar & Mary Mayer Margaret & Robert McMillan Carolyn McMurchie Susan Sammons Meyer & Dennis Meyer Monica & Dale Monroe Denise Mullen Rob Nelson David Nijhawan Peter & Cassie Northrup Sean O’Neill & Elizabeth Le Jack & Chris Pendleton Carol Peterkort & Richard Gibson Dennis Petrequin Ryan & Sarah Pitman Jodee & Jerry Pittman Judith E. Posey & Edward J. Doyle, MD Alice & Michael Powell Suzanne Rague Celeste Rose Miriam & Charles Rosenthal Claire H. Russell Sam Sadler

Daniel & Kathleen Saucy Virginia Sewell Ron Seymour & Mary Austin-Seymour Jeremy Shibley & Romalia Stickney-Shibley Robyn Shuey Juss Singh Gary & Lydia Slangan John D. & Pamela Smith Bob Speltz Joan Strand Karen Sweet Cindy Thompson & Brett Bender George & Nancy Thorn Drs. R. Bastian & Barbara Wagner Shawn & Dave West Ann C. Whitehouse Chris & Maria Wilkey Laurie Williams Jenny & Christina Wilson Bruce & Susan Winthrop Mary Ann Wish Linda M. Wood Jack Wussow & Kyle Adams Tamara & Chris Yunker Kurt R. & Heather Zimmer

APPRENTICE DANCERʼS CIRCLE ($100–$249) Anonymous Kathleen Allee Kirby & Amy Allen Rhonda Anderson, In Memory of Janice Kelley Mary A. Andrews Sandra Armstrong Paula Arsenault Sharla Attey Bryan Averill Gennaro & Marilyn Manser Avolio Diane Babcock John Bagg Laura Barber Stephen Bardwell Thomas A. & Mary Bartlett Kathleen Bayer Nancy Beck, In Memory of Judy Parsons Nola Becket Janice Belknap Alan & Sherry Bennett Barry & Jacqueline Bennett Phil & Naomi Beymer Jonathan Bryce Black Richard Botney Candace Bouchard & Adam Lounsbury Joyce Brehm

Blaine Brennan Rand & Michelle Bresee Karin Brocksbank Hadley Brooks Kelly & Tommy Brooks Rick Browning Marianne Buchwalter Maurine & Paul Canarsky Themios & Liz Carabas Tim & Susan Carey Mary Carr Zachary Carroll & Anne Huffington-Carroll CCD/ECB Friends of Doug Parsons, In Memory of Judy Parsons Bob Chamness Sandy Chamness Kenny Chinn Eugenia Chopyk Ilaine Cohen Amber Cole & David Hall Sarah Conde Deniz & Austin Conger Harriet Cormack Nathan Corser & Kristen Minor Lin Crimshaw Megan Crowhurst Tracy Curtis Eloise Damrosch & Gary Hartnett Arthur & Winnifred Danner Judy Dauble Diane David Wendy & Howard David Dr. & Mrs. Joseph Davids Laurell Davidson Brian & Nancy Davies Shawn Dempewolf & Tom Hamman Niel DePonte Chuck & Patt DeRousie Dagmar Dettinger & Alan Artman Adam & Emily Dew Jerry Dickason Bonny Dickinson Susan Dixon Jeanette Dreyer Kim Duncan Ruth Edsall Andrew Edwards Anton, Raylene, & Taylor Eilers John Elorriaga Annette Erickson Douglas Ertner Etuk Family Abraham & Pamela Farkas, In Memory of Mary Lou Cook Rochelle Farkas

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INDIVIDUAL DONORS (CONT.) Marjorie Ferry Dr. Harvey Fishman & Keiko Amakawa Tonya Flaming Katie & Brian Flanagan George Fleerlage Genevieve & Bryce Foster Kelly Freuler Theresa Fritchle Jennifer Froistad Peggy Garcia Julianne Garza Ray & Joyce Gee Phil & Carole Gilbertson Arthur & Judith Ginsburg Rolf Glerum Julie & Dave Gordon Lora & Keith Gordon Barbara Gottschalk J. & Lisa Grab Greater Portland Dachshund Club, In Memory of Hans Grunbaum Brenda Grootendorst Jeanne-Marie Guise & Alex Herzberg Tasca & Paul Gulick Anna & Jeff Haagenson Candace Haines

Andy Harris & Ash Evans Antoinette Hatfield Ashley Hayden Lisa, Jon & Amalia Held Bryce Helgerson & John Lowe Gina Henderson Shirley Hess Rebecca Hicks & Greg Kuelgen Christian Hill & Laura Korman Laurel Anne Hill, In Honor of the Dancing Doctors Leslie Holder Carol & Tom Hull Jonah Hymes Ida Imus Angela & Shane Jackson Elizabeth A. Javens David & Peggy Jeans Joanne Jene, MD Linda & Richard Jenkins David C. Jensen Jonathan & Suzanne Jensen Brian C. Johnson Damien & Katie Jo Johnson Dennis C. Johnson Fletcher & Ellin Johnson Linda & Paul Johnson

Katelin Johnstun Olivia Jones Rebecca Jury Marcia Kahn Megan Kavanaugh Marla Kazell Arthur & Kristine Keil Belinda & Frederick Kinyon Erin Kirby Maria & Eric Kluherz Meredith Koivisto Patricia & Rick Kozak Sophia Kremidas David & Mary Krug Sean & Naoko Krug Leonard Kuhl Sharon LaCroix Veronique LaFont Sloane Lamb Nancy LaPaglia & Stephen Slusarski Abigail & Don Lawton Romani Lay & Neville Wellman Matt Levin Nolan Lienhart Greg & Kim Lind Mark Lindau Carole Lindell-Ross

Alice Lloyd Fred Locke Bill & Kate Lockwood Alex Logue Henry Louderbough Kenneth Love Marcy & Richard Lowy Diane & Tom Macdonald Kate Machell Christine L. Mackert, MD The Mansell Family Phillip Margolin Susan Marmaduke Demaris & Antonio Martinez Steven Master Amy Matson Justin Maupin Amy Maxwell Dennis & Molly McCarty Margaret McConnell & Robert Griner Dr. Louis & Judy McCraw McKenzie McDill Cheryl McDowell Dorothy A. McGregor Kathy McGrew John & Candace McMunn Katelyn Meithof

Elizabeth J. Melching Josie Mendoza & Hugh Mackworth Chena Mesling & Jonathan Rhodes Elise Meyers Janelle Meyers & Mark Brundage Tony Mix Cynthia Capps Morgan Patricia Moss Martin Muller P & I Munro Sarah & Richard Munro Brittany & Corey Murry Will Naito Shakir Najieb Beth & Charlie Nance Todd & Crystal Neal Karen & Bob Nelles Rose Neyman Alexander Nimri Hollie & Scott Nine Robert Olds Kris Oliveira Liz & Tracy Olsen Madeline Olson Molly O’Neill, Vicki Threlfall & Tess O’Neill

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Paula Ousley Rev. Dr. Rodney & Sandi Page Joan Paglin Tracey Palmer Veronica Paracchini Lanetta Paul Beth Paxson Alec Pemberton Thomas & Jane Pence Denise & Adam Pener Anne Frances Penfound Karen Perzanowski Marilyn & Gaynor Petrequin Mike & Rebekah Pettinger Sara Pickett Charles & Ruth Poindexter Carole Pool J. Scott Pritchard Karen Prohaska Brian & Carver Pugh, In Memory of Judy Parsons William Ramirez & Roberta Staff Dick & Mary Raub, In Honor of Marianne Raub Julie Rawson Denise Reed Kristtine Reedy, In Honor of Abigail Reedy

Lindsay Reynolds & Zack Manning Sara & Charles Rice Martha & David Richards Edward & Katherine Richman Nancy Richmond & Bill Hughes Betsy & Norm Rickles Mrs. R.D. Riggs David Ritchie & LaJean Humphries Dr. & Mrs. Hector M. Rodriguez Alison Roper Rosemarie F. Rosenfeld Catherine Rote Karen Salman & Gary McCune Dima Sammour Kevin Sasse David & Julie Sauer Rick & Sharon Schaefer Brand Schlesinger & Victoria Geil Mark & Patti Schlesinger Daniel Schmidt Robert E. Schneider, PhD Clifford Schrock

Bill Scott & Kate Thompson Kim Scott-Olson Cynthia Shafer Victoria & Colin Shepard Carol Sherbenou Freda Sherburne Karen Sherman Mary Shibley & Dale Voeller Donna & Sascha Siekmann Heather Simmonds Bridget & Jeff Sippel Gerald Skeels & Susan Albracht Katie Slick Margaret Smith David, Emily and Jonah Sokoloff Patricia A. Southard John Spencer Tina Spencer Donald C. Springer, In Honor of Jean King Denise Stewart Sam & Patty Stiles Elizabeth & Leslie Stoessl Julie Sullivan Gary Taliaferro Susan & Bahram Tavakolian Sabrina Teays

Jeri Tess Vicki Thomas Jan Elizabeth Thorpe Judy Threefoot & Bill Schumann David Tillett Dean Speer & Francis Timlin Marc Tobin Lyle M. Tucker Bob & Nancy Ullrich Cindy L. Ulrich Mimi Underwood Alberto Vaca Martinez Amy Van Hook Rob & Rachael Vidin Jon Vorderstrasse Les Vuylsteke Patricia & James Walker Barbara Walsh Christine Warden Douglas Watson Maureen & Frederick G. Wearn Duane & Cynthia Weaver Bruce Weber Colin Michael Webert Ruth Welch Jack & Paula Wells

Judy Werner Colleen Westphal Sonya & Thayer White Anthony & Marianne Wilcox Brooke Willcox-Jones Holly & Kenneth Williams Lou & Lisa Williams Julie Wilson Jacob Winkler Jordan Winkler April Wirtz & Evan Wang George Wittemyer Constance Wood Randy & Rebecca Woods Linda Gail Woolf Fran & Mike Woolsey Stu Oken & Laura Wozniak Judith B. Wunderlich Doreen Wynja Collette Yamaguchi & Tom Napier Gary P. Yencich Sarah Zahn Evyn C. Zell Janet & Alan Zell Irene Zenev Jichuan Zhao Jean Zondervan & Terry Proctor

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COMMUNITY CORPS DE BALLET Recognizing gifts received through October 10, 2018

PORTLAND ARTS

at your fingertips.

GIFTS OF $100,000 & UP Elizabeth Pownall Swindells Family Fund of The Oregon Community Foundation The Harold & Arlene Schnitzer CARE Foundation James F. & Marion L. Miller Foundation The Regional Arts & Culture Council, including support from the City of Portland, Multnomah County and the Arts Education and Access Fund

GIFTS OF $50,000–$99,999

Barran Liebman LLP* The Collins Foundation The Hearst Foundations Meyer Memorial Trust Roy & Diane Marvin Fund of The Oregon Community Foundation The Shubert Foundation West Portland Physical Therapy Clinic*

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GIFTS OF $25,000–$49,999 Clark Foundation Coit Family Foundation ESCO Foundation Fred W. Fields Fund of The Oregon Community Foundation Hedinger Family Foundation Henry Lea Hillman, Jr. Foundation Oregon Arts Commission, a state agency PCC Structurals, Inc. Rose E. Tucker Charitable Trust Russell Development/200 Market Street* Scan Design Foundation by Inger & Jens Bruun The Swigert Warren Foundation Willard L. & Ruth P. Eccles Foundation

GIFTS OF $10,000–$24,999

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Accenture Artslandia* The Boeing Company Cascadia Foundation Dorothea M. Lensch Fund of The Oregon Community Foundation Hampton Family Foundation of The Oregon Community Foundation Jackson Foundation Jerome Robbins Foundation National Endowment for the Arts Northwest Natural Gas Oregon Cultural Trust PGE Foundation Schlesinger Family Foundation The Standard Starseed Foundation U.S. Bank Foundation Wells Fargo Bank

GIFTS OF $5,000–$9,999 Agger Chiropractic & Nutrition Clinic*

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GIFTS OF $2,000–$4,999 Alaska Airlines* Dr. Seth Alley* Bridgetown Chiropractic & Wellness Portland Clinic* Buckley Law P.C. City Wide of Portland Abby Drinkard, LAc* Elephants Delicatessen* GamePlan Gentle Care Chiropractic* Hotel Modera* Leupold & Stevens Foundation LM Wine Co.* Mark Spencer Hotel* Nel Centro* Oregon Chorale* Peddecord Photo* Portland Art Museum* Pro Photo Supply* Robert F. Ratzow, DC* Residence Inn Portland Downtown/Riverplace* Solaris Bodyworks, Inc.* ThomCorp Town Car* Twelve Wine* Unitus Community Credit Union Wells Fargo Foundation Winkler Development Corporation Wintz Family Foundation

GIFTS OF $1,000–$1,999 Emily Bartha, LAc* Boundless Health & Wellness* Broder Söder* Coopers Hall* Dossier Dream Hollywood Hotel* Garden Vineyards* Catherine M. Gurski, ND, MSOM, LAc* L&L Investment Partners Longbottom Coffee & Tea* Maitri Therapeutic Massage* Aaron Meyer, Concert Rock Violinist* New Deal Distillery* New Heights Physical Therapy Plus* Pabst Brewing Company Pacific Cascade Towncar* Portland’5 Centers for the Arts Star Park

Portland Spirit Presents

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GIFTS UNDER $1,000 Ashland Springs Hotel* The Aspire Project Barrier Pest Control Breakside Brewery* Nadia Chopra, Physical Therapist* Clipper Magazine* Elmer’s Restaurants First Interstate BancSystem Foundation First Interstate Bank Inland Electric, Inc. Intel Charitable Match Trust King Charitable Foundation Maryhill Winery* Monique’s Boutique OHSU March Wellness & Fitness Center* OMSI* Opsis Architecture LLP The Oregon Historical Society* Oregon Shakespeare Festival* Oregon Symphony* PCA Design & Construction Portland Center Stage* Redhawk Vineyard & Winery* Skamania Lodge* Slope & Stone Engineering Studio Blue* Watson Creative Yamhill Valley Vineyards*

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Ancient history

FOR THE MODERN WORLD

MATCHING GIFT CORPORATIONS AmazonSmile Foundation Autodesk Foundation Employee Engagement Fund The Boeing Company Cambia Health Foundation Give With Liberty Google, Inc. Harsch Investment Properties Intel Kroger Rewards Mentor Graphics Foundation NIKE, Inc. Northwest Natural Gas Pacific Power Foundation Pfizer Foundation PGE Company The Standard TE Connectivity Employee Charitable Match Program Umpqua Bank U.S. Bank Verizon Employee Engagement

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RÉVÉRENCE CIRCLE Robert Aughenbaugh Brent Barton & Liz Fuller Pamela Jane Benso Pat Berg Dan Bergsvik & Don Hastler Linda Besant & Martha Goetsch Holly Brooks David & Elaine Brown Debi Coleman Nathan Conn William Dolan & Suzanne Bromschwig

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ganization in the state. A $2 million revenue hit would crash almost any of them— of course, only a tiny percentage of arts organizations in the state have budgets in excess of $2 million. Most of those are especially fragile, even in an economy as strong as Oregon’s is right now, because they lack endowments or sufficient cash reserves that could buffer them from sudden financial upsets. (The confluence of a major national recession and a big snowstorm in Portland during Nutcracker season almost pushed Oregon Ballet Theatre over the edge in 2009, for example.)

FROM THE

EDITOR-AT-LARGE The Gift of Giving When I visited the Oregon Shakespeare Festival in July this year, the temperatures were on the hot side, but unlike a few previous years, the air was clean and, at night, quite pleasant and fresh. Given the vast conflagrations in California earlier in the summer, I thought the Festival might just miss the smoky days that had plagued its productions sporadically earlier in the decade. I knocked on wood, but I failed to throw salt over my shoulder. The subsequent outburst of forest fires in northern California (creeping into Oregon) and Washington started filling up the Rogue Valley with smoke later that month—the source of the smoke alternating with wind direction—and continued into September. If you’ve been to Ashland for the Festival, you know the largest theater on the campus, the Allen Elizabethan Theatre, is open to the skies and the smoke. As a result, the Festival had to cancel or move (to a much smaller indoor theater) 26 productions from that 1,190-seat theater—more than they have had to cancel or move in the past five years combined. The company figures that the cost of all that smoke is in the neighborhood of $2 million. I would add the phrase, “at least.” No one can determine precisely how many visitors decided to skip a spur-of-

the-moment trip to Ashland because of all that smoke. That’s too bad, financially for the Festival, and also because a lot of people missed some excellent productions. From my point of view, this season at the Oregon Shakespeare Festival was the best as a whole that I’ve ever seen, and I go back to the early 1980s (with a few missing years, here and there). Now, I’m about to suggest that if you’ve enjoyed the Festival before, hope to enjoy it in the future, or just acknowledge that its existence is good for the state and the country, you might contribute some money to help the company get past this particular disaster. You can donate online at osfashland.org/rising, but I’m going to impose on your goodwill a bit more. The Oregon Shakespeare Festival, with a total budget of around $40 million, has by far the largest budget of any arts or-

So, right, here’s the ask: If you have the funds and disposition to give, please donate to your favorite arts and cultural organizations this holiday season, including the Oregon Shakespeare Festival. They depend on it, and small gifts are welcome. The entire ethos and economy of Oregon arts groups involves doing a lot with a little—and doing tons with more. But don’t stop there! Although the state government of Oregon has always (and I mean always) had a middling record for supporting the arts—when it hasn’t been downright abysmal—there is a unique provision in our tax code that gives us a chance to make up for the state Legislature’s reluctance to fund the arts sufficiently. It essentially allows us to double up the gift we made (figuratively) in the previous paragraph, without donating a penny more. Although it’s been around for a while now, many of us don’t take advantage of it. Many do: Oregonians invested more than $4.9 million in the Oregon Cultural Trust in 2017, after all. For good reason: It distributes money to every corner of the state, and funds tribal and historical organizations as well. So, if you’re taking advantage already, this is just a refresher. >>>>

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c ontinued fr om page 47 Sellwood Location: 7110 SE MILWAUKIE AVE, PORTLAND, OR 97202 (503) 334-1887

GET FIT WHEN IT FITS SN A PFIT NESS.COM

>>>> The process isn’t hard, but it does involve a few steps. And the subject of incomes taxes instantly triggers my flight reflex. Get me out of here! But relax. We can do this! 1. It starts with a gift to one or more of the 1,500 or so arts and cultural groups in the state. You can find the list of qualifying groups on the Trust’s website (culturaltrust.org), though nearly any group you can think of qualifies. 2. Match the gift with a donation to the Cultural Trust. You can do it online. You can print the confirmation screen for your records to claim your tax credit. Or you can donate by telephone at (503) 986-0088. 3. Claim your entire contribution to the Trust as a tax credit on your Oregon income tax—up to $500 for an individual, $1,000 for couples filing jointly, and $2,500 for corporations. 4. Much of that money will be distributed to Oregon cultural groups directly, and some will go to the Trust’s permanent fund. Let’s boil that down: We gift our favorite arts group(s); we give to the Cultural Trust; we take a tax credit for the gift to the Trust (and to the arts groups); we enjoy great art the rest of the year. That means we give the Shakespeare Festival the breathing room to figure out the smoke problem for the future, and we add to the resilience of other cultural groups around the state. That’s my idea of Happy Holidays! .

Other Portland Locations: Milwaukie . Lake Oswego . Happy Valley . Sherwood . Oregon City . Bethany

FENCING FOR ALL! It’s frosty outside.

Try an indoor sport!

Introducing....INTRO-TUESDAYS!

FUN & FITNESS ● FREE TRIAL CLASS Youth age 7–12 ● Tuesdays 5pm Adults age 13–99 ● Tuesdays 7:30pm Learn the fundamentals of fencing. All equipment provided. Northwest Fencing Center · 4950 SW Western Ave Beaverton, OR · nwfencing.org

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MAKE-A-FRIEND

BINGO!

Ask your friends or the people around you if they match any of the boxes below. If so, write their name in the box. You can only use one person per box.

Has visited the Oregon Historical Society

Doesnâ&#x20AC;&#x2122;t like pizza

Plays a sport

Speaks more than one language

Has a pet

Has lived in another state

Has family in a different state/country

Is named after a family member or ancestor

Has a brother or sister

Enjoys reading books

Loves history

Has the same eye color as you

Knows how to be a good friend

Has a different eye color than you

Has flown on an airplane

Was born in a different state or country

Has visited another state

Is an only child

Enjoys cooking

Plays a musical instrument

Was born in the same month as you

Celebrates a special holiday

Has parents from different cultures

Lives with a grandparent

Loves museums

Discover other fun activities at the Oregon Historical Societyâ&#x20AC;&#x2122;s History Hub, an exhibit where youth and families can explore the many people and events that have shaped Oregon history. Oregon Historical Society | 1200 SW Park Ave. Portland, OR 97205 | www.ohs.org | 503.222.1741 50

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SPOT

THE INSTRUMENTS Which of these musical instruments can you spot in the orchestra? How many of each are there? Hint: Not all of them are in the orchestra!

triangle

electric guitar

trumpet

maracas

horn

harp

accordion

violin

drum

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ART DEPARTMENT: KELLER AUDITORIUM MURAL

THE EPONYMOUS KELLER AUDITORIUM MURAL by Korean-American artist Una Kim is a carnival mishmash of playful characters buoyantly and joyfully engaged in performing arts. Portland State University students collaborated with Kim in 2012 to bring her vision to life with acrylic paint on a concrete wall. The work is a playful take on works of fine art that feature performers, such as Cassatt’s At the Opera, Dufy’s The Yellow Violin, and Degas’ ballerinas. According to Kim, the goal of the work was to inspire students of diverse backgrounds, educate on the creative process of design in the public sector, and provide a gift to the public. The Regional Arts and Culture Council and private donations funded the project. .

Since the location of this month’s Art Dept feature is identified by the work’s title, email a photo of yourself standing in front the mural to submit@artslandia.com with “Art Dept” as the subject for a chance to win an Artslandia Box.

Photo by Blanche Minoza.

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Congratulations to Caroline Oblack, winner of the Art Dept contest for correctly identifying the location of Capax Infiniti by Faith XLVII. Enjoy your Artslandia Box, Caroline!

AUDITION!

2ND SEMESTER CURRICULUM & 2019 SUMMER INTENSIVE

The Oregon Community Foundation can help your tax-deductible gift pave the way toward a bolder, brighter outlook for Oregon’s future.

NO REGISTRATION FEE! Monday, January 21 • Registraaon at noon AGES 11-22 | See website for details

FREE PRE-BALLET AGES 6-9

Saturdays 11:15am - 12:15pm 12:30pm - 1:30pm

January 12, 19, 26

oregoncf.org Three free classes help children decide if ballet is right for them.

Call or register online

Private Sessions

THE PORTLAND

Equipment Classes Mat Classes

Kinespiritcircle.com | 503.235.3556 |@kinespiritcircle ARTSLANDIA.COM

OUR STAGES THEN & NOW

The Keller Auditorium THE KELLER AUDITORIUM, one of the

1933

Portland Public Auditorium before remodeling, 1933, Org. Lot 23, bb003264. The building occupies an entire city block bounded by Third and Second Avenues and Clay and Market Streets.

2016

Photo by Jason Quigley.

Portland’5 Centers for the Performing Arts, has experienced a near-complete metamorphosis and several name changes since it opened in 1917 as Portland Public Auditorium. Also called Municipal Auditorium, it served as a meeting center, a movie house, a boxing venue, a hospital and morgue during the 1918 Spanish flu epidemic, and a temporary home for returning WWII veterans. A near-complete renovation in 1968 left only 17 percent of the original structure intact, with some of the exterior materials recycled at the Portland Japanese Garden and the Community Music Center. The new venue, named Civic Auditorium, was further remodeled in 2000 and renamed Keller Auditorium after Portland Development Commission Chairman Ira Keller, thanks to a large donation from his family. The theater is now home to Oregon Ballet Theatre and hosts many performances by the Portland Opera, among other performing arts, community, and family events. .

Historic photographs for this series are provided by the Oregon Historical Society, a museum, research library, archive, and scholarly asset located in the heart of Portland’s Cultural District. View more photos of historic Portland on the new OHS Digital Collections website at digitalcollections.ohs.org/portland-cityscapes.

Have an anecdote or old school photograph of you posing in front of the Keller Auditorium? Post it! Don’t forget to tag #Artslandia and #ThenAndNow.

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2018/19 Great concerts coming up!

BIG BAND AND BEETHOVEN: NEW YEAR’S CELEBRATION SUNDAY, DECEMBER 30, 7:30 PM MONDAY, DECEMBER 31, 7:30 PM Carlos Kalmar, conductor • Jenny Schuler, soprano • Siena Miller, mezzo-soprano • Singers from PSU, Oregon Repertory Singers, and Paciﬁc Youth Choir Ellington/Strayhorn: The Nutcracker Suite James P. Johnson: Victory Stride • Beethoven: Symphony No. 9, “Choral” What ﬁner way to ring in the New Year than with Duke Ellington’s delightfully cheeky twist on Tchaikovsky’s classic, followed by Beethoven’s Ninth Symphony and its glorious Ode to Joy? A little bit smart, a little bit sassy, thoroughly exhilarating.

AMERICANA WITH EDGAR MEYER

LESLIE ODOM, JR.

SATURDAY, JANUARY 19, 7:30 PM

Thomas Douglas, conductor

Norman Huynh, conductor • Edgar Meyer, double bass

Don’t miss this exhilarating evening of jazz standards and Broadway hits from Grammy Award winner Leslie Odom, Jr., who originated the role of Aaron Burr in the Broadway blockbuster Hamilton.

Copland: Appalachian Spring Suite • Bottesini: Double Bass Concerto No. 2 • Edgar Meyer: Double Bass Concerto No. 3 Still: Afro-American Symphony

SUNDAY, JANUARY 20, 7:30 PM

Adding virtuosity to a classicalbluegrass blend all his own, Edgar Meyer makes music that’s equal parts irresistible and astonishing. Join the “Genius” grant winner and the Oregon Symphony for an unparalleled evening of Americana, including Copland’s idyllic Appalachian Spring.

orsymphony.org 503-228-1353 your oﬃcial source for symphony tickets MOVING MOVING MUSIC MUSIC FORWARD FORWARD

CANCER TRIED TO STOP HIM. Bennett had other ideas.

Bennett was diagnosed with a life-threatening cancer at just two weeks old. The news was heartbreaking. The odds of survival were low. Over many months, an amazing team at OHSU Doernbecher Children’s Hospital guided Bennett back to health. Today, he’s a happy, high-spirited 4-year-old, cancer free for the past three years. Your generosity powers this world-class care. With your support, there’s no limit to what Doernbecher can do. Please make a gift to Doernbecher today.

MAKE YOUR GIFT

OnwardOHSU.org/kids

ONWARD // THE CAMPAIGN FOR OHSU