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M AY | J U N E 2019

AT TH E P E R FO R M A N C E A C I T Y P L AY B I L L A N D P E R F O R M I N G A R T S M A G A Z I N E

LETTER FROM THE ARTISTIC DIRECTOR

10 PERSISTENT OPTIMISM: THE DANCING AMERICAN SPIRIT

12 THE AMERICANS 14 LETTER FROM THE

CHAIRWOMAN OF THE BOARD OF TRUSTEES

16 EXECUTIVE & ARTISTIC STAFF 18 GUEST ARTISTS OBT Dancers Theodore Watler and Katherine Monogue perform in Night Creature. Photo by Christopher Peddecord.

20 COMPANY 27 OREGON BALLET THEATRE STAFF & BOARD

28 DONORS 38 THEN & NOW:

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Joel Weinstein sells breads at the Portland Saturday Market, March 26, 1974. Oregon Journal Prints Collection, Org. Lot 1027, bb017466.

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Photo by Michael Slobodian.

LETTER FROM THE ARTISTIC DIRECTOR The idea behind The Americans as a multiyear series is because there is so much depth and range in the domain of American choreography that it requires a sustained look, and a varied palette, to even begin to take stock of what might define the “American” approach to ballet and dance. We are excited to kick off this series as the final show in what has been a landmark season for OBT. The Americans bookends a season that started off last October with the Danish masterpiece Napoli — a tour-de-force accomplishment that set a new standard for classical ballet in Portland. How fitting to now bring the conversation — and the attention — closer to home before we take a well-deserved summer break. Trey McIntyre, one of the best-known contemporary choreographers in ballet today, was Resident Choreographer at OBT for the 1998-1999 season and is therefore already beloved here in Portland. His Robust American Love, created for OBT in 2013, personifies McIntyre’s unique ability to marry technique, music, and theme seamlessly. The fact that its theme is the American pioneer spirit couldn’t be more appropriate for this program. BodyVox founders Jamey Hampton and Ashley Roland are also beloved to Portland audiences for their irreverent wit, endless creativity, and boundarypushing approach to dance. How lucky we all are to share the same locality and how excited we are to premiere their new work, Big Shoes. One of the joys of working with Jamey and Ashley is that you never know what to expect, but you know you will leave with a smile on your face, and that is priceless. There is also a very personal connection to this performance for me, one that has me brimming over with happiness: The Americans features the very first Alvin Ailey work to be danced by OBT, Night Creature, which opens the program. When I was 18 years old — just starting to think of myself as a dancer, and with extremely little training — I auditioned for a summer course at the Alvin Ailey School. In crowded studios with more than 200 other young hopefuls, somehow Mr. Ailey noticed me and included me on the list of 12 full-scholarship students for the summer and thereby set me on the course that has led me to where I am today. Mr. Ailey — aside from being an icon of the African-American experience — was also a trailblazer in terms of using dance to explore the common ground we all share as human beings, including the spark of desire and the playfulness of self-confidence that animates Night Creature. I’m thrilled that this jazzy ballet is part of the first edition of The Americans and that we begin to include Mr. Ailey in the conversation on what ballet is and what it can be.

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

THANK YOU! PRODUCTION UNDERWRITTEN IN PART BY CATE MILLAR AND BOB SWEENEY

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 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

It is a joy for OBT to connect the past to the present and to approach each of the works we perform every season as a living, necessary, work of art meant to illuminate and entertain. As we look ahead to further iterations of The Americans, it is my hope that these connections between ballets, people, and the times in which we live, will become more and more thrilling and help fill out our idea of what makes American dance unique. In the meantime, please enjoy this first iteration of The Americans.

Kevin Irving Artistic Director, Oregon Ballet Theatre ARTSLANDIA.COM

FEATURE

PERSISTENT OPTIMISM: THE DANCING AMERICAN SPIRIT BY GAVIN LARSEN

OBT Dancers Xuan Cheng and Michael Linsmeier perform in Trey McIntyre’s Robust American Love. Photo by Blaine Truitt Covert.

OPPORTUNITY DESPITE OBSTACLES, invention and reinvention, diversity and dreams — all concepts that come to mind when thinking of Americana. Embedded in the foundation of our daily lives, these ideas inevitably appear in the fruit of our artists. The theme of The Americans may seem obvious. The three ballets launching OBT’s multi-year exploration of American dance were, indeed, all created by Americans, but they are linked by more than their choreographers’ nationality. American dance captures a distinct, multi-layered spirit that seems familiar, but invites a longer gaze. What makes this country’s dancemakers’ work seem

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so “American”? Why are we watching them — what are we looking for? OBT Artistic Director Kevin Irving is careful to stress that The Americans is an artistic exhibition, not a political or nationalistic one. It is meant to give audiences a way to discover the nature and evolution of American dance. “I’ve long been interested in connecting the past to the future,” he explains. “Ballet is a European art form — we’re not so insulated as to think we made anything from scratch — but Americans have made it their own in varying ways. I wanted to address what I see as a little bit of an imbalance in contemporary ballet repertory, which

is heavily slanted towards Europeans who have impacted ballet culture in the States. Let’s look at heritage, lineages, bloodlines, by asking the question, ‘how did we get here?’”

AMERICAN-STYLE BALLET, AND AMERICAN-TRAINED DANCERS, HAVE THE QUALITIES ASSOCIATED WITH THIS COUNTRY’S GENERAL ETHOS: OPENNESS, ATHLETICISM, AND A SORT OF JAUNTY INSOUCIANCE THAT BELIES A REVERENCE FOR OUR ROOTS.

FEATURE On this soil, as Irving says, choreographers took tradition and “broke it up” — and then revived it — creating a revolutionary movement quality. “American dancers tend to cover the space of the stage with gusto and abandon,” wrote renowned dance critic Jack Anderson in a 2001 Tulsa World article. But being American-born is not a prerequisite for dancing — or creating — that way. Most famously, the Russian George Balanchine came to the United States looking to make ballets (and train dancers to perform them) synergizing the strength of Russian classicism with everything he loved about America — speed, energy, and exuberance, from the lights of Times Square to the wideopen spaces of the West. Irving imagines future seasons to include “new Americans,” like Balanchine, who embraced their adopted homeland with such gusto. Martha Ullman West, Portland’s longtime dance critic, historian, and observer, notes that the melting pot of the United States is reflected in the dances created here. Classic forms are twisted and swirled together with cutting-edge innovation, creating entirely new languages of dance. “As a

whole, American ballet is as pluralistic as the society,” she wrote in 2008 for the Dance Heritage Coalition, explaining how renowned American choreographers like Jerome Robbins, Twyla Tharp, and Agnes de Mille combined social, contemporary, modern, and even American square dance with balletic steps to thrilling effect. “Thus did choreographers make an art form originating in the courts of Europe an expression of a democratic culture, capitalizing on American versatility, athleticism, speed, and spirit.” Irving plans to balance The Americans each season between iconic and current works, rounded out with a local or OBT connection. Genre labels will be blurred, potentially leaving behind consideration of “classical” or “modern” in favor of “game-changing,” he says. That is fitting, too: Americans have long resisted being categorized into buckets of arbitrary sameness. But when the human instincts for movement and rhythm combine with the American urge for expansive freedom, proud individuality, and that trademark indefatigable perseverance, the language of dance speaks more loudly than words.

OBT Dancers Xuan Cheng, Katherine Monogue, and Emily Parker rehearse Big Shoes, choreographed by Jamey Hampton and Ashley Roland. Photo by Derrick Ramey.

Trey McIntyre.

In America, it is our tradition to innovate, invent, imagine — and then do it again. In dance, a sometimes painfully impermanent art form, reinvention is an inevitable necessity. Choreographers must accept that for their work to stay alive, it must change — it will never look the same twice. For an artist who molds their ideas on a unique cast of dancers, is it hard to let that original vision go, as a ballet is restaged? Not for Trey McIntyre, whose Robust American Love is being revived this season. “No two dancers are the same, so naturally, subsequent casts expand the piece and create new color,” he says. “As long as a dancer has the ability to grasp the goal of the piece, new interpretations can be quite satisfying. In fact, subsequent casts have greater potential because they can digest what was discovered before and grow from there. Some things I will miss, some things will be better, but it’s a living, breathing art form. It’s never the same.” That sentiment perfectly captures the spirit of American dance: bold yet thoughtful, groundbreaking without turning the old to dust. McIntyre uses the poignancy of American folk music to express, through dance, the great inspiration of this country. “It’s about the toughness of people facing terrible odds and brutal circumstances. This belief that anything is possible through perseverance. It’s persistent optimism, for better or worse.”

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TODAY’S PROGRAM

PRESENTS

THE AMERICANS THIS PRODUCTION IS SUPPORTED IN PART BY THE NATIONAL ENDOWMENT FOR THE ARTS.

Night Creature CHOREOGRAPHY: Alvin Ailey MUSIC: Duke Ellington, “Night Creature” COSTUME DESIGN: Jane Greenwood LIGHTING DESIGN: Chenault Spence BALLET MASTER: Lisa Kipp STAGED BY: Ronni Favors WORLD PREMIERE: 1974 television

special: Ailey Celebrates Ellington

OBT PREMIERE: June 7, 2019; Oregon Ballet Theatre; Newmark Theatre; Portland, Oregon Night Creature is generously underwritten by Cate Millar & Bob Sweeney.

Alvin Ailey’s Night Creature is a bubbly champagne cocktail of a dance, a perfect fusion of Ailey’s buoyant choreography and Duke Ellington’s sparkling music. At once wistful and sassy, it beckons viewers into a nocturnal world populated by jazz babies and night owls. Ellington said that “night creatures, unlike stars, do not come OUT at night — they come ON, each thinking that, before the night is out, he or she will be the star.” This large ensemble work is full of such stars — strutting, leaping, and slinking through a variety of dance idioms as they flaunt and flirt with each other and the audience. They hold their hands like paws, as if they’re cats on the prowl, then slide seamlessly into balletic allegro jumps, Martha Graham-like contractions, and Lester Horton layouts. It’s the definitive dance homage to the exuberance of The Duke’s sophisticated symphonic work.

— PAUSE —

Robust American Love CHOREOGRAPHY: Trey McIntyre COMPOSER: Robin Pecknold MUSIC: Fleet Foxes, “Your Protector,”

Trey McIntyre has a special way with popular music. He’s made magic with soundtracks ranging from Preservation Hall Jazz Band to The Shins, proving, as The TimesPicayune wrote, “that one can make great art by responding honestly to such unlikely musical material as ‘Puff the Magic Dragon.’”

COSTUME DESIGN: Melissa

When Christopher Stowell commissioned McIntyre to make a ballet to popular music in April 2013, McIntyre settled on Seattle-based Fleet Foxes, attracted to “their Americana, so suggestive of wide-open spaces and canyons and their old-style lyrics and poetry. Starting from the Fleet Foxes, I’m actually, for the first time, really looking at a certain kind of American patriotism, thinking about the experience of country.”

“Heard Them Stirring,” “White Winter Hymnal,” “He Doesn’t Know Why,” “Meadowlarks,” “Tiger Mountain Peasant Song,” “Oliver James” Schlachtmeyer

LIGHTING DESIGN: Michael Mazzola STAGED BY: Lisa Kipp WORLD PREMIERE: April 18, 2013;

Oregon Ballet Theatre; Newmark Theatre; Portland, Oregon By arrangement with G. Schirmer, Inc. publishers and copyright owner.

McIntyre chose pre-Civil War America as a context for Robust American Love to explore ideas of pioneering a brand-new place, of toughness and optimism, and of being connected to the land. When he’s formulating ideas for a new ballet, McIntyre says, “Everything around me has an influence. I thought about people whose language speaks to these same ideas, and Walt Whitman was of course right in the forefront.” McIntyre found the title phrase Robust American Love in Whitman’s poem “A Promise to California.” “There’s an excitement and a sexuality to pioneering America,” says McIntyre. “It’s primal.” The clothing of this era, not far removed from Victorian England, was still tight and corseted for women. Yet “the dancers’ bodies here are just so beautiful, and I wanted to unencumber them; so in the costuming, designed by Melissa Schlachtmeyer, we have the clothing busting open — a transition period from restriction to expansiveness.”

— 20-MINUTE INTERMISSION — 12

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TODAY’S PROGRAM

Big Shoes CHOREOGRAPHY: Jamey Hampton & Ashley Roland

MUSIC: Brian Eno, “Needle Click,”

Philip Glass, “String Quartet No. 5: II” & “Glassworks-Opening,” Alphonse Mouzon, “The Mouzon Drum Suite B. Out of the Desert,” Paul D. Miller, “Cameron,” “Moisés Simons, “The Peanut Vendor”

Big Shoes harkens back to that moment when we dressed in grown-ups’ clothes and imagined for the first time the vast road that stretched on ahead, forever beckoning, daring us. Knowing and not knowing, we swaggered and swayed, presumed, and pretended. We filled those shoes, awkwardly clunking around the room, confident and cloying. And then one day those big shoes fit, and the path ahead revealed itself. History relived and born anew, with passion, humor, delight, and grace.

COSTUME DESIGN: Ashley Roland LIGHTING DESIGN: Michael Mazzola BALLET MASTER: Jeffrey Stanton WORLD PREMIERE: June 7, 2019;

Oregon Ballet Theatre; Newmark Theatre; Portland, Oregon

String Quartet No. 5 & Opening from Glassworks © Dunvagen Music Publishers Inc. Used by Permission. “The Peanut Vendor” Written by Moisés Simons. Published by Edward B. Marks Music Company (BMI) administered by Round Hill Carlin LLC. “Cameron,” composed by Paul D. Miller from the album Rebirth of a Nation performed by DJ Spooky and Kronos Quartet. Courtesy of Cantaloupe Music.

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Photo by Jeff Lee.

LETTER FROM THE CHAIRWOMAN OF THE BOARD OF TRUSTEES DEAR OBT FRIENDS, As we approach the end of this incredible 29 th season, I am pleased to share with you Oregon Ballet Theatre is thriving in every way possible. All of us at OBT are grateful to every one of you for your enthusiasm, encouragement, and support — both this year and throughout our history. My time as Chairwoman of the Board of Trustees is coming to a close and it has been an honor and privilege to work with a talented Board, dedicated staff members, and an incredible group of performing artists who have chosen to make Oregon their home and the place where they create great art. I have had the enjoyable opportunity to share with all of you this inspiring and enlivening artistic journey. Thank you for making my time as Board Chair one I shall never forget! Picasso said, “Art washes away from the soul the dust of everyday life.” I know these performances of The Americans

will be truly memorable and I hope you come away from this experience enthused and invigorated. Even more exciting for me, though, is our approaching 30th Anniversary Season Celebration. I know it’s hard to believe, but OBT has been enriching the cultural life of our entire region for 30 years and we hope you will take advantage of the great performances and events that will take place beginning this fall. Watch for your season brochure in the mail or pick one up here at the theater. Whether you select from the lineup of shows or become a season ticket holder and enjoy an entire year of stunning performances, don’t miss out on a genuinely electrifying season — one where OBT will truly roar. Warm regards,

Nancy Locke Chairwoman, Oregon Ballet Theatre Board of Trustees

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EXECUTIVE STAFF 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 Chinaside 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 Kåge. 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 Por tland Ballet in Por tland, Maine. Combining business experience with passion for the ar ts, he worked to increase earned and contributed revenue, which resulted in Por tland Ballet ’s substantial turnaround. Now, Greer and his family are thrilled to be a par t of the Por tland, Oregon, community. Photo by Nate Eldridge.

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ARTISTIC 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 “postmodern” 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 muchlauded 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.

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.

JEFFREY STANTON

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.

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 Michael Slobodian.

Photo by Joni Kabana.

ARTISTIC STAFF 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 & 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! Concer to Concer t. 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. Adin, Carmen, A Midsummer Night’s Dream, Ekho, Peter Pan, Nutcracker. Photo by Joni Kabana.

NICOLO FONTE

RESIDENT CHOREOGRAPHER Choreographer Nicolo Fonte is known for his daring and original approach to dance. His work has been noted by critics for a unique movement language as well as a highly developed fusion of ideas, dance and design. Born in Brooklyn, New York, Fonte started dancing at the age of 14. He studied at the Joffrey Ballet School in New York as well as at the San Francisco Ballet and New York City Ballet Schools while completing a Bachelor Degree of Fine Arts at SUNY Purchase. Upon graduation, he danced with Peridance in NYC and later joined Les Grands Ballets Canadiens in Montréal, dancing in the works of Balanchine, Tudor, Kudelka, and Spaniard Nacho Duato. Fonte subsequently joined Duato’s Compañía Nacional de Danza in Madrid and forged a strong identity in the Spanish company for seven years – for both his dancing and his choreography. En los Segundos Ocultos (In Hidden Seconds), one of three ballets Fonte made for the Spanish company, was hailed as a breakthrough work of great impact with the poetic vision of a mature artist and indeed this ballet established his presence on the European dance scene.

Washington Ballet, Ballett Mainz, Ballett Nürnberg, Aspen Santa Fe Ballet, Complexions Contemporary Ballet, TANZ Ensemble Cathy Sharp, North Carolina Dance Theatre, Tulsa Ballet, Ballet British Columbia, Les Ballets Jazz de Montréal, and Queensland Ballet. Fonte received a Choo San Goh award for his 2002 collaboration with Pacific Northwest Ballet, Almost Tango, of which R.M. Campbell of the Seattle Post-Intelligencer wrote, “Fonte is a thinker, an architect who creates the new rather than reinvent the old. He is a master of manipulating space and creating relationships.” Almost Tango was also voted as one of Dance Europe’s “Best Premieres” when it was re-staged for The Australian Ballet in 2004. From 2002 to 2006, Fonte enjoyed an ongoing creative partnership with The Göteborg Ballet in Sweden, creating and staging numerous works that helped establish the company’s distinct profile. While in Göteborg, he created his first full-length ballet, based on the life of Tchaikovsky. Widely acclaimed in the international press for Fonte’s marriage of narrative skill and a contemporary choreographic language, Re: Tchaikovsky appeared on the “Best of 2005” lists of both Ballett-Tanz and Dance Europe. Fonte has also played an important role in the ongoing development of Aspen Santa Fe Ballet as one of that company’s most popular guest choreographers. To date, he has created eight highly successful works for ASFB that have toured throughout the U.S. and overseas. In addition to Oregon Ballet Theatre, Fonte is currently the Resident Choreographer for Ballet West, in Salt Lake City, which began with the 2012–2013 season. Photo by: Janna Cruder.

In 2000, Fonte retired from performing to devote himself full-time to his choreographic career. Since that time he has created or staged his ballets for The Dutch National Ballet, Houston Ballet, Royal Danish Ballet, Pacific Northwest Ballet, Ballet West, Royal Ballet of Flanders, Stuttgart Ballet, The Australian Ballet, The Göteborg Ballet, The Finnish National Ballet, Cedar Lake Contemporary Ballet, Oregon Ballet Theatre, The Perm Tchaikovsky Ballet, The ARTSLANDIA.COM

GUEST ARTISTS ALVIN AILEY

LIGHTING DESIGNER Night Creature Chenault Spence is a worldrenowned lighting designer for ballet and opera, including Alvin Ailey American Dance Theater, with which he has been lighting designer for 50 years. Since 1970, Spence designed lighting for many of Ailey’s works as well as many distinguished choreographers. Spence has been resident designer for Lyon Opera Ballet, Dance Theatre of Harlem, The Washington Ballet, American Repertory Ballet, Juilliard Dance Ensemble, Erick Hawkins, José Limón, Bat-Dor Dance Company of Israel, and Iranian National Ballet Company. As lighting designer for the Opera Company of Philadelphia, Spence received Emmy Awards for The Damnation of Faust and Un Ballo in Maschera with Luciano Pavarotti. His design for OCP’s tour of La Bohème, with Maestro Pavarotti, was performed and televised in the United States, Italy, and China. He has designed by invitation for New York City Ballet, American Ballet Theatre, Houston Ballet, Royal Danish Ballet, Paris Opera Ballet, Rome Opera Ballet, Vienna Opera Ballet, London Festival Ballet, La Scala Opera Ballet, National Ballet of Finland, and National Ballet of Portugal.

Photo by: Jack Mitchell.

STAGER Night Creature Ronni Favors from Iowa City, Iowa, was a member of Ailey II, Alvin Ailey American Dance Theater, and the Lar Lubovitch Dance Company, and appeared with Charles Moulton and Susan Marshall. She assisted Mr. Lubovitch in setting his works on Cleveland Ballet, Juilliard Dance Ensemble, Ballet du Nord, and Alvin Ailey American Dance Theater. She became Assistant Rehearsal Director of the Alvin Ailey American Dance Theater in 1997, and Rehearsal Director from 1999-2010. Favors engaged and rehearsed dance students who performed Alvin Ailey’s Memoria in Johannesburg, South Africa; Seattle, Copenhagen, Los Angeles, Chicago, Kansas City, and New York.

JANE GREENWOOD

COSTUME DESIGNER Night Creature Originally from Liverpool, England, Jane Greenwood was educated at the Central School of Arts in London. She has designed for theatre, opera, dance, and film, including over 125 productions on Broadway since The Ballad of the Sad Café in 1963. Her awards include: the 2017 Tony Award® for Best Costume Design of a Play for The Little Foxes, 21 Tony Award® nominations, a Lifetime Achievement Tony Award® in 2014, and the Irene Sharaff Lifetime Achievement Award in 1998. Greenwood was inducted into the Theater Hall of Fame in 2003 and has been a Professor of Design at the Yale School of Drama since 1976.

CHENAULT SPENCE

CHOREOGRAPHER Night Creature Alvin Ailey was born in 1931 in Rogers, Texas. His experiences in the rural South inspired some of his most memorable works. Lester Horton, founder of one of the first racially integrated dance companies in the United States, became a mentor for Ailey. After Horton’s death in 1953, Ailey became director of the Lester Horton Dance Theater and began to choreograph his own works. In 1958, he founded Alvin Ailey American Dance Theater to carry out his vision of a company dedicated to enriching the American modern dance heritage and preserving the uniqueness of the African-American cultural experience. Ailey was a pioneer of programs promoting arts in education, particularly those benefiting underserved communities. Throughout his lifetime, he was awarded numerous distinctions, including the Kennedy Center Honor in 1988. In 2014, he posthumously received the Presidential Medal of Freedom, the country’s highest civilian honor. When Ailey died in 1989, The New York Times said, “you didn’t need to have known [him] personally to have been touched by his humanity, enthusiasm, and exuberance and his courageous stand for multi-racial brotherhood.” Ailey died in 1989.

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TREY MCINTYRE

CHOREOGRAPHER Robust American Love Trey McIntyre is a renowned choreographer and photographer whose choreographic works have been performed by Stuttgart Ballet, American Ballet Theatre, Hubbard Street Dance Chicago, New York City Ballet, The Washington Ballet, Queensland Ballet, San Francisco Ballet and more. McIntyre trained at North Carolina School of the Arts and Houston Ballet Academy. He started as choreographic apprentice for Houston Ballet in 1989 and later became the company’s choreographic associate. As a freelance artist for nearly 30 years, he has produced over 100 works. McIntyre is a United States Artists Fellow and the recipient of numerous awards: Choo San Goh Award for Choreography, Lifetime Achievement Award from the National Society of Arts and Letters, and grants for choreography from the National Endowment for the Arts. In 2005, he founded his celebrated dance company Trey McIntyre Project. In recent years, he has delved deeply into photography and created a documentary, Gravity Hero, which is currently traveling to film festivals internationally. See more at patreon.com/treymcintyre. Photo by: Scott Teitler.

RONNI FAVORS

MELISSA SCHLACHTMEYER

COSTUME DESIGNER Robust American Love Melissa Schlachtmeyer has created dance work designs for Trey McIntyre Project, BalletTech, José Limón Dance Foundation, Neta Pulvermacher, and the Isadora Duncan Foundation. Opera designs included: Così Fan Tutte (Delaware Valley Opera); Madama Butterfly (Berkshire Opera); The Secret Agent (premiere; Avignon Opera Festival, Szeged Opera Festival, Center for Contemporary Opera), L’Enfant et les Sortilèges, and the premieres of Vinkensport or the Finch Opera; and Song from the Uproar (Bard Graduate Vocal Arts Program). She designed for The Alliance Theatre, Williamstown Theatre Festival, Two River Theater, The Flea Theater, Hudson Valley Shakespeare Festival, La MaMa Experimental Theatre Club, German Theater

GUEST ARTISTS Abroad, and many others. From 2012-2014, she served as assistant professor at Reed College where she taught theatre design, history of clothing, and costume design. She held degrees from Brown University and Tisch School of the Arts. Her interests included working with physical performers and the very tribal nature of clothing. Her final professional work was Trey McIntyre’s Robust American Love which OBT premiered in 2013 and was last presented in 2014 at Jacob’s Pillow.

JAMEY HAMPTON

CHOREOGRAPHER Big Shoes Jamey Hampton has had a storied career in dance, theatre, television, and film that has spanned four decades. Born in Portland, Oregon, he was a distinguished athlete in high school, receiving varsity letters in track and football. He attended Dartmouth College, where he was a competitive ski racer, rugby player, as well as

rowing stroke on the freshman crew team. Dartmouth was also where Hampton began dancing in earnest, meeting Pilobolus Dance Theater while pursuing a BFA degree in theatre. After Dartmouth, he danced with Pilobolus around the world for five years. He then helped form and danced with MOMIX from 1982–1987, followed by ISO Dance from 1987–1995. In 1997, he formed BodyVox with his partner, Ashley Roland. Now in its 21st season, BodyVox is a vibrant and singular dance company known to audiences worldwide for its ebullient and deeply imaginative work. Photo by: Muffy Kruger.

ASHLEY ROLAND

CHOREOGRAPHER & COSTUME DESIGNER Big Shoes Ashley Roland is a true American original. With an unparalleled imagination and an acuity in both choreography and theatrical effect, she creates work that is unbridled and

unabashed, resonating deeply with audiences around the world. After attending North Carolina School of the Arts, Ashley helped form MOMIX, setting off on a string of international tours that took her to Paris, London, Tokyo, Rome, New York, Los Angeles, Rio de Janeiro, and virtually every major city in the world. In 1987, she formed ISO Dance with her partner Jamey Hampton. ISO toured the world for seven years with a robust schedule, which included choreography for international fashion shows, arena rock productions, videos, and print ad campaigns. Roland has collaborated with the preeminent dance photographer of our time, Lois Greenfield, on thousands of still images. She co-founded BodyVox in 1997 with Jamey Hampton. Now in its 21st season, BodyVox reflects everything that Roland is: endlessly creative and truly unique. Photo by: Muffy Kruger.

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COMPANY PRINCIPAL DANCERS

SOLOISTS

ANSA CAPIZZI

EVA BURTON

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; and 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 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.

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.

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Eva Burton was born in Los Angeles, California, 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.

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 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.

KIMBERLY FROMM

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; Jiří Kylián’s Falling Angels; and Nacho Duato’s Jardí Tancat.

COMPANY ADAM HARTLEY

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.

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.

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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.

EMILY PARKER

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.

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COMPANY COMPANY ARTISTS

COLBY PARSONS

May 31-June 22, 2019

ARLINGTON by Enda Walsh

Photo by Owen Carey

[a love story]

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

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BRIAN BENNETT

Brian Bennett is from the greater Washington, D.C. area. He began his dance training in the competition circuit where he performed tap, jazz, hip hop, and contemporary routines at talent competitions across the United States, winning multiple awards. He began his ballet training in high school at Baltimore School for the Arts under the direction of Norma Pera. During this time, he attended summer programs on full scholarship with San Francisco Ballet School, American Ballet Theatre, and George Mason University. After High School, Bennett attended Butler University in pursuit of a Bachelor of Science in Arts Administration under the direction of Larry Attaway. Upon graduation, he attended Joffrey Academy of Dance under the artistic direction of Raymond Rodriguez and Ashley Wheater, before landing his first job with Oregon Ballet Theatre the same year. This is Bennett’s first season with Oregon Ballet Theatre.

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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.

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ZUZU METZLER

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.

ZOIE SALUDARES

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.

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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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Artslandia: 7.3125 x 4.875 Runs: May/June 2019

OREGON BALLET THEATRE STAFF

BOARD OF TRUSTEES

ARTISTIC

PATRON SERVICES

Kevin Irving, Artistic Director Lisa Kipp, Rehearsal Director Jeffrey Stanton, Ballet Master Nicolo Fonte, Resident Choreographer Niel DePonte, Music Director & Conductor Tracey Sartorio, Company Manager Irina Golberg, Principal Accompanist

Mariah DeLude, Patron Services Manager Kristin Dillon, Patron Services Lead Hanna Brandt, Patron Services Representative Kayla Brock, Patron Services Representative

Nancy Locke, Board Chair

ADMINISTRATION AND FINANCE Michael Greer, Executive Director Donna Jackson-Siekmann, Director of Finance Linda Brown, Human Resources Manager Terri Pineda, Accounting Associate Nadia Chopra, Wellness Coordinator

PRODUCTION Bill Anderson, Director of Production Shannon Goffe, Production Administrator Victoria A. Epstein, Stage Manager Ian Rutledge, Assistant Stage Manager & A/V Coordinator Michael Mazzola, Resident Lighting Designer Ian Anderson-Priddy, Production Electrician Matt Wilcox, Sound Engineer Eileen Ehlert, Costume Shop Supervisor Fuchsia Lin, Draper Morgan Reaves, First Hand Leah Bierly, Stitcher Hillary Barsky, Sue Morgan, Marilyn L. Rudin, Costume Shop Volunteers Brian Keith, OBT2 Technical Director Leslie Bernhard, Charles Daniels, Brian Keith, Brad Saby, Julia Sheridan Peter Sherman, Lance Woolen, Production Support Staff

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

MARKETING Camille Spaccavento, Director of Marketing & Communications Derrick Ramey, Marketing Associate & Video Producer Vicki Knapton, Senior Graphic Designer/ Marketing Specialist Nicole DeCosta, Program Book Coordinator & Marketing Associate

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 Colleen Hanlon, West Linn Branch Manager & Children’s Coordinator Sean Surprenant, School Registrar Lisa Sundstrom, OBT2 Program Director 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, Amelia Unsicker, School Faculty Irina Golberg, Garnet Hayes, Karen Lam-America, Ayako Matsuo, Raymond McKean, Katie Pyne, Tiffany Sanford, Jordan Strang, Western-Li Summerton, Accompanists

SPECIAL THANKS Charlotte Ballet, Chris Balo, IATSE Local #28, Pacific Northwest Ballet, Portland’5 Centers for the Arts

Jimmy Crumpacker, Vice Chair Ken Ivey, Treasurer Allison Lane Lyneham, Co-Secretary Cate Millar, Co-Secretary 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

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INDIVIDUAL DONORS Oregon Ballet Theatre would like to express its sincere gratitude to those listed below for gifts received through May 5, 2019. Donations received after this period will appear in the next playbill.

BRAVURA CIRCLE

($50,000 & UP)

Anne & James Crumpacker Jimmy Crumpacker Elizabeth Franklin Tom & Cynthia Mulflur 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, In Memoriam Henry & Amber Hillman

Sue Horn-Caskey & Rick Caskey

Cary Jackson Nancy Locke & Don Harris Jean Pierce, In Memoriam Michael Pierce, In Honor of Jean Pierce John Van Buren Elizabeth B. Warren Nani Warren Wendy Warren & Thomas Brown David Wedge, In Memoriam

DIRECTOR’S 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 Charles L. Jones John & Linda Lenyo

Kenneth & Joyce Lewis Devin & Natalia Megy Brad & Nancy Miller Sharon & Adam Mirarchi The Merritt & Heather Paulson Family Fund Angela Roach 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 The Ajitahrdaya Gift Fund Robert Aughenbaugh Linda Besant & Martha Goetsch Richard Louis Brown & Thomas Mark Bill Dickey, In Honor of David E. Wagner Jasmin & Matt Felton Jessica & Mark Flaa Brian Forrester Fromm Family Charitable Fund Bret & Cathy Gelber

William Gilliland 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 Samantha 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 Dr. Anna Bar Brent Barton & Liz Fuller Adriane Blackman Walter Bowen

Mark & Blake Bruun Nancy & Andy Bryant Irene Cancilla Charles & Sandra Carmeci Ken Carraro Debi Coleman Cameron & Dick Davis Gail Hayes Davis & Michael Davis Rita Duyn William E. Gaar Ted & Cynthia Gaty Richard & Juliana Gellman Jesse & Leah Gronner, In Honor of Maia Gronner Marilyn & Hans Grunbaum Bill Guthy Andrew & Ilene Harris Amy Lynne Hill & Dan Hill Juliet Hillman 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

2019 SUMMER PROGRAMS PREBALLET/PRIMARY

JUNIOR INTENSIVES

PREPOINTE WORKSHOP

PORTLAND + WEST LINN STUDIO JULY 126

WEST LINN STUDIO JULY 112 JULY 1526 JULY 29AUGUST 9

PORTLAND STUDIO AUGUST 1222

AGES

37

AGES

10+

Photo by Natalie Behring

Photo by Jingzi Zhao

OPEN CLASSES AUG 1222 | SCHOOL.OBT.ORG | 503.227.6890 | SCHOOLOFOBT@OBT.ORG 28

OBT.ORG

INDIVIDUAL DONORS Mark Moffett, In Honor of Jacqueline Straughan Ellen E. & Carl Nielsen Cambria Noecker 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 Carolyn & Hank Robb Mary Rose & Maxwell Whipps Jone Sampson & Sam Weirich Carol & Tom Shults Daniel & Dawn Simcoe Tina Skouras Jaymi & Francis Sladen Joan W. Sterrett David & Eileen Threefoot Ashley & DeWayne Trimble The Peter & Ann van Bever Charitable Fund Toby & Linda Warson Matt & Jessica Watson Jay Wilt Charlene Zidell

PRINCIPAL DANCER’S CIRCLE ($1,000–$2,499)

Anonymous Kembe Adam & Jim Hinkley Jen & Don Arancibia Adam Arnold Greg & Beth Arntson Patti & Lloyd Babler Natasha Bar Barbara & Sidney Bass Alan & Sherry Bennett Maria Borda & Ignacio Giraldo Jeff & Tracy Borlaug Matthew Boyes & Frederic Koeleman Ryan Bradshaw Thomas Bruner Alex Carlson Julia & Edouard Chaltiel Jeff Chase & Patti Warner Fund of The Oregon Community Justin & Marisol Delaney Jeff Dey & Heather Amuny-Dey William Dolan & Suzanne Bromschwig

Katrine Ehlen Anton & Raylene Eilers Larry & Deborah Friedman Nancy Frisch Alexandra & Zan Galton Christine Diana Gay Leonard & Yvonne Gionet Rob Goodman Frank Groff Peter Gronquist Chris Grubb & Carrie Merritt Valarie Grudier & Richard Langdon Beth Harper Kim & Chris Hasle John & Karen Hoke Gretchen Holce Maryanne & David Holman Betsy & Brent Huigens Michael Hummel & Mamie Diaz Hummel Brianne & Zachary Hyder Jim Kalvelage & Barbara LaMack Jina Kim & Hyung-Jin Lee Amy & Kevin Kohnstamm Patricia & Rick Kozak Elise Legere & James Mitchell Molly Lehman Jerome Magill M. and L. Marks Family Fund of The Oregon Community Foundation Inge & Darren Marshall Adrienne & Ian McClellan Keith & Kristin McInerney Christina & Cade McNown Laura S. Meier Laurie & Gilbert Meigs Rich & Kirsten Meneghello Christina Merrell Marjorie & Kurt Metzler Angela & Rob Moneyhan Jeffrey Morgan Virginia S. Mullen Will Naito Steven C. Neighorn Margaret & Gordon Noel Jay & McKay Nutt Leah Rinfret Davia & Ted Rubenstein Lori & Mike Russell Miriam Ruth Leslie Ann Sammons-Roth Megan & Tom Shipley Jinny Shipman & Richard Kaiser Jonathan Singer 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 Frances Virden K. Vorderstrasse Foundation Richard Wasserman &Ann Coskey-Wasserman Matt Weaver Tom & Laura Wiley Robyn Williams & Roger Scarbrough Cristin Campbell Winkler & Jordan Winkler Zela & Elsa

SOLOIST DANCER’S CIRCLE ($500–$999)

Anonymous Susan Thompson Armentrout Susan Bailey & Mike Warwick Charles G. Barany Tom Bard Pat Behm & Gary Jacobsen 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 Miguel Cobian Margery Cohn 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 Michele & John Gordon Luisa Adrianzen Guyer & Leigh J. Guyer Karen & Jim Halliday Carl Halvorson The Right Reverend Michael Hanley Dan Harmon & Jennifer Rabiah Marilyn Heiling Donald Helfgott Susan & Richard Helzer Karen Henell & Gregg McCarty Kenneth L. Holford Eva Hosseinion

STAGED! CONSERVATORY

Serious training for young actors. stagedpdx.org 971.803.7713 Auditions/Interview required

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INDIVIDUAL DONORS Vince & Michele Howell Pamela K. Johnston Mr. & Mrs. Bob Joseph Mary Klein & Francis T. Schneider Mary Kuch Gary S. Leavitt Nancy Lee Nolan Lienhart & Grace Moen Mark Lindau Catherine & Kristofer Lofgren Jonathan & Vida Lohnes Alejandra Lugard & Ismir Heric Gerri & Yorick Lutes Kirk Maag Marisa Mack Dañel Malán Tom & Lori Malone John F. Mathews Doug & Malinda Moore Dan & Jackie Moore Carol N. Morgan Susan Morgan Storry Norman & Jack Hollis David & Theresa Nute Susan Olson & Bill Nelson Milo & Beverly Ormseth MajGen Christopher & Rita Owens Barbara & Art Palmer David & Kelly Park Melissa & Steven Peterman Dan & Sue Ann Peters Mike & Rebekah Pettinger Janet Plummer & Don Rushmer Adolfo Portillo & John Hoskins Jaycee Pribulsky Dan Ryan Lynette Sahnow Eric Schindler & Jenna Fallon-Schindler John & June Schumann Diana & Hal Scoggins Derick & Elizabeth Scovel Debbie & Greg Sherwood Robyn & Kemp Shuey John D. & Pamela Smith Rosemary G. Southwood Bob Speltz & Dwight Adkins Albert & Victoria Starr Sue Stegmiller H. Richard & Pamalynn Steinfeld Jim & Meredith Thompson Misty & Derek Tompoles Minh Tran & Gary Nelson Judith & Gordon Umaki Peter Vennewitz Hans & Naomi Wandel Patrick Weishampel Weiss Fund of The Oregon Community Foundation Angela & Eric Williams 30

OBT.ORG

Janet Williamson Bruce & Susan Winthrop April Wirtz & Evan Wang Collette Yamaguchi & Tom Napier Cynthia A. Yee John & Nancy Zernel Joy Zhou & Randy Choi

COMPANY ARTIST DANCER’S CIRCLE ($250–$499)

Anonymous Sheryl Acheson Abigail Alford Keiko Amakawa & Dr. Harvey Fishman Molly Anderson Paula Arsenault Laura Barber Paul & Pat Benninghoff John Bosshardt & Diana Petty Mark Buser Connie Butler Casey & Lindsey Callinsky Mary Carr Stephanie Celenza & Jeffrey Kinberg Drs. Theresa & Timothy Chen Richard Clucas & Beth Blenz-Clucas Jeremy Cochran Stan Cocke & Heather Kmetz Kent Copeland Terri Cross Susan Cyganiak, In Honor of Selena Steinmetz John & Rocio Deatherage Jody DeChaine Yvonne Deckard Jeff & Barbara Dickerson Abigail Diedrich Family Mrs. Jing DiPiero Lora Dow Peter W. Edgerton Edward & Marilyn Epstein Charitable Fund Julie Falk & Zachary Kramer Joshua Ferrer Philip Fidler & Jane Cummins Tim Finch & Nariyo Kono Rebecca Fleischman Doreen Flores Bill Foster Mr. & Mrs. Patrick Franc Jennifer Froistad Kimberly & Andrew Fromm Morris J. Galen Melissa & Robert Good Helen A. Goodwin Marvin & Barbara Gordon-Lickey Dennis Gould & Quinton Hallett

Rebecca Granquist Julie A. Greenberg & Robert J. Irving, Jr. Gail & Irv Handelman Jay Harter & Ken Salaman Antoinette Hatfield Jeanette Heinz Thomas & Verna Hendrickson Celeste Henninger-Lindaman Laurel Anne Hill, In Honor of the Dancing Doctors Beverly Hoeffer James Holstad Pam & Bob Howard Kathryn Hummel Carolyn Hyde Angela Irvine Darlyn Jablonski Jonathan & Suzanne Jensen Keith & Jane Johnson Shirley Johnson Becky & Jarrett Jones Molly Jones Kathy Jorda Nancy Kathrens Sanjiv & Cindy Kaul Christina Kellogg & John Gratchner Ryoka Kim 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 Kate Machell Linda J. Magness Linda L. Mann Earlean Marsh Antonio M. & Demaris M. Martinez Pamela Matheson Oscar & Mary Mayer Kathi McCoy Cheryl McDowell Rico & Malcolm McIver Margaret & Robert McMillan Carolyn McMurchie Josie Mendoza & Hugh Mackworth Susan Sammons Meyer & Dennis Meyer Monica & Dale Monroe Denise Mullen Greg & Colleen Needham Rob Nelson

David Nijhawan Keith & Cindi Nobriga Peter & Cassie Northrup Matt & Lauren Odman Gareth Olds Sean O’Neill & Elizabeth Le Lynn Partin & Bill Holmes 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 Lindsay Reynolds Celeste Rose Rabbi & Lorraine Rose Miriam & Charles Rosenthal Mary Rotberg Claire H. Russell Sam Sadler Daniel & Kathleen Saucy Tad Savinar Virginia Sewell Ron Seymour & Mary Austin-Seymour Jeremy Shibley & Romalia Stickney-Shibley Juss Singh Gary & Lydia Slangan Sarah Smith & Raul Gomez-Rojas Dean Speer & Francis Timlin Joan B. Strand, In Memory of Buzzy Sammons Karen Sweet Cindy Thompson & Brett Bender George & Nancy Thorn Kay Toran Angelo Turner Drs. R. Bastian & Barbara Wagner Bruce Weber Shawn & Dave West Andrew White Ann C. Whitehouse Chris & Maria Wilkey Laurie Williams Jenny & Christina Wilson Mary Ann Wish Linda M. Wood Jack Wussow & Kyle Adams Tamara & Chris Yunker Kurt R. & Heather Zimmer

APPRENTICE DANCER’S CIRCLE ($100–$249)

Anonymous Kathleen Allee Bill & Ginny Allen

Kirby & Amy Allen Pilar Alvarez-Mena Rhonda Anderson, In Memory of Janice Kelley Mary A. Andrews Sandra Armstrong Dr. James W. & Mary Ann Asaph Sharla Attey Bryan Averill April Avery Gennaro & Marilyn Manser Avolio Diane Babcock Ruth B. Bach John Bagg Robert Ball Shauna & Scott Ballo Stephen Bardwell Thomas A. & Mary Bartlett Kathleen Bayer Nancy Beck, In Memory of Judy Parsons Nola Becket Kurt Bedell Janice Belknap Barry & Jacqueline Bennett Naomi & Phillip Beymer Brian Bills & Desiree Schlotthauer Jonathan Bryce Black Richard Botney Candace Bouchard & Adam Lounsbury Laura Bowman Ronald Boyce Michael Boyles Joyce Brehm Blaine Brennan Rand & Michelle Bresee Karin Brocksbank Bonnie Brod Hadley Brooks Kelly & Tommy Brooks Jen & Greg Brown Lillian Brown Linda Brown Rick Browning Marianne Buchwalter Dana Burdick Kerri Burke Ann & Hugh Bynum Nora & Aaron Cain Maurine & Paul Canarsky Themios & Liz Carabas Tim & Susan Carey Kirsten & Mark Carnese Zachary Carroll & Anne Huffington-Carroll Gus & Karen Castaneda CCD/ECB Friends of Doug Parsons, In Memory of Judy Parsons Alison Chambers

INDIVIDUAL DONORS Bob Chamness Sandy Chamness Kenny Chinn Gina Chiotti-Hovey Eugenia Chopyk Karlyn & Graham Clark Aria & Cody Clements Kristine Cloyes Ilaine Cohen Amber Cole & David Hall Sarah Conde Deniz & Austin Conger Harriet Cormack Nathan Corser & Kristen Minor Linda Crimshaw Megan Crowhurst Tracy Curtis Calli Daly Eloise Damrosch & Gary Hartnett Arthur & Winnifred Danner Judy Dauble Diane David Wendy & Howard David Dr. & Mrs. Joseph Davids Laurell Davidson Brian & Nancy Davies James Dehning Shawn Dempewolf & Tom Hamann Niel DePonte Frances Derook & Keith Comess Chuck & Patt DeRousie Dagmar Dettinger & Alan Artman Adam & Emily Dew Jerry Dickason Bonny Dickinson Lonnie Dicus & Therese McCarthy-Dicus Susan Dixon Anne E. Draper Jeanette Dreyer Kim Duncan Susan & George Durrie Ruth Edsall Andrew Edwards John Elorriaga Annette Erickson Douglas Ertner Charity Fain & Matt Goddard Etuk Family Abraham & Pamela Farkas Rochelle Farkas Dave & Robin Fee Alice Fernandez Marjorie Ferry Tonya Flaming Katie & Brian Flanagan George Fleerlage Kim Foren Charles & Zoe Foster Genevieve & Bryce Foster Kelly Freuler Theresa Fritchle

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INDIVIDUAL DONORS Sara Gabin Francisco Garcia Peggy Garcia Julianne Garza Ray & Joyce Gee Phil & Carole Gilbertson Arthur & Judith Ginsburg Rolf Glerum Gary & Susan Goncher Julie & Dave Gordon Lora & Keith Gordon Barbara Gottschalk J. & Lisa Grab Greater Portland Dachshund Club, In Memory of Hans Grunbaum Brenda Grootendorst Andrea Groussman Jeanne-Marie Guise & Alex Herzberg Tasca & Paul Gulick Anna & Jeff Haagenson Candace Haines Deanna Haley James Hamilton Bert & Amy Hanifan Andy Harris & Ash Evans Michael Harris Ashley Hayden

Lisa, Jon & Amalia Held Bryce Helgerson & John Lowe Gina Henderson Shirley Hess Rebecca Hicks & Greg Kuelgen Christian Hill & Laura Korman John & Dena Hockett Jennifer & Robert Hoffman Leslie Holder Carol & Tom Hull Michelle Hulquist Mimi Hunter Indira Husic Jonah Hymes Julie Hymes Ida Imus Martha Ireland Angela & Shane Jackson Elizabeth A. Javens David & Peggy Jeans Joanne Jene, MD Linda & Richard Jenkins David C. Jensen Jack B. & Kathy A. Jensen Nils & Kathy Jensen Cerise Joe Brian C. Johnson Damien & Katie Jo Johnson

Dennis C. Johnson Fletcher & Ellin Johnson Linda & Paul Johnson Katelin Johnstun Jones Easton Family Rebecca Jury Marcia Kahn Megan Kavanaugh Marla Kazell Cristina Keefer Arthur & Kristine Keil Doris & Eric Kimmel Jean A. Kimsey Belinda & Frederick Kinyon Erin Kirby Maria & Eric Kluherz Meredith Koivisto Blerina Kotori Grayson Kramer Sophia Kremidas Jean S. Krosner David & Mary Krug Sean & Naoko Krug Leonard Kuhl Carol La Brie Sharon LaCroix Veronique LaFont Sloane Lamb

Nancy Lange Nancy LaPaglia & Stephen Slusarski Laura Larsen & Skyler Bloxham Polly Lauser A.M. LaVey Donald Lawton Romani Lay & Neville Wellman Matt Levin Barton T. Lewis Greg & Kim Lind Carole E. Lindell-Ross Alice Lloyd Fred Locke Bill & Kate Lockwood Alex Logue Hugo Carey Long Henry Louderbough Melissa Love Ruth & Kenneth Love Marcy & Richard Lowy Diane & Tom Macdonald Christine L. Mackert, MD The Mansell Family Lara Mar Bel-Ami & Mark Margoles, In Honor of Hanan & Kayla Phillip Margolin Eileen Markson

Susan Marmaduke Steven Master Amy Matson Justin Maupin Amy Maxwell Dennis & Molly McCarty Margaret McConnell & Robert Griner Dr. Louis & Judy McCraw Linda L. McCullough McKenzie McDill Dorothy A. McGregor Kathy McGrew Layla McLean John & Candace McMunn Katelyn Meithof Elizabeth J. Melching Courtney Mersereau Chena Mesling & Jonathan Rhodes Elise Meyers Janelle Meyers & Mark Brundage Rob & Sally Miller David & Tony Stauffer Mix Barbara Modey Sean & Corinne Monogue Cynthia Capps Morgan Patricia Moss Martin Muller

Judie Dunken REAL ESTATE

From MoliĂ¨re, Racine, Hugo, Feydeau, Artaud, and Sartre to Reza and Zeller, works by French playwrights have astounded, amused, and touched audiences with their inspired language for centuries. Rehearse some new lines in French for yourself at the Alliance FranĂ§aise. Mention pourquoi pas for a little gift.

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OBT.ORG

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INDIVIDUAL DONORS P & I Munro Sarah & Richard Munro Brittany & Corey Murry Shakir Najieb Beth & Charlie Nance Todd & Crystal Neal Karen & Bob Nelles Rose Neyman Alexander Nimri Hollie & Scott Nine Patrick & Liz O’Callaghan Karen O’Kasey Stu Oken & Laura Wozniak Robert Olds Kris Oliveira Liz & Tracy Olsen Barry Olson & Barbara Telfold Madeline Olson Molly O’Neill, Vicki Threlfall & Tess O’Neill Paula Ousley Zac Padgett Rev. Dr. Rodney & Sandi Page Joan Paglin Elliot Palmer Tracey Palmer Veronica Paracchini Lanetta Paul Mark & Dorianne Paul Beth Paxson Alec Pemberton Thomas & Jane Pence Denise & Adam Pener Anne Penfound, In Honor of Alison Maybank Karen Perzanowski Gunnar & Kristin Peterson Marilyn & Gaynor Petrequin Sara Pickett Lucille H. Pierce Charles & Ruth Poindexter J. Scott Pritchard Karen Prohaska Brian & Carver Pugh, In Memory of Judy Parsons Zach Putnam William Ramirez & Roberta Staff Dick & Mary Raub, In Honor of Marianne Raub Julie Rawson Denise Reed Kristtine Reedy, In Honor of Abigail Reedy Sandra Reese & Alister Bazaz W.W. “Clyde” Reid Judy Renzema Megan Reuther Sara & Charles Rice Martha & David Richards Edward & Katherine Richman

Nancy Richmond & Bill Hughes Betsy & Norm Rickles Erica Rife Mrs. R.D. Riggs Judith Rimbey David Ritchie & LaJean Humphries Dr. & Mrs. Hector M. Rodriguez Charese Rohny Alison Roper Rosemarie F. Rosenfeld Catherine Rote Michael S. Parker Sagun & Dennis J. Sagun Parker Karen Salman & Gary McCune Dima Sammour Patricia Sanchez Kevin & Gabrielle Sasse David & Julie Sauer Charles Sax Rick & Sharon Schaefer Brand Schlesinger & Victoria Geil Mark & Patti Schlesinger Colby & Christine Schlicker Daniel Schmidt Robert E. Schneider, PhD Clifford Schrock Bill Scott & Kate Thompson Kennon Scott Marlise & Robert Scotti Kim Scott-Olson Cynthia Shafer Barbara & Jack Shannon Victoria & Colin Shepard Carol Sherbenou Freda Sherburne Karen Sherman Mary Shibley & Dale Voeller Donna & Sascha Siekmann Heather Simmonds Bridget & Jeff Sippel Gerald Skeels Katie Slick Margaret Smith & Jeff Littman David, Emily and Jonah Sokoloff Patricia A. Southard John Spencer Tina Spencer Donald C. Springer Tom Stansbury & Suzee Parson Denise Stewart Sam & Patty Stiles Les & Elizabeth Stoessl Jean K. Stoll Julie Sullivan Kelsey & Will Sullivan Tim & Donna Sullivan Gary Taliaferro Susan & Bahram Tavakolian Sabrina Teays Jeri Tess

Vicki Thomas Jan Elizabeth Thorpe Judy Threefoot & Bill Schumann David Tillett Marc Tobin Allen Tomlinson Kelsey & William Tucker Lyle M. Tucker Nancy A. Ullrich Cindy L. Ulrich Mimi Underwood Joshua Urrutia Angela M. Vaandering Alberto Vaca Martinez Amy Van Hook Rob & Rachael Vidin Jose Vithayathil Jon Vorderstrasse Les Vuylsteke Patricia & James Walker Barbara Walsh Christine Warden Edward Washington Douglas Watson Lisa Watson Maureen & Frederick G. Wearn Duane & Cynthia Weaver 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 Mark & Sophie Williams Julie Wilson Jacob Winkler Lisa Wish George Wittemyer Constance Wood Randy & Rebecca Woods Gail Woolf Fran & Mike Woolsey Sarah Wright Judith B. Wunderlich Doreen Wynja Gary P. Yencich Casper & Sarah Yu Sarah Zahn Evyn C. Zell Janet & Alan Zell Irene Zenev Jichuan Zhao Jean Zondervan & Terry Proctor

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COMMUNITY CORPS DE BALLET 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, the Arts Education & Access Fund, and more than 1,000 donors to RACC’s Arts Impact Fund

GIFTS OF $50,000–$99,999 Barran Liebman LLP* Meyer Memorial Trust Roy & Diane Marvin Fund of The Oregon Community Foundation The Shubert Foundation West Portland Physical Therapy Clinic*

GIFTS OF $25,000–$49,999 Clark 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. Russell Development/200 Market Street* Scan Design Foundation by Inger & Jens Bruun The Swigert Warren Foundation

GIFTS OF $10,000–$24,999 Accenture Argyros Foundation 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 Morel Ink National Endowment for the Arts Opsis Architecture LLP PGE Foundation Rose E. Tucker Charitable Trust Schlesinger Family Foundation

OBT.ORG

Starseed Foundation U.S. Bank Foundation Willard L. & Ruth P. Eccles Foundation

GIFTS OF $5,000–$9,999 Agger Chiropractic & Nutrition Clinic* Auditorium Garage* The Batrakova Law Office* Crystal Lilies* First Republic Bank Freed of London Goldman Sachs & Co. Juan Young Trust Jonathan Lohnes, LMT* Northwest Natural Gas PosterGarden* Robert D. & Marcia H. Randall Charitable Trust The Standard Stoel Rives LLP Wells Fargo Foundation

GIFTS OF $2,000–$4,999 Alaska Airlines* American Medical Concept Dr. Seth Alley* Bridgetown Chiropractic & Wellness Portland Clinic* Buckley Law P.C. Charles Fine Arts Portraits* City Wide of Portland Cushman & Wakefield Abby Drinkard, LAc* Elephants Delicatessen* GamePlan Gentle Care Chiropractic* Catherine M. Gurski, ND, MSOM, LAc* The Hotel Zags Portland* Ivey Jacobson & Company CPAs John & Ginger Niemeyer Foundation Killian Pacific Leupold & Stevens Foundation LM Wine Co.* Mark Spencer Hotel* Markowitz Herbold Nel Centro* Oregon Chorale* Peddecord Photo* Portland Art Museum* Portland’5 Centers for the Arts Pro Photo Supply* Robert F. Ratzow, DC* Residence Inn Portland Downtown/Riverplace* Smith Teamaker Solaris Bodyworks, Inc.*

ThomCorp Town Car* Twelve Wine* Unitus Community Credit Union Utopia Vineyard* Wells Fargo Bank Winkler Development Corporation Wintz Family Foundation

GIFTS OF $1,000–$1,999 Emily Bartha, LAc* Boundless Health & Wellness* Broder Söder* Coopers Hall* Dream Hollywood Hotel* The Fremarch Foundation Garden Vineyards* 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* Therapeutic Associates North Portland Physical Therapy* Meredith Thompson, MS, PT* Vista Capital Partners Yvonne Vleer, Kinesiologist, LMT*

GIFTS UNDER $1,000 AEG Presents* Artists Repertory Theatre* Ashland Springs Hotel* The Aspire Project Barrier Pest Control Bedford Brown* Blue Ox Athletics* Breakside Brewery* Chamber Music Northwest* Nadia Chopra, Physical Therapist* Clipper Magazine* Craig’s* Elmer’s Restaurants First Interstate BancSystem Foundation First Interstate Bank Hollywood Theatre* Inland Electric, Inc. Intel Charitable Match Trust Luna Vineyards* Maryhill Winery* Monique’s Boutique Nicolas-Jay*

Recognizing gifts received as of May 1, 2019

AmazonSmile Foundation Autodesk Foundation Employee Engagement Fund The Boeing Company Cambia Health Foundation Chevron Matching Employee Funds Give With Liberty Google, Inc. Harsch Investment Properties Intel Kroger Rewards NIKE, Inc. Northwest Natural Gas Pacific Power Foundation Pfizer Foundation PGE Company The Standard U.S. Bank Verizon Foundation

PREMIERES JUN 13 – 15 / 2019

MATCHING GIFT CORPORATIONS

– THE NEW YORKER

SUMMER

NW Film Center* OHSU March Wellness & Fitness Center* OMSI* The Oregon Historical Society* Oregon Shakespeare Festival* Oregon State University Athletics* Oregon Symphony* PDX Jazz* Pok Pok Restaurants* Portland Baroque Orchestra* Portland Center Stage* Portland Japanese Garden* Portland Opera* Portland Wholesale Florist* Redhawk Vineyard & Winery* Richard Wasserman Photography* Rose City Ballet School San Francisco Ballet* Skamania Lodge* Slope & Stone Engineering Studio Blue* Stumptown Stages* Timberline Lodge* Torii Mor* Torso Vintages* University of Oregon Athletic Department* Vanport Jazz Festival* Watson Creative White Bird* Yamhill Valley Vineyards* Anna Yarzak, PT, DPT*

“A COMPANY OF SLICK, SKILLED DANCERS”

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* Indicates in-kind contribution to OBT

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IN-KIND SUPPORT ®

ALLEGRO SOCIETY WEST PORTLAND PHYSICAL THERAPY Katherine B. McCoy, PT, MTC M. Lena Thieme, PT, MPT Elizabeth Franklin, PT, LMT Jennifer Field, PT, DPT Patricia Koehler, PT, WCS Christine Krueger, PT Laura Luitje, PT, DPT, LMT Christopher J. Pullen, PT, DPT Abigail Richards, PT, DPT Amanda Swearingen, PT, DPT, PRPC Morgan Boyd, PTA Ann Marie Cordova, PTA Lorelei Martin, PTA Shalynn Robinette, PTA, CES Blake Tucker-Jones, PTA Bonnie Vaniea, PTA

AGGER CHIROPRACTIC & NUTRITION CLINIC Simon J. Agger, DC

ANNA YARZAK, PT, DPT BLUE OX ATHLETICS

Clinics & healthcare professionals who preserve the health & well-being of Oregon Ballet Theatre’s dancers

BRIDGETOWN CHIROPRACTIC & WELLNESS Jacob May, DC Melody Johnson, LMT

CATHERINE M. GURSKI, ND, MSOM, LAc

OHSU CHH SCOLIOSIS CLINIC

Kim Osterberger, PT, DPT, BSPTS

OHSU MARCH WELLNESS & FITNESS CENTER POHALA CLINIC

DAVID HILL, MD

Julie E. Foster, FNP

GENTLE CARE CHIROPRACTIC

ROBERT F. RATZOW, DC

Amanda Tipton, DC

SOLARIS BODYWORKS, INC.

JONATHAN LOHNES, LMT

Neissan Saber, LMT

KATHARINE ZELLER, MD

SYLVAN CHIROPRACTIC CLINIC & WELLNESS CENTER

MEND PHYSICAL THERAPY

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MEREDITH THOMPSON, MS, PT NEW HEIGHTS PHYSICAL THERAPY PLUS Liz Ruegg, PT, DPT Amy Werner, PT, DPT

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Marilyn & Hans Grunbaum Charles L. Jones Belinda & Frederick Kinyon Diane Knudsen Perry Lee Dr. Dolores Leon & Dr. Fernando Leon Derek & Lydia Lipman Martha J. Logan Marna McComb Kirsten & Richard Meneghello Brad & Nancy Miller Sharon & Adam Mirarchi

In recognition of those who have included OBT in their estate plan Carol N. Morgan Virginia Nelson Suzann & Dennis Ott Rev. Dr. Rodney & Sandi Page Jane S. Partridge Dick & Mary Raub Marilyn L. Rudin, MD & Richard S. Testut, Jr. Anne Stevenson Carol Streeter & Harold Goldstein David Wardell, In Memoriam David E. Wedge, In Memoriam

Be part of the city you love. Live where Portland can love you right back. At Terwilliger Plaza, choices are thoughtfully yours.

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1960

Joel Weinstein sells breads at the Portland Saturday Market, March 26, 1974. Oregon Journal Prints Collection, Org. Lot 1027, bb017466.

2019

Courtesy of Portland Saturday Market.

open-air marketplace for local artisans, was founded in 1974 by Sheri Teasdale and Andrea Scharf. Inspired by the Saturday Market in Eugene, they organized craftspeople to form a nonprofit collective with all members sharing management responsibility and keeping their own profits. With a $1,000 startup grant from Metropolitan Arts Council and an empty parking lot offered by civic leader Bill Naito, the PSM opened for business. The Market outgrew its original location by 1976 and relocated underneath the west side of the Burnside Bridge. Urban development necessitated another move in 2009 to the current, custom-built location in Waterfront Park. Today, the iconic Market showcases the work of over 350 artisans who sell their creations from 252 booths. This jewel of local arts and culture is held every Saturday and Sunday from March through Christmas Eve and welcomes up to 750,000 people per season. .

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 Portlandâ&#x20AC;&#x2122;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 at the Portland Saturday Market? Post it! Donâ&#x20AC;&#x2122;t forget to tag #Artslandia and #ThenAndNow.

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Vehicle shown: 2019 Jaguar I-PACE HSE. European license plate shown. **Always follow local speed limits. ‡All figures are EPA estimates. Your mileage may vary. §Using a 50 kW DC rapid charger. Actual charge times may vary according to environmental conditions and available charging installation. *Class refers to luxury auto brands. For complete details regarding Jaguar EliteCare, please see your Passport to Service handbook, visit JAGUARUSA.COM, call 1.800.4.JAGUAR / 1.800.452.4827 or visit your local Jaguar Retailer. © 2018 Jaguar Land Rover North America, LLC