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

PRESENTS

GEORGE BAL ANCHINE’S

THE NUTCRACKER

DECEMBER 7 – 26, 2019 KELLER AUDITORIUM Ansa Capizzi | Photo by Christopher Peddecord

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LETTER FROM THE ARTISTIC DIRECTOR

OBT HONORS

LETTER FROM THE CHAIRMAN OF THE BOARD OF TRUSTEES

KEEPING THE NUTCRACKER EVERGREEN

GEORGE BALANCHINE’S THE NUTCRACKER®

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LETTER FROM THE ARTISTIC DIRECTOR

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

THANK YOU! Photo by Michael Slobodian.

EVEN WITH ALL THE FESTIVITIES SURROUNDING OBT’S 30TH ANNIVERSARY SEASON, our annual performances of George Balanchine’s masterful take on The Nutcracker loom large as an important milestone in the year — for all of our artists, craftswomen and men, musicians, and of course, for all of the children and families that have been preparing since the end of summer for the show you are about to see. We couldn’t be more proud to bring you and your family an experience that is bound to create the memories of a lifetime! One of our favorite parts of this annual tradition is the Share The Wonder program, which extends OBT performance tickets to nonprofit youth and family organizations throughout the region, bringing the joy of this delightful program to thousands who might otherwise not have the means to be here. We partner each year with local organizations because we are committed to sharing the unique experience of world-class ballet. Especially during the holiday season, it seems particularly meaningful to show generosity toward others, which is what Share The Wonder is all about. If you would like to help us share with more underserved members of the community, please visit OBT.org and click “Contribute.”

SEASON SUPPORT PROVIDED IN PART BY

including support from the City of Portland, Multnomah County, the Arts Education & Access Fund.

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

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And so, after all the preparations and excitement, from our family to yours, thank you for making OBT part of your holiday tradition! We hope this performance of George Balanchine’s The Nutcracker ® is all you expect it to be and more. Please be sure to make plans to come see our next not-to-be-missed production — The Sleeping Beauty, February 15–23! Enjoy!

SUPPORTING SPONSORS

Kevin Irving The Crumpacker Family Artistic Director, Oregon Ballet Theatre ARTSLANDIA.COM

OBT HONORS Throughout our 30th Anniversary Season, OBT Honors gives thanks and praise to outstanding individuals who have enriched the lives of us all through their support, dedication, and passion for ballet and dance in our community.

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On the occasion of our 17th annual performance of George Balanchine’s The Nutcracker®, Oregon Ballet Theatre recognizes Kent Stowell and Francia Russell for their lifetime of support of ballet in the Northwest, and OBT, in particular, over many years. OBT’s connection to Balanchine and his artistic heirs — including Christopher Stowell, OBT’s second Artistic Director — was deepened through our work with these two giants of ballet. It is no exaggeration to say that their generosity benefitted our entire city. George Balanchine’s The Nutcracker® is dedicated to both of these leaders as a way to recognize what they have given to OBT and to Portland.

KENT STOWELL Kent Stowell was Artistic Director and principal choreographer of Pacific Northwest Ballet from 1977 until his retirement in June 2005. He previously trained with Willam Christensen at the University of Utah and danced with San Francisco Ballet, New York City Ballet, and the Bayerische Staatsoper Ballett in Munich, and was co-artistic director and choreographer for the Frankfurt Ballet. Stowell choreographed 36 ballets for Pacific Northwest Ballet including the Stowell/Sendak Nutcracker, Cinderella, The Tragedy of Romeo & Juliet, Silver Lining, and Hail to the Conquering Hero.

FRANCIA RUSSELL

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Francia Russell was Artistic Director of Pacific Northwest Ballet and Director of Pacific Northwest Ballet School from 1977 until her retirement in June 2005. She is responsible for the addition to the Company’s repertory of many works of George Balanchine, one of her teachers. In addition to teaching, rehearsing, and promoting the potential of Company dancers, Russell oversaw the development of an extensive community education program and founded the DanceChance program. She danced with New York City Ballet and Jerome Robbins’ Ballets in the United States, taught at the School of American Ballet, and was co-artistic director for the Frankfurt Ballet. In 1964, Balanchine appointed her ballet mistress of New York City Ballet, and she was one of the first ballet masters chosen by Balanchine to stage his works. To date, she has staged 246 productions of Balanchine ballets worldwide.

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LETTER FROM THE CHAIRMAN OF THE BOARD OF TRUSTEES DEAR OBT FRIENDS, On behalf of Oregon Ballet Theatre’s dancers, staff, and board of trustees, welcome to one of Por tland’s favorite holiday traditions — George Balanchine’s The Nutcracker ®. For those of you sharing this iconic arts experience for the first time, you are about to be part of something truly magical. We hope you will embrace it as one of your own holiday traditions for years to come. If The Nutcracker is already a favorite tradition for you and your family, you will take delight as your own wonderful memories of dancing sugar plums and waltzing flowers serve to enhance this season’s beautiful production. OBT is more than The Nutcracker. Each year, we share with our audiences works from some of the greatest choreographers of the past and present, bringing dancers from across the country and around the world to live, perform, and create fine works in Portland. In addition, we are developing the next generation of dance artists — performers who will share their talent and creativity with the rest of the world for future generations. We also reach out into our community

through the schools to inspire the imaginations of youth from all backgrounds. Your support year-round helps to make all of this possible. Later this season, OBT will present a work by one of America’s most iconic choreographers — Agnes DeMille. DeMille noted: “The truest expression of a people is in its dance and in its music. Bodies never lie.” We at OBT believe this with all of our hearts and are pleased that you are sharing the spirit of such wonderful human expression with us today. We hope you enjoy your experience, and that you tell your friends and neighbors about OBT. Please join us again for our remaining programs this season: The Sleeping Beauty in February, Beautiful Decay in April, and The Americans 2.0 in June. May this holiday season be wonderful for you and all your loved ones. Sincerely,

Jimmy Crumpacker Chairman, Oregon Ballet Theatre Board of Trustees

Celebrating Oregon Ballet Theatre’s production of The Sleeping Beauty | February 15 – 23, Celebrating Oregon Ballet Theatre’s production of 2019 THE SLEEPING BEAUTY | February 2020

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FEATURE

KEEPING THE NUTCRACKER EVERGREEN THOUGHTS FROM THE BALLET’S VETERANS BY GAVIN LARSEN

OBT dancers as “Snow” in OBT’s 2018 production of George Balanchine’s The Nutcracker®. Emily Parker leaps in the center. Photo by Yi Yin.

AS WE CELEBRATE our 17th year performing George Balanchine’s The Nutcracker ®, we convene to celebrate tradition, athleticism, and beauty surrounding the magic of the holiday season. It is a universally recognized fact: The Nutcracker is “the” Christmas ballet, returning to theaters every winter as reliably as the season itself. And like so many beloved holiday rituals, for loyal fans, The Nutcracker never grows tired. The ballet’s magic un-

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folds anew, like a cherished ornament or decoration, carefully unpacked after months in storage. Perhaps part of the enduring allure of The Nutcracker is its rarity — only one annual viewing keeps it seeming evergreen. But behind the scenes — in the studio, the orchestra pit, the dressing rooms — are some hard-core Nutcracker veterans with seriously impressive track records. Over the course of weeks every fall and winter, their jobs are to make every show look and feel as fresh as the first.

I LOVE WHAT CAN HAPPEN WHEN DANCERS FEEL A KIND OF GROWTH BECAUSE OF THE ANNUAL RETURN OF NUTCRACKER. I EXPERIENCED THAT MYSELF, AND I REALLY ENJOY HELPING OTHERS REACH THEIR POTENTIAL, TOO. — JEFFREY STANTON

all my rests and play from the dynamic and articulated markings,” she said. “That helps keep me focused.”

NIEL DEPONTE, CONDUCTOR DePonte has conducted the music to The Nutcracker more than 500 times, over a span of 30-plus years. “I do not even have the score on my music stand,” he said. “We — the orchestra and I — know it so well that we only have one rehearsal before opening night.” On A Mission: “Tchaikovsky is one of the great composers of all time. The Nutcracker music is beautiful, fanciful, and altogether satisfying to perform and to hear. I remind my musicians every year that we must commit not only to playing perfectly but to convey the special magic of live performance for each and every show, making sure that a child in the audience never forgets how beautiful and powerful their first performance was.” A Hard Job Made Harder: “One year, the stage crew thought it would be funny to drop snow on me during the final scene of Act 1. The Waltz of the Snowflakes is very difficult music to perform, and the musicians were laughing so hard they could barely play. The dancers were in danger of having no music to dance to for about ten seconds. Only one person was not laughing. Let’s leave it at that, shall we?”

Feelings about The Nutcracker: “I look forward to it! It’s fun to be with the orchestra again, and since I know my part so well, it’s a kind of break from the other performing I do.” Favorite part? “Fight scene — is that between the mice and soldiers? Even though I can’t see what’s on stage, I have a pretty good image in my mind of what’s going on. This scene starts with the oboe leading the charge and is the most exciting thing I play. I try to embrace that and give it my all.” Lifetime Journey: “In the front of my music book, which I’ve been using for all the years I’ve played this orchestral part, I keep a tally of all the shows I’ve played that year, along with events that happened in my life — a car accident I had and the births of my children. Opening my music every year brings a sense of nostalgia as I read through all those moments.”

KELLY GRONLI, PRINCIPAL OBOIST After 18 seasons, “I could play the music from memory, but I still try to count

JEFFREY STANTON, OBT BALLET MASTER Stanton’s responsibilities include teaching and coaching many of the principal and soloist roles, overseeing technical and dress rehearsals, and watching performances to make sure the ballet stays tight throughout the run. “Between performances and rehearsals, I’d guess I see The Nutcracker about 40 times a year,” he said. “Yikes!” Relief In Familiarity: “I don’t put much thought into the repetitiveness of coaching The Nutcracker. It’s an accepted part of my job. I love what can happen when dancers feel a kind of growth because of the annual return of Nutcracker. I experienced that myself, and I really enjoy helping others reach their potential, too.”

EMILY PARKER, DANCER Parker’s epic Nutcracker workload? She alternates through 11 (yes, 11!) different roles and is on stage every single performance. “It’s a marathon. What I dread is knowing just how tired I’ll be by the end of it. But what’s fun is when you do parts over and over again, you see and feel improvements in yourself. You can try new things with slightly less pressure, knowing you have multiple performances.”

Audiences, Watch Closely: “We do things to keep it fun for ourselves. In Snow and Flowers, we’ll have a theme for different shows, like a Beyoncé theme or a contest to see who can swoosh their skirt the most.”

Dancing In His Seat: “Teaching new roles to new dancers really does keep things exciting. For example, coaching a new Sugar Plum and Cavalier on the Grand Pas de Deux. I work with them from square one, helping them with the steps and partnering, and I know where their challenges are. Watching a new couple perform can be exhausting! I feel their nerves and want them to do well. I’m using my muscles in my seat in hopes it’ll somehow transfer strength and help them achieve a challenging lift or turn. I have to keep breathing, too!” 1. Niel DePonte works his magic while conducting a performance of George Balanchine’s The Nutcracker®. He has led music to this show more than 500 times. Photo by James McGrew. 2. Kelly Gronli takes a moment to snap a photo from the orchestra pit before performing George Balanchine’s The Nutcracker®. Photo Courtesy of Kelly Gronli.

3. Emily Parker as Coffee in OBT’s 2017 production of George Balanchine’s The Nutcracker®. Photo by James McGrew. 4. Jeffrey Stanton performs in the “Spanish Chocolate” section of Lew Christensen’s Nutcracker at San Francisco Ballet 30 years ago. Photo by Marty Sohl.

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PRESENTS

GEORGE BALANCHINE’S

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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ARTISTIC STAFF KEVIN IRVING

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THE CRUMPACKER FAMILY ARTISTIC DIRECTOR 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.

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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.

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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.

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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 10 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

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 has performed principal roles in various Balanchine works such as Apollo, Theme and Variations, Who Cares, and Agon. He also performed principal roles in classics such as The Sleeping Beauty, Swan Lake, Merry Widow, and Romeo and Juliet. Choreographers such as Nicolo Fonte, Christopher Stowell, Kent Stowell, Val Caniparoli, and Susan Stroman have created roles for him. 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 1999, he was featured in the BBC filming of Pacific Northwest Ballet’s performance of George Balanchine’s A Midsummer Night’s Dream, at the Sadler Wells Theater in London. Photo by Joni Kabana.

ARTISTIC STAFF NIEL DEPONTE

MUSIC DIRECTOR & CONDUCTOR Niel DePonte has been the music director for OBT and its predecessor, Pacific Ballet Theatre, since 1985. He has guest-conducted for Boston Ballet, The Mussorgsky Ballet Theatre (Maly Ballet), and Nureyev Ballet Festival. DePonte has 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, a program of his nonprofit MetroArts Inc. 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 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.

gram 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.

NICOLO FONTE

RESIDENT CHOREOGRAPHER Choreographer Nicolo Fonte has created over 50 new works for dance companies spanning the globe, garnering praise and generating excitement for his daring and theatrical approach to dance. The Australian Ballet, Pennsylvania Ballet, and The Dutch National Ballet, among many others, all have works of his in their repertoire. Whether made to Ravel’s brash Bolero or the quiet intricacy of a Bach violin piece, Fonte ballets have common ground: “The choreography is inventive, creating expressive original shapes built on an undercurrent of implicit human relationships” (Foyer, Dance Europe). “What impresses the most is that his choreography is obviously the result of a personal reflexion — distinctly and unmistakably Fonte, proof of a rare quality” (Michel Odin, Danse).

OLIVIA PYNE

HEAD CHILDREN’S COACH O re gon native Olivia Pyne began studying ballet in the Por tland area at the age of six, and join e d O r e gon B allet Theatre School as a student in 2008 during Damara Bennet t ’s tenure as School Director. She was soon promoted to the position of teacher’s assistant and in 2009, Olivia joined OBT’s facult y. In 2017, she became Head Children’s Coach for George B alanchine’s The Nutcracker ®. In summer of 2018, Olivia at tended 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. Pyne has also appeared in Oregon Ballet Theatre’s productions of Swan Lake, Sleeping Beaut y, and The Nutcracker. Photo by Jim Thomson.

Well-known to Portland audiences for a stunning roster of works including Never Stop Falling (in Love), Bolero, Giants Before Us, and Rhapsody in Blue, Fonte is recognized throughout the world as a choreographer equally comfortable with classical and contemporary dance forms. Fonte has been resident choreographer for Oregon Ballet Theatre since the 2014– 2015 Season. Photo by Janna Cruder.

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 Pro-

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EXECUTIVE STAFF MICHAEL GREER

EXECUTIVE DIRECTOR Michael Greer brings leadership experience from both the for-profit and nonprofit worlds. As a former professional dancer and experienced executive, Greer enjoys using his diverse background to bring new ideas and innovative solutions to the performing arts. In his third season at Oregon Ballet Theatre, Greer continues to work with community leaders to keep dance and the performing arts in the conversations surrounding community and growth. In addition to leading the organization into its fifth year of financial success, during Greer’s tenure as Executive Director, OBT has seen record numbers of patrons, students, and donors. He is proud of the team at Oregon Ballet Theatre and the work they are doing to advance the organization’s mission to Share, Inspire, and Connect through dance. In addition to his role as Executive Director, Greer also enjoys serving his community as a Trustee on the Cultural Advocacy Coalition and as a Gubernatorial appointee on the Oregon Arts Commission.

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A native of Missouri, Greer spent the early part of his life as a dancer with stints at Interlochen Arts Academy, School of American Ballet, and The Royal Ballet School. He spent six seasons with Ballet West under the direction of Jonas Kåge, performing a wide variety of soloist roles. Upon retirement from performance, he returned to higher education with studies in economics (B.A.), education (M.Ed), and business administration (M.B.A.) from Hampshire College, University of Illinois Urbana-Champaign, and The Wharton School, respectively. Prior to returning to the nonprofit sector, Greer spent nearly a decade in leadership and executive roles in manufacturing, financial services, and commodities in India and Mainland China for several multinational firms. As a husband and father of two, Greer and his family are proud to call Oregon their home. As a leader in the state’s arts community, he is humbled by the opportunity to steward its arts and culture for future generations and looks forward to another fantastic season with OBT, bringing the passion of the arts to all of Oregon. Photo by Nate Eldridge.

GUEST ARTISTS POISON WATERS

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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 that only Poison Waters can provide. For over three decades, the Poison Waters experience continues to grow and update itself with our ever-changing times, while holding tight the unique qualities that Poison has become synonymous with: dedication, passion, humor, joy, and positive light! Celebrating over 30 years of entertaining, Poison Waters is one of a kind! Speaking of celebrations, Poison is thrilled to return as Mother Ginger for her 10th season in a row! The co-hostess of Darcelle XV Showplace captivates audiences of all demographics at auctions, awards ceremonies, nonprofit gala events, political fundraisers, corporate meetings, and conferences, and of course, private parties of all sizes from the corporate level to family gatherings. Whether dressed as Poison Waters or her alter ego Kevin Cook, it’s always a perfect fit. Poison Waters is an experience you’ll not soon forget! For more information visit www.poisonwaters.com. Photo by Carlos Silvas.

JEFFREY PEYTON

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PRINCIPAL 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 and Anchorage Symphonies, Peter Britt and 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.

CREATORS GEORGE BALANCHINE

CHOREOGRAPHER George Balanchine transformed the world of ballet. He is widely regarded as the most influential choreographer of the 20 th century and he co-founded two of ballet’s most important institutions: New York City Ballet and the School of American Ballet. Balanchine was born in St. Petersburg, Russia, in 1904, studied at the Imperial Ballet School in St. Petersburg, and danced with the Mariinsky Theatre Ballet Company, where he began choreographing short works. In the summer of 1924, Balanchine left the newly formed Soviet Union for Europe, where he was invited by impresario Serge Diaghilev to join the Ballets Russes. For that company, Balanchine choreographed his first important ballets: Apollo (1928) and Prodigal Son (1933). After Ballets Russes was dissolved following Diaghilev’s death in 1929, Balanchine spent his next few years on a variety of projects in Europe and them formed his own company Les Ballets in 1933 in Par-

is. There, he met American arts connoisseur Lincoln Kirstein, who persuaded him to come to the United States. In 1934, the pair founded the School of American Ballet, which remains in operation to this day, training students for companies around the world. Balanchine’s first ballet in the U.S., Serenade, set to music by Tchaikovsky, was created for SAB students and premiered on June 9, 1934, on the grounds of an estate in White Plains. Balanchine and Kirstein founded several short-lived ballet companies before forming Ballet Society in 1946, which was renamed New York City Ballet in 1948. Balanchine served as the Company’s ballet master from that year until his death in 1983, building it into one of the most important performing arts institutions in the world, and a cornerstone of the cultural life of New York City. (Bio courtesy of New York City Ballet.)

PYOTR ILYICH TCHAIKOVSKY

COMPOSER Pyotr Ilyich Tchaikovsky is widely considered the most popular Russian composer in history. His ballet works include the The Sleeping Beauty, Swan Lake, and The Nutcracker, among many others. His work was first publicly performed in 1865. In 1868, his First Symphony was wellreceived. In 1874, he established himself with Piano Concerto No. 1 in B-flat Minor. Tchaikovsky resigned from the Moscow Conservatory in 1878 and spent the rest of his career composing yet more prolifically. His music has always had great appeal for the general public in virtue of its tuneful, openhearted melodies, impressive harmonies, and colorful, picturesque orchestration, all of which evoke a profound emotional response. His oeuvre includes seven symphonies, 11 operas, three ballets, five suites, three piano concertos, a violin concerto, 11 overtures (strictly speaking, three overtures and eight single movement programmatic orchestral works), four cantatas, 20 choral works, three string quartets, a string sextet, and more than 100 songs and piano pieces.

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COMPANY PRINCIPAL DANCERS

ANSA CAPIZZI

XUAN CHENG

PETER FRANC

BRIAN SIMCOE

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APPRENTICES

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ZUZU METZLER

BAILEY SHAW

NIKO YAROSLASKI

Photos by Joni Kabana.

KANGMI KIM

The Dancers and Stage Managers of Oregon Ballet Theatre are represented by The American Guild of Musical Artists, AFL-CIO, the union that represents artists in the fields of opera, ballet, modern dance, and choral presentations.

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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 third Shanghai International Ballet Competition; in 2005, a finalist in the eighth 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 and as Teresina in August Bournonville’s Napoli.

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 2016. 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, where he trained with Penny King and Sylvia Bolton. From there he went on to train with Long Beach Ballet, Pacific Northwest Ballet School, and the School of Oregon Ballet Theatre. Initially an apprentice with OBT in 2004, he rose through the ranks and was promoted to soloist in 2011 and to principal in 2013. While he has performed a wide variety of work throughout his career by choreographers such as George Balanchine, James Kudelka, Nacho Duato, Christopher Wheeldon, and William Forsythe, some of his favorite

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featured roles include Jerome Robbins’ Afternoon of a Faun, Nicolo Fonte’s Petrouchka, Yuri Possokhov’s La Valse, and Romeo in James Canfield’s Romeo and Juliet. SOLOISTS

THOMAS BAKER

Thomas Baker is from San Jose, California. He began training at the age of 15 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 also spent two seasons dancing with 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 Webre’s ALICE (in wonderland), as well as principal roles in works by George Balanchine, William Forsythe, Nacho Duato, Nicolo Fonte, and others. Baker was promoted to soloist for the 2019–2020 season.

EVA BURTON

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 George Balanchine’s The Nutcracker®’s Sugar Plum Fairy.

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. Her favorite OBT performances and roles 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. Lind was promoted to soloist for the 2019–2020 Season.

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). His favorite roles are Stepsister in Ben Stevenson’s Cinderella, Mercutio in James Canfield’s Romeo & Juliet, Nacho Duato’s Jardí Tancat, Darrell Grand Moultrie’s Fluidity Of Steel, and Helen Pickett’s Terra.

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: Gennaro in August Bournonville’s Napoli, the Prince in Ben Stevenson’s Cinderella, 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. This is his second season with OBT. COMPANY ARTISTS

COCO ALVAREZ-MENA

Coco Alvarez-Mena is from Miami, Florida, where she started her training at DanceTown under Manny Castro and Maria Eugenia Lorenzo. She then attended The Harid Conservatory for preprofessional Vaganova training and later attended USC’s Glorya Kaufman School of Dance in 2019 as part of the inaugural class. While at Kaufman, she was fortunate enough to work with William Forsythe, Jodie Gates, Desmond Richardson, and Zippora Karz. Post graduation, she joined Oregon Ballet Theatre as a company artist in 2019.

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 full season with OBT.

COMPANY HANNAH DAVIS

Hannah Davis is from Chapel Hill, North Carolina, where she began dancing at Chapel Hill Ballet School. She furthered her classical and contemporary studies at University of North Carolina School of the Arts under Brenda Daniels and Susan Jaffe. Hannah joined OBT2 in 2015, was promoted to apprentice in 2016, and became a company artist in 2018. Her favorite performances with OBT include Choreography XX in the rose gardens, Winter Fairy in Ben Stevenson’s Cinderella, and Ji í Kylián’s Falling Angels.

ALEXA DOMENDEN

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.

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, was promoted to apprentice in 2017, and to company artist in 2019. 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.

MARC LAPIERRE

KIMBERLY FROMM

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.

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.

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.

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.

EMILY PARKER

COLBY PARSONS

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.

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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 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).

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COMPANY APPRENTICES

GUEST DANCER

KANGMI KIM

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Kangmi Kim is from Seoul, South Korea. She received her training with Sunhwa Arts High School. She moved to New York in 2016 and trained on a full scholarship at American Ballet Theatre Jacqueline Kennedy Onassis School. She joined OBT2 in 2017 and became an apprentice in 2019. Her favorite roles include: Waltz girl in George Balanchine’s Serenade and Nicolo Fonte’s Accidental Signals.

Originally from Albuquerque, New Mexico, Olivia Ornelas began her ballet training at the age of four. She became an Apprentice with OBT in 2009 and was promoted to Company Artist in 2011. Olivia has performed in several ballets by George Balanchine, Jerome Robbins, Christopher Stowell, Helen Pickett, Kent Stowell, and Nicolo Fonte. She is married to Company Artist Adam Hartley.

ZUZU METZLER

Zuzu Metzler is from Camas, Washington. She trained with OBT School, joined OBT2, 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.

OBT REMEMBERS

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Portland

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Bailey Shaw is from Raleigh, North Carolina. He began his ballet training at Wake Forest Civic Ballet at the age of 14. Upon graduating high school, Bailey trained under Patricia McBride and Jean-Pierre Bonnefoux at Charlotte Ballet Academy (2015). He also studied at Miami City Ballet School. He then spent two seasons dancing in BalletMet’s second company (2017–2019) under the direction of Edwaard Liang prior to joining OBT as an apprentice. Some standout performances he has had to opportunity to dance include Edwaard Liang’s Wunderland, Alonzo King’s Chants, and George Balanchine’s Tchaikovsky Pas De Deux and Valse Fantaisie.

NIKO YAROSLASKI

Niko Yaroslaki was born and raised in Morro Bay, California. He began jazz and contemporary classes at age four. When he was 12, he started taking ballet classes at Ballet Theater Studio in San Luis Obispo and later received instruction from the Academy of Dance in their Professional Training Division. He attended summer intensives on a full scholarship at American Ballet Theater in NYC, Ballet West Academy, Ballet Arizona, Kansas City Ballet, and Pacific Northwest Ballet. He joined Ballet West Academy year round Professional Training Division in 2016, then was promoted to Trainee in 2017. He then danced as a full scholarship trainee from 2017–2019. As a trainee, he performed in numerous company shows and in academy productions such as Oberon in Scherzo in Midsummer Night’s Dream and he performed in Viva Vivaldi. He is now extremely excited to be joining Oregon Ballet Theatre as an apprentice for the 2019– 2020 season.

Oregon Ballet Theatre is saddened to learn of the death of Jacqueline Schumacher, the grande dame of dance in Portland. One of Willam Christensen’s original ballerinas in what would become the San Francisco Ballet and the White Swan in the very first full-length American production of Swan Lake, she later began teaching ballet in Portland in the 1940s, establishing the Portland Ballet Company in the 1970s. Known fondly as “Mrs. S.,” she guided thousands of students into the world of dance, many of whom went on to become professional dancers and teachers in ballet companies and universities throughout the country. Artistic Director James Canfield, honoring Schumacher in 1997, said that “without her fire and determination, her inability to tolerate the substandard, and of course her capacity for diligent, disciplined hard work, it’s certain that the established institution the ballet has become in Portland would simply not exist.”

ORCHESTRA VIOLIN I

Nelly Kovalev, Concertmaster Hae-Jin Kim, Assistant Concertmaster Casey Bozell, Assistant Concertmaster Andrea Oh Jenny Estrin Elizabeth Peyton Paloma Griffin Hébert Margaret Bichteler Karen Hilley Eva Richey Lily Burton

VIOLIN II

Janet George, Principal* Jamie Chimchirian, Assistant Principal* Heather Mastel-Lipson, Assistant Principal* Ann Medellin Linda Vasey Irene Gadeholt Sarah Roth Jim McLennan

VIOLA

Angelika Furtwangler, Principal Daphne Gooch, Assistant Principal Brenda Liu Kim Burton

CELLO

Hamilton Cheifetz, Principal Katherine Schultz, Assistant Principal Corey Averill

Jae Choi Heather Blackburn

BASS

David Parmeter, Principal Dave Anderson, Assistant Principal Chris Kim

FLUTE

Georgeanne Ries, Principal Sarah Tiedemann Zach Galatis

OBOE

TRUMPET

Charley Butler, Principal* Robert Rutherford

TROMBONE

Henry Henniger, Principal Lars Campbell, Principal* Dave Bryan

TUBA

Mike Grose, Principal*

PERCUSSION

Kelly Gronli, Principal Alan Juza

Gordon Rencher, Principal Chris Whyte, Principal* Brian Gardiner, Principal*

CLARINET

TIMPANI

Louis DeMartino, Principal Melanie Yamada

BASSOON

Adam Trussell, Principal Ben Roidl-Ward, Principal* Nicole Buetti Danielle Goldman

FRENCH HORN

Steve Hayworth, Principal Matt Monroe Mike Hettwer Jen Harrison Dan Partridge

Jeff Peyton, Principal

HARP

Matthew Tutsky, Principal

KEYBOARD

Janet Coleman, Principal*

ORCHESTRA PERSONNEL MANAGER Janet George

MUSIC LIBRARIANS Kirsten Norvell Rachel Rencher Eva Richey

* denotes acting title | Italics denote substitute

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CHILDREN’S CAST ACT I PARTY SCENE

FRITZ

Aestus Kiri Blasser* Alexos Carabas Danger Ocampo

MARIE

Madeleine Brooks Esther Harrison* Kaitlyn O’Neill Annika Sheridan

MAIDS

Angelika Gratchner Kyra Kuelgen Elizabeth Lowry Gracie Moffitt Elena Siekmann Maudie Wakefield

PARTY GIRLS

Evelyn Chan Esther Harrison Brynn Ladd Charlotte Pener Coco Pike Arwyn Stech Ella Thayer Poppy Yue

PARTY BOYS

Paul Hanifan Troy Hartwig Finn Mayer Danger Ocampo Xavier O’Donnell Luke Pettinger* Samuel Pettinger Henry Roth

GRANDCHILDREN

Valeria Baldwin Marlee Cook Ligaya Ocampo Apolena Summers

NEPHEW/PRINCE Samuel Coté Luke Hanifan Troy Hartwig

BATTLE SCENE

TRUMPETER

Anna Loving Kylin Delight Nine

SENTRY

Scarlett Metzler Diego Ocampo

BUNNY

Aestus Kiri Blasser Luke Pettinger

Alexos Carabas Finnegan Grab

SOLDIERS/SABRES

Valeria Baldwin Lila Beard Mika Blandy Clara Brown Evelyn Chan Marlee Cook Clare Crawley Naomi Elder-Morasco Isabella Ellers JayQueen GutierrezMonroy Maia Gronner Esther Harrison Natalie Katko Makena Kelly Avery Kirchner Lucy Krug Alani LoBravo Alessa Mallery Diarra Mboup Ligaya Ocampo Kiera Oliver Maya Otsuka Charlotte Pener Vivian Proctor Addie Rodriguez Zoe Shaw Linnea Smith Malvina Summers Mia Thrower Ava Trathen Lucy Walkush Gracelyn Webert

ACT II ANGELS

Mia Bell Scarlett Beppu-Larocco Audrey Black Penelope Cobb Elizabeth Denny Penelope Ellis Kaya Goddard Amelia Godoy-Avello Olivia Godoy-Avello Madelyn Hermesch London Bellusci-Heyerman Kay Hishida Anjali Joshi Clara Metzler Grace McShane Ellie Nine Louisa Pearson Elliot Rowe Clara Schultz-Reynolds Padme Stech Apolena Summers Tallulah Ward Abigail Weaver Sadie Williams

POLICHINELLES

Madeleine Brooks Evelyn Chan Clare Crawley Jane Everton Maia Gronner

Luke Hanifan Cora Lanford-Crick Diego Ocampo Kaitlyn O’Neill Charlotte Pener* Coco Pike Annika Sheridan Malvina Summers Arwyn Stech Mia Thrower Lucy Walkush Gracelyn Webert

CANDY CANES

Madoka Blandy Aisha Callahan Ayse Conger Kylin Delight Nine Rhoen Flanagan Elliana Kluherz Neah Lim Yukino Logan Maggie Maierle Scarlett Metzler* Vera-An Nguyen Ayokemi Olajuyin Vivian Proctor Caitlin Vernon* Lily Walsh* Rosalind Young *denotes understudy

2019

SOAR

Fueling Creativity

A FUNDRAISING EVENT BENEFITTING

THE JEFFERSON DANCERS

LET YOUR PORTLAND ADVENTURE BEGIN WHERE ART, CULTURE AND CREATIVITY COME ALIVE. Book now using the code OBT and receive 15% OFF and complimentary access to the Gear Shed.

DECEMBER 7TH • 7-10PM

B O DYVOX DA N C E C E N T E R

FOR TICKETS AND DONATIONS PLEASE VISIT

CHARITYAUCTION.BID/JDSOAR19

OBT.ORG

51 5 SW Clay Street Portland, OR 97201 503.484.1084 | www.thehotelzags.com

There’s no place like the Oregon Symphony for the holidays!

DECEMBER 30 | 7:30 PM

A VIENNESE NEW YEAR

WITH GUESTS FROM OREGON BALLET THEATRE Come away to the glittering palaces of Austria as we celebrate the golden age of Viennese music with operatic melodies and Strauss waltzes, while dancers from Portland’s own Oregon Ballet Theatre bring romance to the stage in breathtaking vignettes.

Visit orsymphony.org to see all of our upcoming holiday shows, including:

DECEMBER 2

THE TENORS WONDER OF CHRISTMAS TOUR

DECEMBER 18

COMFORT & JOY: A CLASSICAL CHRISTMAS

DECEMBER 21

CIRQUE NUTCRACKER orsymphony.org 503-228-1353 your oﬃcial source for symphony tickets

MKT-265_Ad_ArtslandiaNutcrackerProg_Holiday.indd 1

Artslandia Nutcracker Program: 7.5 x 9.875” Runs: December Artist: Holidays

11/14/19 10:39 AM

FEATURE

A RELIABLE TRADITION WITH YOUR HELP BY GAVIN LARSEN

Students at a Student Performance Series production of Napoli in 2018 learn about the ballet from Music Director and Orchestra Conductor Niel DePonte and Director of Education Outreach Kasandra Gruener. Photo by Yi Yin.

WHY GIVE TO BALLET, especially at a time of year when so many worthy charities and causes compete for our attention, and judging from the legions of delighted fans in the Keller Auditorium, there seems to be no shortage of support? Well, the reasons are as many and varied as the artists you’re watching on stage tonight. Most of us have had this experience: we’re in a museum or at a concert — or walking down the street — and a piece of art catches our attention and won’t let it go. We’ve been moved to tears by emotions elicited on stage, felt our common humanity elevated to a seemingly superhuman level. We have seen both the extraordinary power and incredible finesse within the human body. Tonight, you’re feeling those capabilities — the dancers’ movements speak in ways that cannot be obstructed by prejudice, 36

OBT.ORG

“spun” by political or social belief. The arts show us that what we have in common is far greater than what separates us.

YOU HAVE THAT POWER, TOO. YOU CAN MAKE A LASTING IMPACT ON YOUR COMMUNITY, BOTH LOCAL AND BEYOND. A donation to OBT is an investment right back into the community and into your personal cultural portfolio. It helps us attract and retain world-class dancers and artists who can then create groundbreaking new works of art, defining the future of ballet. It helps us train the next generation of dancers — the Party Children and Soldiers and Candy Canes on stage tonight are tomorrow’s Snowflakes and Sugar Plum Fairies, and then the choreographers and Artistic Directors of the next generation.

Your financial help gives us the freedom to share our work with those less fortunate through ticket donations, outreach efforts, and scholarships. More than 26,000 people each year benefit from our inspirational Educational Outreach programs through field trips to OBT, teaching in schools, and performances in schools and at the theater. Donations also benefit our Share the Wonder program — which allows agencies in the community to distribute OBT tickets to more than 1,500 local individuals and families facing illness or financial difficulties to enjoy live theater. And scholarships help students with financial needs. The list of reasons goes on. A grand dame of ballet, Thalia Mara, put it perfectly: “While mathematics, science, and engineering teach us how to make a living, the arts teach us how to live.” Please be a part of our world of creation. With you on our side, together we can elevate us all.

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: VIRTUOSO 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: DIRECTOR’S CIRCLE 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

Sugarplum Maloy's oﬀers a fabulous selection of antique and estate jewelry and fine custom jewelry, as well as repair and restoration services. We also buy.

A comedy based on Jane Austen’s

NOV. 30 - DEC. 29, 2019 503.445.3700 | PCS.ORG

Pride and Prejudice

“A holiday comedy full of warmth and charm.” - BroadwayWorld

SEASON SUPERSTARS

MARY & DON BLAIR

Photo: (L to R) Cindy Im, Treasure Lunan, Lauren Modica, and Kailey Rhodes in Miss Bennet: Christmas at Pemberley. Photo by Kate Szrom.

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OREGON BALLET THEATRE STAFF

BOARD OF TRUSTEES

ARTISTIC

MARKETING

Kevin Irving, The Crumpacker Family 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

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

Jimmy Crumpacker, Board Chair

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

PRODUCTION Bill Anderson, Director of Production Ian Rutledge, Production Administrator Jamie Lynne Simons, Stage Manager Michael Mazzola, Resident Lighting Designer Ian Anderson-Priddy, Production Electrician Tim Boot, Sound Designer 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 Brian Keith, Tony Travis, 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 Allison Wales, Grants Manager Emily Tucker, Development Data Specialist Lauren Watt, Development Associate

PATRON SERVICES Mariah DeLude, Patron Services Manager Kristin Dillon, Patron Services Lead Madeleine Criglow, Shira Goldeen, Cara Green, 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 Lisa Sundstrom, OBT2 Program Director Sean Surprenant, School Registrar Colleen Hanlon, School Production and Events Coordinator Claire Hamilton, West Linn Campus Coordinator Kembe Adam, Natasha Bar, Phillip Carman, LeeWei Chao, Emily Hug, Elise Legere, Valerie Limbrunner-Bartlett, Marie Millard, Jessica Post, Olivia Pyne, Alison Roper, Katarina Svetlova, Robyn Ulibarri, Amelia Unsicker, Joe Wyatt, School Faculty Irina Golberg, Garnet Hayes, Karen LamAmerica, Ye Li, Ayako Matsuo, Raymond McKean, Maddie Moum, Katie Pyne, Tiffany Sanford, Jordan Strang, Western-Li Summerton, Accompanists

SPECIAL THANKS AFM Local #99, Chris Balo, IATSE Local #28, New Heights Physical Therapy, Portlandâ&#x20AC;&#x2122;5 Centers for the Arts, and Portland Opera

Allison Lane Lyneham, Co-Vice Chair Betsy Warren, Co-Vice Chair Cary Jackson, Treasurer Kristin Malone, Secretary Board Members: Heather Amuny-Dey Ken Carraro Aaron Courtney Brian Forrester Nancy Frisch Alan H. Garcia Michael Greer, ex officio Gary Hanifan Brianne Hyder Kevin Irving, ex officio Charles L. Jones Kathleen Lewis Keith Martin Christina McNown Sharon Mirarchi Allison Sneider Pike Angela Saunders Polin Reegan Rae Lindsay Reynolds Dean Richardson Matt Watson Mike Weddle Julia Winkler-Jacobson Dancer Representatives: Peter Franc Emily Parker

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INDIVIDUAL DONORS Oregon Ballet Theatre would like to express its sincere gratitude to those listed below for gifts received as of October 15, 2019. Donations received after this period will appear in the next playbill.

LEADERSHIP CIRCLE ($100,000 & UP)

Anne & James Crumpacker Jimmy Crumpacker Elizabeth Franklin Kenneth & Joyce Lewis Luwayne Sammons, In Memoriam Arlene Schnitzer & Jordan Schnitzer Cate Crumpacker Stafford & Graham Stafford

BRAVURA CIRCLE ($50,000 & UP)

Bob Sweeney & Cate Millar Barbara Coit Yeager

TOUR DE FORCE

($25,000–$49,999)

Jack Blumberg, In Memory of Thomas P. Anderson Thomas & Elizabeth Gewecke Henry & Amber Hillman Sue Horn-Caskey & Rick Caskey Cary Jackson Michael Pierce, In Honor of Jean Pierce

DIRECTOR’S CIRCLE ($10,000–$24,999)

Linda & Scott Andrews Daniel Bergsvik & Donald Hastler Barbara & Bob Brady Kathleen & Benoit de Montlebert Karen & Bill Early Ken & Ann Edwards Jamey Hampton & Ashley Roland Melissa & Gary Hanifan Ronna & Eric Hoffman Fund of The Oregon Community Foundation Charles L. Jones Nancy Locke The Merritt & Heather Paulson Family Fund

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Angela Roach Marilyn L. Rudin, MD & Richard S. Testut, Jr. Elizabeth B. Warren Wendy Warren & Thomas Brown Mike & Karen Weddle David E. Wedge, In Memoriam

POINTE SOCIETY ÉTOILE ($5,000–$9,999)

Anonymous Anonymous, In Honor of Cate Millar The Ajitahrdaya Gift Fund Robert Aughenbaugh Linda Besant & Martha Goetsch Aaron Courtney & Anne Nichol Cooper Dubois Jasmin & Matt Felton Fromm Family Charitable Fund Bret & Cathy Gelber Sandra & Stephen Holmes Diane Knudsen Dr. Dolores Leon & Dr. Fernando Leon Peter & Allison Lyneham Kristin Malone Keith Martin Brad & Nancy Miller Sharon & Adam Mirarchi Allison & Steven Pike Angela Saunders Polin Dean M. Richardson Samantha Richardson Lindsay & Corinne Stewart Gloria Swire, In Memory of Jean Pierce Prashanth Vallabhanath & Evelyn Curioso Charles W. Webb, DO Dr. Kathy Zeller & Dr. David Hill

VIRTUOSO

($2,500–$4,999)

Adriane Blackman Richard Louis Brown & Thomas Mark Nancy & Andy Bryant Irene Cancilla Ken Carraro Cameron & Dick Davis Nancy Frisch William E. Gaar William Gilliland Jesse & Leah Gronner, In Honor of Maia Gronner Marilyn 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 John & Linda Lenyo Carol Schnitzer Lewis Fund of The Oregon Community Foundation Kathleen Lewis Fund of The Oregon Community Foundation Ellen E. & Carl Nielsen Cambria Noecker Jane S. Partridge Allan & Marney Pike Family Fund of the Oregon Jewish Community Foundation Carolyn & Hank Robb Caleb Schlesinger Carol & Tom Shults Tina Skouras Jaymi & Francis Sladen Joan W. Sterrett Ashley & DeWayne Trimble Toby & Linda Warson Matt & Jessica Watson Charlene Zidell

FRIENDS OF OBT PRINCIPAL ($1,000–$2,499)

Anonymous Adam Arnold Gregory and Elizabeth Arntson Patti Babler Natasha Bar Alan & Sherry Bennett Jeff & Tracy Borlaug Thomas Bruner Julia & Edouard Chaltiel Jeff Dey & Heather Amuny-Dey Bill Dickey, In Honor of David E. Wagner William Dolan & Suzanne Bromschwig Nick & Katrine Ehlen Anton & Raylene Eilers Larry & Deborah Friedman Alexandra & Zan Galton Christine Diana Gay Peter Gronquist Valarie Grudier & Richard Langdon Beth Harper John Herman 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 Patricia & Rick Kozak Elise Legere & James Mitchell Molly Lehman Mark Lindau Marisa Mack Jerome Magill M. and L. Marks Family Fund of The Oregon Community Foundation Inge & Darren Marshall Laura S. Meier Laurie & Gilbert Meigs Rich & Kirsten Meneghello Christina Merrell Marjorie & Kurt Metzler Virginia S. Mullen, In Memoriam Will Naito Steven C. Neighorn Margaret & Gordon Noel Jay & McKay Nutt Rev. Dr. Rodney & Sandi Page Leah Rinfret Mary Rose & Maxwell Whipps Davia & Ted Rubenstein Lori & Mike Russell Miriam Ruth Leslie Ann Sammons-Roth Megan & Tom Shipley Jinny Shipman & Richard Kaiser Jonathan Singer Lisa Sorenson Rosemary G. Southwood Wendy Lane Stevens & Dr. Jeffrey Stevens John Thoren David & Eileen Threefoot Evans Van Buren & Marsha Warner Frances Virden Richard Wasserman & Ann Coskey-Wasserman Tom & Laura Wiley Robyn Williams & Roger Scarbrough Jay Wilt Cristin Campbell Winkler & Jordan Winkler Zela & Elsa

SOLOIST

($500–$999)

Anonymous Susan Thompson Armentrout Susan Bailey & Mike Warwick Tom Bard Barbara & Sidney Bass Pat Behm & Gary Jacobsen Melanie Bjorge Ryan Bradshaw W. “Buzz” Braley, Jr. Charles Brasher & Betty Lavis Kay Bristow Drs. James Chan & Jennifer Edman Miguel Cobian Margery Cohn Paris Coté Sue Darrow Marvin & Abby Dawson Peter W. Edgerton Doris Ennis Joshua Ferrer Michele & John Gordon Laurie Griffith Karen & Jim Halliday The Right Reverend Michael Hanley Kim & Chris Hasle Marilyn Heiling Donald Helfgott Susan & Richard Helzer Kenneth L. Holford Nils Jensen Mr. & Mrs. Bob Joseph Marcia Kahn G. Sue Kaufman Mary Klein & Francis T. Schneider Mary Kuch Nolan Lienhart Catherine & Kristofer Lofgren Jonathan & Vida Lohnes Alejandra Lugard & Ismir Heric Kirk Maag Dañel Malán Antonio M. & Demaris M. Martinez John F. Mathews Adrienne & Ian McClellan Keith & Kristin McInerney Dan & Jackie Moore Doug & Malinda Moore Carol N. Morgan Jeffrey Morgan Susan Morgan Storry Norman & Jack Hollis Susan Olson & Bill Nelson Milo & Beverly Ormseth MajGen Christopher & Rita Owens Barbara & Art Palmer

ON SALE NOW!

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Jan. 18-Feb. 16, 2020 Newmark Theatre All Ages

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PREGRAD K – E 12

WED. JAN. 8 7 –8:30

Info Evening Admissions

6300 SW Nicol Road | Portland, OR 97223 | 503-768-3115 oes.edu/admissions

INDIVIDUAL DONORS Gesina & Matt Pedersen Dan & Sue Ann Peters Mike & Rebekah Pettinger Adolfo Portillo & John Hoskins Jaycee Pribulsky Sandra Reese & Alister Bazaz, In Honor of Bruce Arnold Russell-Powlesland Charitable Trust Eric Schindler & Jenna Fallon-Schindler Diana & Hal Scoggins Derick & Elizabeth Scovel Robyn & Kemp Shuey Donna & Sascha Siekmann John D. & Pamela Smith Dean Speer & Francis Timlin Bob Speltz & Dwight Adkins Steve & Michelle Stapp Sue Stegmiller Graham & Kristi Taylor Minh Tran & Gary Nelson Peter Vennewitz Hans & Naomi Wandel Weiss Fund of The Oregon Community Foundation Bruce & Susan Winthrop April Wirtz & Evan Wang Collette Yamaguchi & Tom Napier Cynthia A. Yee John & Nancy Zernel Joy Zhou & Randy Choi

COMPANY ARTIST ($250–$499)

Anonymous Abigail Alford Keiko Amakawa & Dr. Harvey Fishman Jim Anderson, In Memory of Anne Lynch Molly West Anderson Paula Arsenault Laura Barber Mary Bartlett Dr. & Mrs. Gerald J. Broock, MD Irene & Patrick Burk Alex Carlson Drs. Theresa & Timothy Chen Richard Clucas & Beth Blenz-Clucas Kent Copeland Terri Cross Susan Cyganiak, In Honor of Selena Steinmetz Arthur & Winnifred Danner John & Rocio Deatherage Jody DeChaine

Yvonne Deckard Lora Dow Susan & George Durrie Edward & Marilyn Epstein Charitable Fund Julie Falk & Zachary Kramer Philip Fidler & Jane Cummins Jessica & Mark Flaa Rebecca Fleischman Doreen Flores Brian Forrester Bill Foster Mr. & Mrs. Patrick Franc, In Honor of Peter Franc Jennifer Froistad Kimberly & Andrew Fromm Melissa & Robert Good Helen A. Goodwin Marvin & Barbara Gordon-Lickey Julie A. Greenberg & Robert J. Irving, Jr. Quinton Hallett & Dennis Gould Carl Halvorson Gail & Irv Handelman Karen Henell & Gregg McCarty Celeste Henninger-Lindaman Laurel Anne Hill, In Honor of the Dancing Doctors James Holstad Pam & Bob Howard Carolyn Hyde Jonathan & Suzanne Jensen Keith & Janie Johnson Pamela K. Johnston Becky & Jarrett Jones Kathy Jorda Allan Karsk Nancy Kathrens Christina Kellogg & John Gratchner Kristan Knapp & Janna Auslam Nancy & Steve Kraushaar Mrs. Joseph A. Labadie Mary N. Laughlin Nancy Lee Joan Levers & David Manhart Martha J. Logan Kate Machell Linda J. Magness Linda L. Mann Earlean Marsh Pamela Matheson Oscar & Mary Mayer Kathi McCoy Dr. Louis & Judy McCraw Cheryl McDowell Rico & Malcolm McIver Margaret & Robert McMillan Carolyn McMurchie

Josie Mendoza & Hugh Mackworth Susan Sammons Meyer & Dennis Meyer Monica & Dale Monroe Elliott Moore Greg & Colleen Needham Karen Nelles Rob Nelson Keith & Cindi Nobriga Peter & Cassie Northrup Matt & Lauren Odman Sean O’Neill & Elizabeth Le Suzann & Dennis Ott David & Kelly Park Lynn Partin & Bill Holmes John & Christine Pendleton Carol Peterkort & Richard Gibson Dennis Petrequin John Bosshardt & Diana Petty Judith E. Posey & Edward J. Doyle, MD Alice & Michael Powell Suzanne Rague William Ramirez & Roberta Staff Lindsay Reynolds Rabbi & Lorraine Rose Mary Rotberg Claire H. Russell Sam Sadler Michael S. Parker Sagun & Dennis J. Sagun Parker Daniel & Kathleen Saucy Tad Savinar Gary & Lydia Slangan Patricia A. Southard Joan B. Strand, In Memory of Buzzy Sammons Karen Sweet George & Nancy Thorn Kay Toran Angelo Turner Judith & Gordon Umaki Christine Warden Bruce Weber Shawn & Dave West Andrew White Ann C. Whitehouse Anthony & Marianne Wilcox Jenny & Christina Wilson Mary Ann Wish Linda M. Wood Jack Wussow & Kyle Adams Tamara & Chris Yunker Kurt R. & Heather Zimmer

APPRENTICE

($100–$249)

Anonymous Kathy & Guy Allee Bill & Ginny Allen Pilar Alvarez-Mena Dr. James W. & Mary Ann Asaph

FEATURING KATIE JANE BAND + SPECIAL NYE CELEBRATION!

NOV 30- JAN 5 TIFFANY CENTER 1410 SW Morrison St

www.artistsrep.org • 503.241.1278

M U LT N O M A H ARTS CENTER AFFORDABLE CLASSES FOR ALL AGES

DANCE MUSIC THEATRE VISUAL ARTS LITERARY ARTS

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INDIVIDUAL DONORS April Avery Gennaro & Marilyn Manser Avolio Diane Babcock Ruth B. Bach John Bagg Robert Ball Shauna & Scott Ballo Steven Bannon Dr. Anna Bar Carol A. Baron Kathleen Bayer Nola Becket Kurt Bedell Dr. Diana Bell Barry & Jacqueline Bennett Catherine Bennett Paul & Pat Benninghoff Pamela J. Benso Naomi & Phillip Beymer Brian Bills & Desiree Schlotthauer Richard Botney Laura Bowman Ronald Boyce Michael Boyles Joyce Brehm Bonnie Brod Jen & Greg Brown Lillian Brown Linda Brown Linda Brown Dana Burdick Kerri Burke Connie Butler Ann & Hugh Bynum Nora & Aaron Cain Maurine & Paul Canarsky Efthemios & Elizabeth Carabas Kirsten & Mark Carnese Mary Carr Gus & Karen Castaneda Alison Chambers Robert P. Chamness Sandy Chamness Phil & Glynis Chek Gina Chiotti-Hovey Karlyn & Graham Clark Aria & Cody Clements Kristine Cloyes Stan Cocke & Heather Kmetz Harriet Cormack Linda Crimshaw Richard A. Cuff Clark Custodio, Jr. Calli Daly Eloise Damrosch Judy Dauble Wendy & Howard David

OBT.ORG

Dr. & Mrs. Joseph Davids Laurell Davidson Brian & Nancy Davies Jeanette Davis James Dehning Shawn Dempewolf & Tom Hamann Niel DePonte Frances Derook & Keith Comess Chuck & Patt DeRousie Adam & Emily Dew Bonny Dickinson Lonnie Dicus & Therese McCarthy-Dicus Anne E. Draper Mary E. Egan Carol Englehart, In Memory of Buzzy Sammons Annette Erickson Conrad Eustis & Roberta Kanter Charity Fain & Matt Goddard Abraham & Pamela Farkas Rochelle Farkas Dave & Robin Fee Alice Fernandez Marjorie Ferry Tonya Flaming Katie & Brian Flanagan Kim Foren Charles & Zoe Foster Kelly Freuler Theresa Fritchle Paula Froh Sara Gabin Jim & Mary Ann Gabriel Alan Garcia & Lyn Reynolds Garcia Francisco Garcia Ray & Joyce Gee Phil & Carole Gilbertson Arthur L. Ginsburg, In Honor of Judith Ginsburg Steven Gish Rolf Glerum Gary & Susan Goncher Barbara Gottschalk Greater Portland Dachshund Club, In Memory of Hans Grunbaum Brenda Grootendorst Andrea Groussman Ken & Mary Lou Guenther The Haakonsen Family Candace Haines Deanna Haley James Hamilton Bert & Amy Hanifan Michael Harris

Antoinette Hatfield Christopher & Garnet Hayes Rebecca Hicks John & Dena Hockett Beverly Hoeffer & Carol Beeston Jennifer & Robert Hoffman Carol & Tom Hull Michelle Hulquist Mimi Hunter Indira Husic Joe Hymes Julie Hymes Martha Ireland Elizabeth A. Javens David & Margaret Jeans David C. Jensen Jack B. & Kathy A. Jensen Cerise Joe Brian C. Johnson Dennis C. Johnson Fletcher & Ellin Johnson Shirley Johnson Barb & Chris Jones Marla Kazell Cristina Keefer Kristine Keil Nino Kilgore-Marchetti Doris & Eric Kimmel Jean A. Kimsey Blerina Kotori Grayson Kramer Jean S. Krosner Leonard Kuhl Damianos Kyriakopoulos Carol La Brie Sharon LaCroix Sloane Lamb Nancy Lange Nancy LaPaglia & Stephen Slusarski Laura Larsen & Skyler Bloxham Polly Lauser A.M. LaVey Donald P. Lawton Romani Lay & Neville Wellman Judy Lefebvre Barton T. Lewis Greg & Kim Lind Carole E. Lindell-Ross Alice Lloyd Hugo Carey Long Henry Louderbough Melissa Love Ruth & Kenneth Love Marcy & Richard Lowy Hilary Luu Christine L. Mackert, MD

Lara Mar Bel-Ami & Mark Margoles, In Honor of Hanan & Kayla Phillip Margolin Eileen Markson Susan Marmaduke Amy Matson Amy Maxwell Dennis & Molly McCarty Linda L. McCullough Kathy McGrew Layla McLean Christina & Cade McNown Elizabeth J. Melching Courtney Mersereau Elise Meyers Rob & Sally Miller David & Tony Stauffer Mix Sean & Corinne Monogue Patricia G. Moss Martin Muller Patti & Ian Munro Sarah & Richard Munro Beth & Charlie Nance Patrick & Liz O’Callaghan Karen O’Kasey Robert Olds Kris Oliveira Barry Olson & Barbara Telfold Madeline Olson Paula Ousley Zac Padgett Joan Paglin Lanetta Paul Mark & Dorianne Paul Molly Pedersen Denise & Adam Pener Anne Penfound, In Honor of Alison Maybank Karen Perzanowski Gunnar & Kristin Peterson Marilyn & Gaynor Petrequin Sara Pickett Lucille H. Pierce J. Scott Pritchard Terrence Proctor Karen Prohaska Zach Putnam Dick & Mary Raub, In Honor of Marianne Raub Julie McFarland Rawson Family W.W. “Clyde” Reid Judy Renzema Megan Reuther Edward & Katherine Richman Erica Rife Janice Riggs Judith Rimbey

David Ritchie & LaJean Humphries Marcia & Rob Robison, In Honor of Karen & Glenn Prohaska Charese Rohny Alison Roper Celeste Rose Rosemarie F. Rosenfeld Miriam & Charles Rosenthal Jason & Angie Russo Lynette Sahnow Patricia Sanchez Kevin & Gabrielle Sasse David & Julie Sauer Charles Sax Tanya Schaefer Colby & Christine Schlicker Bill Scott & Kate Thompson Marlise & Robert Scotti Jack & Barbara Shannon Carol Sherbenou Freda Sherburne Karen Sheridan Diane Shields Asha Singh Gerald Skeels Bonnie Skourtes Drs. Justin N. Smith & Christine Liu Margaret Smith & Jeff Littman Sarah Smith & Raul Gomez-Rojas David, Emily & Jonah Sokoloff John Spencer Donald C. Springer Tom Stansbury & Suzee Parson Sam & Patty Stiles Les & Elizabeth Stoessl Jean K. Stoll Kelsey & Will Sullivan Tim & Donna Sullivan Susan Tavakolian Jeri Tess Jan Elizabeth Thorpe Judy & David Threefoot Allen Tomlinson LaVonne Treat, In Honor of James C. Treat Kelsey & William Tucker Lyle M. Tucker Nancy A. Ullrich Cindy L. Ulrich Joshua Urrutia Angela M. Vaandering Alberto Vaca Martinez Jose Vithayathil Drs. R. Bastian & Barbara Wagner Patricia & James Walker Edward Washington Lisa Watson

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BOYS

LOVE TO TRAIN AT OREGON BALLET THEATRE SCHOOL Offering physical literacy at its finest! Introducing

BOYS’/MEN’S Scholarship Program

SCHOOL.OBT.ORG Open Enrollment – Sign Up Today!

Peter Franc & OBT School Students Photo by Jingzi Zhao

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(503) 251-9900

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’Tis Mercedes-Benz Season There’s never been a better time to buy than now, during the Mercedes-Benz Winter Event. With our incredible selection of new and pre-owned luxury vehicles, exceptional pricing, and low interest financing, you can get everyone in the family a new Mercedes-Benz this holiday. But only at Mercedes-Benz of Portland where you will experience a #1 luxury buying experience.

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Mercedes-Benz of Portland Naito Pkwy.

INDIVIDUAL DONORS Maureen & Frederick G. Wearn Colin Michael Webert Jack & Paula Wells Judy Werner Colleen Westphal Laurie Williams Lou & Lisa Williams Mark & Sophie Williams Julie Wilson Mary-Ann & Jim Wilson Lisa Wish Paulette & Lynn Wittwer Gail Woolf Sarah Wright Joseph O. Wyatt Doreen Wynja - Eye of the Lady Gary P. Yencich Casper & Sarah Yu Janet & Alan Zell Irene Zenev John, Marcia and Lincoln Zweig

$30 FOR 30

(IN HONOR OF OBT’S 30TH ANNIVERSARY SEASON) Anonymous Kathy Allen-Kirsch Frankie Anderson Jennifer Anderson & Alex Rice Stephanie Andre Irene & Stephen Bachhuber Jana Bailey Rebecca Bailey Carol & Dave Baker Sandra & Jay Baraff Kay Beadle Kenneth & Alice Berta Helen Braden Bill Brent Mary J. Burck Julie Byler Jeff & Lauren Canfield Mary Carr & James Boehnlein Jacqueline Todd Carver Nicole Marie Charvet Carol Chestler Carole Christensen David E. Cleland Karen Cunningham Amy C. Dachtler Jimmie Darr Donna Davis Gale Demmer Sharon Denman Jessica Dietz Kristin Dillon Mandy Doherty Marie C. Dolson Laura Evans Jean Everett

Cedarwood isn't just a school. It's a place for the whole family to learn and grow and connect with community. Join us for tea, a tour, and a Q&A to learn more about Cedarwood's unique approach to Waldorf education, each Friday morning this fall!

CONNECT WITH CEDARWOOD Fridays, 9:30 - 11:00 am January 17 & 31; February 14 & 28 RSVP online to save your spot!

3030 SW SECOND AVENUE | PORTLAND, OR503.245.1477 | WWW.CEDARWOODSCHOOL.ORG

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INDIVIDUAL DONORS

GET YOUR TICKETS FOR

BREAKFAST & BREWS W/SANTA & BUDDY THE ELF December 14 at 10AM Seats are limited so make sure get your tickets on Facebook!

JOIN THE PARTY FOR

LADIES NIGHT W/HUNKY SANTA December 11 at 6PM

OBT.ORG

The mall is bringing some steam to the cold winter months with Ladies Night at Lloyd Center. The exclusive event will feature: Free photos with hunky Santa Lancôme make-overs Store events including food and drink tastings Special one night only shopping deals Door prizes including a $100 Lloyd Center gift card Start your evening at the Santa Photo Set on the ﬁrst ﬂoor by the Ice Rink!

$30 FOR 30

(IN HONOR OF OBT’S 30TH ANNIVERSARY SEASON)

Karen Faw Susan & Wilson Federici Christine Firmat Gregg Fleming Jon Foster Jim Fullan Jefferson Neurology LLC, In Honor of Katie Ali Richard L. Katz Fenton Khan Svetlana Kotova Sophia Kremidas Jane Lathrop Mary & Stuart Levy Eileen Lipkin Mary Ann Lockyear Patricia Logan Leslie Lovell The Mansell Family Margo Marturano Michael & Melissa McGeehan T. McLaughlin James Mooney Tom Nettleton & Olivia L. Smith Elizabeth & Edward Neuwelt Kathlynn Northrup-Snyder Joseph Norvell Carlton Olson Patricia O’Shea Colleen Paynich Laura Plagmann Marjorie I. Powell Huon Quach Sharon Ralston Asa Reed & Debby Neely Nancy Richmond & Bill Hughes Caroline & Taniya Roberts Dr. & Mrs. Hector M. Rodriguez Valerie Schuyler Jeanette Scinto John D. & Pamela Smith Peter Spooner Linda Stassel Phyllis Thompson Mary C. Ulmschneider Linda Werner Dale West Melinda Williams Nancy & Dirk Wittig Robin Yuen

One person. One single, generous person, just like you, can make an impact. And when generous people, just like you, join together, they can make an exponential impact. We help make this happen. Whether you are called to donate your time, talent or treasure, Oregon Community ARTSLANDIA.COM

Foundation amplifies the impact of your gift across Oregon. Find out where you fit in at oregoncf.org/YOU.

OCF OF F E RS MANY WAYS TO CONTRI B UTE S O AL L D ONORS CAN ACH I E VE TH E I R GOAL S.

MEET SU. SHE WANTS EVERY KID TO GO TO BED WITH A FULL STOMACH, SO SHE BECAME A DONOR TO MAKE THAT HAPPEN.

O R E G O N C F.O R G / YO U

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COMMUNITY CORPS DE BALLET FOUNDATIONS & GOVERNMENT 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

Meyer Memorial Trust The Shubert Foundation

GIFTS OF $25,000–$49,999

Cascadia Foundation Fred W. Fields Fund of The Oregon Community Foundation Henry Lea Hillman, Jr. Foundation

GIFTS OF $10,000–$24,999

Argyros Family Foundation Betsy Warren Endowment of Coastal Community Foundation of SC Hampton Family Foundation of The Oregon Community Foundation Jackson Foundation Jerome Robbins Foundation National Endowment for the Arts Oregon Arts Commission, a state agency Oregon Cultural Trust

Rose E. Tucker Charitable Trust Starseed Foundation Willard L. & Ruth P. Eccles Foundation Zidell Family Foundation

GIFTS OF $5,000–$9,999

Coit Family Foundation Juan Young Trust Hoover Family Foundation The Reser Family Foundation Robert D. & Marcia H. Randall Charitable Trust

GIFTS OF $2,000–$4,999

Applied Materials Foundation H.W. Irwin & D.C.H. Irwin Foundation John & Ginger Niemeyer Foundation Leupold & Stevens Foundation Sydney D. Holland Foundation Wintz Family Foundation

GIFTS OF $1,000–$1,999

ESCO Foundation The Fremarch Foundation

CORPORATIONS GIFTS OF $10,000 & UP

Accenture The Boeing Company PGE Foundation The Standard U.S. Bank Foundation Wells Fargo Bank

GIFTS OF $5,000–$9,999

City Wide of Portland First Republic Bank Freed of London Goldman Sachs & Co. Northwest Natural Gas Stoel Rives LLP Western Partitions

GIFTS OF $2,500–$4,999 American Medical Concept Buckley Law P.C. Cushman & Wakefield Ivey Jacobson & Co. LLC Killian Pacific Markowitz Herbold Morel Ink NW Accounting Partners Opsis Architecture LLP Portland’5 Centers for the Arts Smith Teamaker Tonkon Torp LLP Unitus Community Credit Union Winkler Development Corporation

GIFTS OF $1,000–$2,499 First Interstate Bank IQ Credit Union Slope & Stone Engineering

Bach Cantata Choir Ralph Nelson, Artistic Director

Baroque Holiday Concert J.S. Bach Christmas Oratorio, Parts 4-6 J.D. Zelenka Magnificat

December 20th, 7:30 PM

Rose City Park Presbyterian Church NE 44th and Sandy

Tickets - $35/$30 bachcantatachoir.org 50

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Now Open and Taking Reservations Call for a tour | 503.635.7000 3900 Kruse Way Place | Lake Oswego | TheSpringsLiving.com

IN-KIND SUPPORT

Recognizing gifts received as of October 15, 2019

GIFTS UNDER $1,000

The Aspire Project Fortney Contractors, LLC Monique’s Boutique PCA Design & Construction PGE Company Rose City Ballet School

MATCHING GIFT CORPORATIONS

AmazonSmile Foundation Chevron Matching Employee Funds Give With Liberty Google, Inc. Intel Kroger Rewards NIKE, Inc. Northwest Natural Gas Pfizer Foundation PGE Company U.S. Bank Foundation Employee Matching Gift Program Verizon Foundation

IN-KIND DONORS

AEG Presents Alaska Airlines Alit Wines Artists Repertory Theatre Ashland Springs Hotel Auditorium Garage The Batrakova Law Office Bedford Brown Blue Ox Athletics Breakside Brewery Cedar House Media Chamber Music Northwest Charles Fine Art Portraits Craig’s Dream Hollywood Hotel Elephants Delicatessen The Hotel Zags Portland Johan Vineyards Longbottom Coffee & Tea Luna Vineyards Mark Spencer Hotel Morel Ink Nel Centro New Deal Distillery Nicolas-Jay NW Film Center OMSI The Oregon Historical Society Oregon Shakespeare Festival Oregon Symphony PDX Jazz Pok Pok Restaurants Portland Baroque Orchestra Portland Center Stage Portland Opera PosterGarden Russell Development/200 Market Street San Francisco Ballet Stumptown Stages Utopia Vineyard Watson Creative White Bird Dance

ALLEGRO SOCIETY AGGER CHIROPRACTIC & NUTRITION CLINIC Simon J. Agger, DC

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

KATHARINE ZELLER, MD MEND PHYSICAL THERAPY

ANNA YARZAK, PT, DPT

Nadia Chopra, PT, DPT, OCS, COMT

BLUE OX ATHLETICS

MEREDITH THOMPSON, MS, PT

Scott Hagnas

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

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

OHSU CHH SCOLIOSIS CLINIC

CATHERINE M. GURSKI, ND, MSOM, LAc

Kim Osterberger, PT, DPT, BSPTS

DAVID HILL, MD

OHSU MARCH WELLNESS & FITNESS CENTER

GENTLE CARE CHIROPRACTIC Amanda Tipton, DC

INNER GATE ACUPUNCTURE

POHALA CLINIC

Seth Alley, DC, CCSP, CKTP

THERAPEUTIC ASSOCIATES FOREST GROVE PHYSICAL THERAPY

E. Anne Patron, PT, DPT

TURNING POINTE ACUPUNCTURE Emily Bartha, LAc

WEST PORTLAND PHYSICAL THERAPY Katherine B. McCoy, PT, MTC M. Lena Thieme, PT, MPT Elizabeth Franklin, PT, LMT Laura Luitje, PT, DPT, LMT Kyla Uehling, PTA

Julie E. Foster, FNP

Elizabeth Bourgeois, LAc

ROBERT F. RATZOW, DC

JONATHAN LOHNES, LMT

SOLARIS BODYWORKS, INC. Neissan Saber, LMT

RÉVÉRENCE CIRCLE Anonymous Jim Anderson, In Memory of Anne Lynch Robert Aughenbaugh Brent Barton & Liz Fuller Pamela J. Benso Pat Berg Daniel Bergsvik & Donald Hastler Linda Besant & Martha Goetsch David & Elaine Brown Debi Coleman Nathan Conn William Dolan & Suzanne Bromschwig

SYLVAN CHIROPRACTIC CLINIC & WELLNESS CENTER

Karen & Bill Early Peter W. Edgerton Marilyn 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 Rich & Kirsten Meneghello Brad & Nancy Miller

In recognition of those who have included OBT in their estate plan Sharon & Adam Mirarchi 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 Bruce & Susan Winthrop

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IN THE SPOTLIGHT

JIMMY CRUMPACKER OREGON BALLET THEATRE CHAIRMAN OF THE BOARD OF TRUSTEES

I’ll take my seat onstage, in the back as always, and then I will stop, take a deep breath, and savor the scene unfolding in front of me.” Jimmy Crumpacker, Oregon Ballet Theatre’s Chairman of the Board of Trustees, and Rob Goodman at the Alice (in Wonder) Ball and The Red (Queen’s) Party in 2018 at the Portland Art Museum. Photo credit: James D. Colhoff Jr.

MUCH LIKE JORDAN SCHNITZER, who Artslandia profiled in the 2019–20 Annual Issue [Passing the Philanthropic Torch: Jordan Schnitzer Giving to the Future], Jimmy Crumpacker comes from a family with an impressive philanthropic legacy in the arts. While you might recognize his surname from the vast research library at the Portland Art Museum, the beneficiary of this Crumpacker’s tremendous contributions of time and financial support is Oregon’s largest professional ballet company — Oregon Ballet Theatre. After returning from a stint on the East Coast, Crumpacker was introduced to OBT by a longtime supporter and former board member, Ronna Hoffman (wife of the now-deceased founder of Hoffman Construction, Eric Hoffman). Crumpacker joined the board in 2014 and has moved 54

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Why are the arts important to you? It is a privilege to participate in the arts, and it gives me great pleasure to contribute my time and resources to OBT. Whenever I watch a performance, I sense the small role I play in making the production a reality. I get immense satisfaction watching thousands of schoolchildren, whose feet can’t touch the ground, sitting inside the Keller watching one of OBT’s outreach performances. OBT reaches over 26,000 people in Oregon through the outreach program at little to no cost to them. This is essential: There might be the next great dancer, or artistic director, or set designer in the audience who is inspired by something OBT does. Without the arts, there would be an enormous void in our great state of Oregon. The arts enrich every phase of life, open us to see the world in new ways, and connect us to our humanity and one another.

Why do you believe philanthropists should direct their efforts to the arts? The arts are the ultimate expression of a society reaching for greatness and providing hope. As of the Renaissance, humankind could sustain itself and so turned its attention to focus on a multitude of art forms. We are now at a tipping point with so many different types of entertainment vying for our limited attention and resources. With government agencies and corporations withdrawing financial support from the arts, it is critical now, more than ever, for individuals and foundations to fund programs. The entertainment space is brutally competitive. Without generous donors, local arts organizations cannot possibly compete with media and technology corporations willing to spend billions of dollars to convince audiences to stay at home and watch TV. To make the art form as accessible to Portland audiences as possible, OBT charges a fraction of the actual cost of a ticket to break even on every production.

through the ranks of the governing body year after year. After holding positions as treasurer and finance committee chair (2015–17), secretary (2017–18), and vice chair (2018–19), he assumed the chairmanship this fall for OBT’s 30th anniversary season. OBT Executive Director Michael Greer shares, “Jimmy Crumpacker has skillfully taken the reins of the OBT board of trustees at a time when arts nonprofits find it difficult to stay relevant and maintain their reputation in the community. Not only has Jimmy managed to maintain OBT’s prominence in the community, but he has been instrumental in putting the organization in front of different demographics and building on an already strong reputation. We are grateful to have him driving our board and the organization to bigger and even better things.” So intense is Crumpacker’s affinity for the company and the art form that he’s designated his personal and family support to the sponsorship of Kelsie Nobriga, a company dancer, and the company’s Artistic Director, Kevin Irving (whose full title is The Crumpacker Family Artistic Director). Irving shares, “Jimmy’s excitement about helping Oregon Ballet Theatre achieve its potential has been palpable from the first time we met. What I appreciate about Jimmy is his commitment to furthering OBT’s mission to ‘share, inspire, and connect’ to our community. Many philanthropists who help fund OBT have the opportunity to travel to St. Petersburg, Paris, or New York to watch world-class ballet. Their dollars make it possible for those in our hometown to experience OBT, which is genuinely worldclass ballet. Jimmy personifies a thoughtful, pragmatic bullishness on the arts in Portland, and we are all the richer for his passion.” Intrigued, Artslandia asked Crumpacker to share his thoughts on our themes for this performing arts season — art as a vital component of the human experience, philanthropy, and (of course) a night out.

How should classic arts organizations make a case for relevance to those raised in a digital age? The shared experience of sitting in an auditorium full of an appreciative audience can never be duplicated at home. And Oregon Ballet Theatre can never and should never have to compete with Netflix or Instagram. The best approach is to keep the art form accessible, which we do by selling tickets to most shows for under the price of the roundtrip Uber ride to the Keller. The medium of dance is best when seen live, in person. It is a shared experience with other audience members that only lasts for a fleeting moment in real life but lives on in our memories. You cannot pause an OBT performance like your television or phone and come back to the event. Being present is paramount. We are coming to a point in our society where people recognize just how addicting phone or television use can be and how damaging that is to our young people. Unfortunately, tech companies realize how the brain responds to certain activities on our phones and programs their platforms to take advantage of us. I am not saying put down your phone all day, but many parents, teachers, and leaders in our city recognize the importance of unplugging for a few hours. OBT provides an outlet to explore your brain, be transported to a different place, and watch and wonder in amazement at some of the best athletes and artists our city has to offer. What are your thoughts about how families could cultivate legacies of giving? My good fortune was to have parents who cared deeply about the arts. My mother, Anne Crumpacker, started working in the art world in her 20s and is now an artist working with bamboo as her primary medium. She is an inspiration! Years after I graduated from college, she went back to school and received a master’s in fine arts. In the summer between her first and second year of art school, she lived with me in New York City while interning at the Metropolitan Museum of Art. Usually, the MET is the most crowded museum in the world, but at the time, it was closed on Mondays. As an employee, she was permitted to invite me to experience the MET when it was empty. I would go after work, and we would explore some of the best art and spaces in the world without anyone around. We visited the impressionists’ paintings and had uninterrupted conversations from one wing to the next. My parents always took my sister and I to theater, dance, opera,

symphony, museums, and more when we were children. It is harder to focus as a child for long periods, but my parents were very patient. Not until after I graduated college did I appreciate the education my parents gave me, not only as a child but also as a young adult. It is hard to foster legacies of giving unless you expose children to the arts. As an adult, I love experiencing and being involved with the arts. If you had told me when I moved back to Portland a few years ago that I would be chair of the board of Oregon Ballet Theatre, I would have said you had gone down the rabbit hole to chase Alice. But after spending the last five years on the board, I appreciate the incredible passion of the OBT dancers and artists. I hope by spreading this spectacular art form and exposing as many people in Oregon to OBT, it will inspire other families to give and believe in the power of the arts. .

The medium of dance is best when seen live, in person. It is a shared experience with other audience members that only lasts for a fleeting moment in real life but lives on in our memories. You cannot pause an OBT performance like your television or phone and come back to the event. Being present is paramount.” ARTSLANDIA.COM

ON POINTE Ansa Capizzi, principal dancer for Oregon Ballet Theatre and the Sugar Plum Fairy in George Balanchine’s The Nutcracker ®, brings a touch of whimsy to afternoon tea and cookies on The Rooftop at the Mark Spencer Hotel. Built in 1907, the Mark Spencer Hotel (originally the Nortonia Hotel) was a hit with performers looking for a stylish hotel close to the city’s theater district. Today, this locally owned hotel is still a home away from home for artists, tourists, and business travelers alike. A recent renovation incorporates modern decor with historic architecture for an authentic boutique experience. The Rooftop is a lovely seasonal retreat for guests to enjoy a glass of wine and sweeping views of the city. When you stay at this hotel, you can see what it’s like to #staylikealocal. The Mark Spencer Hotel is a proud supporter of the arts in Portland. MARKSPENCER.COM

ANSA CAPIZZI OREGON BALLET THEATRE PRINCIPAL DANCER

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WHEN AND WHY did you start dancing? I started dancing when I was five years old. My sister started taking ballet classes, and I went to see her performance. I immediately fell in love with the costumes and told my mom, “I want to wear a tutu!” When did you first know you wanted to be a professional dancer? I came to the United States when I was 18 and joined OBT as an apprentice. My first show with this company was George Balanchine’s Rubies. I still remember how I felt wearing a beautiful red costume and dancing under the lights at the Keller Auditorium. I fell in love with this place, and from that moment on, I wanted to be a professional dancer. What’s an average day like for you? I practice ballet all day. We have a class for an hour and a half starting at 9:30 and spend the rest of the day rehearsing the next show until about 5:30. We practice for four to five weeks for each program. Before I head home, I try to take some time to go to the gym or visit the chiropractor. Once I arrive home, I do the usual things like cooking and laundry, and I do some unusual chores like sewing elastic and ribbons on my pointe shoes.

What constitutes an extraordinary live performance, in your opinion? For me, a performance is extraordinary when I feel a connection with the audience in the moment. It’s not the same feeling with each performance, but when it happens, it’s magical. It’s up to each dancer to let this magic happen while on the stage. How do you handle mistakes during a performance? We rehearse so much every day to provide the audience with our best, but anything can happen during live performance! If I make a mistake, I try to just move on quickly to the next step in the choreography. Do you get nervous before a performance? I don’t get nervous right before a performance, but I do get nervous right before I go to sleep the night before. I go over and over all the steps and all the notes from the ballet master and mistress in my head so much that sometimes I can’t sleep well. What’s the best advice you’ve ever been given?

What do you find to be the most challenging part of being a dancer? There is no enough. There is no perfect. You have to keep trying and pushing yourself. Time goes by so fast in the ballet world. When I think about how much more time is left in my dance career or how many more times I’ll be on the stage, I don’t want to regret anything. Those thoughts make me push myself incredibly hard.

The best advice, for me, comes from our Artistic Director, Kevin Irving. He always says, “Dance big!” Another bit of wisdom that has been helpful to me is to use 90 percent of my energy to dance and use the remaining 10 percent to play. The result is more flexibility and airiness in my movements.

What advice do you have for someone wanting to follow in your footsteps? Do whatever is necessary to make yourself physically and mentally stronger every day. Take the support of people around you and never forget to show appreciation and respect for your supporters and teachers.

The dancers at OBT inspire me! My friends and husband inspire me, as well. Honestly, I find inspiration in almost everyone and everything by understanding, connecting, and sharing.

Who are your favorite professional dancers? So many people dance beautifully that it’s hard to pick just a few, but my favorites are Alina Cojocaru, Svetlana Zakharova, and Sylvie Guillem. If you had chosen a different career, what do you imagine you would be? When I was younger, before I chose to pursue ballet as my profession, I wanted to be a designer or go to art school.

Photos by Janine Namgung.

Who or what inspires you?

Artslandia’s theme for the 2019–2020 season is A Night Out. Describe for our readers your perfect night out. I usually go out for dinner and love to try new restaurants! Gathering with my husband and a big group of friends who have different jobs gives me a break from the ballet world. Sharing life, giving and getting support, and learning from each other while discovering the latest restaurants is the best! . ARTSLANDIA.COM

PRE-BALLET NOW ENROLLING WINTER SESSION Begins January 6

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

school.obt.org | schoolofobt@obt.org

SUMMER JUNIOR INTENSIVES AGES 8 – 12 West Linn

June 29 – July 10 July 13 – July 24 July 27 – August 7

Portland PRE-POINTE WORKSHOP BOYS’ PROGRAM

August 10 – 21 Registration open

SCHOOL.OBT.ORG 58

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DANCE!

People often celebrate who they are through dance. Draw a picture of a dance that is special to you and your family. Draw the details that make the dance unique, such as special clothing and jewelry.

Siletz Indians have lived near the Pacific Coast since time immemorial. Siletz Indians still perform the ancient Nee Dosh dance in which they wear festive regalia, including feathered headdresses, basket caps, and clothing made with dentalia. Look closely at this dentalia necklace. Dentalia are shells. What color are they? Do they look soft or hard? What do you see in between the dentalia? The Indian name for dentalia is hiixwa or haqua.

Photo Credit OHS Museum, 94-1.210

EXPERIENCE

OREGON

Come see the dentalia necklace when you visit Experience Oregon, our permanent exhibit that uses hands-on interactive elements to tell the stories of Oregonians of all ages and backgrounds. Free admission every day for members and Multnomah County residents!

Oregon Historical Society | 1200 SW Park Avenue | Portland, OR 97205 | www.ohs.org | 503.222.1741

ARTSLANDIA.COM

She’s not the sweetest usher in town (for which competition is fierce), but she knows her stuff.

Greetings, Artslandians. I’m Portland’s foremost and award-winning expert in propriety, crowd management, security, and patron services administration. I’m Ursula the Usher. Yes, that’s right. What’d you think? That ushers just stand around handing out the playbills and pointing to seats? You don’t even know the things we do to keep you safe and comfortable. Ushers are the unsung heroes of the performing arts. . Email your questions to ursula@artslandia.com.

DEAR URSUL A ,

Can you please head off an altercation between me and my spouse in advance of our holiday show outings? What began as a mere difference of opinion has escalated into a full-blown quarrel that spoils an otherwise lovely time. We love your column and have agreed that your ruling stands. We two consider ourselves playbill enthusiasts and particularly enjoy reading the magazine as we wait for the show to begin. My spouse believes that the playbill is a gift to be kept as a souvenir for eternity. The “treasured collection” in our home spans decades. My sensibilities tell me that if the playbill were truly performing art swag, there would be no usher collecting the publications as patrons exit the theater. What say you? — My Spouse Has Too Many Sparks of Joy for My Taste A

DEAR WHOSEYWHATSIS,

What I do know is that you have excellent taste in your appreciation of printed material and are wise to digest the provided information, especially the program notes, before the show. Before I wade into this kerfluffle in your union, let

me pump up my word count with the gift of a little history. According to the Library of Congress, the 1850s marked the earliest days of the printed playbill. The first issue of the iconic yellow-bannered Broadway model came off the press in 1884, thanks to a man named Frank V. Strauss. By 1900, the playbill had become firmly rooted as a universally known and loved cultural phenomenon nationwide. Recently, efforts by some purveyors of performing art to hop on the cursed digital bandwagon have met with public outcry and piqued ushers. We of the flashlight cannot simultaneously wish to impound digital devices upon theater entrance and give vital contextual information about the performance at hand and art at large via those devices. It’s a preposterous proposition! You should count your lucky stars that you are among the audience of an organization that appreciates the experience-enhancing, joy-sparking luxury of a print playbill! As for the intended fate of your playbill, you’ve both reached logical conclusions. Let the record and your future discussion of my column reflect that declaration. My ultimate ruling, though, is that the playbill is yours to keep, which I and my five children, 14 grandchildren, and seven great-grandchildren all do without fail.

Even those with the good sense to take their seats with ample time to savor every page can never predict what questions or curiosities may arise once you’ve seen a show. Your rousing post-show conversation may be enhanced by a review of the glorious program notes or an actor’s bio! Perhaps someday you’ll want to share with your grandchildren that you attended a performance by a performing arts legend on their rise to the top. Wouldn’t it make for a better story if you had physical proof? However, although you are not right, you are not wrong either. Ushers stand by not to pressure patrons to relinquish the gorgeous and informative tome but to provide a receptacle other than the floor for those who wish to depart emptyhanded. Some playbills are reused. Some are recycled now. Others are recycled years from now when a collector’s eternity comes to pass. And some, my friend, one day fetch big bucks on eBay. A parting thought, if you will. Several members of my matriarchy are in the habit of photographing their playbills held aloft before the show and then doing the social media. I’ll tell you just like I tell them… You get to your seat good and early, go nuts! —Ursula the Usher

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WHAT EDUCATION CAN BE JANUARY 9, 2020 // 6:30 - 8:00 P.M.

PS-5 ADMISSION INFORMATION SESSION Creative Arts Center, 8825 SW Barnes Rd, Portland Learn More & Register www.catlin.edu/infosession

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11/15/19

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