ROAR(S) - Oregon Ballet Theatre by Artslandia

PRESENTS

OBT ROAR(S) CELEBR ATING 30 YEARS

Supported by Arlene Schnitzer and Jordan Schnitzer through The Harold & Arlene Schnitzer CARE Foundation

FE ATURING THE OBT ORCHESTR A OC TOBER 5 – 12, 2019 KELLER AUDITORIUM

Peter Franc | Photo by Yi Yin

Portland State University Announces the Opening of the Jordan Schnitzer museum of art at PSU November 2019

Art for All! Directly serving over 28,000 students, Portland State Universityâ&#x20AC;&#x2122;s first-ever art museum is free and open to the public, providing a cultural and intellectual hub that explores ideas relevant to our time through the lens of art. The Jordan Schnitzer Museum of Art at PSU joins the Jordan Schnitzer Museum of Art at the University of Oregon and the Jordan Schnitzer Museum of Art at Washington State University.

The world is my recipe. The Symphony is my source. TA B L E T URN E R

KAT I E P OP P E “Debussy understood that rules do not make works of art. My ambition is limited only by the rules set by my convictions. We’re both unbounded by convention.”

3,212

POUNDS OF DOUGH ROLLED

RESTAURANT FRANCHISES

SYMPHONY TICKET STUBS

The 2019/20 Classical Series ignites this fall.

Experience the source. Buy tickets. orsymphony.org/mysource

Artslandia/OBT: Full 7.5x9.875 Runs: October

PRESENTS

TWICE THE ENCHANTMENT

Photo by Yi Yin

Pick one date from The Nutcracker & one date from The Sleeping Beauty and SAVE 25% along with free ticket exchange and replacement

GEORGE BALANCHINE’S

THE NUTCRACKER

DEC 7 – 26, 2019

Keller Auditorium

THE SLEEPING BEAUTY FEB 15 – 23, 2020

Kelsie Nobriga | Photo by Christopher Peddecord

Keller Auditorium

Call to place your order

In Person / by Mail:

503.222.5538

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GIACOMO PUCCINI

MADAMA BUTTERFLY OCT 25, 27m, 31, NOV 2, 2019 KELLER AUDITORIUM

One of the most powerful operas of all time. Japanese soprano Hiromi Omura makes her U.S. debut in Puccini’s unforgettable drama. With captions, you don’t have to miss a word or moment. So celebrate the art of opera: get fancy with friends, treat yourself, or enjoy a romantic date—this music will move you.

Tickets are available starting at $35. PORTLANDOPERA.ORG

503.241.1802

You know why to give. We can show you how. At OJCF, we make it our business to know the needs of this community, and the nonprofits meeting those needs. If you have unexpressed generosity, let us buy you an Americano and letâ&#x20AC;&#x2122;s brainstorm how you can help. Contact coffeestorm@ojcf.org.

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

OCTOBER 2019

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

Visit the Oregon Historical Society to celebrate 30 years of dance with OBT. “Wild About Dance” spotlights OBT’s performances, accomplishments, and dancers through the years. The exhibit is open through Dec. 15, 2019. Start this anniversary season with our complete story. Photo by Nicole DeCosta.

OBT’s Tracy Taylor and Daniel Kirk perform in Scherazade in 1993. Photo by Blaine Covert (courtesy of Carol Shults).

LETTER FROM THE ARTISTIC DIRECTOR

SOME HIGHLIGHTS FROM OBT’S FIRST 30 YEARS

OBT ROAR(S)

LETTER FROM THE CHAIRMAN OF THE BOARD OF TRUSTEES

DENNIS SPAIGHT’S SCHEHERAZADE COMES HOME

ARTISTIC & EXECUTIVE STAFF

GUEST ARTISTS

COMPANY

TRANSITIONS: NEW SEASON WELCOMES NEW TALENT

ORCHESTRA

OREGON BALLET THEATRE STAFF & BOARD OF TRUSTEES

DONORS

IN THE SPOTLIGHT: THE BEGINNING OF THE LASTS

ON POINTE: JESSICA LIND

ASK URSULA THE USHER

#ARTSLANDIAWASHERE

Niel DePonte, OBT Music Director and Conductor. Photo by Christine Dong.

Jessica Lind, OBT soloist. Photo by Christine Dong.

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PUBLISHER + FOUNDER Misty Tompoles ASSOCIATE PUBLISHER Katrina Ketchum SALES DIRECTOR Lindsey Ferguson DIGITAL DIRECTOR Chris Porras MANAGING EDITOR Kristen Seidman ASSOCIATE DIRECTOR OF EVENTS & SPECIAL PROJECTS Ashley Coates SENIOR GRAPHIC DESIGNER Jackie Tran BUSINESS MANAGER Bella Showerman PUBLISHER’S REPRESENTATIVE Nicole Lane PUBLISHING COORDINATOR Mindy Mawhirter PODCAST HOST Susannah Mars CONTRIBUTOR Christine Dong, Photographer

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Published by Rampant Creative, Inc. ©2019 Rampant Creative, Inc. All rights reserved. This magazine or any portion thereof may not be reproduced or used in any manner whatsoever without the expressed written permission of the publisher. Rampant Creative, Inc./Artslandia Magazine 6637 SE Milwaukie Ave., Suite 207 . Portland, OR 97202

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LETTER FROM THE CRUMPACKER FAMILY ARTISTIC DIRECTOR Photo by Michael Slobodian.

“There is no end to our dreams.” —James Canfield Welcome to a season of ballet that roars! Oregon Ballet Theatre’s season-long celebration of our 30th anniversary revels in three decades of turning dreams into delightful realities, three decades of deliberate beauty, thrilling performances, hard-won discipline, and connections in our community. We are celebrating with the best of the best all season long, and racing right out of the gate with the performance you are about to see, OBT ROAR(S). Some may not know that before there was OBT, Portland had two different ballet companies — Ballet Oregon and Pacific Ballet Theatre. The merger that combined the two companies in 1989, with James Canfield as the Founding Artistic Director and Dennis Spaight as Associate Director and Resident Choreographer, melded the DNA of these two groups into an exciting and dynamic new artistic force that has preserved and evolved our traditions in a city that has also evolved and changed dramatically. So many people have invested time, talent, and resources in our company over three decades, too many to adequately thank them all in this space: dancers, teachers, parents, musicians, donors, stagers, choreographers, designers, foundations, and — of course — audiences. We have created a community through the many lives we have touched and impacted over 30 years, but from our point of view, this is just the beginning. The three ballets in OBT ROAR(S) each connect to one of the artistic leaders who shaped our history. Most poignant, perhaps, is the long-desired return of Scheherazade after an absence of 26 years. Scheherazade, choreographed by Dennis Spaight in 1990 and starring James Canfield and Patricia Miller, was the first large-scale ballet choreographed on the combined companies and, as such, set the stage for the incredible artistry this company would always deliver. Also notable on tonight’s program is George Balanchine’s masterpiece Stravinsky Violin Concerto, which OBT performs for the first time with our orchestra — underlining our commitment to theatrical experiences of the highest quality.

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

THANK YOU! PRODUCTION UNDERWRITTEN IN PART BY

ADDITIONAL 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.

a state agency

ELIZABETH POWNALL SWINDELLS Family Fund of The Oregon Community Foundation

ARTISTIC DIRECTOR INNOVATION FUND

BOB SWEENEY AND CATE MILLAR Funding special initiatives to elevate OBT’s future

CORPORATE SPONSORS

Ballet is an art of synthesis: dancers learn to synthesize precise movements in space and time with their unique artistry and in tandem with others through painstaking dedication to the craft of bringing the human body to its ultimate, most sublime expression. The audience synthesizes as well, taking in all of the dancers’ intentions, energy, and radiance. Together — with the music we’re hearing, the effects of the lighting, the décor, the sets, our knowledge of all the people who work in support of the dancers — an atmosphere is created that lights up our heads and hearts in ways unlike anything else in the world. Chances are, you have come to expect this specific kind of delight from your ballet company because, over 30 years, OBT has consistently moved us all. Presenting three masterpieces in this one incredible performance is both OBT’s synthesis of its history going back to its very beginning and our celebration of ballet that is alive, exciting, and wondrous — ballet that roars. Enjoy!

SUPPORTING SPONSORS

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

SOME HIGHLIGHTS FROM OBT’S FIRST 30 YEARS AUGUST 1989

Pacific Ballet Theatre and Ballet Oregon consolidated into Oregon Ballet Theatre, under the leadership of Founding Artistic Director James Canfield and Associate Artistic Director Dennis Spaight.

1991

BT inaugurated American Choreographers Showcase, O a program of commissioned new ballets and contemporary classics. ACS occurred annually for 13 years and generated 54 new works.

1990 – 1992

BT toured widely, performing in 62 venues over this O three-year period.

1993

OBT premiered its lavish original production of The Nutcracker, with choreography by James Canfield and Mark Goldwebber and libretto by Carol Shults, set in Imperial Russia with scenic and costume design by Campbell Baird.

1994

0,000 people packed Portland’s Pioneer Square for 1 the premiere of James Canfield’s Neon Glass during Artquake. The stage setting featured glass sculptures by Seattle’s Dale Chihuly.

1995

OBT Exposed! premiered in Portland’s South Park Blocks. Each August through 2014, OBT’s artists took class and rehearsed in a tent-studio, providing thousands of people with an inside view of the dedication and discipline dancers bring to their art.

1995

J ames Canfield’s rock ballet — Go Ask Alice — drew huge audiences to the art form. 14

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1996

OBT presented the Romantic era ballet classic Giselle for the first time.

1999

OBT made its premiere tour to the Joyce Theater in New York.

1999

OBT presented its first full evening of choreography by George Balanchine.

1999

School of Oregon Ballet Theatre student Angela Snow won the coveted Chris Hellman Dance Award from the Princess Grace Foundation, internationally prestigious recognition of excellence in the study of classical ballet.

2000

BT moved into its own home at 818 SE Sixth Avenue O in Portland’s Inner Eastside. The building had two state-of-the-art studios and administrative offices.

2003

hristopher Stowell took the reins as OBT’s second C artistic director. 2003 OBT premiered George Balanchine’s The Nutcracker ®.

2004

OBT commissioned its own version of The Firebird from rising young choreographer Yuri Passokhov.

2006

OBT commissioned Almost Mozart, world-premiere choreography by Canadian James Kudelka.

2006

OBT presented Christopher Stowell’s Swan Lake — its first full-length classical era ballet beyond George Balanchine’s The Nutcracker ®.

OBT HONORS

2007

OBT Honors recognizes those who have enriched the lives of all through their support, dedication, and passion for dance and what it can do for a community.

The Vertiginous Thrill of Exactitude entered OBT’s repertoire as its first ballet by William Forsythe.

2008

OBT premiered at the Kennedy Center in Washington, DC, in the festival Ballet Across America, performing Christopher Wheeldon’s Rush; followed by OBT’s premiere in New York City’s Fall for Dance festival.

JUNE 2009

OBT presented Rush + Robbins, a program of significant company premieres — Christopher Wheeldon’s Rush and Jerome Robbins’ Afternoon of a Faun, The Cage, and the Concert.

OCTOBER 2009

OBT celebrated its 20th anniversary with a program of excerpts from two decades of performances.

2010

Christopher Stowell’s The Sleeping Beauty became OBT’s second full-length classical era ballet beyond George Balanchine’s The Nutcracker ®.

2013

Kevin Irving took the reins as OBT’s third artistic director.

2013

OBT premiered Por Vos Muero, its first ballet by Spanish choreographer Nacho Duato.

2014

In celebration of OBT’s 25th anniversary, Choreographer Nicolo Fonte collaborated with Portland’s Pink Martini to create Never Stop Falling (In Love).

2016

Nicolo Fonte was appointed OBT’s resident choreographer.

APRIL 2018

OBT performed Falling Angels, its first ballet by renowned Czech choreographer Jiří Kylián.

OCTOBER 2018

OBT premiered the first American production of Danish choreographer August Bournonville’s 1842 masterpiece Napoli, creating and building sets, wardrobe, and lighting design.

To inaugurate the 30th anniversary season, Oregon Ballet Theatre recognizes Arlene Schnitzer and Ken Lewis for their lifetime of support of ballet in Oregon. Schnitzer and Lewis exemplify service to community and continue to be a foundation for all arts in the region and beyond. Without their kindness, generosity, and vision, OBT would not be what it is today. OBT ROAR(S) is dedicated to both of these leaders as a way to recognize what they have given back and to say thank you.

KEN LEWIS

Ken Lewis has been active in a wide range of civic, business, charitable, and political activities for nearly 50 years in Portland. He is the former president of Lasco Shipping, chaired the Port of Portland commission, the Oregon Government Ethics Commission, and founded the Oregon branch of the I Have a Dream Foundation. Lewis was fundamental in supporting Pacific Ballet Theatre and was the first Board President of Oregon Ballet Theatre after Pacific Ballet Theatre merged with Ballet Oregon.

ARLENE SCHNITZER

No individual personifies philanthropy and giving back to one’s community more than Arlene Schnitzer. Over a career of 60-plus years, there have been hundreds of organizations and causes that have benefited from her and her family’s leadership and philanthropic support. In addition to being celebrated for her generosity to organizations supporting a wide range of causes, Schnitzer is well-known in the arts community for fostering artistic excellence by advancing the role art plays in a society’s social, cultural, and economic well-being. Frequently described as “far-sighted and visionary,” the native Oregonian’s energetic leadership has advanced many of the local arts organizations such as Oregon Ballet Theatre, Portland Art Museum, and the Oregon Symphony.

JUNE 2019

OBT premiered Night Creature, its first work by pioneering American choreographer Alvin Ailey. ARTSLANDIA.COM

TODAY’S PROGRAM

PRESENTS

OBT ROAR(S) In the Middle, Somewhat Elevated CHOREOGRAPHY, STAGE, LIGHT & COSTUME DESIGNS: William Forsythe STAGER: Agnès Noltenius MUSIC: Thom Willems IN COLLABORATION WITH: Lesley Stuck BALLET MASTER: Jeffrey Stanton WORLD PREMIERE: May 30, 1987;

Classical ballet is both the foundation of and a point of departure for In the Middle, Somewhat Elevated, which is considered a landmark in the evolution of the art form. We’re opening our 30 th anniversary season with this work that changed ballet forever.

OBT PREMIERE: October 8, 2016;

Forsythe has commented: “Originally created for the Paris Opera Ballet, In the Middle, Somewhat Elevated is a theme and variations in the strictest sense. Exploiting the vestiges of academic virtuosity that still signify ‘the Classical,’ it extends and accelerates these traditional figures of ballet. By shifting the alignment and emphasis of essentially vertical transitions, the affected enchaînements (linked sequence of steps) receive an unexpected force and drive that makes them appear foreign to their own origins.”

Paris Opera Ballet; Palais Garnier; Paris, France

Keller Auditorium; Portland, Oregon

The performances of the musical composition In the Middle, Somewhat Elevated are given by permission of Boosey & Hawkes Music Publishers Limited. Costumes Courtesy of Pacific Northwest Ballet. This production of In the Middle, Somewhat Elevated is supported in part by the Henry Lea Hillman, Jr. Foundation.

Commissioned by Rudolph Nureyev in 1987 for the Paris Opera Ballet, William Forsythe’s In the Middle, Somewhat Elevated was instantly recognized as a contemporary masterpiece. Since then, it has entered the repertories of major companies around the world. The cool, catlike disdain of the dancers contrasts with the strict and severe technical demands of the choreography, while the crashing electronic score by Dutchman Thom Willems cuts the air like thunder.

Middle, as it is referred to in the dance community, was initially conceived as the second movement of a full-length ballet titled Impressing the Czar. But it premiered as a stand-alone work first and continues to be performed both independently and as a part of the full-length ballet. The unusual title comes from a meeting Forsythe had with the technical crew as they prepared to stage the first performance. The original idea for the set design was to create a “wall” of golden objects suspended from above — a nod to the elaborate stucco work of the interior of Paris’ Palais Garnier. When he saw the plan, Forsythe worried that installing the décor would take so long he would have precious little time for a stage rehearsal. Instead, he requested just two of the objects — golden cherries — be hung “in the middle, somewhat elevated.”

— 20-MINUTE INTERMISSION —

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TODAY’S PROGRAM

Stravinsky Violin Concerto CHOREOGRAPHY: George Balanchine©

The George Balanchine Trust

STAGED BY: Bart Cook MUSIC: Igor Stravinsky, Concerto in D

major for Violin and Orchestra

SOLO VIOLINIST: Nelly Kovalev LIGHTING DESIGN: Michael Mazzola BALLET MASTER: Lisa Kipp WORLD PREMIERE: June 18, 1972;

New York City Ballet; Stravinsky Festival; New York State Theater; New York, New York

OBT PREMIERE: April 19, 2012; Newmark Theatre; Portland, Oregon

The performance of Stravinsky Violin Concerto, 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. Igor Stravinsky Concerto in D for Violin and Orchestra, Used by arrangement with European American Music Distributors Company, sole U.S. and Canadian agent for Schott Music GmbH & Co. KG, Mainz, Germany, publisher and copyright owner.

Originally known as Violin Concerto, this impeccably structured ballet was part of the white-hot outpouring of creativity George Balanchine set before New York City Ballet in 1972 — a week-long Stravinsky Festival to celebrate what would have been the composer’s 90 th birthday, packed with 22 premieres and eight existing Stravinsky-based works. Performed twice before throughout OBT’s history, Stravinsky Violin Concerto is presented for the first time in OBT ROAR(S) with live music, showcasing the full genius of both Balanchine and Stravinsky. Choreographer George Balanchine and composer Igor Stravinsky both born in Russia — and both took New York and the ballet world by storm — have been described as the “Eternal Partnership.” No ballet better exemplifies their virtuosity than this abstract ballet. The music, wrote historian Nancy Reynolds, “moves with the relentless, scratching energy of a buzzsaw in the outer movements and is lyrical but still sharply accented in the center sections.” The structure of the ballet corresponds exactly to the four movements of Stravinsky’s score. “In the opening Toccata and closing Capriccio,” said critic Joseph Gale, “the dancers are like leaves that scud gaily before the wind.” In between, in Aria I and Aria II, “Balanchine has built two fantastically fine pas de deux. One is swift and feral; the second is sweetly sad.” Bart Cook, a répétiteur for the Balanchine Trust who taught Stravinsky Violin Concerto to OBT’s dancers, speaks of Aria I as “rather inhumane and elemental. The second aria moves into an idea of male-female relationship in the human world, using all the elements that are presented in the first aria.” Though Stravinsky was married to his wife Vera all his life, he did have a mistress whom he loved very much. “The second aria is actually a poem to Vera,” Cook said. “Mr. Balanchine of course knew this. And so the pas de deux is almost a portrayal of the co-dependence and the taking-care-of element of that relationship.” Or, in the words of dancer Joseph Duell, “love as expressed by the hard edge of beauty.”

— 20-MINUTE INTERMISSION —

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TODAY’S PROGRAM

Scheherazade CHOREOGRAPHY: Dennis Spaight STAGED BY: Carol Shults,

Jennifer Martin & Sandra Baldwin

MUSIC: Nikolai Rimsky-Korsakov, Scheherazade, Op. 35 COSTUME DESIGN: Ric Young LIGHTING DESIGN: Peter West SCENIC DESIGN: Henk Pander BALLET MASTERS: Lisa Kipp & Jeffrey Stanton

WORLD PREMIERE: November 2, 1990; Oregon Ballet Theatre; Civic Auditorium; Portland, Oregon Scenery & Costumes Courtesy of The Dennis Spaight Trust

Steeped in Oregon Ballet Theatre history, and last presented in 1993, Scheherazade was created by OBT’s associate director and resident choreographer in 1990. It was the first ballet choreographed for the combined companies of Pacific Ballet Theatre and Ballet Oregon and featured renowned dancers Patricia Miller and James Canfield. A technicolor tour de force, this one-act ballet is based on One Thousand and One (Arabian) Nights. In an exotic land, there lives an evil Sultan who, with his favorite Slave by his side, rules his kingdom with a cruel hand. The loveliest young women of the land are forced to join the Sultan’s harem, but none of them is given the chance to soften his heart. Convinced of the infidelity of all women, the Sultan has his brides executed on their wedding nights. Unbeknown to the Sultan, his favorite Slave has been carrying on a love affair with the beautiful storyteller, Scheherazade. When the Sultan discovers the lovers’ secret, he orders his soldiers to seize the Slave and commands that Scheherazade shall become his next unlucky bride. Enraged at the sight of the Sultan claiming his beloved, the Slave escapes from the soldiers and whisks Scheherazade away to a magical garden in the palace. There, he and Scheherazade affirm their love for one another. But, too soon, they are found by the Sultan and his soldiers. A terrible battle ensues. Single-handedly, the Slave takes on the Sultan and his men, aided only by the women of the harem. As the battle reaches its pitch, Scheherazade steps in to the fight and is killed — or is she?

IT IS AN HONOR TO SUPPORT

ROAR(S) BRAVO!

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LETTER FROM THE CHAIRMAN OF THE BOARD OF TRUSTEES DEAR OBT FRIENDS, As the new Chairman of OBT’s Board of Trustees, it is my great pleasure to welcome you to a performance and a season which truly ROARS. This year marks our 30th Anniversary as part of Oregon’s dynamic arts scene. And, what could be more dynamic than our extraordinary dancers in motion? The past 29 years would not have been possible without the outstanding efforts of literally thousands — the performing artists, Board members, staff, musicians, designers, and donors. We are grateful to you and others who occupied the estimated 1.5 million seats in the theater as well as to the 500,000 individuals who have flourished in our education and community outreach programs since our inception. Tonight, you join in this history — reaffirming our belief in the exciting, thought-provoking, and entertaining power of ballet for individuals, families, and communities. If you are OBT-Cinderella_1-1-19.pdf

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returning patrons, thank you. If this is your first experience with OBT, welcome! We trust you will find something special during this ballet experience that inspires you to return again and again. We encourage you to learn more about what we do and how you can become involved. We invite you to be a part of the rich offerings of our planned performances and events throughout the 30 th anniversary year. For a complete schedule, visit our website at OBT.org. Your interest and loyalty is much appreciated. And so, from all of us at OBT — those on the stage and those behind the scenes — enjoy!

Jimmy Crumpacker Jimmy Crumpacker Chairman of the Board Oregon Ballet Theatre Board of Trustees

4:02 PM

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ARTSLANDIA.COM

FEATURE

DENNIS SPAIGHT’S SCHEHERAZADE COMES HOME BY CAROL SHULTS

Tracy Taylor and Daniel Kirk with Oregon Ballet Theatre perform in Scherazade in 1993. Photo by Blaine Covert (courtesy of Carol Shults).

WHEN KEVIN IRVING ASKED ME if I would consider mounting Dennis Spaight’s most ambitious, complex, and lushly produced ballet, I thought I was dreaming. But, it was indeed his hope to revive Scheherazade for OBT’s 30th anniversary season — how perfect. The collaboration that created Scheherazade in November 1990 was unique. Looking back nearly 30 years it seems almost miraculous. Dennis Spaight, Henk Pander, and Ric Young — three of Portland’s top creative artists — joined forces on a project that they perceived as having different goals from Michel Fokine’s original 1912 hit, produced by Sergei Diaghilev’s Ballets

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Oregon Ballet Theatre’s Tracy Taylor performs in Scheherazade in 1993. Photo courtesy of Carol Shults.

Russes. Like the original, this would be a glamorous spectacle, but with a twist. Instead of the orgy and massacre-inthe-harem story — which Spaight especially hated — they referenced the source, The Thousand and One (Arabian) Nights, in which the beautiful storyteller saves herself from death by telling a to-be-continued tale to the cruel Sultan night after night. Using some elements from the Fokine original — such as The Golden Slave — Spaight made Scheherazade, herself, the heroine of a story of true love. She is both telling the story and participating in it. The marvelous violin cadenzas in the score make this possible!

YET, ANOTHER LEVEL PROVIDES INSIGHT TO SEE THE BALLET SIMPLY AS THE CHOREOGRAPHER’S LOVE AFFAIR WITH A SCORE. SPAIGHT HAD WANTED TO SET A BALLET TO RIMSKY-KORSAKOV’S GREAT SCORE FOR MANY YEARS. HIS GRATITUDE TO OBT AND ITS GENEROUS DONORS WAS GENUINE AND PALPABLE.

Thus, we have a story which can be interpreted on several levels. First, a simple love story with a good-versus-evil theme and second, the metaphorical one in which Scheherazade’s death and resurrection can be seen as representing the artist/choreographer’s struggle with his own mortality (Spaight passed away in 1993). Yet, another level provides insight to see the ballet simply as the choreographer’s love affair with a score. Spaight had wanted to set a ballet to RimskyKorsakov’s great score for many years. His gratitude to OBT and its generous donors was genuine and palpable. Recreating this ballet has been a labor of love. Pander has supervised the renovation of his glorious original set designs. Peter West, the original lighting designer, is happily planning new effects. Jennifer Martin, who danced Scheherazade for Eugene Ballet has painstakingly taught the steps to OBT’s dancers, most of whom were not born when Scheherazade premiered. James Canfield, the original Golden Slave, is coaching the partnering. OBT’s costume shop is doing conservation work on the original costumes which former OBT Costume Shop Manager David Heuvel built from Ric Young’s designs in 1990. Spaight’s presence has been felt daily in the studio, never more than when something funny occurs, and we all say, “Dennis would love that!”

Ric Young’s sketch of an original 1990 costume.

For 54 years, Henk Pander’s drawings, watercolors, oil paintings, and other work has impacted Pacific Northwest art with vibrant style and unique subject matters. Pander is collaborating with lighting designer Peter West and the OBT production team to revitalize the 1990 Scheherazade set; a set he originally designed. This performance really is 30 years in the making. Photo by Derrick Ramey.

Photo by Derrick Ramey.

From left: In 1990, Ric Young, costume designer from Scheherazade, and David Heuvel — costume shop supervisor and builder — reviewed one of Young’s costume sketches while watching OBT dancers rehearse in the studio. Now at the opening of OBT’s 30th anniversary season production of OBT ROAR(S), OBT’s costume shop is doing conservation work on these original Scheherazade costumes. Photo by Blaine Covert (courtesy of Carol Shults).

ARTSLANDIA.COM

ARTISTIC STAFF KEVIN IRVING

Airs Wednesdays on KATU’s AM Northwest from 9–10 AM & Afternoon Live from 3–4 PM

THE CRUMPACKER FAMILY ARTISTIC DIRECTOR Sponsored by Bob Sweeney & Cate Millar

A rare dancer whose career spanned multiple disciplines, Kevin Irving began dancing with jazz classes in his hometown dance school (Long Island, New York), before joining the school and training ensemble of Alvin Ailey — an experience that impacted him deeply. From 1982–1985, he danced with The Elisa Monte Dance Company of New York, a company often referred to as “post-modern,” but at 24, he took a sharp turn toward classical dance and joined Les Grands Ballets Canadiens in Montréal. Promoted to soloist and principal, Irving became a well-known figure wherever LGBC performed, excelling in classical, neoclassical, and contemporary roles — including roles and ballets created by LGBC’s resident choreographer James Kudelka. In 1993, Irving joined Twyla Tharp Dance, touring the U.S. and Europe with the acclaimed choreographer, including performances at L’Opéra de Paris and the PBS filming of Tharp’s muchlauded ballet In the Upper Room.

Your host Ashley Coates.

OPENING THIS WEEK

in ®

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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. 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.

EXECUTIVE 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. 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-

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). 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.

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. 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.

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GUEST ARTISTS WILLIAM FORSYTHE

CHOREOGRAPHER In the Middle, Somewhat Elevated William Forsythe has been active in the field of choreography for over 45 years. His work is acknowledged for reorienting the practice of ballet from its identification with classical repertoire to a dynamic 21st-century art form. Forsythe’s deep interest in the fundamental principles of organization has led him to produce a wide range of projects including installations, films, and web-based knowledge creation. Raised in New York and initially trained in Florida with Nolan Dingman and Christa Long, Forsythe danced with the Joffrey Ballet and later the Stuttgart Ballet, where he was appointed resident choreographer in 1976. In 1984, he began a 20-year tenure as director of the Ballet Frankfurt. After its closure, Forsythe established a new ensemble, The Forsythe Company, which he directed from 2005 to 2015. Forsythe’s most recent works were developed and performed exclusively by The Forsythe Company, while his earlier pieces are prominently featured in the repertoire of virtually every major ballet company in the world, including the Mariinsky Ballet, New York City Ballet, and Paris Opera Ballet. Further to his work as a choreographer, Forsythe is a current professor of dance and artistic advisor for the Choreographic Institute at the University of Southern California Glorya Kaufman School of Dance.

AGNÈS NOLTENIUS

STAGER In the Middle, Somewhat Elevated Agnès Noltenius is a dual citizen of France and Germany. She studied eight years at the Paris Opera School, then joined the Ballet du Rhin in Strasbourg where she danced the classical repertory. She partnered with Rudolf Nureyev in Flemming Flindt’s The Lesson and with Maya Plisetskaya in Serge Lifar’s Phèdre. In 1989, she met William Forsythe and joined his company, Ballett Frankfurt. She danced in the company for 12 years. In 2002, she left Ballett Frankfurt to dedicate herself to teaching Forsythe’s repertory and his improvisation techniques at different ballet companies. She has been a guest teacher and staged Forsythe’s Steptext; Artifact; Herman Schmerman; In the Middle, Somewhat Elevated; and Approximate Sonata at The Forsythe Company, Hong Kong Ballet, Staatsballet Munich, Scala in Milano, North Carolina Dance Theatre, Universal Ballet (Seoul), São Paulo Companhia de Dança, Compañía Nacional de Danza (Madrid), English National Ballet, Royal Swedish Ballet (Stockholm), and The National Ballet of Canada. In 2012, she became a certified Pilates instructor. 24

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She has also choreographed her own work since 2006. She authored photography book Forsythe Detail, published in 2003 by Complexe Editions and Arte Editions. In September 2019, she became director of the dance department at the Mannheim University of Music and Performing Arts in Germany. She lives with her family in Munich.

THOM WILLEMS

MUSIC In the Middle, Somewhat Elevated Dutch composer Thom Willems (b. 1955, Arnhem) has collaborated with choreographer William Forsythe on over 60 ballet scores. He studied at the Royal Conservatory in The Hague: composition with Louis Andriessen and electronic music with Jan Boerman and Dick Raaijmakers. Willems started working with Forsythe when he became director of the ballet of the Frankfurt Opera in 1984. His scores are characterized by subtle soundscapes, insistent rhythms, and urban sonorities, forming an intrinsic part of the architecture of the ballets. In 1987, Willems achieved international success with In the Middle, Somewhat Elevated, commissioned by Rudolf Nureyev for Paris Opéra Ballet, with dancers including the rising star Sylvie Guillem. This classic ballet has travelled the world and is in the repertoire of virtually every major ballet company. Sixty-six companies in 25 countries have performed Forsythe/ Willems ballets including The Mariinsky Ballet, Bolshoi Ballet, New York City Ballet, San Francisco Ballet, National Ballet of Canada, Paris Opera Ballet, Teatro alla Scala Milano, Royal Ballet Covent Garden, Wiener Staatsoper, Semper Oper Dresden, and Ballet de l’Opéra de Lyon, among many others. In the Middle, Somewhat Elevated forms the middle act of the full evening ballet Impressing the Czar (1988) and other collaborations with Forsythe include The Second Detail (1991), Limb’s Theorem (1990), Herman Schmerman (1992), Of Any If And (1995), Pas./Parts (1999), and One flat thing, Reproduced (2000). Willems has composed ballet scores for other choreographers, including Daniel Ezralow, Daniel Larrieu, and Kristina de Chatel, as well as music for TV, film, and art installations. Forsythe’s short film Solo, with Willems’ music, was presented at the 1997 Whitney Biennial. Music by Willems is used by fashion designers, including Issey Miyake and Gianni Versace, and was performed at the opening of Tate Modern in London (2000). In 2007, Willems was involved with Tadao Ando’s research center for design, 21_21 Design Sight in Tokyo, and in 2008 with Matthew Ritchie’s installation The Morning Line for ThyssenBornemisza Art Contemporary. Reprinted by kind permission of Boosey & Hawkes.

GEORGE BALANCHINE

CHOREOGRAPHER Stravinsky Violin Concerto 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 spend his next few years on a variety of projects in Europe and then formed his own company Les Ballets in 1933 in Paris. 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.)

BART COOK

STAGER Stravinsky Violin Concerto Bart Cook is a highly regarded dance professional not only as a former principal dancer and ballet master for New York City Ballet (1971–1993), but as a repetiteur for both the George Balanchine Trust and the Robbins Rights Trust since 1988, traveling worldwide to most major ballet companies. He is noted specifically for his contribution to Balanchine’s “black and white” ballets, such as Agon, The Four Temperaments, Episodes, and Symphony in 3 Movements, and for Jerome Robbins’ ballets, The Cage, Glass Pieces, Fancy Free, Dance at a Gathering, and The Concert. In

GUEST ARTISTS 2011, Cook received the Distinguished Alumni Award from his alma mater, the University of Utah. He is vice president and co-founder of the Apollo Arts Initiative Foundation, a notfor-profit organization dedicated to fostering an appreciation of the arts from their deeper holistic perspective.

NELLY KOVALEV

VIOLINIST Stravinsky Violin Concerto Nelly Kovalev became the concertmaster of the Oregon Ballet Theatre orchestra in 2012. She has been a member of the OBT orchestra since 2005. She is also a member of the Portland Opera and a regular substitute with the Oregon Symphony. Kovalev teaches violin at Portland State University and Reed College.

DENNIS SPAIGHT

(1954–93) CHOREOGRAPHER Scheherazade Dennis Spaight performed as a dancer with San Francisco Ballet, Maurice Béjart’s Ballet of the 20 th Century, and Pacific Northwest Ballet. For the latter company, Spaight began his career as a choreographer in 1979 when he created Crayola. Subsequently his ballets appeared in the repertoire of ABT II (Enamoured), Richmond Ballet (Gloria), Ballet Arizona, Eugene Ballet, and Ballet Oregon (Rhapsody in Blue, Schubert Songs). Spaight was appointed Associate Director and resident choreographer when Oregon Ballet Theatre was formed in 1989. Between 1989 and his death in 1993, he created the ballets Scheherazade, Ellington Suite, Frauenliebe und Leben, and Danses Sacrée et Profane for Oregon Ballet Theatre. Photo by Kevin W. Fochit.

CAROL SHULTS

STAGER Scheherazade Carol Shults was a founding member of Oregon Ballet Theatre, working as company instructor and historian from 1989 to 1997. In 1989, she began OBT’s very successful and long-lasting pre-curtain talk series, Performance Perspectives. Since 1993, Shults and Sandra Baldwin, fellow répétiteur for The Dennis Spaight Trust, have staged Spaight works in Richmond, Fort Worth, Nashville, Oklahoma City, Memphis, and Eugene, as well as for OBT whenever they have been performed through the years.

JENNIFER MARTIN

STAGER Scheherazade Jennifer Martin is currently in her 26th season with Eugene Ballet Company. After joining and rising to principal dancer with Eugene Ballet, she retired in 2012 as dancer and is currently their associate artistic director. Martin began studying ballet in southern California and continued her professional training at the Royal Winnipeg Ballet. In recent years, Martin has had the honor of overseeing rehearsals for guest choreographers such as Jessica Lang, Val Caniparoli, Gerald Arpino, and Stephen Mills, as well as the Eugene Ballet’s existing repertoire. Additionally, she has been entrusted by the Dennis Spaight Trust to re-stage Scheherazade for Oregon Ballet Theatre.

SANDRA BALDWIN

STAGER Scheherazade Sandra Baldwin began training in her native Memphis, Tennessee. She was awarded scholarships to Banff School of Fine Arts, School of American Ballet in New York, Craft of Choreography Conference, and University of Cincinnati-College/Conservatory of Music where, as a freshman, she became a dancer with Cincinnati Ballet Company. Her professional experience also includes Maryland Ballet, Memphis Ballet, Milwaukee Ballet, and Oregon Ballet Theatre, where she also served as Rehearsal Director and Education Director. Along with her experience dancing with ballet companies, she has performed in numerous operas and musicals, including a season with Opryland USA. She served as ballet instructor at Reed College for 10 years, guest faculty at St. Paul School in Concord, New Hampshire for two years, and since returning to Memphis in 1997, ballet instructor at Rhodes College. In addition to acting as executor of The Dennis Spaight Choreographic Trust, she has restaged numerous ballets, including Bruce Marks’ Lark Ascending, Val Caniparoli’s Street Songs, and Agnes de Mille’s Rodeo.

RIC YOUNG

(1941–92) COSTUME DESIGNER Scheherazade As a designer, choreographer, writer, and director, Oregon artist Ric Young was one of the Portland theatrical community’s most prolific and acclaimed artists. A founding member for Storefront Theater, he worked in costume and scenic design, production and direction for Storefront, Portland Civic

Theatre, the New Rose Theatre, and many others. Young’s varied talents earned him numerous awards, including Oregon Public Broadcasting’s “Best Director” award for Rashomon. Young’s reputation extended overseas as well. He designed for the Theater am Turm in Frankfurt, Germany, and extended a design commission for Mariko Dance Theatre in Kyoto, Japan. Although Scheherazade was his first collaboration with Oregon Ballet Theatre, he previously worked with Dennis Spaight on the Storefront Theatre’s production of Cuchulain Cycle.

PETER WEST

LIGHTING DESIGNER Scheherazade A frequent collaborator with choreographer Dennis Spaight, Peter West designed the lighting for his Rhapsody in Blue, Crayola, Gloria, Magic Mountain, Theatre Dances, the 1990 OBT premiere production of Scheherazade, and his last ballet Frauenliebe und Leben. Collaborating with visual artist Henk Pander, he lit Echo and Duet with No Partner for Portland Dance Theatre, Parabola for The Company We Keep, and with costume designer Ric Young, Ursula K. LeGuin’s Omelas for Storefront Theatre. Other OBT credits include lighting for James Canfield’s Equinoxe. West has designed and produced corporate events and trade shows in the U.S., Europe, and Asia for major corporations. His architectural projects include the renovation of Salem’s Historic Grand Theatre, lighting for The Museum at Warm Springs, the Nike pavilion at the 1996 Olympics, the UC Berkeley Anthropological Museum, and Niketown Atlanta.

HENK PANDER

SCENIC DESIGNER Scheherazade Dutch artist Henk Pander arrived in Portland in 1965 and, except for brief periods, has lived here ever since, creating works that challenge the status quo modern art of the Pacific Northwest. In his drawings, watercolors, oil paintings, and stage sets, Pander depicts subjects ranging from the death of friends to erotic fantasies, from the wreck of the New Carissa to the ruins of Ground Zero, and from the skylines of Portland and Amsterdam to abandoned airplanes and automobiles in the American West. Pander was trained at the Rijksakademie van Beeldende Kunsten in Amsterdam, Netherlands from 1956–1961.

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COMPANY PRINCIPAL DANCERS

ANSA CAPIZZI

XUAN CHENG

PETER FRANC

BRIAN SIMCOE

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The Dancers and Stage Managers of Oregon Ballet Theater 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 5, initially with Chika Goto Step Works Ballet, followed by San Francisco Ballet School. She joined OBT as an apprentice (2003) and was promoted to soloist (2007) and principal (2018). Among her favorite performances are William Forsythe’s The Vertiginous Thrill of Exactitude, George Balanchine’s Tarantella, Marius Petipa’s The Sleeping Beauty, James Canfield’s Romeo & Juliet, Nacho Duato’s Por Vos Muero, Michel Fokine’s The Dying Swan, Nicolo Fonte’s Presto, and Ji í Kylián’s Falling Angels.

XUAN CHENG

Xuan Cheng is from Chenzhou, China. She attended Guangzhou Ballet School, joined the corps de ballet for Guangzhou Ballet of China (under prima ballerina Dan Dan Zhang), and rose to principal. In 2004, she was a silver medalist in the 3rd Shanghai International Ballet Competition; in 2005, a finalist in the 8th New York International Ballet Competition; and in 2006, a gold medalist in China’s Tao Li Bei World Dance Competition. Upon Édouard Lock’s invitation, she joined La La La Human Steps and performed in 20 countries across three continents: Europe, Asia, and North America. She joined Les Grands Ballet Canadiens, became an OBT principal (2011), and continued to lead as: Cinderella, Juliet, Giselle, and Odette/Odile in both Christopher Stowell’s and Kevin Irving’s Swan Lake 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 15 years old 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 Weber’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 The Nutcracker’s SugarPlum 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; SugarPlum 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 5. 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 SugarPlum 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 starting 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 Jirí 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 4. 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 4. 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.

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).

APPRENTICES

KANGMI KIM

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.

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.

BAILEY SHAW

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 4. 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.

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FEATURE

TRANSITIONS: NEW SEASON WELCOMES NEW TALENT BY GAVIN LARSEN

Jessica Lind and Adam Hartley rehearse steps to Scherazade in the studio. Photo by Jingzi Zhao.

FOR DANCERS, EVERY SEASON FEELS LIKE A GIFT. The annual unveiling of the next season’s programming sparks wonderment in a dancer’s mind — since no two years are ever the same, dreamed-of ballets or roles might finally arrive, new works are beautiful unknowns, and anything seems possible. Audiences, too, delight in unwrapping a new season; the inevitable changes in the company’s roster make for a new palette of colors — a new kaleidoscope onstage. For this special 30th anniversary season, Oregon Ballet Theatre welcomes three new apprentices, Kangmi Kim, Bailey Shaw, and Niko Yaroslaski. OBT Artistic director Kevin Irving chooses dancers carefully, but not only for talent. “That’s the prerequisite, of course, but I also look for individuals who will con-

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nect to the spirit of our company,” he explained. He noted proudly that Kim — “She has a lovely quality and has done beautifully” — is the fourth dancer to graduate from the incubator of OBT2 into the main company. Bailey was hired at OBT’s New York audition last January. “It was clear he had the maturity to understand responsibility, and I really enjoyed his work,” Irving said.

Niko Yaroslaski comes with experience from his recent stint as a trainee with Ballet West. Talent, on top of the confidence gained from extensive stage time and a diverse training background (in jazz, contemporary, and at schools across the country), made Yaroslaki stand out when he auditioned for OBT2. “He’s a young dancer with tons of talent and a great facility for

ballet,” Irving said. “We’re all looking forward to seeing his development with OBT.” Irving first spotted Brian Bennett at the annual open audition sponsored by the International Association of Blacks in Dance, an organization focused on promoting opportunity and exposure for dancers of African ancestry. “He was cool, calm, and collected amidst the chaos around him and showed his elegance and confidence,” he recalled. A recent graduate of Butler University, Bennett’s early training included many styles and plenty of dance competitions, which he said set him up well for his classical future. “I focused on performance quality, using emotion and moving in my own way, and I became adept at quickly learning choreography,” he said.

FEATURE Now, Bennett is thrilled to explore his new city — “The foliage is breathtaking!” — and excited to dedicate himself to the choreography in William Forsythe’s In the Middle, Somewhat Elevated. He joined OBT as an apprentice for the final six weeks of the 2018–2019 season and is now a full member of the corps de ballet.

themself. When young dancers emerge from the corps into soloist and principal roles, we see the development and blossoming of artists right before our eyes. This year, corps members Jessica Lind and Thomas Baker, who have shared their journey upward from the OBT School, have been promoted to soloists.

Irving noticed Coco Alvarez-Mena while “Both Thomas and Jessica have been observing her senior class at the prestig- on a slow boil for at least two seasons,” Irving said. He cites their performances ious University of Southern California’s in 2017’s Swan Lake as “standouts,” but Glorya Kaufman School of Dance. Alvasays it was their joint debut as the Sugarrez-Mena, whose balletic talent is also plum Fairy and her Cavalier in George complemented by strong versatility in a ® variety of dance techniques, had already Balanchine’s The Nutcracker that proved their soloist readiness. “They both have put OBT at the top of her company wisha long association with OBT and have list for its repertoire, company culture, worked tirelessly to improve and grow. and work environment. They’ve turned themselves into really fine “I expressed interest to her professor, but artists who can transition from full-on she took it upon herself to come to Port- classical ballet mode to hardcore conland to audition,” Irving said. “At that temporary at a moment’s notice.” point, I knew she was not only very talBaker already feels his new responsibility. ented but was also a self-motivator who “The promotion feels like an acknowledgewould do really well at OBT.” Alvarezment and appreciation of the work I do,” he Mena joins the OBT corps this season. said. “It’s giving me a sense of confidence, For fans, news of a promotion is as excit- versus needing to prove myself. I think this ing and gratifying as it is for the dancer will allow me to develop even more.”

For Lind, becoming a soloist is exciting and freeing. “But it’s also a bit intimidating,” she said. “Being on the spot — as opposed to a second or third cast understudy — will take more courage to trust that I can do what the choreographer wants, but it allows more artistic freedom. I’ve always wanted to be a dancer that others look up to, and it’s exciting to have the opportunity to really strive to be at the top of my game technically, mentally, and artistically. I’ve proven I deserve this promotion, but I want to continue living up to it. The work never ends.” Katherine Monogue, an audience favorite who’d been on the rise in the company, will be leaving OBT as she transitions into her next career: she’ll begin nursing school at Georgetown University in the fall. “In her six years with us, Katherine has gone form strength to strength,” Irving said. “She’s epitomized the ideal OBT dancer for me: whatever she was doing, you wanted to watch. We wish her the very best as she opens a new chapter in her life.”

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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Louis DeMartino, Principal Melanie Yamada Angelique Poteat

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

VIOLA Angelika Furtwangler, Principal Daphne Gooch, Assistant Principal Brenda Liu Kim Burton Adam Hoornstra Shauna Keyes

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Georgeanne Ries, Principal Sydney Carlson Sarah Tiedemann

OBOE Kelly Gronli, Principal Melissa Peña Alan Juza

BASSOON Carin Miller-Packwood, Principal* Danielle Goldman Nicole Buetti

FRENCH HORN Steve Hayworth, Principal Leander Star Mike Hettwer Jen Harrison

TRUMPET Charley Butler, Principal* Robert Rutherford Jeff Snyder

TROMBONE Henry Henniger, Principal Lars Campbell Dave Bryan

TUBA Mike Grose, Principal*

PERCUSSION Gordon Rencher, Principal Brian Gardiner Chris Whyte Ian Kerr

TIMPANI Jeff Peyton, Principal

HARP Maria Casale, Principal*

ORCHESTRA PERSONNEL MANAGER Janet George

MUSIC LIBRARIANS Kirsten Norvell Eva Richey Rachel Rencher *denotes acting title Italics denote substitute

OREGON BALLET THEATRE STAFF

BOARD OF TRUSTEES

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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

Jim Fullan, Interim 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 Nadia Chopra, Wellness Coordinator

PRODUCTION Bill Anderson, Director of Production Ian Rutledge, Production Administrator Victoria A. Epstein, 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 Hanna Brandt, Patron Services Representative

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

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

SPECIAL THANKS AFM Local #99, Chris Balo, The Dennis Spaight Trust, Eugene Ballet, IATSE Local #28, New Heights Physical Therapy, Pacific Northwest Ballet, Portlandâ&#x20AC;&#x2122;5 Centers for the Arts

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 August 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

POINTE SOCIETY BRAVURA CIRCLE

($50,000 & UP)

Tom & Cynthia Mulflur Bob Sweeney & Cate Millar

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 34

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The Merritt & Heather Paulson Family Fund 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 Barbara Yeager

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

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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

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Anonymous Adam Arnold Patti & Lloyd 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 Katrine & Nick 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

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($500–$999)

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INDIVIDUAL DONORS 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

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Anonymous Abigail Alford Keiko Amakawa & Dr. Harvey Fishman Jim Anderson, In Memory of Anne Lynch Molly West Anderson Paula Arsenault Laura Barber Mary Bartlett John Bosshardt & Diana Petty 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 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 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 Nancy Kathrens Christina Kellogg & John Gratchner 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 Suzann & Dennis Ott David & Kelly Park Lynn Partin & Bill Holmes

Carol Peterkort & Richard Gibson Dennis Petrequin 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 April Avery Gennaro & Marilyn Manser Avolio Diane Babcock Ruth B. Bach John Bagg Robert Ball Shauna & Scott Ballo Steven Bannon Dr. Anna Bar Laura J. Barton Kathleen Bayer Nola Becket Kurt Bedell Dr. Diana Bell Barry & Jacqueline Bennett Paul & Pat Benninghoff Pamela J. Benso Naomi & Phillip Beymer Brian Bills & Desiree Schlotthauer

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IN THE SPOTLIGHT

THE BEGINNING OF THE LASTS BY NIEL DEPONTE

Niel DePonte became the Principal Percussionist of the Oregon Symphony in 1977 when he was just 24 years old. The 2019–2020 season, his 42nd, will be his last as a full-time member of the orchestra. DePonte’s illustrious career has included a Grammy nomination in 2003, conducting Oregon Ballet Theatre’s orchestra since its founding in 1989, and deep involvement in arts education advocacy through the nonprofit organization MetroArts Inc that he founded in 1993. He’s served on the steering committee for RACC’s Arts Plan 2000+ planning process and has been a member of the National Endowment for the Arts’ Orchestra Grants Committee and the City of Portland’s Arts Tax Oversight Committee.

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.” 40

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On June 8, 2020, I will play with the Oregon Symphony for the last time as their Principal Percussionist. Forty-two years a drummer. Forty-two years a witness to the evolution of a city and its culture as I prepare to retire from the orchestra as a full-time player. As the season approaches, I realize with a mixture of nostalgia, anticipation, and the usual start-ofa-new-season excitement, that I’m about to embark on a familiar series of events for the last time. It is the beginning of the lasts.

Saturday, September 7, 2019, will be the last appearance I make at the Oregon Zoo’s amphitheater with the orchestra, the last “first concert” of the season. By then I will have looked over the percussion parts, made the assignments of who plays what and when in my section, practiced, arranged for the correct instruments and stick cases to arrive onstage for the performance, and figured out where to position them for the sake of choreography. 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. I’ll look around at my colleagues, warming up together, greeting one another after a summer of playing festivals, perhaps playing with their new babies, marrying off their eldest child, or meeting their first grandchild. I’ll feel gratitude for the wonders of this exclusive club of musicians, for which the membership fee consists of years of lessons, way over 10,000 hours of practice, conservatory training, graduate school, the audition grind, and the frustration of losing a few times before you win a job. I’ll remember 1977 — being 24 years old and new to Portland when I arrived in 1977. As I raise my drumstick to play my last seasonopening note, I’ll look out from the stage at the zoo and take in the sea of humanity falling into order on the lawn, the smell of freshly cut grass, the cacophony of musicians warming up, kids laughing, and parents shouting

after them. I’m sure I’ll feel emotional, but we’ll have to see what shape it takes. We will begin our indoor concerts at the Schnitzer Concert Hall playing The Empire Strikes Back movie score, then backing up the indie rock group Guster, and the following day doing the same for hip-hop artist Wyclef Jean. Symphony programming has changed during my 40-plus years, probably for the better. The definition of what entertains the public changes over time and traditional institutions must offer new “product lines,” if you will, to tap into changing tastes and emerging markets within the community. I’m OK with it. There’s no substitute for live performance, and if these offerings are what bring people in the door, then I’m happy to play for them. One never knows what might whet a young person’s appetite for Mozart or Brahms. September 28, 2019, will mark last first classical concert of the season in Portland (Mozart and Brahms made the cut for that show). The kicker is that it will be the last time I start the season wondering what percussion parts are coming out of a world premiere work, this one by composer Oscar Bettison, that will begin the concert. Will the piece call for our standard set-up, or will we need to improvise, as when a piece entitled Of Nature called for soprano, alto, tenor and bass frog “chirping” sounds, which I replicated with four fart whistles purchased from the long-shuttered Callin Novelties? My job has been anything but boring. That last first classical concert will feature a piano performance by Garrick Ohlsson for which there are no percussion parts, so it will also be the last time I get to hear part of the concert through the speakers in the musicians’ lounge. Those of us not onstage will be downstairs in the green room playing cutthroat Boggle, looking over the present and future parts we must play, or rooting for the Blazers on TV. Or perhaps I’ll take a seat in the hall, as I often

do, in awe of the artistry of my colleagues, Ohlsson, and conductor Carlos Kalmar. Fast forward to Monday, June 1, 2020, likely the last time I perform the notorious Ravel Bolero snare drum part. This is the piece Bo Derrick made famous years ago in a film entitled 10 with Dudley Moore (which is sort of like saying United Airlines commercials made Rhapsody in Blue famous, but again, I digress). As you may know, Bolero starts with the snare drummer playing, as softly as possible, a two-measure phrase. It is incredibly challenging to play snare drum softly in a concert hall when, initially, the only other sound is the low strings plucking away. In other words, I stick out. I’ll play the same phrase over and over for 12 (average pace) to 18 (Kalmarian death pace) minutes. If I make even one attack sound uneven or, God forbid, whiff on an attack, everyone will know it, and I’ll break the magical musical spell. No pressure, right? As we say, this is why musicians get paid the big bucks (musicians, chuckle here). So, if June 1 is the last time, I’m OK with it. And then, finally, there will be the last of the lasts: June 8, 2020, my final classical concert. Retiring musicians will be asked to stand, usually after intermission, to be acknowledged.

I’ll look out at you, my audience. I’ll take you in, listen to you, watch you, memorize you.“ I’ll think back through the last 42 seasons: how your looks have changed, how your clothing has changed, how many musicians (200?) we have shared, how many friends and colleagues we have lost. I can tell you already that has been my honor to serve you, to share the experiences with you, to teach and entertain your children, to bring you solace after 9/11, to provide whatever goodness I could muster on behalf of the composer and the muse of music. I’ve held my position for about a third of the orchestra’s entire existence. In the future, you might see me pop up in the back row as an extra sometimes, or conducting for Oregon Ballet Theatre, or overseeing my MetroArts Inc Kids Camp and the Young Artists Concerto Concert. Who knows what else? The good news is this: even in my season of lasts, you haven’t heard the last of me! Thank you for listening to what I could share with you every season. I sincerely hope I made a lasting impression on you and our community. .

Niel DePonte. Photo by Christine Dong.

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ON POINTE

OBT soloist Jessica Lind strikes a pose on the stunning floating staircase of the lobby at The Porter Portland, Curio Collection by Hilton. Located in the heart of downtown, the hotel offers an array of delights. Stunning guest rooms feature the expected indulgences as well as unexpected touches like minibars stocked with local items, guidebooks written by Portlanders, and optional floor-to-ceiling windows with river and mountain views. Amenities include a heated, indoor saltwater pool, fitness center, and Meditation Spa. On-site dining includes the 16th-floor rooftop xport bar & lounge with an outdoor patio including a sleek fire pit, a fabulous menu of signature bites, and inventive handcrafted cocktails. Terrane Italian Kitchen & Bar serves authentic, wood-fired Italian cuisine, and Chiosco Pizza presents carry-out pizza made from scratch. The Porter Portland is a proud supporter of the arts in Portland. Photo by Christine Dong.

JESSICA LIND OREGON BALLET THEATRE SOLOIST

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When and why did you start dancing? I started dancing when I was 4 years old. Up until that age, my mom says I would watch my older sister in ballet class through the window and not be able to sit still. My older sister, who’s now a professional ballet dancer as well, inspired me to start dancing.

show at the Keller (about nine years ago), I had a friend tell me to touch this red piece of carpet that’s glued to the wall up above the stairs from the dressing room to the stage level for good luck. I have done that every show since, and I like to think it has brought me a little extra luck in my performances.

When did you first know you wanted to be a professional dancer? I feel like I was maybe a bit older than most when they realize they want to be a professional dancer. It was actually during the school performance with OBT when I was 18, and I was onstage performing Balanchine’s Serenade. I have this vivid memory of dancing and hearing the music, and just coming to this realization that this is what I want to be doing for as long as I can be doing it.

Are there performances or moments that stand out in your memory? Could you tell us what made these performances particularly special for you? I think my favorite piece I have performed was Nacho Duato’s Jardí Tancat. The movement is so full-body, and the music is just so powerful. We rehearsed so much that by the time we performed, I didn’t have to think about the steps, at all. It’s an amazing feeling to be completely physically exhausted, but your body continues to make the steps happen. I’ve already performed Jardí twice at OBT, and I don’t think it will ever get old. Performing Sugarplum Fairy with OBT in George Balanchine’s The Nutcracker® for the first time a couple of seasons ago was another moment I will never forget. That was an opportunity I definitely thought wouldn’t come until much later in my career.

What’s an average day like for you? During OBT’s season, an average day for me would be waking up around 7:30 a.m. (after I’ve pressed snooze about five or six times), taking my dog out for a walk while I drink my coffee, eating breakfast, and heading into the studio at about 8:30 to warm up for class from 9:30–11, rehearsals from 11:20–2 p.m., making a quick trip home for lunch and to let my dog out, and then more rehearsals from 3–5:30. Once I get back home, I am usually mentally and physically exhausted, so I like to cook dinner and turn my brain off for a while, which typically involves watching Beat Bobby Flay, The Voice, or The Bachelorette. Before I go to bed, I spend a little while reviewing choreography I learned that day or preparing for a rehearsal I have the next day. I’m usually conked out by 10:30. If you had not become a professional dancer, what do you imagine you would you be? I was very into sports growing up, even while I was dancing. I want to think that if I didn’t become a professional dancer, I would have reached the professional level of some sport, possibly soccer or the long jump. Do you get nervous before a performance? Do you have any pre-show rituals? I struggle a lot with nerves. It has gotten much better the older I have gotten and the more performances I have done, but I still get nervous before I go onstage. I had a teacher tell me one time to find a quiet, dark corner to take deep breaths and shake out my whole body. This ritual has seemed to help with my jitters; I do it right before I go onstage. I am also a very superstitious person. At my first

What are the qualities that make a dance student successful? I think a successful dance student is dedicated, disciplined, not afraid to put themselves in the first group, and someone who picks up choreography quickly. What are some of the most important lessons to pass on to younger dancers? If I could pass along one lesson I’ve learned to younger dancers, it would be this: Be courageous. We train our whole lives for this career. Once you make it to the professional level, trust that your body knows what to do. It is essential to have the courage to make your own decisions about your artistry and what kind of dancer you want to be. And it is essential to have the courage to put yourself out there in the studio and onstage. It is not always easy, but this is the only way you can share your gift. What do you find to be the most challenging part of being a dancer? For me, I sometimes find learning the choreography to be the most challenging aspect of being a dancer. Once I know it, I love perfecting it and rehearsing and performing. I also find it difficult to put myself in the front when there are new choreographers in the studio. But that is where courage comes in!

Be courageous. We train our whole lives for this career. Once you make it to the professional level, trust that your body knows what to do.”

What’s the biggest obstacle you’ve had to overcome so far, and how did it change you? When I was 20, my very first day as an apprentice with OBT, I tore my ACL. I ended up having to get surgery to reconstruct my left knee. I was out for a whole season. I’ve pretty much blocked out how I felt during the beginning of that process, but I will say that the experience of not being able to dance made me realize that I definitely wanted to be a professional dancer. I felt like something huge was missing in my life. What, for you, is the most fulfilling aspect of your life as a dancer? Performing is the most fulfilling aspect of my life as a dancer. Especially now that I’m overcoming my nerves, I love being able to provide the audience with a brief escape from their real-life problems. Ballet (and dance in general) is so beautiful, and I feel very fortunate to be able to express myself through it. Who or what inspires you? I get inspired every day by my fellow dancers I have the opportunity to work with, in the studio and onstage. Artslandia’s theme for the 2019–2020 season is A Night Out. Describe for our readers your perfect night out. My perfect night out in Portland would be walking around either the Pearl, SE Division, or NW 23rd with my boyfriend without a destination in mind and discovering a bar or restaurant that’s new to us. It would preferably be summer so we could sit outside, and it would be a bonus if there were live music. And it would be a double bonus if Thai food was involved! . ARTSLANDIA.COM

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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 ,

Those of us who regularly attend classical music concerts have learned to withhold our applause between movements in a long piece and only applaud when the piece is finished. We are sometimes embarrassed by audience members who apparently do not know, for example, that a symphony has four movements. Some performers seem irked by mistimed applause and others seem to enjoy it. However, I understand that European audiences are more liberal with their applause and clap for solos or arias or movements that they particularly enjoyed, so our preference for holding the applause to the end of the piece may emphasize our status as the American “rubes” of the cultural world. But more importantly than how the audience feels, or even what the performing artists prefer, is the burning question: Which practice do ushers prefer? Any words of wisdom you can share on this contentious issue would be much appreciated! P.S. I have been unable to locate your account on Facebook. — Will Carpenter, Who Knows the Appropriate Time to Clap A

DEAR WILL CARPENTER,

Well! This is a contentious issue, especially for the ushers among us like yours truly who value rules, order, and tradition above all else. I’m delighted to know that you, Mr. Carpenter, know the appropriate

moments for applause during the performance of classical music. If it were up to me, symphony halls would have those illuminated signs that read “APPLAUSE” and flash brightly at customary moments for audible accolades. If it were up to me, Artslandia would direct patrons away from willy nilly clapping by including in the program notes of their gorgeous playbills when to applaud and, more importantly in my mind, when to refrain. I know that you know that convention calls for such behavior when a conductor or guest artist walks onto the stage, but that said behavior should cease as soon as said conductor’s arms raise. Said behavior should not resume until said conductor’s arms rest at said conductor’s sides. All of my 5 children, 14 grandchildren, and 7 greatgrandchildren know this. And so do you, Mr. Carpenter. In my mind, which is unfailingly correct, the movements of a classical music piece are to be enjoyed as a whole, without interruption. The role of silence is as vital to the emotional experience of the music as the drumbeats. For this usher, errant clapping is not embarrassing or irksome but does break the mood and is, therefore, improper. I have two words for you on this topic: faux pas! And yet, Mr. Carpenter, the truth is that most ushers fall on the other side of the aisle of this debate. They point to the historical fact that in Beethoven’s day, applause at will was the standard when audiences found a performance pleasing. They point out

(as if I don’t know already) that this notion of silence between movements emerged in opposition to the practice of hired clappers in the 19th century. Claques, they were called (which, of course, I know). Do you know what I have to say to this? In Beethoven’s day, throwing potatoes stageward was the standard in the event of displeasure! Surely, we’ve moved past that sort of unsavoriness! There is a point in this parlay, however, that gives me pause. The Oregon Symphony’s First Timer’s Guide on the computer anticipates this clapping conundrum and offers the following guidance: “Clapping is a great way to show your appreciation for the performers. It’s part of what fuels us when we play! If you aren’t sure when to clap, don’t worry — you can easily join in once the applause has begun.” Don’t worry, indeed! I’m worried, Mr. Carpenter. I’m very worried. My fellow ushers insist that bygone are the days of disapproving frowns and shushing. In the present day, they tell me, true classical music aficionados welcome one and all. Education is favored over haughtiness. Outreach rules the day. Sigh. The next thing you know the Oregon Symphony will be playing superhero movie soundtracks and Motown hits. Scandalous, if you ask me. Spectacular, if you ask most ushers. P.S. About the Facebook, you can message me on the Artslandia page. —Ursula the Usher

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