®
LETTER FROM THE ARTISTIC DIRECTOR
Oregon Ballet Theatre would like to express our most sincere thanks to our most generous sponsors.
Photo by Michael Slobodian.
THANK YOU!
WELCOME! Three years ago, OBT celebrated its 25th Anniversary – and the biggest present we gave ourselves was a collaboration with Thomas Lauderdale and Pink Martini. The result of that collaboration, Nicolo Fonte’s Never Stop Falling (in Love), opened a door to further thrilling adventures alongside one of Portland’s most celebrated artists – as well as to other unforeseen artistic journeys that can all be traced back to the seed that was planted when Thomas, Nicolo, and I all sat down to discuss what we might do together if we had the chance. One of those unforeseen artistic journeys reaches you with this program – a wholly reimagined “Rhapsody In Blue,” informed by the bond Thomas Lauderdale has created with this iconic music over many years: he began studying and playing Gershwin’s score at the age of 15. The combination of Nicolo and Thomas (along with their attendant incredible imaginations) – amplified by Hunter Noack, China Forbes, and Pink Martini – seems to me to be the best possible group with which to kick off a season of discovery at Oregon Ballet Theatre. From the very first moments of our collaboration back in 2014, Thomas has been both a guide and an agent provocateur in the best possible way. His enthusiasm for life in Portland and for the unique contributions of artists across the spectrum are part of his, and by extension, Pink Martini’s, DNA. Nicolo, our Resident Choreographer, will soon mark the 10th Anniversary of his first creation here at OBT, and his contributions to the evolution of OBT have been remarkable. Bolero, which starred company favorites Alison Roper and Artur Sultanov, was met with tumultuous applause at its premiere in 2008. Since that time, he has delighted dancers and audiences alike with thoughtful, pulse-quickening works like Petrouchka, Presto, and Beautiful Decay. His exuberant Never Stop Falling (in Love) – a distillation of the giddy optimism that runs through the Pink Martini songbook – is a showcase of the power, both physical and emotional, of the OBT dancers.
PRESENTING SPONSORS BOB SWEENEY & CATE MILLAR AND STEPHEN SWEENEY
Rhapsody In Blue underwritten by
SEASON SPONSORS
The Regional Arts & Culture Council, including support from the City of Portland, Multnomah County, and the Arts Education & Access Fund.
Work for Art, including contributions from more than 75 companies and 2,000 employees.
Oregon Ballet Theatre receives support from the Oregon Arts Commission, a state agency funded by the State of Oregon and the National Endowment for the Arts.
OBT is supported in part by a grant from the Oregon Cultural Trust
And speaking of people who have contributed to the evolution of OBT – our performances of this program are dedicated to one of our most generous and visionary supporters, Jordan Schnitzer. Jordan has substantially supported OBT through good times and bad, and his history of supporting us has ensured our continual vitality. In fact, Jordan has generously loaned the two nine-foot concert grand Steinway pianos played in Rhapsody in Blue. We are so fortunate to have someone like Jordan Schnitzer here in our community and we happily recognize his great contribution to OBT with this program dedication! I encourage everyone in the audience to notice the many individuals and organizations mentioned throughout this program who support our mission in ways big and small. You will find their names attached to individual dancers, to specific ballets, and to the physical well-being of the dance company. We can’t express our gratitude enough. OBT will be heading off on some other incredible journeys this season – not only to the traditional land of sweets in George Balanchine’s The Nutcracker®, but down a rabbit hole in this February’s blockbuster production of ALICE (in wonderland) – a production that has to be seen to be believed. We’ll perform a work by one of the world’s most celebrated contemporary choreographers for the first time in April: Ji í Kylián’s Falling Angels caps off an evening of dance that dares to journey through gender stereotypes. And we invite you to get even Closer to us next June at the BodyVox Dance Center. You may never know exactly where you will end up when you journey alongside Portland’s premier dance company – but you do know that the company will be enthralling and the inspiration will never waiver. Enjoy!
KEVIN IRVING
Artistic Director | Oregon Ballet Theatre Kevin Irving generously underwritten by Jeanette & Berritt Heinz
Cover Image: Brian Simcoe and Xuan Cheng. Photo by Christopher Peddecord.
THOMPCORP
®
RHAPSODY IN BLUE RHAPSODY IN BLUE FROM NICOLO FONTE Thomas Lauderdale and Hunter Noack have created an expanded arrangement of Gershwin’s iconic score that brings out nuances in the work that I find really inspired, and inspiring. The creation of a more lyrical and “dreamy” four-handed piano version led us to a narrative that captures a magical time of day ripe with the potential of discovery – the blue hour. L’heure bleue – when day be-
comes night, life becomes less linear, boundaries become more fluid – people’s plot lines become connected, and then disconnected. A rhapsodic world of internal spaces, Rhapsody in Blue stands in contrast to the outwardly energized Never Stop Falling (in Love). I don’t think I would have ever chosen to choreograph to “Rhapsody in Blue” if it weren’t for Lauderdale and Noack’s vision
of the piece, and it’s an experience very similar to my very first work for OBT back in 2008. I had initially refused when Christopher Stowell proposed “Bolero” to me, but when I eventually agreed to do it, the ballet turned out to be a joyful introduction to both the company and the audience here in Portland. Almost 10 years later, I am thrilled to be at it once again!
the theme to just a few notes outlining the melody. Everything becomes slower, and the whole piece suddenly takes on new meaning. Most of the time, pianists race through “Rhapsody in Blue” and it becomes a thrilling display of bravado. However, if one thinks of it as more rhapsodic, repeating sections, slowing things down, making sections dreamier
and longer, the piece becomes much more balletic – more expressive and supportive of the emotion of the movement we see on stage. If we were to perform “Rhapsody” as it normally is performed, the ballet would be a series of fleeting moments, and therefore, it would be harder to tell a story. In this “Rhapsody,” there is time to really develop and explore themes.
FROM THOMAS LAUDERDALE At the intersection of jazz and classical, “Rhapsody in Blue,” a piece I have been playing and working on since I was 15 years old, is for me, the quintessential American musical work. In the music, the iconic theme that comes two-thirds of the way through the piece becomes the moment of an internal, devastating realization … “the blue hour.” We reduce
CHOREOGRAPHY Nicolo Fonte
LIGHTING DESIGN Michael Mazzola
MUSIC George Gershwin; “Rhapsody in Blue”
REHEARSAL ASSISTANT Jeffrey Stanton
PERFORMED BY Thomas M. Lauderdale &
WORLD PREMIERE October 7, 2017; Oregon Ballet
Hunter Noack
Theatre; Keller Auditorium; Portland, Oregon
COSTUME DESIGN Christine Joly de Lotbiniere
Thomas M. Lauderdale and Hunter Noack play nine-foot concert grand Steinway pianos loaned to OBT by Mr. Jordan Schnitzer. RHAPSODY IN BLUE By GEORGE GERSHWIN © 1924 (Renewed) WB MUSIC CORP. This Arrangement © 2017 WB MUSIC CORP. All Rights Reserved Including Public Performance Used by Permission of ALFRED MUSIC
NEVER STOP FALLING (IN LOVE) FROM NICOLO FONTE It was with great pleasure that I returned to the OBT studios this fall to stage Never Stop Falling (in Love). I originally choreographed the ballet in celebration of OBT’s 25th Anniversary. This performance marks a more personal anniversary for me as my first year as OBT’s resident choreographer. Never Stop Falling (in Love) emerged from a wonderfully collaborative and inspiring process. The initial idea of creating a ballet to music from Pink Martini, a band I’d heard of, but never actually heard, was stimulat-
ing but also daunting. However, as soon as I began to listen to the songs I experienced the unapologetic euphoria in the arrangements and the gorgeous vocals of the group. I found myself imagining a kind of Hotel of Love – a place where delirium, hope, disillusion, and of course romance, are all intertwined. Thomas Lauderdale is an incredibly generous collaborator – he threw open his entire canon of work, as it truly was his wish that I find my voice through it. And when I did, we both discovered a shared desire to create
an experience unlike any other – not a ballet to Pink Martini’s greatest hits, not a Pink Martini concert with some dancing, but rather a journey of intense emotion. Working to create this journey with the dancers was one of the most joy-filled processes I have ever had. My heartfelt thanks to the entire company, and to the designers, Michelle Lesniak and Michael Mazzola, who have turned my vision of a Hotel of Love into an actual place and time. Their creative sparks really helped ignite the flame of this work.
CHOREOGRAPHY Nicolo Fonte
MUSICIANS China Forbes, vocals; Thomas M.
COSTUME DESIGN Michelle Lesniak
MUSIC Pink Martini, “Never Stop Falling in
Love,” “A kin Bahardi,” “U Plavu Zoru,” “Hey, Eugene,” Hotel Amour,” “Joli Garçon;” Lotar Olias, Max Colpet, & Karl Vibach, “Ich Dich Liebe;” & Frédéric Chopin, Berceuse, Op. 57
Lauderdale, piano; Gavin Bondy, trumpet; Robert Taylor, trombone; Phil Baker, upright bass; Dan Faehnle, guitar; Reinhardt Melz, drums; Miguel Bernal, percussion; Brian Davis, percussion; Timothy Nishimoto, vocals & percussion; Nicholas Crosa, violin; Maureen Love, harp; Featuring Bloco Alegria
LIGHTING DESIGN Michael Mazzola REHEARSAL ASSISTANT Lisa Kipp WORLD PREMIERE October 11, 2014;
Oregon Ballet Theatre; Keller Auditorium; Portland, Oregon
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RHAPSODY IN BLUE Keller Auditorium Oct. 7 - 14, 2017
MAN/WOMAN Newmark Theatre Apr. 12 - 21, 2018
CLOSER Bodyvox Dance Center May 24 - Jun. 3, 2018
S U B S C R I B E I N T H E L O B B Y T O D AY BUILD A THREE SHOW PACKAGE WITH YOUR RHAPSODY IN BLUE TICKETS! Emily Parker & Avery Reiners, Brian Simcoe & Xuan Cheng | Photos by Christopher Peddecord
17/18 SEASON SUPPORTED BY:
FEATURE
THRIVING TOGETHER
OBT dancers Emily Parker and Thomas Baker in rehearsals for Nicolo Fonte’s Rhapsody in Blue. Photo by Yi Yin.
BY GAVIN LARSEN
THOUGH NICOLO FONTE
and OBT’s relationship dates to the 2008 premiere of Bolero, Fonte’s first work for the company, his appointment as the company’s resident choreographer in the fall of 2016 was much more than a ceremonial designation. One year into this next-level partnership, the choreographer and OBT’s dancers are forging into ever deeper creative territory. The many rewards— for the artists as well as their audiences— are visible on stage.
The term “resident choreographer” sounds straightforward, but to Fonte, the benefits and possibilities extend far beyond the stability of steady work. While OBT already has an impressive collection of Fonte’s ballets (10 of them altogether, including 5 world premieres), he sees the position as the priceless gift of time, space, and trust. “Being a resident choreographer is a really privileged position to be in and to have,” he says. “I have full-on time in the studio— where I want to be— without all the pressures and responsibilities of directing an organization. It’s like having an inkind version of my own company, which is a wonderful, wonderful experience.” The most obvious advantage of being (and having) a resident choreographer— repeated, consistent hours in the studio with the same group of dancers— is what’s needed to build familiarity and a sense of mutual trust, which ultimately allows everyone to, in a sense, relax together. But in Fonte’s rehearsals, there’s certainly no complacency— quite the opposite, in fact. He wants dancers to feel comfortable enough to be uninhibited, but he remains clearly in charge. “I try to cultivate a creative, non-threatening environment,” Fonte says. “But one with enough direction that people aren’t floundering all over the place.” That’s a difficult balancing act which only a few choreographers have the nature to pull off. Fonte’s success has to do with his uniquely disarming, honest, infectious personality, but also comes from
OBT Principal Dancers Peter Franc, Xuan Cheng, and Brian Simcoe in rehearsals for Nicolo Fonte’s Rhapsody in Blue. Photo by Yi Yin.
his unwavering commitments: to continue to break new ground creatively, to push his dancers to fulfill their (perhaps undiscovered) potential, and to deliver the highest quality product for OBT that he can. Fonte’s excitement at having consistent access to OBT’s dancers is driven by his history with the company— several dancers have “grown up” on his works since 2008, and now he sees their talent at its peak. “They’re starting to understand what being in a creation is, and what their contribution can be,” he says. “They understand their body better, their interest shifts to wanting to make a ‘moment’ out of a step, instead of just being dictated to by a choreographer. I’ve been able to really tap into people’s individual strengths and challenge them in a lot of different ways— and subsequently, they’ve pushed me. That’s of primary importance and interest, because the potential for creative growth is so high.”
Fonte sees dancers’ energy and active participation as crucial ingredients in the creation of Rhapsody in Blue, which he says was more collaborative than his earlier OBT commissions. Principal Brian Simcoe, who’s been featured in Fonte’s ballets since 2009, says having incentive to take risks— especially in an art form that often discourages input— is confidence-building. “He creates an atmosphere of every dancer feeling comfortable to suggest or try things— whether he makes fun of them or not!— but as we’ve gotten to know what he’s looking for, he can take us there so much more easily.” After nearly 10 years of working together, Fonte reflects on what might have once seemed an unlikely synchronism between him and Simcoe. “It’s really interesting to have this history with Brian,” Fonte says. “And I can feel it in the studio— he can practically read my mind. What’s so important to me is
OBT Principal Dancers Chauncey Parsons and Xuan Cheng with OBT Resident Choreographer Nicolo Fonte in rehearsals for Rhapsody in Blue. Photo by Yi Yin.
the ability to shift dynamics; to throw yourself around and then nail a beautiful arabesque line, or flow into another shape. Brian’s just so suited to what I do, it’s just sort of perfect. And maybe I had something to do with that.” Simcoe certainly thinks so, and credits his evolution to Fonte: “More than anyone else, he’s been able to bring my personality out in my dancing,” he says. “He was always looking for that from me from the beginning, and I was reluctant. But “I because I’ve gotten to work with him so much over the years, he knows my strengths and weaknesses. At this point, working with Nicolo, I can be myself so much more than ever before.” Embarking on Rhapsody in Blue, Fonte was very aware that relying on his familiarity with the company— and OBT’s with him— would be a dangerous trap. So, while holding firm to the piece’s narrative backbone, developed with collaborators Thomas Lauderdale and Hunter Noack, Fonte came into the studio with almost no set choreography in mind. Instead, he held a three-day “audition” for the entire company to workshop material and— critically— decide on casting. “I didn’t want to fall into patterns,” he
explains. “This is a new ballet, a new process, and I wanted to change the energy. Also, there’s a very talented pool of younger dancers on their way up in the corps, and I wanted to see how they might be integrated into the group. This audition approach was a way of seeing who’d jump off the page for me, really dive into this new stuff in a
to bring out the best in us. It’s rare to work with someone who knows us so so well and isn’t our director.”
And that’s the underlying element that makes Fonte’s work with OBT so fruitful: a sense of shared investment and responsibility. The dancers aren’t merely looking to Fonte for direction, he’s counting on them to be proactive as he creates— he doesn’t want dancers who simply do what they’re told. TRY TO CULTIVATE A CREATIVE, NON-THREATENING It’s a two-way street, and once they’re on it, there seems to be no going back. ENVIRONMENT,” FONTE SAYS. “BUT ONE WITH Is there pressure? Of course, but it’s the ENOUGH DIRECTION THAT PEOPLE AREN’T very best kind. “I still get nervous when I start a new ballet,” says Fonte. “But FLOUNDERING ALL OVER THE PLACE.” that’s a very good thing. It brings your A-game. And that coincides with having creative dancers in the studio with me— way I wasn’t expecting. I wanted everyone I don’t want to be the smartest one in the to have the chance to do that.” room, I want to be pushed a little. If someone One of those daring young dancers was has a better idea, I’m not intimidated by that. corps member Emily Parker. Despite her relaI want it all out on the table— then I gather tive newness in the company (she joined in it and direct it. That’s my job.” And as for the 2014), she senses Fonte is astutely aware of dancers— who are used to pressure: “We her capabilities— and wants her to be, too. feel the responsibility of bringing his vision to “What I love is that a lot of times, he’ll ask life,” says Simcoe. “But it’s freeing. He trusts what your instincts are for a given moment,” that whatever we do will be our utmost, and she explains. “I’m 100% prepared to get shut we know he won’t lead us down the wrong down, but he knows what we can do and how path. And that’s the very best feeling.”
ARTISTIC STAFF KEVIN IRVING
ARTISTIC DIRECTOR Kevin Irving began dancing with jazz classes in his hometown dance school (Long Island, New York), and later joined the school and training ensemble of Alvin Ailey. From 1982 to 1985, he danced with The Elisa Monte Dance Company of New York, but, at 24, he took a sharp turn toward classical dance and joined Les Grands Ballets Canadiens, in Montréal. Promoted first to soloist and then to principal dancer, Irving became a well-known figure wherever LGBC performed. In 1993, Irving joined Twyla Tharp Dance for a project that included performances at L’Opera de Paris and the PBS television film of In the Upper Room. From 1994 to 2002, Irving was ballet master and associate director with Nacho Duato’s Compañía Nacional de Danza in Madrid, Spain. From 2002 to 2007, he was Artistic Director of The Göteborg Ballet in Sweden. The company, under Irving’s tenure as director, was named the most important dance company in Sweden in Ballet International’s critics’ poll. From 2007 to 2013, he was a frequent guest ballet master with The Royal Danish Ballet and has been a guest teacher with numerous other companies and schools. He has staged ballets by Nacho Duato and Nicolo Fonte on companies such as The Royal Ballet Covent Garden, Nederlands Dans Theater, Hubbard Street Dance Chicago, and The Australian Ballet, among many others. Irving was also Associate Director at dance company Morphoses (2011–2012), coordinating special initiatives aimed at defining the company’s unique brand and profile in the dance world. In 2010, Irving founded I-DANCE (Inspiring Dance: American Nation Choreographic Exchange), a non-profit organization that has sent teachers and choreographers to dance communities in Central and South America. He was named Artistic Director of Oregon Ballet Theatre in July 2013. Photo by Michael Slobodian
NICOLO FONTE
RESIDENT CHOREOGRAPHER Nicolo Fonte was appointed Oregon Ballet Theatre’s resident choreographer in the Spring of 2016 marking the culmination of a nearly 10-year relationship during which he created 5 world premieres for the company beginning with the opening of Bolero in 2008. Fonte’s work has been noted by critics for a unique movement language as well as a highly developed fusion of ideas, dance, and design. Born in Brooklyn, New York, Fonte started dancing at the age of 14. He studied at the Joffrey Ballet School in New York as well as at the San Francisco
Ballet and New York City Ballet Schools while completing a Bachelor of Fine Arts at SUNY Purchase. Upon graduation he danced with Peridance in NYC and later joined Les Grands Ballets Canadiens in Montréal, dancing in the works of Balanchine, Tudor, Kudelka, and Spaniard Nacho Duato. Fonte subsequently joined Duato’s Compañia Nacional de Danza in Madrid and forged a strong identity in the Spanish company for seven years—for both his dancing and his choreography. En los Segundos Ocultos, (In Hidden Seconds), one of three ballets Fonte made for the Spanish company, was hailed as a breakthrough work of great impact with the poetic vision of a mature artist and indeed this ballet established his presence on the European dance scene. In 2000, Fonte retired from performing to devote himself full-time to his choreographic career. Since that time, he has created or staged his ballets for companies large and small all over the world, such as The Dutch National Ballet, Houston Ballet, Royal Danish Ballet, Pacific Northwest Ballet, Ballet West, and Royal Ballet of Flanders, among many others. Fonte received a Choo San Goh award for his 2002 collaboration with Pacific Northwest Ballet, Almost Tango, of which R.M. Campbell of the Seattle Post-Intelligencer wrote, “Fonte is a thinker, an architect who creates the new rather than reinvent the old. He is a master of manipulating space and creating relationships.” Almost Tango was also voted as one of Dance Europe’s “Best Premieres” when it was re-staged for The Australian Ballet in 2004. From 2002 to 2006, Nicolo enjoyed an ongoing creative partnership with The Göteborg Ballet in Sweden, creating and staging numerous works that helped establish the company’s distinct profile. Fonte has also played an important role in the ongoing development of Aspen Santa Fe Ballet as one of that company’s most popular guest choreographers. In addition to Oregon Ballet Theatre, Nicolo Fonte is currently the resident choreographer for Ballet West in Salt Lake City, which began with the 2012/13 season. Photo by Jana Cruder
OBT in 2004, she was the Ballet Department Head for the school of Spectrum Dance Theater in Seattle, as well as the company’s rehearsal director. Kipp has been the ballet master for OBT for 10 years, and the company’s rehearsal director for 4 years. As a ballet master she has assisted James Kudelka, Lar Lubovitch, Lola de Ávila, Nicolo Fonte, Francia Russell, Bart Cook, Christine Redpath, Christopher Stowell, Yuri Possokhov, and Helgi Tomasson. She has staged George Balanchine’s Rubies, Square Dance, and Who Cares? for OBT and is responsible for the corps de ballet in OBT’s classical repertoire. Photo by Tatiana Wills
JEFFREY STANTON
BALLET MASTER
Jeffrey Stanton trained at San Francisco Ballet School and the School of American Ballet. In addition to classical ballet, he also studied ballroom, jazz, and tap dancing. He joined San Francisco Ballet in 1989 and left to join Pacific Northwest Ballet in 1994. He was promoted to soloist in 1995, made a principal in 1996, and retired from PNB in 2011. He originated leading roles in Susan Stroman’s TAKE FIVE…More or Less; Stephen Baynes’ El Tango; Donald Byrd’s Seven Deadly Sins; Val Caniparoli’s The Bridge; Nicolo Fonte’s Almost Tango and Within Without; Kevin O’Day’s Aract and [soundaroun(d)ance]; Kent Stowell’s Carmen, Palacios Dances, and Silver Lining; and Christopher Stowell’s Zaïs. Stanton has performed as a guest artist for Le Gala des Étoiles in Montréal, Prague Gala of Stars, and the TITAS Command Performance of International Ballet in Dallas, Texas. In 2000, he participated in the George Balanchine Foundation’s Interpreters Archive series, dancing excerpts from Balanchine’s Episodes, coached by Melissa Hayden. Photo by Tatiana Wills
MICHAEL MAZZOLA
RESIDENT LIGHTING DESIGNER
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, Ballet of Los Angeles, Ballet Chicago, and James Sewell Dance, and also 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
Michael Mazzola’s critically acclaimed lighting and scenery has been seen in venues all over the U.S., Europe, and Asia, ranging from opera houses to amphitheaters to 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 of Seattle; Queensland Ballet; National Ballet of Finland; Stuttgart Ballet; Grand Rapids Ballet; Ballet West; Ballet Nacional de Cuba; Ballet Hispanico; Trey McIntyre Project; The Washington Ballet; Royal Winnipeg Ballet; Houston Ballet; Rachel Tess Dance at the Wanås Foundation in Sweden; Baryshnikov
Arts Center in New York City, LMCC’s River to River Festival; Third Rail Repertory Theatre; Bebe Miller Company; and Liz Lerman’s Dance Exchange. For the National YoungArts Foundation Mazzola has designed scenery and lighting for their Miami Galas since 2015. For the 2015 and 2016 Pre sidential Scholars|YoungArts Awards he designed lighting and created media content at the Kennedy Center Concert Hall. Last season saw him off to Italy for a whirlwind tour with Tulsa Ballet and to Cuba for his second world premiere with Ballet Nacional de Cuba for Annabelle Lopez Ochoa. This season he heads to Winnipeg for the world premiere of a fulllength ballet with the Royal Winnipeg Ballet by James Kudelka, then down south to Chicago for a new Giselle by The Joffery Ballet among many others. Mazzola has been senior scenic designer on Comedy Central Celebrity Roasts as well as the 2015 Lincoln Awards at the Kennedy Center Concert Hall for Uplight, Inc., based in New York City. Photo by Alison Roper
NIEL DEPONTE
MUSIC DIRECTOR & CONDUCTOR Niel DePonte has been the Music Director for OBT and its predecessor, Pacific Ballet Theatre, since 1985. He has guest conducted for Boston Ballet, the Ballet of the Mussorgsky (Maly) Theatre in Russia, and at the Nureyev Ballet Festival. He has also conducted symphonic, pops, and youth concerts with the symphonies of Oregon, Syracuse, and Charlotte, among others. He is Artistic Director and conductor of the Young Artists Debut! concerto concert. He was a 2003 Grammy Award nominee for “Best Instrumental Soloist Performance with Orchestra” for his performance of Tomáš Svoboda’s Concerto for Marimba with the Oregon Symphony. His compositions and arrangements written for the ballet stage include: Christopher Stowell’s Adin, Carmen, A Midsummer Night’s Dream, and Ekho; Houston Ballet’s 2002 production of Peter Pan; and OBT’s 1993 version of The Nutcracker. DePonte holds a master’s degree and performer’s certificate from the Eastman School of Music and a degree in education from the State University of New York. Photo by Joni Kabana
LETTER FROM THE CHAIRWOMAN OF THE BOARD OF TRUSTEES
DEAR FRIENDS, On behalf of Oregon Ballet Theatre and its Board of Trustees, I am pleased to welcome you to this evening’s performance of Rhapsody in Blue. This is an exciting time for Oregon Ballet Theatre, and we are delighted you chose to experience it with us. Rhapsody in Blue is not only an incredible evening of dance and the celebration of a highly successful artistic collaboration, but also the beginning of our 2017/2018 season which features a number of exciting developments that have been made possible with your support. This season we are delighted to feature three productions with live music accompaniment, including tonight’s performance with Pink Martini, 10 performances of George Balanchine’s The Nutcracker ® with the OBT Orchestra as well as all 8 performances of the west coast premiere of Septime Weber’s ALICE (in wonderland). Another major achievement is the return of a fifth program to our season with Closer – an intimate performance that will bring you into the heart of the action of creating dance. In addition to extending our season, we continue to build our repertory with company premieres such as Ji í Kylián’s Falling Angels, and world premieres including tonight’s Rhapsody in Blue as well as a new work in the spring from Darrell Grand Moultrie. I hope you consider joining us for this exciting journey of discovery! In closing, I would like to share some exciting news about the company. As you may be aware, OBT has been without an Executive Director since last February. Following an extensive national search and from a field of incredibly gifted candidates, OBT is thrilled to have found someone to take on this critical position. We look forward to introducing Michael Greer to you when he arrives November 1st. Enjoy the show!
NANCY LOCKE
Chairwoman of the OBT Board of Trustees
GUEST ARTISTS THOMAS M. LAUDERDALE PIANIST, RHAPSODY IN BLUE, NEVER STOP FALLING (IN LOVE)
Thomas Lauderdale was raised on a plant nursery in rural Indiana. He began piano lessons at age six with Patricia Garrison. When his family moved to Portland in 1982, he began studying with Sylvia Killman, who continues to this day as his coach and mentor. Lauderdale founded the “little orchestra” called Pink Martini in 1994 to play political fundraisers for progressive causes such as civil rights, the environment, affordable housing, and public broadcasting. Lauderdale’s creative vision for the band is deeply influenced by melodies and rhythms from around the globe, and original compositions and cover songs alike reflect this interest in diverse musical genres. Photo by Autumn de Wilde
HUNTER NOACK
PIANIST, RHAPSODY IN BLUE Native Oregonian Hunter Noack is a classical pianist who works with literature, visual art, dance, drama, and design to create a more dynamic classical music experience. Winner of the Los Angeles International Liszt Competition, the coLABorate Award in London, Moritzburg Audience Prize in Germany, and director of numerous cross-arts collaborations in the U.S. and Europe, NY’s Rising Star Piano Series calls Hunter “a true artist in a renaissance sense of the word.” Hunter attended Interlochen Arts Academy, San Francisco Conservatory, received a bachelor’s degree from University of Southern California, and master’s degree from Guildhall School of Music and Drama in London. www.HunterNoack.com Photo by Dan Ostergren
CHINA FORBES
VOCALS, NEVER STOP FALLING (IN LOVE) China Forbes was born and raised in Cambridge, Massachusetts where she graduated cum laude from Harvard and was awarded the Jonathan Levy Prize for acting. She was plucked from New York City by Harvard classmate Thomas Lauderdale to sing with Pink Martini in 1995, and has since written many of Pink Martini’s most beloved songs with Lauderdale. With Pink Martini, China has performed songs in over 15 languages and has sung duets with Georges Moustaki, Henri Salvador, Saori Yuki, and Rufus Wainwright. She released her second solo album ‘78 on Heinz Records in 2008, a collection of autobiographical folk-rock songs. China lives in Portland, Oregon. Photo by Autumn de Wilde
CHRISTINE JOLY DE LOTBINIERE
COSTUME DESIGNER, RHAPSODY IN BLUE Christine has designed costumes for production in Europe, USA, Asia, and Canada. Her credits include works for The National Ballet of Canada, Pacific Northwest Ballet, Göteborgs Operan Ballet, the Abai State Theater Kazakhstan, The Joffrey, Ballet BC, Atlanta Ballet, Aspen Santa Fe Ballet, and Tulsa Ballet amongst others. Trained in the performing and visual arts, her theater credits include designs for Robert Brustein, Tina Packer, Ron Daniels, Christopher Durang, David Wheeler, and Tina Landau. She has experience across other platforms – she is a textile designer, dyer, and colorist as well as an illustrator and graphic designer. She is currently the costume director and designer for Teatro ZinZanni.
MICHELLE LESNIAK
COSTUME DESIGNER, NEVER STOP FALLING (IN LOVE) Michelle Lesniak, Project Runway’s Season 11 winner is known for her strong aesthetic and quick wit. Born and raised in Portland, Oregon, Lesniak is very much influenced by the moody nature of the Pacific Northwest; taking inspiration from her personal life as well as the layering necessity of Oregon’s inclement weather. Using narrative to design each collection, it is important for Lesniak that a story in fashion walks down the runway. Each design is an extension of emotion, designed for the woman that is not faint-of-heart nor faint to roar. Michelle trained at The School of the Art Institute of Chicago in printmaking, but couldn’t keep her hands off of textiles. Self-taught in both garment design and leather working, she currently works out of her namesake studio, Michelle Lesniak, in her native hometown.
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PINK MARTINI
PINK MARTINI IS A ROLLICKING AROUND-THE-WORLD MUSICAL ADVENTURE… IF THE UNITED NATIONS HAD A HOUSE BAND IN 1962, HOPEFULLY WE’D BE THAT BAND.” —Thomas Lauderdale, Bandleader/Pianist
In 1994, in his hometown of Portland, Oregon, Thomas Lauderdale was working in politics, thinking that one day he would run for mayor. Like other eager politicians-in-training, he went to every political fundraiser under the sun… but was dismayed to find the music at these events underwhelming, lackluster, loud, and un-neighborly. Drawing inspiration from music from all over the world – crossing genres of classical, jazz, and old-fashioned pop – and hoping to appeal to conservatives and liberals alike, he founded the “little orchestra” Pink Martini in 1994 to provide more beautiful and inclusive musical soundtracks for political fundraisers for causes such as civil rights, affordable housing, the environment, libraries, public broadcasting, education, and parks. One year later, Lauderdale called China Forbes, a Harvard classmate who was living in New York City, and asked her to join Pink Martini. They began to write songs together. Their first song “Sympathique” became an overnight sensation in France, was nominated for “Song of the Year” at France’s Victoires de la Musique Awards, and to this day remains a mantra (“Je ne veux pas travailler” or “I don’t want to work”) for striking French workers. Says Lauderdale, “We’re very much an American band, but we spend a lot of time abroad and therefore have the incredible diplomatic opportunity to represent a broader, more inclusive America… the America which remains the most heterogeneously populated country in the world… composed of people of every country, every language, every religion.”
BAND MEMBERS VOCALS
China Forbes Featuring a dozen musicians, Pink Martini performs its multilingual repertoire on concert stages and with symphony orchestras throughout Europe, Asia, Greece, Turkey, the Middle East, Northern Africa, Australia, New Zealand, South America, and North America. Pink Martini made its European debut at the Cannes Film Festival in 1997 and its orchestral debut with the Oregon Symphony in 1998 under the direction of Norman Leyden. Since then, the band has gone on to play with more than 50 orchestras around the world, including multiple engagements with the Los Angeles Philharmonic at the Hollywood Bowl, the Boston Pops, the National Symphony at the Kennedy Center, the San Francisco Symphony, the Cleveland Orchestra, and the BBC Concert Orchestra at Royal Albert Hall in London. Other appearances include the grand opening of the Los Angeles Philharmonic’s Frank Gehrydesigned Walt Disney Concert Hall, with return sold-out engagements for New Year’s Eve 2003, 2004, 2008, and 2011; four sold-out concerts at Carnegie Hall; the opening party of the remodeled Museum of Modern Art in New York City; the Governor’s Ball at the 80th Annual Academy Awards in 2008; the opening of the 2008 Sydney Festival in Australia; multiple sold-out appearances, and a festival opening, at the Montreal Jazz Festival, two sold-out concerts at Paris’ legendary L’Olympia Theatre in 2011; and Paris’ fashion house Lanvin’s 10-year anniversary celebration for designer Alber Elbaz in 2012. In its twentieth year, Pink Martini was inducted into both the Hollywood Bowl Hall of Fame and the Oregon Music Hall of Fame.
PIANO
Thomas M. Lauderdale
TRUMPET
Gavin Bondy
TROMBONE
Robert Taylor
UPRIGHT BASS
Phil Baker
GUITAR
Dan Faehnle
DRUMS
Reinhardt Melz
PERCUSSION
Miguel Bernal Brian Davis
VOCALS & PERCUSSION
Timothy Nishimoto
VIOLIN
Nicholas Crosa
HARP
Maureen Love
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27
5 Blaine Truitt Covert
25 21
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COMPANY PRINCIPAL DANCERS Xuan Cheng Sponsored by Melissa & Gary Hanifan 2. Peter Franc Sponsored by Elizabeth & Thomas Gewecke 3. Chauncey Parsons Sponsored by The Balletomanes 4. Brian Simcoe Sponsored by Artslandia & The Brian Simcoe Fan Club 5. Jacqueline Straughan
1.
SOLOLIST Candace Bouchard Sponsored by John & Linda Lenyo 7. Eva Burton Sponsored by Kathleen & Benoit de Montlebert 8. Martina Chavez Sponsored by The Crumpacker Family 9. Ansa Deguchi 10. Michael Linsmeier
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Blaine Truitt Covert
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Blaine Truitt Covert
Blaine Truitt Covert
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COMPANY ARTISTS
11. Thomas Baker
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APPRENTICES
17. Katherine Monogue
Sponsored by Jack Blumberg
12. Keenan English 13. Adam Hartley
Sponsored by Sharon & Adam Mirarchi 14. Makino Hildestad Sponsored by Karen & Mike Weddle 15. Christopher Kaiser Sponsored by Bill Dickey 16. Jessica Lind Sponsored by Jessica’s List
18. 19. 20. 21. 22. 23.
26 Kate Kerns
All photos by Yi Yin unless otherwise noted
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Sponsored by Alan Garcia & Lyn Reynolds Garcia Kelsie Nobriga Kimberly Nobriga Emily Parker Sponsored by Dean Richardson Colby Parsons Sponsored by Luwayne Sammons & Family Avery Reiners Sponsored by Charlie Jones & Marc Weaver Paige Wilkey Sponsored by Paulo
24. Hannah Davis 25. 26. 27. 28.
Sponsored by Marilyn L. Rudin, MD & Richard S. Testut, Jr. Abigail Diedrich Sponsored by Paulo Alexa Domenden Sponsored by Nancy Locke & Don Harris Theodore Watler Sponsored by Sandy & Stephen Holmes Andrew Wingert Sponsored by Dan & Don
COMPANY PRINCIPAL DANCERS
XUAN CHENG
Xuan Cheng was born in Chenzhou, Hunan Province of China. She started dance lessons at the age of 5 and at 10 joined the School of Guangzhou Ballet. After graduation she joined Guangzhou Ballet as a company member under famous Chinese prima ballerina Dan Dan Zhang, and quickly became a principal dancer, performing major roles in their repertoire. In 2004, she won the Silver medal in the third Shanghai International Ballet Competition. In 2005, she was a finalist in the 8th New York International Ballet Competition. Then in 2006, she was the recipient of the Gold medal at the National Tao Li Bei Dance Competition in China. In 2006, she was invited by acclaimed Canadian choreographer Édouard Lock to join his Montreal based company La La La Human Steps. She was in the original cast of Amjad in 2007. While with the company, she performed in over 20 countries throughout Europe, Asia, and North America. She danced in famous theaters around the world, including Sadler’s Wells in London, the Théâtre de la Ville in Paris, deSingel in Antwerp, the Het Muziektheater in Amsterdam, the Festival ImPulsTanz in Vienna, the National Arts Centre in Ottawa, the Festival Montréal en Lumière, the LG Arts Center in Seoul and the Saitama Theater in Japan. In 2009, she was a guest performer with the international ballet Gala IX in Dortmund, Germany. She then joined Les Grands Ballets Canadiens. While there she danced Juliet in Jean-Christophe Maillot’s Romeo and Juliet, Princess Lena in Christian Spuck’s Leonce and Lena and the Sugar Plum Fairy in Fernand Nault’s The Nutcracker, and other leading roles in works by many world class choreographers, including Ohad Naharin, Ji í Kylián, Mats Ek , Mauro Bigonzetti, and Christian Spuck. She joined Oregon Ballet Theatre as a principal dancer in 2011. Her major principal roles include: Giselle in Lola de Ávila’s Giselle, Odile /Odette in Christopher Stowell’s Swan Lake, Odile/ Odette in Kevin Irving’s Swan Lake, Cinderella in Ben Stevenson’s Cinderella, Juliet in James Canfield’s Romeo and Juliet, Titania in Chris-
topher Stowell’s A Midsummer Night’s Dream, Teresina in August Bournonville’s Napoli Act III, the Sugar Plum Fairy in George Balanchine’s The Nutcracker®, as well as roles in William Forsythe’s In the Middle, Somewhat Elevated and in contemporary works by Nacho Duato. She has also originated roles in new works by acclaimed choreographers, including: Nicolo Fonte, Helen Pickett, James Kudelka, and Trey McIntyre.
PETER FRANC
Peter Franc received his early ballet training with Atlanta’s Metropolitan Ballet Theatre, the Louisville Ballet School, and graduated from the Houston Ballet Academy. He then joined Houston Ballet, rising to the rank of demi-soloist. Notable performances include works by Jerome Robbins, George Balanchine, Jirˇí Kylián, Hans Van Manen, and Stanton Welch. He continued dancing three seasons with Aspen Santa Fe Ballet, featuring in a variety of contemporary work by choreographers Jorma Elo, Nicolo Fonte, Cayetano Soto and Alejandro Cerrudo. He joined OBT as a soloist in 2015 and was promoted to principal in 2016.
CHAUNCEY PARSONS
Born in Santa Barbara, California, Chauncey Parsons began dancing at age 12, at the Santa Barbara Ballet Center, under Michelle Pearson and Denise Rinaldi. At 15, he was accepted into the Kirov Academy of Ballet in Washington D.C. where he trained for three years under Vladimir Djouloukhadze. After graduating, he performed for State Street Ballet under Rodney Gustafson for two years. In 2002, he joined Colorado Ballet as a soloist under Martin Fredmann, and in 2004 was promoted to the rank of principal dancer. In 2008, he joined OBT as a soloist under Christopher Stowell, and was promoted to principal in 2009. Over the course of his career he has danced a wide variety of roles, including Basil in Don Quixote, Count Albrecht in Giselle, Prince Siegfried in Swan Lake, and Mercutio in Romeo and Juliet. Further, he has danced leading roles in Balanchine’s Rubies, Emeralds, Tarantella, The Nutcracker, and Stravinsky Violin Concerto, Michael Pink’s Dracula and The Hunchback of Notre Dame, Agnes de Mille’s
Rodeo, Nicolo Fonte’s Bolero and Never Stop Falling (in Love), Paul Taylor’s Company B, and others.
BRIAN SIMCOE
Brian Simcoe was born in Grants Pass, Oregon. He received his training from the School of Oregon Ballet Theatre, Pacific Northwest Ballet School, and Long Beach Ballet Arts Center. He joined OBT as an apprentice in 2004, was promoted to soloist in 2011, and promoted to principal in 2013. At OBT, he has appeared in Christopher Stowell’s Swan Lake, Nicolo Fonte’s Petrouchka, James Canfield’s Romeo and Juliet, and Jerome Robbins’ Afternoon of a Faun.
JACQUELINE STRAUGHAN
Jacqueline Straughan is a native of Carson City, Nevada. She studied at the National Ballet School in Toronto, Canada where she was also the recipient of the Peter Dwyer Scholarship and Christopher Ondaatje Award. She began her professional career in 2000 with the National Ballet of Canada under the directorship of James Kudelka. While with the company she performed his works and other seminal ballets by Ashton, Cranko, MacMillan and Tetley. From 20062017 she performed with Ballet West, rising through the ranks to first soloist. Her notable principal roles in Dove’s Red Angels, Fonte’s Presto, Kylián’s Forgotten Land and Overgrown Path, Forsythe’s In the Middle, Somewhat Elevated, Balanchine’s Rubies and the title role of Giselle earned her critical acclaim. She was also a cast member of the docu-drama series Breaking Pointe seasons I & II based on Ballet West. Straughan joined OBT as a principal in 2016. Highlights of her first principal season include the world premiere of Fonte’s Giants Before Us, Duato’s El Naranjo and the dual role of Odette/Odile in Swan Lake. SOLOISTS
CANDACE BOUCHARD
Born in St. Louis, Missouri, Candace Bouchard began dancing at the age of 5. She joined OBT as an apprentice in 2003, became a full company artist in 2004, and was promoted to soloist in 2008. Some of her favorite roles include William Forsythe’s The Vertiginous Thrill of Exactitude and The Second Detail, Helen Pickett’s Petal, and August Bournonville’s Napoli.
EVA BURTON
Eva Burton was born in Los Angeles, California. She received her training in Los Angeles from Patrick Frantz and at San Francisco Ballet School before joining OBT for the 2009/10 season. She has been featured in works by George Balanchine, Nacho Duato, Nicolo Fonte, and Ben Stevenson. In the 2014/15 season she debuted as the Sugarplum Fairy in George Balanchine’s The Nutcracker ®, as Cinderella in Ben Stevenson’s production, and in Nicolo Fonte’s Presto. In 2016 she danced in William Forsythe’s In the Middle Somewhat Elevated and the “Waltz Girl” in George Balanchine’s Serenade. She was promoted to soloist in 2016.
MARTINA CHAVEZ
Born in San Antonio, Texas, Martina Chavez began her training at age 9 under the direction of Buddy and Susan Trevino then continued her education at Maryland Youth Ballet. She joined OBT in 2006 as an apprentice, was promoted into the company in 2007, and to soloist in 2014. Her favorite roles have been in works created by George Balanchine, Nacho Duato, and Nicolo Fonte.
ANSA DEGUCHI
Ansa Deguchi is from Nagoya, Japan where she began studying dance at the age of 5. She later trained with Chika Goto Step Works Ballet and City Ballet School in San Francisco. She joined OBT as an apprentice in 2003 and was promoted to soloist in 2007. Some of her favorite roles with OBT include: William Forsythe’s The Vertiginous Thrill of Exactitude, George Balanchine’s Tarantella, James Canfield’s Romeo and Juliet, and Nacho Duato’s Por Vos Muero.
MICHAEL LINSMEIER
Michael grew up on a family dairy farm near Manitowoc, Wisconsin where he began training at the Jean Wolfmeyer School of Dance. During high school he attended the Virginia School of the Arts. He spent seven years dancing with the Milwaukee Ballet before joining OBT in 2011. Since joining, Michael has enjoyed dancing roles created by Nicolo Fonte, William Forsythe, Helen Pickett, Nacho Duato, George Balanchine, James Canfield, Ben Stevenson, and James Kudelka to name a few.
COMPANY COMPANY ARTISTS
THOMAS BAKER
Thomas began his dance training at 15 years old in St. George, Utah under Bené Arnold. He then attended San Francisco Ballet School on full scholarship before joining OBT as an apprentice in 2010. Thomas has performed featured roles in works by Balanchine, Duato, Fonte, Pickett, Canfield, Bournonville, Forsythe, and others with OBT. Thomas has also danced professionally with Ballet San Jose, Barak Ballet, and the National Choreographers Initiative.
KEENAN ENGLISH
Keenan English trained with the Baltimore County Youth Ballet and then the Baltimore School for the Arts before joining the trainee program at Boston Ballet School on the Pao Scholarship, where he performed with Boston Ballet. In 2012, he attended the summer course at The School of American Ballet, and later enrolled as a full time student on the Carolyn WrightLewis Scholarship. While at SAB he performed in Balanchine’s Serenade, Coppélia, and Western Symphony, which was a Live at Lincoln Center PBS Broadcast. He joined the company at Dance Theatre of Harlem for the 2014/15 season, before joining Cincinnati Ballet for the 2015/16 season. He joined OBT as an apprentice in 2016 and was promoted to company artist in 2017.
ADAM HARTLEY
Adam Hartley is from Orange, California and began dancing at age 5. He joined OBT as an apprentice in 2009 and was promoted to company artist in 2011. Some of his favorite ballets to dance at OBT were William Forsythe’s The Second Detail, Nacho Duato’s Por Vos Muero, and Nicolo Fonte’s Bolero.
MAKINO HILDESTAD
Makino Hildestad was born in Kumamoto, Japan. She started ballet at The Kumamoto Ballet School when she was 9 years old. She joined Colorado Ballet in 2002 as an apprentice, was promoted to corps de ballet in 2004, and joined OBT in 2010. Her favorite roles at OBT are Rassemblement, Jardí Tancat by Nacho Duato, The Lost Dance by Matjash Mrozewski, Nurse in Romeo and Juliet by James Canfield, and Beautiful
Decay by Nicolo Fonte. She has been featured in the role of Helena in A Midsummer Night’s Dream, In the Middle, Somewhat Elevated and The Second Detail by William Forsythe, Instinctual Confidence by Darrell Grand Moultrie, Napoli by August Bournonville, and Terra and Petal by Helen Pickett.
CHRISTOPHER KAISER
A native to Los Angeles, Christopher began training at Los Angeles High School for the Arts. During his summers, he trained at The Joffrey Ballet, Boston Ballet, and Milwaukee Ballet. From there, he was accepted to The Juilliard School in New York where he graduated with a Bachelor of Fine Arts, where he had the privilege to dance in the International Festival in Edinburgh. He danced with Alberta Ballet for three seasons before joining OBT. This is his second season with OBT. Some of his favorite performances include Nacho Duato’s Gnawa, William Forsythe’s Herman Shmerman, and Ji í Kylián’s Forgotten Land.
JESSICA LIND
Born and raised in San Jose, California, Jessica Lind began her ballet training at the age of 4 at Dance Theatre International. She trained for a year with San Francisco Ballet School before joining the professional division at OBT and then became an apprentice two years later. She was promoted to company artist in 2016. Some of her favorite works she has performed with OBT include George Balanchine’s Serenade, William Forsythe’s In the Middle, Somewhat Elevated, Nacho Duato’s Jardí Tancat, and the first act pas de trois from Swan Lake.
KATHERINE MONOGUE
Katherine Monogue was born in Tacoma, Washington. She trained at the Washington School of Ballet in Washington, D.C. under Key Juan Han. She joined OBT as a Professional Division student in 2012, was promoted to apprentice in 2013, and joined the company as a company artist in 2014. She has performed numerous roles, including Peasblossom in Christopher Stowell’s A Midsummer Night’s Dream, Helen Pickett’s Petal, and Nacho Duato’s Rassemblement.
KELSIE NOBRIGA
Kelsie Nobriga is from Orange County, California and began
dancing at the age of 5. She was a professional division student with Pacific Northwest Ballet in 2010, performing in Kent Stowell’s Nutcracker, among other ballets with the company. In 2011, she joined OBT as an apprentice, and returned as a company artist in 2014. Previously, she danced with Colorado Ballet for one season. Highlights for her with OBT are dancing the role of the Sugarplum Fairy in George Balanchine’s The Nutcracker®, performing William Forsythe’s In the Middle, Somewhat Elevated, and Nacho Duato’s Jardí Tancat.
KIMBERLY NOBRIGA
Kimberly Nobriga grew up in Orange County, California. In 2010 she joined the Pacific Northwest Ballet School to train and perform in their Professional Division before coming to OBT as an apprentice in 2013. Kimberly joined the company in 2015, and her favorite moments on stage include performing as the Dark Angel in George Balanchine’s Serenade, and dancing in William Forsythe’s In the Middle, Somewhat Elevated and Nacho Duato’s Jardí Tancat.
EMILY PARKER
Emily Parker was born in Boston, Massachusetts where she began dancing at age 4. After graduating from Indiana University, she joined OBT as an apprentice in 2014 and was promoted to company artist in 2016. Her favorite performances thus far with OBT include Nicolo Fonte’s Beautiful Decay, William Forsythe’s In the Middle, Somewhat Elevated, and Nacho Duato’s Jardí Tancat.
COLBY PARSONS
A native of Santa Barbara, California, Colby Parsons began dancing at the age of 13, studying ballet with Denise Rinaldi at the Santa Barbara Ballet Center. He continued his training on full scholarship at the Jacqueline Kennedy Onassis School at American Ballet Theatre in New York City. He danced with American Ballet Theatre II for three seasons, followed by dancing soloist and principal roles for Alberta Ballet in Calgary for another three seasons. For the 2014/15, season he joined OBT under Kevin Irving. For OBT he has danced the Lover in James Kudelka’s Sub Rosa, a lead in Bournonville’s Napoli, the Prince
in Ben Stevenson’s Cinderella, a lead couple in Nicolo Fonte’s Presto, the Berceuse pas de deux in Nicolo Fonte’s Never Stop Falling (in Love), and the Cavalier in George Balanchine’s The Nutcracker®, among other roles. Colby is also a principal dancer with American Contemporary Ballet in Los Angeles during the summer seasons. He has performed as a guest artist in Japan, Costa Rica, Spain, Italy, Switzerland, and Canada as well as in several states in the U.S.
AVERY REINERS
Avery Reiners is from New Jersey. He started dance at The School of American Ballet and received further training at San Francisco Ballet School and Boston Ballet School before joining OBT as a company artist in 2013. Some of his favorite roles with OBT include: Matjash Mrozewski’s The Lost Dance, Gennaro in Bournonville’s Napoli, and Nicolo Fonte’s Presto.
PAIGE WILKEY
Paige Wilkey was born in Los Angeles, California where she began dancing at age 3. She moved to Boston at the age of 16 to train in the pre-professional program at Boston Ballet School. She joined OBT as a professional division student in 2013, was promoted to apprentice in 2014, and joined the company as a company artist in 2016. Her favorite roles with OBT thus far are Coffee in The Nutcracker, The Yellow Girl in Crayola, and the pas de deux from Nacho Duato’s Gnawa. APPRENTICES
HANNAH DAVIS
Hannah Davis was born in Chapel Hill, North Carolina where she began dancing at age 3. She continued her classical and contemporary studies at the University of North Carolina School of the Arts under Ethan Steifel, Brenda Daniels, and Susan Jaffe. Hannah joined OBT’s second company in 2015 where she enjoyed performing Teresina in August Bournonville’s Napoli and Swanilda in OBT’s Annual School Performance of Coppélia. She was promoted to apprentice in 2016.
ABIGAIL DIEDRICH
Abigail Diedrich is from Pasadena, Maryland. She began dancing at the age of 8 under the direction
COMPANY (CONT.) of Dianna Cuatto at The Ballet Theatre of Maryland before continuing her training with Norma Pera at Baltimore School for the Arts from 2011-2013. In 2013, she joined the professional division at Pacific Northwest Ballet where she remained for two years before moving to Portland to dance with Oregon Ballet Theatre’s second company. She was promoted to apprentice in 2016 and has enjoyed performing both in the second company’s outreach programs as well as company productions.
ALEXA DOMENDEN
Born in Seattle, Washington, Alexa
Domenden received her training with Pacific Northwest Ballet School starting off in their DanceChance program in 2004. In 2013, she danced under the direction of Kevin Kaiser and Louise Nadeau at Evergreen City Ballet. She joined OBT as a member of their second company in 2015 and was promoted to apprentice in 2017. Being in OBT2 she has had the opportunity to perform in works including George Balanchine’s Walpurgisnacht Ballet, excerpts from Nicolo Fonte’s Beasts, the trio from Nacho Duato’s Na Floresta, and Prayer in SOBT’s Annual School Performance of Coppélia.
ANDREW WINGERT
A native of Dayton, Ohio, Andrew Wingert joined OBT in 2016 as an apprentice after spending a year as a freelance dancer, where he appeared in the corps de ballet with the Suzanne Farrell Ballet and as a guest artist with the Sacramento Ballet, Ballet Chicago and several other regional companies and schools. He has enjoyed performing in a variety of featured principal roles including: George Balanchine’s Who Cares?, Divertimento No. 15, and Septime Webre’s Juanita y Alicia. Some of his other favorite performances include
Septime Webre’s ALICE (in wonderland), and Michael Pink’s Giselle. Andrew is thrilled for his second season with OBT.
THEODORE WATLER
Born in Long Beach, California, Theodore Watler received his training at the Long Beach Ballet Academy. For three years, he attended the summer course at San Francisco Ballet School on scholarship. Theodore graduated from the University of Chicago with degrees in art history and law, letters, and society. He joined OBT as an apprentice in 2017.
COMPANY ROSTER | OBT
OBT STAFF ARTISTIC
Kevin Irving, Artistic Director Lisa Kipp, Rehearsal Director Jeffrey Stanton, Ballet Master Nicolo Fonte, Resident Choreographer Niel DePonte, Music Director & Conductor Tracey Sartorio, Executive Assistant to the Artistic Director & Artistic Coordinator Irina Golberg, Principal Accompanist
PRODUCTION
Bill Anderson, Director of Production Shannon Goffe, Production Administrator Victoria A. Epstein, Stage Manager Ian Rutledge, Assistant Stage Manager & Sound Coordinator Michael Mazzola, Resident Lighting Designer Ian Anderson-Priddy, Production Electrician & A/V Coordinator Matt Wilcox, Sound Engineer Eileen Ehlert, Costume Shop Manager Pam Jett-Goodrich, First Hand Virginia Kilkelly, Morgan Reaves, Stitchers Kerris Cockrell, Brian Keith, Brad Saby, Lance Woolen, Production Support Staff Janet George, Orchestra Personnel Manager Kristen Norvell, Head Music Librarian Rachel Rencher, Assistant Music Librarian Eva Richey, Assistant Music Librarian
MARKETING
Natasha Kautsky, Director of Marketing & Communications Jim Thomson, Senior Graphic Designer Chloe Hellberg, Audience Services Manager Kate Kerns, Marketing Associate Mariah DeLude, Patron Services Lead
OREGON BALLET THEATRE SCHOOL
Anthony Jones, School Director Lisa Sundstrom, OBT2 Program Director OBT2 is underwritten by the M.J. Charitable Trust and John Van Buren James Holstad, School Administrator Rachel Närhi, West Linn Studio Manager Colleen Hanlon, School Registrar & Children’s Coordinator Natasha Bar, Peter Franc, Elise Legere, Valerie Limbrunner-Bartlett, Chauncey Parsons, Jessica Post, Olivia Pyne, Alison Roper, Kembe Staley, Katarina Svetlova, Robyn Ulibarri, School Faculty Olga Alehina, Ayal Alves, Irina Golberg, Garnet Hayes, Karen Lam, Ayako Matsuo, Ray McKean, Alec Pemberton, Katie Pyne, Tiffany Sanford, Jordan Strang, Western-Li Summerton, Accompanists
EDUCATION OUTREACH
Neville Wellman, Director of Finance & Operations Donna Jackson-Siekmann, Accounting Manager Linda Brown, Business Office Coordinator
Kasandra Gruener, Director of Education Outreach Sarah Brown, Administrative Assistant Linda Besant, Archivist/Historian Sarah Brown, Brook Manning, Robyn Ulibarri, Allison Wales, Teaching Artists Amy Stahl, Volunteer
DEVELOPMENT
SPECIAL THANKS
ADMINISTRATION AND FINANCE
Alison Roper, Major Gifts Officer Justin N. Smith, Donor Relations & Events Manager Keely McIntyre, Grants Manager Emily Tucker, Development Associate
IATSE Local #28, Chris Balo, Alan Garcia, Indigo Design
DANCER WELLNESS COMMITTEE Martina Chavez, OBT Soloist Kevin Irving, OBT Artistic Director Katherine B. McCoy, PT, MTC,
Alex Occhipinti, Northrup Corporation
Sharon Mirarchi, Committee Chair &
Amy Werner, PT, DPT, West Portland
Peter Northrup, Northrup Corporation
Katharine Zeller, MD, Legacy Health
West Portland Physical Therapy Clinic OBT Board of Trustees President
Assistant Vice President
Neville Wellman, OBT Director of Finance
& Operations
Physical Therapy Clinic
KEVIN IRVING
Artistic Director
PRINCIPAL DANCERS
Xuan Cheng, Peter Franc, Chauncey Parsons, Brian Simcoe, Jacqueline Straughan
SOLOISTS
Candace Bouchard, Eva Burton, Martina Chavez, Ansa Deguchi, Michael Linsmeier
COMPANY ARTISTS
Thomas Baker, Keenan English, Adam Hartley, Makino Hildestad, Christopher Kaiser, Jessica Lind, Katherine Monogue, Kelsie Nobriga, Kimberly Nobriga, Emily Parker, Colby Parsons, Avery Reiners, Paige Wilkey
APPRENTICES
Hannah Davis, Abigail Diedrich, Alexa Domenden, Theodore Watler, Andrew Wingert
BOARD OF TRUSTEES Nancy Locke, Board Chair Cate Millar, Vice Chair Jimmy Crumpacker, Secretary Ken Ivey, Treasurer Ken Carraro Rita Duyn William Gaar Alan Garcia Gary Hanifan Brianne Hyder Cary Jackson Charles L. Jones Allison Lyneham Keith Martin Christina McNown Nancy J. Miller Sharon Mirarchi Angela Polin Reegan Rae Dean M. Richardson Ashley Trimble Betsy Warren Matt Watson Mike Weddle Kevin Irving, ex officio Peter Franc, ex officio
INDIVIDUAL DONORS Oregon Ballet Theatre would like to express its sincere gratitude to those listed below for gifts received through August 15, 2017. Donations received after this period will appear in the next playbill in December.
TOUR DE FORCE ($25,000 & UP)
Jack Blumberg, In Memory of Thomas P. Anderson Henry & Amber Hillman Sue Horn-Caskey & Rick Caskey Cary Jackson Nancy Locke & Don Harris Jean Pierce Arlene Schnitzer Jordan Schnitzer Bob Sweeney & Cate Millar and Stephen Sweeney John Van Buren Nani Warren David Wedge, In Memoriam Barbara Yeager
DIRECTOR’S CIRCLE ($10,000–$24,999)
Linda & Scott Andrews Walter Bowen Jimmy Crumpacker Kathleen & Benoit de Montlebert Bill Dickey, In Honor of David E. Wagner Rita Duyn Karen & Bill Early Ken & Ann Edwards Alan Garcia & Lyn Reynolds Garcia Thomas & Elizabeth Gewecke Melissa & Gary Hanifan Howard Hedinger Jeanette Heinz Sydney Holland Charles L. Jones John & Linda Lenyo Ken & Joyce Lewis Devin & Natalia Megy Brad & Nancy Miller Sharon & Adam Mirarchi Paul O’Brien Loren Parks
Betsy Warren Wendy Warren & Thomas Brown Mike & Karen Weddle
ÉTOILE POINTE SOCIETY
($5,000-$9,999)
Anonymous Robert Aughenbaugh Linda Besant & Martha Goetsch Anne & James Crumpacker Jasmin & Matt Felton Fromm Family Charitable Fund William Gilliland Jamey Hampton & Ashley Roland Linda Rae Hickey Sandra & Stephen Holmes Brianne & Zachary Hyder Kevin Irving & Nicolo Fonte Judy C. Kelley Elise Legere & James Mitchell Dr. Dolores Leon & Dr. Fernando Leon Dean M. Richardson Luwayne Sammons Prashanth Vallabhanath & Evelyn Curioso Dr. Kathy Zeller & Dr. David Hill
VIRTUOSO POINTE SOCIETY ($2,500-$4,999)
Anonymous Anonymous, In Honor of Cate Millar The Ajitahrdaya Gift Fund Brent Barton & Liz Fuller Dan Bergsvik & Don Hastler Adriane & Sam Blackman Richard Louis Brown & Thomas Mark Sandra & Charles Carmeci Ken Carraro Guillermina & Arthur Chavez Gail Hayes Davis & Michael Davis Justin & Marisol Delaney Chuck & Barbara
Edgerton Emily & Evan Ellis Nancy Frisch William E. Gaar & Lauren E. Barnes Richard & Juliana Gellman Marilyn & Hans Grunbaum Andrew & Ilene Harris Gregory K. & Mary Chomenko Hinckley Ronna & Eric Hoffman Fund of The Oregon Community Foundation Bernice & Ken Ivey Diane Knudsen Carol Schnitzer Lewis Fund of The Oregon Community Foundation Bill & Kate Lockwood Jerome Magill Keith Martin Christina & Cade McNown Laura S. Meier Ellen & Carl Nielsen John & Ginger Niemeyer Steven P. & Eileen O’Neill Odum Denise & James Parker Jane S. Partridge Melanie & Darren Pennington, In Honor of Lainie Pennington Allison & Steven Pike Mary Rose & Maxwell Whipps Marilyn L. Rudin, MD & Richard S. Testut, Jr. Leslie Ann Sammons-Roth Jone Sampson & Sam Weirich Caleb Schlesinger Hazel & Barry Schlesinger Daniel & Dawn Simcoe Barb & Steve Spence Albert & Victoria Starr Joan W. Sterrett Carol Streeter & Harold Goldstein Peter & Ann van Bever Toby & Linda Warson Matt Weaver Dr. Charles W. Webb, D.O.
PRINCIPAL DANCER’S CIRCLE ($1,000-$2,499)
Susan T. Armentrout
Patti & Lloyd Babler Natasha Bar Barbara & Sidney Bass Suzanne Bromschwig & William Dolan The Brousson Family Nancy & Andy Bryant Alex Carlson Jeff Chase & Patti Warner Fund of The Oregon Community Foundation Debi Coleman Diane Collier The James & Nancy Dalton Charitable Fund Robert & Patricia Dant Cameron & Dick Davis Larry & Deborah Friedman Leonard & Yvonne Gionet Alix & Tom Goodman Rob Goodman Lora & Keith Gordon Jonathan Griffith & Mariia Pechenova Jesse & Leah Gronner Valarie Grudier & Richard Langdon Tom & Sandy Hageman Daniel Harmon & Jennifer Rabiah Beth Harper Betsy Henning Kiki Hillman Maryanne & David Holman John & Tanya Hug Michael Hummel Erika Ingbretson & Babak Mohammadi Stephen Karakashian Kathleen & A.J. Kazimi Deneen & Raymond King Kathleen Lewis Fund of The Oregon Community Foundation Derek & Lydia Lipman Fund of the Oregon Jewish Community Foundation Nobuko & Bryce Logan Vida & Jonathan Lohnes Whitney & Jonathan Malkiel M. and L. Marks Family Fund of The Oregon Community Foundation Jani McCormick Marilyn J. McIver
Laurie & Gilbert Meigs Kirsten & Richard Meneghello Ken & Hana Moyle Margaret & Gordon Noel Jay & McKay Nutt Kelly & David Park Yale Popowich, M.D. & Tina Skouras Reegan & David Rae William & Nancy Rosenfeld Fund of The Oregon Community Foundation Lori & Mike Russell Virginia Sewell Megan & Tom Shipley Jinny Shipman & Richard Kaiser Carol & Tom Shults Steinfeld Family Fund of The Oregon Community Foundation Koji & Hisami Toguchi John Thoren David & Eileen Threefoot Misty & Derek Tompoles Evans Van Buren & Marsha Warner K. Vorderstrasse Pat & Macy Wall Matt Watson & Jessica Harkin Patrick Weishampel Robyn Williams & Roger Scarbrough Jay Wilt Ben & Alli Wood Manami Yamaguchi & Jason Moore Zela & Elsa Charlene Zidell
SOLOIST DANCER’S CIRCLE
($500-$999)
Anonymous Charles G. Barany Tom Bard Melanie Bjorge Buzz Braley Charles Brasher & Betty Lavis Kay Bristow Phil & Glynis Chek Miguel Cobian Paris Coté Sue Darrow
INDIVIDUAL DONORS Leigh & Leslie Dolin Josh Duncan Anton, Raylene, and Taylor Eilers Conrad Eustis & Roberta Kanter Mary & John Evans Charles & Zoe Foster Alexandra & Zan Galton Ted & Cynthia Gaty James R. Golden Sheila Hamilton & Colin MacLean Jan Jacobsen & Paul Hart Ken Hick & Cheri Cooley-Hick Pamela K. Johnston Alan T. & Sharon Y. Jones Becky & Jarrett Jones Marcia Kahn Mary Klein & Francis T. Schneider Debora Knapp & Craig Beard Gary S. Leavitt Joan Levers & David Manhart Gerri & Yorick Lutes Allison Lyneham Marisa Mack John F. Mathews Nicole & Brad Miller Angela & Rob Moneyhan Doug & Malinda Moore Dan & Jackie Moore Martha Moyer Alex Nicoloff & Lesley Otto Katharine Noll & Frank Bryan Karla Nutt Heidi & Randy O’Connor Suzann & Dennis Ott Angela Polin Alison Roper Miriam & Charles Rosenthal Jean & Stephen Roth, In Memory of Paul Frisch Davia & Ted Rubenstein Miriam Ruth Lynette Sahnow Daniel & Kathleen Saucy Diana Scoggins Drs. Justin N. Smith & Christine Liu Rosemary Southwood Sue Stegmiller Peter Vennewitz Aimee Virnig Kjerstin & Mike Wallen Naomi & Hans Wandel Richard Wasserman & Ann Coskey-Wasserman Weiss Fund of The Oregon Community Foundation Vinh Wong Eumi & Keith Wymbs
Cynthia A. Yee John & Nancy Zernel
COMPANY ARTIST DANCER’S CIRCLE
($250-$499)
Anonymous Jim Anderson & Anne Lynch Molly Anderson Gregory & Elizabeth Arntson Bryan Averill Pat Behm & Gary Jacobsen Giovanni & Annie Bencomo Craig & Rachelle Boretz John Bosshardt & Diana Petty Matthew Boyes & Frederic Koeleman Ryan Bradshaw Irene & Patrick Burk Connie Butler Stephanie Butts Irene Cancilla, In Honor of Sunny Guilliand Drs. Timothy & Theresa Chen Margery Cohn Kent Copeland Sandra & Douglas Cress Terri Cross Sarie Crothers Eloise Damrosch & Gary Hartnett Arthur & Winnifred Danner Kearny & Diane Davis, In Honor of Hannah Davis Jody DeChaine Lonnie Dicus & Therese McCarthy-Dicus Ed & Marilyn Epstein Jennifer Fast Philip Fidler & Jane Cummins Rebecca Fleischman Doreen Flores Mr. & Mrs. Patrick Franc Jane Freres Andrew Fromm Kristy & Donald Giles Sarah & Raul Gomez-Rojas Melissa & Robert Good Helen A. Goodwin Barbara & Marvin GordonLickey Quinton Hallett & Dennis Gould Jay Harter & Ken Salaman Antoinette Hatfield Thomas & Verna Hendrickson Celeste Henninger-Lindaman Makino Hildestad & Chauncey Parsons Jonika Horton Pam & Bob Howard
Celas & Margaret Hug David C. Jensen Jonathan & Suzanne Jensen Brian C. Johnson Ernest & Susanne Kanning Allan Karsk Kristan Knapp & Janna Auslam, In Honor of Tony Jones Mary & Joseph Labadie Mary N. Laughlin Stanley & Joyce Loeb Martha J. Logan Jackie MacGregor Linda J. Magness Linda L. Mann Bel-Ami & Mark Margoles Earlean Marsh Pamela Matheson Mason C. Mazzola Lori McAdoo Carolyn McMurchie Susan Sammons Meyer & Dennis Meyer Cynthia Morgan Robert & Dona Morris Rob Nelson Rose Neyman Harriet Norman & Jack Hollis Rev. Dr. Rodney & Sandi Page Jack & Chris Pendleton Carol Peterkort & Richard Gibson Dennis Petrequin Staci Pfau Jodee & Jerry Pittman Judith E. Posey & Edward J. Doyle, MD Suzanne Rague Bruce Ramseyer Carol & Walter Ratzlaf Carolyn & Hank Robb George & Mildred Robles Cathy Rote Claire Russell Sam Sadler Michael S. Parker Sagun & Dennis J. Sagun Parker Tad Savinar, In Honor of Cate Millar Eric Schindler & Jenna Fallon-Schindler Laurel & Philip Schmidt Jeremy Shibley & Romalia Stickney-Shibley Tony Singmeuangthong Gary & Lydia Slangan John D. & Pamela Smith Sara & Jeremy Solly Lisa Sorenson Ms. Jennifer D. Strelkauskas Graham & Kristi Taylor
Michael Thomas George & Nancy Thorn Judith & Gordon Umaki Drs. R. Bastian & Barbara Wagner Bruce Weber Ann C. Whitehouse Jenny & Christina Wilson Bruce & Susan Winthrop Keith Wood Linda M. Wood Jack Wussow & Kyle Adams Tamara & Chris Yunker Frances Zhao-Perez & Tavis Perez Kurt R. & Heather Zimmer Ernest ZumBrunnen & Grace Hawes
APPRENTICE DANCER’S CIRCLE
($100-$249)
Anonymous Kathy & Guy Allee Grace & Paul Andrews Amanda Aponte Frances Araujo Gabriella Armstrong Sandra Armstrong David Arrow Armain & Michelle Austin Gennaro & Marilyn Avolio Diane Babcock John Bagg Laura Barber Thomas A. & Mary Bartlett Kathleen Bayer Nola & Paul Becket Esther Marie Beebe Dr. Diana Bell Family of Annastasia Beller Barry & Jacqueline Bennett Paul & Pat Benninghoff Hisiya Beppu & Matthew LaRocco Patsy C. Berner Phil & Naomi Beymer Beth Blenz-Clucas & Richard Clucas Dan & Michelle Blessinger Lorraine & Greg Borossay Richard Botney Candace Bouchard & Adam Lounsbury Kelsey Boyd Joyce Brehm Mr. & Mrs. Bresee Sue Brigman Karin P. Brocksbank Dr. & Mrs. Gerald J. Broock, MD Holly Brooks
Laura Buckingham Tom Burkleaux Stephanie & Scott Byrd Maurine & Paul Canarsky Don Caniparoli Susan Carey Katelyn Carmack Jean Cauthorn Bob Chamness Sandy Chamness Drs. James Chan & Jennifer Edman Mr. & Mrs. Chappell Aria & Cody Clements Ilaine Cohen Jessica Columbo & Baker Paulshoc Deniz & Austin Conger, In Honor of Ayse & Ayla Conger Harriet Cormack Lisa Marie Coughran Lin Crimshaw Susan & Nora Cyganiak Judy Dauble Wendy & Howard David Krystyna & William Davis Patti & Paul Demeter Chuck & Patt DeRousie Adam & Emily Dew Mr. & Mrs. Jeff Dickerson Mrs. Jing DiPiero Lora Dow Paul & Laura Dubose Susan & George Durrie Kristin DuVal Ruth Edsall Cydney Edwards Doris Ennis Martin & Annette Erickson Douglas Ertner Lester & Audre Estrin Abraham & Pamela Farkas Rochelle Farkas Marjorie Ferry Melissa & Eric Fischer Dr. Harvey Fishman & Keiko Amakawa Tonya Flaming Brian & Katie Flanagan George Fleerlage Cindy Fletcher Genevieve Foster Kelly Freuler Theresa Fritchle Jennifer Froistad Ray & Joyce Gee JulieAnna Giannini Arthur & Judith Ginsburg Rebecca Granquist Jenifer Gray-O’Connor Brenda Grootendorst Joachim & Liz Grube
INDIVIDUAL DONORS (CONT.) Penny Guest Anna & Jeff Haagenson Candace Haines Deanna Haley Barbara Halle Gail Handelman Tanya Hanson Gary & Lynne Hartshorn Marilyn Heiling Rebecca Hicks & Greg Kuelgen Christian Hill & Laura Korman David I. & Laurel Anne Hill, In Honor of The Dancing Doctors Beverly Hoeffer Kenneth L. Holford James Holstad Robin Hopmeier Howard Family Veronica Newton Hudson Carol & Tom Hull Katey Hummel Rebecca Hundley Alexandra Huth Angela & Shane Jackson Jackson-Retondo Family Elizabeth A. Javens David & Margaret Jeans Lenka Jelinek & Geoff Peters Linda & Richard Jenkins Jack B. & Kathy A. Jensen Dennis C. Johnson Jan Johnson & Susan Olsen Shirley K. Johnson Caryn Jones & Jason Lander Tony Jones Kristin Jordan Marla Kazell Arthur & Kristine Keil Doris & Eric Kimmel Meagen Kincaid Mary King Ronnie Kon Rebecca Koteen Steve & Nancy Kraushaar Sophia Kremidas Mariah Krevanko Vic & Tammie Krisciunas David & Mary Krug Sean & Naoko Krug Leonard Kuhl Carol La Brie Susan & Jeff Lain Mana & Isis Lamonte Diane & Greg Landers Nancy Lapaglia & Stephen Slusarski Lori Lawrence Abigail & Don Lawton James Lee & Rachel Drushella
Krystal Lee Isidore & Kathleen Lefebvre Judy Lefebvre Jude Lieberman Nolan Lienhart Xinyuan Lin & Wei Lin & Wenzhu Jiang Greg & Kim Lind Mr. Ziqiang Liu Greg Lockwood Marcy Lowy Elisabeth & Peter Lyon, In Memory of Paul Frisch Judy Lyons Diane & Tom Macdonald Kate Machell Christine Mackert, MD Joanne & Boyd MacNaughton Eileen Markson Demaris & Antonio Martinez Shaune & Steve Mattsson Oscar & Mary Mayer Margaret McConnell & Robert Griner Jeanann McCoy Judy & Louis McCraw Candace & John McMunn Susie & Michael McShane Josie Mendoza & Hugh Mackworth Chena Mesling Elise Meyers Margie Miller Una Miniter & Omar Nazir Laura Mitchell Barbara Modey Mark Moffett Sean & Corinne Monogue Monica & Dale Monroe Larry & Taryn Markee Moore Gian & MaryKay Morelli
Carol N. Morgan Jeffrey Morgan Deven Morganstern Richard & Sarah Munro, In Honor of Nancy Locke Todd & Crystal Neal J.J. & Sarah Needham Karen Nelles Keith & Cindi Nobriga Cristin O’Brien Kris Oliveira Barry Olson & Barbara Telfold Madeline Olson Emily Omura Sean O’Neill & Elizabeth Le Lisa O’Rourke Nancel Otsuka Joan Paglin Lyn Pangares Veronica Paracchini, In Honor of Maria Swoboda Gesina & Matt Pedersen Amy Pellegrin Anne Frances Penfound Karen Perzanowski Marilyn & Gaynor Petrequin Laury Phelps Carla & Jack Pickett Heidi Pozzo J. Scott Pritchard Karen Prohaska William Ramirez & Roberta Staff Jennifer Randolph Denise & Andy Reed Betty & Jacob Reiss Hannah Reynders, In Honor of Nancy, Jim & Lauren Lindsay Reynolds Anne Rice
Edward & Katherine Richman Nancy Richmond & Bill Hughes Lynn Roberge Caitlin Roberts Brian Rogers & Cassandra Scholte Rosemarie Rosenfeld Malini Rossington Susan & John Rowan Jennifer Rupert Katharine Sammons, In Honor of Luwayne Sammons David & Julie Sauer Rick & Sharon Schaefer Anne Schagen Daniel Schmidt Robert E. Schneider, PhD Aaron Scott Cynthia Shafer Patricia Sheldon Carol Sherbenou Donna & Sascha Siekmann Gerald Skeels & Susan Albracht Kiviera Skiles-Petitjean & Arnaud Petitjean Margaret Smith Marcus & April Song Patricia A. Southard Dean Speer & Francis Timlin Bob Speltz & Dwight Adkins Donald C. Springer, In Honor of Jean King Randy Squires Annette Steiner Ginger & Phil Stevens Joan Stevens-Schwenger Corinne & Lindsay Stewart Julie Stickney Leslie & Elizabeth Stoessl
Jacqueline Straughan Gary Taliaferro Susan & Bahram Tavakolian Paul & Sabrina Teays Jan Elizabeth Thorpe Cynthia Tomlinson Ashley & Dwayne Trimble Lyle M. Tucker Linda Twichell John & Cindy Ulrich Kysa & Kevin Vassily Jon Vorderstrasse Sherrie & Larry Wade Patricia & James Walker William Warren Douglas Watson Tracy Watson & Jonas Hjertberg Maureen & Frederick G. Wearn Duane & Cynthia Weaver The Webert Family Judith Werner Diane Wernli Erleen Whitney Anthony & Marianne Wilcox Wilkey Family Holly & Kenneth Williams Lauretta Williams Jennifer Willis Julie Wilson Mary-Ann & Jim Wilson Mary Ann Wish Chalayane Woodke Linda Gail Woolf Laura Wozniak & Stuart Oken Gary P. Yencich Haijing Yu Janet & Alan Zell Irene Zenev Jean Zondervan & Terrence Proctor
Proud Hotel Partner of the Oregon Ballet Theatre
Portland Downtown RiverPlace 2115 SW River Parkway | Portland, OR | 97201
Enjoy restful accommodations with modern amenities Complimentary Breakfast & Wi-Fi
Call us today! We are waiting to welcome you! 503.552.9500 www.marriott.com/pdxri
Stories Start Here STORE > 1112 NW 19th Ave. | 503-241-1112 • RENTAL > 1801 NW Northrup St. | 503-517-3637 PHOTO LAB > 1815 NW Northrup St. | 503-517-3639 • WEB > www.prophotosupply.com
Thank you for your support of Oregon Ballet Theatre. We couldn’t do it without you. #LOVEOBT obt.org | photo by Jingzi Zhao
COMMUNITY CORPS DE BALLET Recognizing gifts received through August 15, 2017.
GIFTS OF $100,000 & UP
The Harold & Arlene Schnitzer CARE Foundation James F. & Marion L. Miller Foundation M.J. Murdock Charitable Trust The Regional Arts & Culture Council, including support from the City of Portland, Multnomah County and the Arts Education and Access Fund
GIFTS OF $50,000–$99,999
The Collins Foundation The Hearst Foundations Meyer Memorial Trust The Shubert Foundation West Portland Physical Therapy Clinic*
GIFTS OF $25,000–$49,999
Coit Family Foundation Henry Lea Hillman, Jr. Foundation Oregon Arts Commission, a state agency Oregon Cultural Trust PCC Structurals, Inc. Rose E. Tucker Charitable Trust Russell Development /200 Market Street* The Swigert Warren Foundation
GIFTS OF $10,000–$24,999
Accenture Artslandia* The Boeing Company Cascadia Foundation Fred W. Fields Fund of The Oregon Community Foundation Hedinger Family Foundation Jackson Foundation
Jerome Robbins Foundation Melvin Mark Brokerage Company* Mentor Graphics Foundation National Endowment for the Arts Northwest Natural Gas PGE Foundation Schwabe, Williamson & Wyatt* The Standard Starseed Foundation U.S. Bank Foundation Wells Fargo Work for Art, including contributions from more than 70 companies and 2,000 employees
GIFTS OF $5,000–$9,999
AT&T The Autzen Foundation Mona Cordell, Artist* Crystal Lilies* First Republic Bank Freed of London Catherine M. Gurski, ND, MSOM, LAc* Hampton Family Foundation of The Oregon Community Foundation Juan Young Trust Leupold & Stevens Foundation Jonathan Lohnes, LMT* PosterGarden* Solena Cellars*
GIFTS OF $2,000–$4,999
Agger Chiropractic & Nutrition Clinic* Alaska Airlines* The Benson Hotel Bridgetown Chiropractic & Wellness Portland Clinic* Buckley Law P.C. Abby Drinkard, LAc* Elemental Technologies* Elephants Delicatessen* Meredith English, PT* Nicolo Fonte, Choreographer*
Goldman Sachs & Co. Grand Avenue Floral* Hotel Modera* Ivey Jacobson & Co. LLC* Kevin Kiggins Massage* Mark Spencer Hotel* Morel Ink Nel Centro* New Heights Physical Therapy Plus* Pabst Brewing Company Peddecord Photo* Portland Art Museum* Portland’5 Centers for the Arts Robert F. Ratzow, DC* Residence Inn Portland Downtown/Riverplace* Solaris Bodyworks, Inc.* Thompcorp Town Car* Twelve Wine* Yvonne Vleer, Kinesiologist, LMT* Wells Fargo Foundation Western Partitions Wintz Family Foundation
GIFTS OF $1,000–$1,999
Dr. Seth Alley* Arnerich Massena Cupcake Jones* Cushman & Wakefield ESCO Foundation Explore Washington Park* Longbottom Coffee & Tea* Maitri Therapeutic Massage* New Deal Distillery* NW Wine Company* Rolf PDX* Studio Blue*
GIFTS UNDER $1,000
Emily Bartha, LAc* Nadia Chopra, PT* Clipper Magazine* Exploratorium* First Congregational United Church of Christ* George Relles Sound Reinforcement Inc.* GRP Engineering, Inc. The Holzman Foundation Intel Charitable Match Trust King Charitable Foundation Larson Oregon LLC
ALLEGRO SOCIETY Lyft Monique’s Boutique Montavilla Brew Works* Gretchen Rose Newmark, MA, RD* The Nielson Group, LLC OnPoint Community Credit Union The Oregon Historical Society* Oregon Shakespeare Festival* Oregon Symphony* Portland Center Stage* Portland Opera* Slope & Stone Engineering LLC Smith Teamaker* Tavern on Kruse* Volunteers of America Oregon Watson Creative
MATCHING GIFT CORPORATIONS
AmazonSmile Foundation The Boeing Company Chevron Matching Employee Funds Fuerst Group, Inc. Google, Inc. Intel Kayne Anderson Capital Advisors Foundation Kroger Rewards Give With Liberty Northwest Natural Gas Pacific Power Foundation PGE Company The Standard UBS Community Affairs & Corporate Responsibility U.S. Bank Verizon Employee Engagement
Clinics & healthcare professionals who preserve the health & well-being of Oregon Ballet Theatre’s dancers.
WEST PORTLAND PHYSICAL THERAPY Katherine B. McCoy, PT, MTC Amy Werner, PT, DPT Patti Koehler, PT, WCS Christine Krueger, PT Eryn Kirschbaum, PT, DPT Sarah Terpin, PT, DPT Amanda Land, PT, DPT Kristi Caragliano, PT, DPT Kelsie Ganshert-McCaffrey, PT, DPT Anne Patron, PT, DPT, MEd Anna Yarzak, PT, DPT Emily Bottjen, PTA Ann Marie Cordova, PTA Trish Jilot, PTA Sandie Lamb-Moudy, PTA Shalynn Robinette, PTA
AGGER CHIROPRACTIC & NUTRITION CLINIC Simon J. Agger, DC
BRIDGETOWN CHIROPRACTIC & WELLNESS Jacob May, DC Melody Johnson, LMT
NADIA CHOPRA, PT, DPT, OCS, COMT MEREDITH ENGLISH, MS PT GENTLE CARE CHIROPRACTIC Amanda Tipton, DC
LEGACY HEALTH Katharine Zeller, MD
JONATHAN LOHNES, LMT MAITRI THERAPEUTIC MASSAGE Bob Bush, LMT, ACE(PT), MT(ASCP)
MARCH WELLNESS & FITNESS CENTER OREGON HEALTH & SCIENCE UNIVERSITY NEW HEIGHTS PHYSICAL THERAPY PLUS Liz Ruegg, PT, DPT
GRETCHEN ROSE NEWMARK, MA, RDN *Donation in-kind
PACIFIC NORTHWEST ACUPUNCTURE & HERBAL CLINIC Abby Drinkard, MAcOM, LAc
ROBERT F. RATZOW, DC ROLF PDX
RÉVÉRENCE CIRCLE
Olaf Wilberg
SOLARIS BODYWORKS, INC. In recognition of those who have included OBT in their estate plan.
Robert Aughenbaugh Brent Barton & Liz Fuller Pamela Jane Benso Pat Berg Dan Bergsvik & Don Hastler Linda Besant & Martha Goetsch
Suzanne Bromschwig & William Dolan Holly Brooks David & Elaine Brown Debi Coleman Nathan Conn Karen & Bill Early Peter W. Edgerton Marilyn & Hans Grunbaum Charles L. Jones Belinda & Frederick Kinyon
Diane Knudsen Perry Lee Dr. Dolores Leon & Dr. Fernando Leon Derek & Lydia Lipman Martha J. Logan Marna McComb Kirsten & Richard Meneghello Brad & Nancy Miller Sharon & Adam Mirarchi Carol N. Morgan Virginia Nelson
Suzann & Dennis Ott Rev. Dr. Rodney & Sandi Page Jane S. Partridge Marilyn L. Rudin, MD & Richard S. Testut, Jr. Anne Stevenson Carol Streeter & Harold Goldstein David Wardell, In Memoriam David Wedge, In Memoriam
Neissan Saber, LMT
STUDIO BLUE PILATES
Dan Walton, Owner, Senior Pilates Instructor
SYLVAN CHIROPRACTIC CLINIC & WELLNESS CENTER Seth Alley, DC, CCSP, CKTP
TURNING POINTE ACUPUNCTURE Emily Bartha, LAc
YVONNE VLEER, KINESIOLOGIST, LMT