Swan Lake - Oregon Ballet Theatre by Artslandia

AT TH E P E R FO R M A N C E

Arlene Schnitzer and Jordan Schnitzer through The Harold & Arlene Schnitzer CARE Foundation present

Brian Simcoe | Photo by Patrick Weishampel/blankeye.tv

O R E G O N B A L L E T T H E AT R E ’ S

Feb. 18 – 25, 2017 Keller Auditorium (World Premiere)

LETTER FROM THE ARTISTIC DIRECTOR

OREGON BALLET THEATRE WOULD LIKE TO EXPRESS OUR MOST SINCERE THANKS TO OUR MOST GENEROUS SPONSORS.

THANK YOU!

Photo by Joni Kabana.

WELCOME! Our February full-length ballet is a chance for us to tell stories, to create with ballet and dance tales you want to experience and want to share. This year we unveil a completely new and updated Swan Lake, featuring the most iconic music ever written for ballet. In taking on this new Swan Lake, we have sought to retain all of the traditions that have been passed down generation after generation — but to also look at ways to make the story even more compelling, more touching. Since this is a fairytale, we also took pains to be sure the lessons we are teaching are ones we truly believe in. Rest assured that our goal has always been to reinvigorate, not replace, our wonderful balletic traditions. And so, once again, OBT presents a full-length ballet that includes not only our main company, but OBT2, as well as many students from The School of Oregon Ballet Theatre. Each evening of ballet is a journey of sorts— we hope you take this journey with us with your hearts open and your eyes as keen for new discoveries as Prince Siegfried’s are! And we hope you will get ready for a new season of unforgettable journeys in dance as we announce our performances for next year on February 23.rd Without giving too much away, I can guarantee there will be wonderful, heart-stopping dancing and all the beauty and delight you have come to expect from your ballet company, OBT.

PRESENTING SPONSORS Arlene Schnitzer & Jordan Schnitzer through the

SEASON SPONSORS

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

KEVIN IRVING

Artistic Director | Oregon Ballet Theatre

OBT is supported in part by a grant from the Oregon Arts Commission and the National Endowment for the Arts.

Work for Art, including contributions from more than 75 companies and 2,000 employees. OBT is supported in part by a grant from the Oregon Cultural Trust

Kevin Irving generously underwritten by Jeanette & Berritt Heinz

THOMPCORP

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

LETTER FROM THE EXECUTIVE DIRECTOR Dear Friends, February is always an exciting time for Oregon Ballet Theatre and we are delighted that you are joining us for the premiere of Artistic Director Kevin Irving’s adaptation of Swan Lake. This production is of particular importance to us as it is entirely a homegrown effort and the work reflects the considerable talent of our artistic staff. I am so proud of our team, and know you will be delighted with the performance. This is also a time when we prepare for the future. We recently hosted this year’s wildly successful gala event, titled The Bolshoi Ball, which returned us to the Portland Art Museum for the first time in ten years and raised critical funding for programs stretching throughout our community. With the support and loyalty of our patrons we continue to grow programming, and next season will mark another significant step forward. So be sure to visit our website on February 23rd , when we reveal our ambitious 2017/2018 season!

a lifetime opportunity to return to a place where I still have deep family ties and to have a profound impact on a community very close to my heart. I am so proud of all this leadership team has accomplished with OBT over the past three seasons, and am incredibly grateful to each of you for your friendship, support, and passion for the work. I also want to sincerely thank our artists, musicians, trustees, and finally, the staff. The beautiful artistry that is seen on stage comes from an unparalleled commitment to excellence, and that commitment extends equally behind the scenes and throughout our offices. I am blessed to have worked with you all. Finally, I want to thank Kevin for his vision, support, partnership, and most importantly, his friendship. OBT is poised to move on to even greater heights and I am happy to have played a small role.

Finally, this month has brought some news and change within the leadership team here at OBT. The opening of Swan Lake marks my departure from the company and places a capstone on my more than 27 years in the field of arts, culture, and education. In a few weeks I will return to my hometown of Green Bay, Wisconsin and become the next President and CEO of The Greater Green Bay Community Foundation. This rather unexpected move is a once in

Photo by James McGrew

OREGON BALLET THEATRE’S

JOURNEY INTO THE UNKNOWN 2017/18 SEASON – UNVEILED FEB 23 – OBT.ORG

Warm regards,

Dennis Buehler

KEVIN IRVING, ARTISTIC DIRECTOR

SPRINGAPRIL SESSION 3 – JUNE 10

ANTHONY JONES, SCHOOL DIRECTOR

WEST LINN STUDIO PORTLAND STUDIO AGES 18 MONTHS AND UP

AGES 3 YEARS AND UP

Parent and Child Pre & Children’s Ballet Youth Jazz Youth Beginning Ballet

Pre-Ballet Children’s Beginning Ballet Preparatory Division OBT2

ADULT CLASSES WORKSHOPS AND DROP-IN classes for adults at both locations

NEW SUNDAYS AT SOBT

ballet, jazz, pilates & obt fit (PDX only)

Photo by Natalie Behring

WEST LINN: 19066 WILLAMETTE DRIVE | PORTLAND: 0720 SW BANCROFT STREET SCHOOL.OBT.ORG FOR MORE DETAILS

KEVIN IRVING, ARTISTIC DIRECTOR

ANTHONY JONES, SCHOOL DIRECTOR

2017 SUMMER CAMPS

COME DANCE WITH US

THIS SUMMER!

school.obt.org

FOR AGES 3-11

We offer a variety of programs at our Portland and West Linn Studios

Schedule, Class Information & Registration

Portland Studio: 0720 SW Bancroft. Portland, OR 97239 West Linn Studio: 19066 Willamette Drive, West Linn, OR 97068

Photos by Natalie Behring

TODAY’S PROGRAM

SWAN LAKE CHOREOGRAPHY: KEVIN IRVING, NICOLO FONTE, ANTHONY JONES, LISA KIPP AFTER MARIUS PETIPA AND LEV IVANOV LIBRETTO: KEVIN IRVING MUSIC: PYOTR ILYICH TCHAIKOVSKY Swan Lake, Op. 20 SET DESIGN: FILIPPO SANJUST ADDITIONAL SCENIC DESIGN: BILL ANDERSON COSTUME DESIGN: SANDRA WOODALL ADDITIONAL COSTUME DESIGN: CHRISTINE MEYERS LIGHTING DESIGN: MICHAEL MAZZOLA SUPERTITLE ANIMATION: PATRICK WEISHAMPEL WORLD PREMIERE: FEBRUARY 18, 2017; OREGON BALLET THEATRE; KELLER AUDITORIUM; PORTLAND, OREGON

ACT I SCENE I Outside the castle, on the morning before the birthday that will mark his passage into adulthood, Siegfried romps around with the village children, delighting all. Siegfried coaxes the villagers to join in until everyone is laughing and dancing. The ladies and gentlemen of the court emerge, and are drawn into the fun. Benno, Siegfried’s best friend, dashes out to announce the arrival of the King, the Queen, and their retinue. The Queen tells Siegfried that he must grow up and choose a bride the following evening at his birthday ball, reminding him that his father the King is quite old and will soon die. She instructs Benno to prepare the reluctant prince. Benno tries to teach Siegfried how to woo women, but it’s clear that Siegfried’s mind is elsewhere. He can’t help but worry that he isn’t mature enough to marry, let alone take his father’s place. It’s now the villagers’ turn to cheer up Siegfried, and they do so with gusto —dancing merrily to celebrate his coming of age. The dancing continues until the King’s valet appears and hands Siegfried a gift from his father—an enchanted crossbow. SCENE II The old King has created a potent illusion and Siegfried suddenly finds himself in a dreamscape, deep in the forest, beside a lake, while the King watches from the shadows. A beautiful princess appears—Odette. Her vulnerability and innocence captivates Siegfried. She tells him her story of an evil sorcerer and his diabolical enchantment of her. She will be bound forever to the sorcerer, unless she finds a man who will love only her. Then the spell would be broken, and she and her companions would take their true forms again. A flock of swans enters, and Siegfried is filled with curiosity and wonder. Odette implores him not to hurt her, or any of her friends. Siegfried cannot understand why anyone would hurt them. From afar, the king watches as the illusion continues to unfold. Siegfried becomes entranced by Odette—he longs for her as he has never longed for anything, and as he dances with her, Siegfried falls in love. As the swans leave, Siegfried tries in vain to hold on to Odette, but she flees, leaving a bewildered Siegfried.

20 MINUTE INTERMISSION

ACT II It’s the night of the ball, and the knowledge that Siegfried must choose a bride has attracted eligible, and not so eligible, hopefuls from far and wide. In the anteroom, delegates from foreign courts jockey for the best positions. The Court Herald does his best to impose order. At the ball, each of the guests try to impress Siegfried— ladies, princesses, and gentlewomen present themselves to the prince, hoping to be chosen as his bride. No one can captivate the prince who has spent his life charming everyone else. Suddenly, the beautiful Swan Princess from the lake appears, presented to Siegfried by the old King, who shocks the court by finding the strength to stand on his own. Something is different about her, but Siegfried doesn’t stop to look deeper. Instead he rejoices, exuberantly dancing his love for the Swan Princess. The woman before him mirrors his joy in a shallow and calculating manner as the two lovers perform for each other. The whole ballroom watches as Siegfried declares that he will marry this woman—only to find that this beautiful vision is not the woman from the lake. She is Odile, not Odette. Siegfried has fallen for his father’s illusion, and failed himself in the process. The King tries to speak to his distressed son—he needs to tell Siegfried something important, something about the power of real and abiding love, but it’s too late. He falls, clutching his heart, and dies. Siegfried is overwhelmed with grief.

15 MINUTE INTERMISSION

ACT III Siegfried finds himself once again in that same dreamscape by the lake. The old King loved his young son so much that even in death his enchantment lingers to guide Siegfried on. His father appears as a young man, and the King’s own coming of age story begins to unfold, including a vision of the Queen as a young woman, surrounded by swans. The young King and Queen dance, and in their movements Siegfried sees his own experience with the Swan Princess. The swans swirl and disperse, leaving Siegfried alone with the young King. When the swans reappear, Siegfried spies Odette. Filled with remorse and unsure of his path forward, Siegfried reaches for her. Siegfried and Odette dance one last time —he trying desperately to hold her, she knowing they must part—until Odette is torn from Siegfried’s embrace. She and the swans vanish. The King dances one last time with Siegfried—he tells his son he is ready for adulthood, for the throne. Ready to take his father’s place. Siegfried is left alone. He begins to understand the journey before him, the responsibilities he must carry. The illusion fades, but the memory remains with Siegfried, giving him wisdom and strength as the court and villagers assemble for Siegfried’s coronation. Siegfried is crowned. As he takes his rightful place as king, he sees a familiar face in the crowd. He’s seen her a dozen times before, but something is different now, and he finds himself looking deeper. He reaches for her, and in that beginning, our story finds its end.

SWAN LAKE PROGRAM NOTE WITH ONLY 2 SCENES (2 very important scenes!) preserved according to

OBT Principal Dancers Brian Simcoe and Jacqueline Straughan in rehearsals for OBT Artistic Director Kevin Irving’s adaptation of Swan Lake. Photo by Yi Yin.

KEVIN IRVING, ARTISTIC DIRECTOR

tradition and hours of music for the ballet by Pyotr Tchaikovsky— creating this production became somewhat of a puzzle to solve. It was crucial to figure out how to incorporate both these scenes in a framework that would honor the traditions embedded within them while at the same time open up the narrative in a way that would make sense in the 21st Century. At all times I found myself looking to the incredible score for clues as to how to proceed—and it has been a joy to approach this iconic work with so much inspiration from not only Petipa & Ivanov but also from Tchaikovsky as well. If there is one thing we stand for at Oregon Ballet Theatre it is that ballet can be as robust and as thrilling as any other form of entertainment and it is inherently more moving than almost any other art form because our incredible dancers bring not only steps but also passion, wonder, and delight to life for you at every performance. In this new Swan Lake therefore, the pristine classicism of the “white act” stands in contrast to more quotidian scenes; the journey of our hero is based on a situation familiar to all—and the characters all have emotions and motivations that make sense. In shifting the weight of the narrative to Prince Siegfried, I have sought to honor the emotional tenor of Tchaikovsky’s music without diminishing the importance of the central ballerina, our Odette/Odile. The other main imperative for me was to find a way to hope at the ballet’s climax—to take it completely away from an ending that usually includes at least one suicide. However much pathos and drama Tchaikovsky infused into the music, he also created the musical equivalent of sunshine, especially at the end of the work, and I wanted us all to experience that fully.

ANTHONY JONES, SCHOOL DIRECTOR

Apr. 22 – 23, 2017 Newmark Theatre

ANNUAL SCHOOL PERFORMANCE A World Premiere by Alison Roper & Anthony Jones PLUS works by George Balanchine & Nicolo Fonte And a Grand Étude of the entire school!

Shea McAdoo

OBT Apprentice, former School of OBT student Photo by James McGrew

Tickets start at $32 | Group tickets start at $15 | obt.org | 503-222-5538

Martina Chavez | Photo by James McGrew Martina Chavez | Photo by James McGrew

OREGON OREGONBALLET BALLET THEATRE’S THEATRE’S

Newmark NewmarkTheatre Theatre

Tickets start at $29 obt.org | 503-222-5538

Celebrate spring with earthy works by Nacho Duato and Helen Pickett including the return of Petal and a world premiere with original score by Jeff Beal.

Tickets start at $29 obt.org | 503-222-5538

Celebrate the Spring with earthy works by Nacho Duato & Helen Pickett

OBT’s Petal. Photo by Blaine Truitt Covert.

OBT’S “SEASON OF GIANTS”

concludes this spring with a joyous celebration of the earth. First we bring the highly anticipated return of Helen Pickett’s Petal, a work drenched in the bright yellows, pinks, and oranges of budding flowers. We pair this lush ballet with two company premieres from world-renowned choreographer Nacho Duato. El Naranjo (The Orange Tree) is a stunning pas de deux from a longer work, Gnawa which was inspired by the nature of Valencia, Spain, surrounded by the sea and the sun. OBT has received special permission by Duato to share this slice of Mediterranean flavor by itself. Next, we are thrilled to present Jardí Tancat, Duato’s first ballet and the work that catapulted him to fame. Choreographed to Catalonian folk tales collected and sung by Maria del Mar Bonet the songs tell the story of the people who work the barren land, praying to God for the rain that does not come and enduring with great spirit in the face of hardship. We close with an enthralling new creation from Helen Pickett Terra set to an original score by American composer Jeff Beal of House of Cards fame. With roots in both ballet and theatre, Pickett has a flair for drama and this latest production which takes inspiration from the indigenous dances of the world, contemporary ballet, and Joseph Campbell’s work on myth and metaphor will be no exception. Rehearsals for this ambitious new work began this past fall. We can hardly wait to see it come to fruition!

TERRA

April 13–22, 2017 | Newmark Theatre Makino Hildestad & Adam Hartley in Jardí Tancat. Photo by Janes McGrew.

FEATURE

REINVIGORATING A CLASSIC BY MARTY HUGHLEY OBT dancers Peter Franc and Xuan Cheng in rehearsal for Swan Lake.

THROUGHOUT ITS LONG HISTORY,

the story of Swan Lake has been, if you’ll pardon the expression, fluid. Tchaikovsky’s stirring and memorable score was commissioned for an 1877 Bolshoi Theatre production. Yet the libretto—“complicated, dark, violent and tragic,” according to ballet historian Jennifer Homans—was revised significantly 18 years later, when Marius Petipa and Lev Ivanov created new choreography for the Imperial Ballet in St. Petersburg and established Swan Lake as a touchstone of ballet repertoire. Change was now part of the Swan’s DNA. Writes Robert Greskovic in his book Ballet 101: “Almost no staging of Swan Lake today, even those where great pains have been taken to honor the 1895 version, fails to rework the libretto in some way to suit the production’s own purposes.” And yet, to Oregon Ballet Theatre Artistic Director Kevin Irving, hewing too closely to the 1895 template has been the problem with most classical ballet productions of the work. He calls Tchaikovsky’s score “some of the finest music ever written, not just for the ballet but ever” and points to the centerpieces of the Petipa/Ivanov choreography as crown jewels of the art form. The music and dancing, he contends, just need a dramatic setting that helps them shine anew for today’s audiences. “Our core mission at Oregon Ballet Theatre is to re-invigorate traditions and give them a way to make sense in the 21st century,” Irving says. “We’re not doing a contemporary, roll-on-the-floor version; this is a classical ballet.” True to that mission, his moving new adaptation of Swan Lake reworks the traditional story of doomed love between an enchanted swan princess and an impetuous prince, manipulated by an evil sorcerer. In its place he has crafted a cohesive and compelling tale centered on young Prince Siegfried more than the swan/woman Odette. Once again there is magic afoot,

OBT dancers Thomas Baker and Colby Parsons with OBT Artistic Director Kevin Irving in rehearsals for Irving’s adaptation of Swan Lake, which runs from Feb. 18–25, 2017 at the Keller Auditorium. Photos by Yi Yin.

but here it is a well-meaning web of illusion pulling him toward adulthood. “I had some very fundamental problems with the traditional narrative that I felt were important to resolve,” he says.

Irving also finds that those dramatic deficiencies can blunt the power of a magnificent score. “I find that the traditional version of Swan Lake—on the surface—is extremely sentimental, cloying almost, but without having the depth that I hear in the music,” he says.

Irving points to a number of issues, starting with the conventional ending in which Odette and Siegfried both commit suicide, finding redemption only in an afterlife. “It’s not a satisfying way to end three hours in the theater….I wanted to find a way to end the story on a more hopeful note.”

“I realized that I needed to create an arc for Siegfried. And it struck me that his story, if it became the central story of the ballet, gave me an opportunity to address all the other issues I was seeing.”

More pervasive is the lack of true dramatic arcs for the main characters. Typically, Odette has been cursed by the evil Baron von Rothbart to be swan by day, woman by night, but that takes place (and usually for no specified reason) before the ballet begins. “She’s locked in and she has no agency,” Irving notes. Similarly, Siegfried doesn’t really develop when he’s presented from the outset as royal alpha male and then merely as a victim of von Rothbart’s mischief.

Irving found the satisfying arc he sought in a classic template: the coming-of-age tale as hero’s journey, familiar, in its general direction, from Shakespeare’s Prince Hal, among other models. Siegfried starts the ballet as a charistmatic but neglected prince, notable mostly for his immaturity. There’s no malevolent von Rothbart here; instead the magic is the work of Siegfried’s father, infirm following a stroke and anxious about the royal succession after Siegfried’s older brothers have died suddenly.

EXECUTIVE DIRECTOR DENNIS BUEHLER

EXECUTIVE DIRECTOR Dennis Buehler was named Executive Director for Oregon Ballet Theatre in August 2014 and could not be more excited to be a part of the dynamic Portland community. Buehler joins OBT after leading Milwaukee Ballet in Milwaukee, Wisconsin, as its Executive Director for seven seasons.

OBT dancers Xuan Cheng and Peter Franc with Artistic Director Kevin Irving and Resident Choreographer Nicolo Fonte in rehearsal for Irving’s adaptation of Swan Lake.

Odette and her deceptive doppelganger Odile, the Black Swan, are illusions created by the king to teach Siegfried the value of love and the importance of discernment. After all, in the conventional story, when Siegfried pledges love to Odile impersonating Odette, it’s not really the test of faithfulness he fails; it’s the test of credulity. And, as Irving points out, “credulity and discernment are important characteristics of a ruler—or just of an adult. At the end of the ballet he finally is that Prince that most versions start with, able to accept the cloak of responsibility, the weight of the crown on his head.”

A variety of influences fed into Irving’s approach, including Sir Matthew Bourne’s radical, Siegfried-centered Swan Lake remake, with male dancers as the swans, first staged in 1995, and August Bournonville’s Napoli, the third act of which OBT performed in 2015. “The way the dance and characterizations are intertwined in the Bournonville tradition has a sweetness and a lack of pretension that I really respond to,” Irving says. “Although stylistically the worlds are very far apart between Swan Lake and Bournonville, I thought that real-world resonance could present a model that would be inspirational.”

Irving’s realignment of the narrative means more dancing throughout for Siegfried, adding to an already challenging part. Thankfully, he has the incredible Principal Dancers Peter Franc and Brian Simcoe alternating in the role. Swan Lake traditionally has been a star vehicle for whoever’s in the dual role of Odette/Odile—in this case, Principal Dancers Xuan Cheng and Jacqueline Straughan—and on that point Irving sees no difference. “Despite the fact that the protagonist of this version of Swan Lake is Prince Siegfried, her role is, I think, enhanced. Rather than being diminished, it becomes more poignant and compelling.”

At the heart of this emotionally unified take on Swan Lake is the desire to tell a good story. “I’m looking to make a fairy tale,” Irving says. “A fairy tale that holds together, where the pieces fit and lead us to an experience we feel we’ve participated in. “I want to create a Swan Lake that has some attributes of Cinderella and some of Romeo and Juliet—and not because those happened to be our last two full story-ballet productions. All through Cinderella you never lose sight for a moment of what’s at stake for her, even though there are bits of

During that time, Milwaukee Ballet not only significantly improved its organizational and financial health, but grew to be recognized as a national leader in the development of new work and for their strong commitment to training and community outreach. Buehler previously led the Sharon Lynne Wilson Center for the Arts, also in Wisconsin, for six years, where he was credited with successfully guiding one of the region’s fastest growing arts organizations through its initial strategic, artistic, and organizational development phases. He has served on the board for The United Performing Arts Fund in Milwaukee, been an active leader within the Creative Alliance of Greater Milwaukee, the Creative Coalition for Greater Milwaukee, served as a local advocacy captain for Arts Wisconsin, and a planning committee member for the Milwaukee 7 Project, a regional collaboration initiative. Early in his career, Buehler held various producing roles with a number of theatre groups in both Florida and Wisconsin, including the Skylight Opera Theatre in Milwaukee from 1998 to 2002. He graduated from the Professional Theatre Training Program at the University of Wisconsin-Milwaukee in 1992. Buehler currently lives in West Linn with his wife Treena, an independent artist, and their two daughters. Photo by Tatiana Willis

incredible comedy. And in almost any production of Romeo and Juliet, the way the pomp and the weight of the formal opposition of the two houses is evoked is the framework you need for the story to touch your heart—like walls coming in that the lovers have to push against. Along the way are all these opportunities for characters to push the protagonists forward or to impede their progress. If you look back at our Cinderella and Romeo and Juliet, the dancing was spectacular, but that’s not the sole purpose of what we’re doing. They were successful because they had really clear characters and stories that drew us into their world.”

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 IDANCE (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 Tom Geibel

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 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 9 years, and the company’s rehearsal director

for 2 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.

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.

Photo by Tatiana Willis

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.

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 Willis

NICOLO FONTE RESIDENT CHOREOGRAPHER Choreographer Nicolo Fonte is known for his daring and original approach to dance. His work has been noted by critics for a unique movement language as well as a highly developed fusion of ideas, dance and design. Born in Brooklyn, New York, Fonte started dancing at the age of 14. He studied at the Joffrey Ballet School in New York as well as at the San Francisco Ballet and New York City Ballet Schools while completing a Bachelor Degree of Fine Arts at SUNY Purchase. Upon graduation he danced with Peridance in NYC and later joined Les Grands Ballets Canadiens in Montreal, 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.

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

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

MICHAEL MAZZOLA

RESIDENT LIGHTING DESIGNER

Michael Mazzola’s critically acclaimed lighting and scenery has been seen in venues all over the U.S., Europe, and Asia, ranging

ARTISTIC STAFF 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; Trey McIntyre Project; The Washington Ballet; Houston Ballet; Rachel Tess Dance at the Wanås Foundation in Sweden; Baryshnikov Arts Center; NYC and LMCC’s River to River Festival; Third Rail Repertory Theatre; Bebe Miller Company— with whom he has worked since the mideighties; and the Liz Lerman Dance Exchange. Mazzola has designed scenery and lighting for the National YoungArts Foundation’s 2015 and 2016 Miami Galas and he designed lighting and video at the Kennedy Center Concert Hall for the 2015 and 2016 Presidential Scholars | YoungArts Awards. Mazzola has been senior scenic designer on Comedy Central Celebrity Roasts and the 2015 Lincoln Awards at the Kennedy Center Concert Hall for Uplight, Inc. based in NYC. Photo by Alison Roper

ANTHONY JONES SCHOOL DIRECTOR

A native of Minneapolis, Jones began his early ballet studies at the Minnesota Dance Theatre, followed by professional training at the National Ballet School in Toronto, and ultimately The School of American Ballet in New York, where he studied under Stanley Williams, Andrei Kramarevsky, and Richard Rapp. He joined Seattle’s Pacific Northwest Ballet in 1990 and was promoted to soloist in 1993. At PNB he performed a broad repertory that included the works of Marius Petipa, George Balanchine, Sir Antony Tudor, August Bournonville, Glen Tetley, and Kent Stowell, among others. After his performing career, he graduated from New York University and eventually became director of The Huntington Ballet Theatre in Long Island, New York, and worked as an acquisitions associate at the Frick Collection in New York City. In 2010, he joined the faculty of the Palucca Hochschule für Tanz Dresden (The Palucca School and University of Dance) in Dresden, Germany, as a teacher for classical ballet. In August 2013, he was appointed school director of the School of Oregon Ballet Theatre. Photo by Joni Kabana.

CHRISTINE MEYERS COSTUME DESIGNER

Christine Meyers is a Costume Designer, Production Designer, and Cinematographer who has created for opera, theatre, dance, and film. Current works include Sex with Strangers at Portland Center Stage and The Legend of Georgia McBride with Anita Yavich at MCC Theater in New York. Her work spans

genres, including a recent collaboration with experimental dance company zoe|juniper, a music video for The Head and the Heart’s “Lets’s Be Still,” Crayola at Oregon Ballet Theatre, and the classic Tartuffe at Seattle Shakespeare Company. Other plays include Seattle Repertory Theatre’s Circle Mirror Transformation, This, and Speech and Debate; and the earlier Peter Pan, The Highest Tide, and The Beautiful Things That Heaven Bears at Book-It Repertory Theatre, Twelfth Night and Julius Caesar

at Seattle Shakespeare Company. Film credits include the 48-hour film short Lethal Cotillion, which was chosen to screen at the 2008 Cannes Film Festival, and the indie feature Bhakti Boy. She has created dissolving dresses and special effects for Alice in Chains’ video “Lesson Learned.” Her work with the International Handel Festival in Göttingen, Germany, included draping on Orlando, which was brought to Drottningholm Palace in Sweden.

OBT: AN INCREDIBLE TEAM It’s a sign of a ballet company’s artistic depth when it can put on a production of Swan Lake’s scale without turning to guest artists to round out the creative and production teams. For the world premiere of Kevin Irving’s adaptation of Swan Lake, Oregon Ballet Theatre is proud to give our in-house artists a stage on which to shine. Under Irving’s guidance, OBT Resident Choreographer Nicolo Fonte, Rehearsal Director Lisa Kipp, and School Director Anthony Jones have worked with the dancers to bring this adaptation to life. Behind the scenes, Resident Lighting Designer Michael Mazzola and Director of Production Bill Anderson have achieved a scenic atmosphere that further reveals the artistry of our dancers. And the always excellent Maestro Niel DuPonte has adapted Tchaikovsky’s brilliant score to suit every nuance of the story as reimagined by Irving, while Wardrobe Administrator Eileen Ehlert has taken on the additional role of Costume Project Manager, overseeing the construction of Christine Meyers’s newly designed costume elements. In this production you are seeing the product of many dedicated, talented hands. You’ll even notice a few cameos by members of OBT’s staff, whose presence quietly enriches the story. We hope you enjoy being swept away by the magic of Swan Lake as much as we enjoyed crafting it for you.

OBT dancers Makino Hildestad and Emily Parker, with OBT Resident Choreographer Nicolo Fonte and Rehearsal Director Lisa Kipp, rehearsing Spanish for OBT Artistic Director Kevin Irving’s adaptation of Swan Lake. Swan Lake will run Feb 18–25, 2017 at the Keller Auditorium. Photo by James McGrew.

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STUDENTS, GUESTS & ORCHESTRA STUDENTS & GUESTS SOBT STUDENTS Zoe Abadi Jack Banks Annastasia Beller Maddie Blessinger Jamie Burgess Danielle Carmeci Finn Carmeci Manish Chawhan Josephine Courtney Chloe Evans Jane Gordon Sarah Harmon Noah Hug Wesley Johnson Elliana Kluherz Twylo Landey Ruby Mae Lefebvre Yukino Logan Maggie Maierle Malia McClanahan Megan McGarry Emily McGeehan Zuzu Metzler Eli Mitchell-Hopmeier Zeke MitchellHopmeier Ayokemi Olajuyin Jensen Rasmussen

Amiruddin Shah Kamaya Stephens Rachel Stonedahl Asia Tran Collin Trummel AriPatrik Viherlahti OBT2 Alessandro Angelini Mackenzie Brousson Ophelia Bryan Erika Crawford Alexa Domenden Marlena JacksonRetondo Elizabeth Kanning Aubrey Kazimi Erin Norris Daniel Salinas Sarah Whitehead Amy Young SUPERNUMERARIES James Bartlett Linda Besant Kasandra Gruener James Holstad Tory Mitchell Joe Norvell Carol Passey

ORCHESTRA Alice Rogan John Thoren David Threefoot GUEST ARTISTS Anthony Jones Lisa Kipp Jeremy Rucker

VIOLIN I Nelly Kovalev, Concertmaster Steven Scharf, Assistant Concertmaster* Andrea Oh Della Davies Robin Baldino Casey Bozell Elizabeth Peyton Jenny Estrin Sarah Roth Irene Gadeholt VIOLIN II Janet Dubay, Principal Janet George, Assistant Principal Ann Medellin Camilla Scott Linda Vasey Luise Grube Heather MastelLipson VIOLA Angelika Furtwangler, Principal

Shauna Keyes, Assistant Principal* Brenda Liu Kim Burton Adam Hoornstra Marissa Winship CELLO Hamilton Cheifetz, Principal Katherine Schultz, Assistant Principal Corey Averill Jane Day Heather Blackburn BASS Dave Anderson, Principal* Milo Fultz, Assistant Principal* Chang-Min Lee FLUTE Georgeanne Ries, Principal Sydney Carlson Sarah Tiedemann

OBOE Kelly Gronli, Principal Alan Juza CLARINET Louis DeMartino, Principal* Melanie Yamada BASSOON Daneille Goldman, Principal* Elizabeth Paterson FRENCH HORN Steve Hayworth, Principal Jen Harrison Mike Hettwer Leander Star TRUMPET/CORNET Dave Bamonte, Principal Robert Rutherford Ben Thauland Glenda Cloutier TROMBONE Lars Campbell, Principal*

Carson Keeble Dave Bryan TUBA Seth Horner, Principal JรกTtik Clark, Principal* PERCUSSION Gordon Rencher, Principal Brian Gardiner Chris Whyte TIMPANI Jeff Peyton, Principal HARP Jenny Linder, Principal ORCHESTRA PERSONNEL MANAGER Janet George MUSIC LIBRARIANS Kirsten Norvell, Rachel Rencher, Eva Richey *denotes acting title Italics denotes substitute

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COMPANY

PRINCIPAL DANCERS

XUAN CHENG

CHAUNCEY PARSONS

PETER FRANC

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COMPANY PRINCIPAL DANCERS

XUAN CHENG

Xuan Cheng was born in Chen Zhou, Hu Nan Province of China. After studying at the School of Guang Zhou Ballet, she joined as a company member and rose to become a principal dancer. In 2006, she was invited by acclaimed Canadian choreographer Lock to join his Montréal-based company La La La Human Steps. She then joined Les Grands Ballets Canadiens. While there, her roles included Juliet in JeanChristophe Maillot’s Romeo & Juliet, Princess Lena in Christian Spuck’s Leonce and Lena and the Sugar Plum Fairy in Fernand Nault’s The Nutcracker. She joined OBT as a principal dancer in 2011. Her major principal roles include Giselle, Cinderella, Odette and Odile in Swan Lake, as well as roles in works by Nacho Duato, Nicolo Fonte, 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 3 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 & 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 & Juliet, and Jerome Robbins’ Afternoon of a Faun.

JACQUELINE STRAUGHAN

OBT’s newest Principal Dancer 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 for dance excellence. 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 others by John Cranko, Sir Frederick Ashton, Sir Kenneth MacMillan, Glen Tetley and Matjash Mrozewski. In 2006, she joined Ballet West where she quickly moved up the ranks to first soloist, appearing in featured roles in ballets by Jerome Robbins, Twyla Tharp, Mark Morris, Ben Stevenson, Willam Christensen, Val Caniparoli, Matthew Neenan, Helen Pickett, and James Canfield. Her notable principal roles include the title role of Giselle, as well as principal roles in Ulysses Dove’s Red Angels, Jirˇí Kylián’s Forgotten Land & Overgrown Path, William Forsythe’s In the Middle, Somewhat Elevated, and George Balanchine’s Rubies. OBT Resident Choreographer Nicolo Fonte created Presto and several other ballets on her during

their respective time with Ballet West. While at Ballet West, she simultaneously pursued her higher education goals, graduating in 2016 with a BS in Green & Sustainable Management. 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 Sugar Plum Fairy in George Balanchine’s The Nutcracker, as Cinderella in Ben Stevenson’s production, and in Nicolo Fonte’s Presto.

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 & 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 ARTISTS

THOMAS BAKER

Thomas Baker began dancing at the age of 15 in St. George, Utah. Prior to joining OBT in 2010, he studied with San Francisco Ballet School on full scholarship. He then danced with Ballet San Jose from 2012 to 2014, rejoining OBT for the 2014/15 season. He has performed featured roles in works by Balanchine, Ashton, Rhoden, Naharin, and Cunningham.

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 by Nacho Duato, The Lost Dance by Matjash Mrozewski, Sub Rosa by James Kudeluka, Nurse in Romeo & 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, The Second Detail by William Forsythe, Instinctual Confidence by Darrell Grand Moutrie, Napoli by August Bournonville and Petal by Helen Pickett.

COMPANY 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 first season with OBT. Some of his favorite performances include Nacho Duato’s Gnawa, William Forsythe’s Herman Shmerman, and Jirˇí Kylián’s Forgotten Land.

JESSICA LIND

Born and raised in San Jose, California, Jessica Lind began her ballet training at age 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. Her favorite roles with OBT include the Summer Fairy in Ben Stevenson’s Cinderella and the Tarantella in Napoli.

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 trained with Melissa Allen Bowman and Charles Maple and was a Professional Division student with Pacific Northwest Ballet. In 2011, she joined OBT as an apprentice, and returned as a company artist in 2014. Previously, she danced with Colorado Ballet. Some of her favorite roles with OBT are Marzipan from George Balanchine’s The Nutcracker and the Autumn Fairy from Cinderella.

KIMBERLY NOBRIGA

Kimberly Nobriga grew up in Orange County, California. Starting in 2010, she trained and performed with the Pacific Northwest Ballet School and their Professional Division before joining OBT as an apprentice in 2013. As an apprentice, she danced memorable roles such as the lead in the school’s performances of Valse Fantaisie and Paquita. She was also featured in company performances as the Spanish Lead in George Balanchine’s The Nutcracker and the Winter Fairy in Ben Stevenson’s Cinderella. She joined OBT’s corps de ballet in 2015.

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. Her favorite roles thus far with OBT include the Spring Fairy in Ben Stevenson’s Cinderella and the Harlequin Doll in George Balanchine’s The Nutcracker. She was promoted to company artist in 2016.

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 came to OBT as a Professional Division student in 2013 and became an apprentice in 2014. After two apprentice years, she is thrilled to join as a company artist for the 2016/17 season. Her favorite roles with OBT are Odette from OBT’s Annual School Performance of Swan Lake, and the Yellow Girl in Crayola. 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 Brenda Daniels and Susan Jaffe. Hannah joined OBT2 in 2015 where she enjoyed performing Teresina in August Bournonville’s Napoli, the pas de deux from Alison Roper’s Crush, and Swanilda in OBT’s Annual School Performance of Coppélia. She was promoted to OBT apprentice in 2016.

ABIGAIL DIEDRICH

Abigail Diedrich is from Pasadena, Maryland. She began dancing at the age of 8 under the direction of Diana Cuatto at 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 for two years before moving to Portland to dance with OBT2. She enjoyed performing in both OBT2’s outreach programs and company productions. Her favorite roles at OBT include Dawn in OBT’s Annual School Performance of Coppélia, Teresina in August Bourn-

onville’s Napoli, and Harlequin Doll in George Balanchine’s The Nutcracker. She was promoted to OBT apprentice in 2016.

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 Wright-Lewis 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.

SHEA MCADOO

Shea McAdoo was born in Scottsdale, Arizona where she began dancing at the age of 3. Her ballet training began at Master Ballet Academy under the direction of Slawomir and Irena Wozniak. She also attended summer courses at the School of American Ballet, Exploring Ballet with Suzanne Farrell and Boston Ballet. Shea joined OBT in 2014 as a student in the Professional Division before being promoted to apprentice for the 2015/16 season. Her favorite roles with OBT include variations from Paquita and the Orange Girl in Dennis Spaight’s Crayola.

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 first season with OBT.

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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 Hayley Glickfeld Bielman, Assistant Stage Manager Michael Mazzola, Resident Lighting Designer Ian Anderson-Priddy, Production Electrician & A/V Coordinator Tim Boot, Sound Designer Ian Rutledge, Sound Coordinator Matt Wilcox, Sound Engineer Pam Jett-Goodrich, First Hand Eileen Ehlert, Wardrobe & Shoe Administrator Sara Beukers, Wig & Makeup Designer Kimberly Smay, Interim 1st Hand/Stitcher Christina Rosendahl, Draper Leah Bierly, Alexis Ellet, Virginia Kilkelly, Morgan Reaves, Stitchers Bob Bloch, Scenic Artist Kathy Andrews, Avery Bloch, Kerris Cockrell, Jeff Dines, Dan Handleman, Brian Keith, 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

ADMINISTRATION AND FINANCE Dennis Buehler, Executive Director Neville Wellman, Director of Finance & Operations Donna Jackson-Siekmann, Accounting Manager Linda Brown, Office Assistant

DEVELOPMENT Alison Roper, Major Gifts Officer Justin N. Smith, Donor Relations & Events Manager Keely McIntyre, Grants Manager Emily Tucker, Development Associate

MARKETING Natasha Kautsky, Director of Marketing & Communications Jim Thomson, Multimedia Designer James Bartlett, Audience Services Manager Kailyn Bowen, Boutique Manager Kate Kerns, Marketing Associate Chloe Hellberg, Patron Services Lead Mitchell Falconer, Customer Service Representative

COMPANY ROSTER | OBT THE SCHOOL OF OREGON BALLET THEATRE Anthony Jones, School Director Lisa Sundstrom, OBT2 Program Director OBT2 is underwritten by 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, Haley Blaise, Hannah Downs, Mary Hunt, Emma Johnson, Elise Legere, Chauncey Parsons, Jessica Post, Olivia Pyne, Dena Rasmussen, Alison Roper, Kembe Staley, Katarina Svetlova, Robyn Ulibarri, School Faculty Olga Alehina, Ayal Alves, Tiffany Barclay, Charlie Copeland, Irina Golberg, Garnet Hayes, Ayako Matsuo, Ray McKean, Alec Pemberton, Katie Pyne, Jon Roberts, David Saffert, Jordan Strang, Westy Summerton, Accompanists

EDUCATION OUTREACH Kasandra Gruener, Director of Education Outreach Brook Manning, Dance Historian & Teaching Artist Linda Besant, Archivist/Historian Sarah Ward Brown, Hannah Downs, Robyn Ulibarri, Allison Wales, Teaching Artists Amy Stahl, Office Assistant Sorrel Uchida, Research Assistant

SPECIAL THANKS IATSE Local #28, Oregon Children’s Theatre, White Bird Dance, Jeff Forbes, Portland Opera, Chris Balo.

DANCER WELLNESS COMMITTEE Dennis Buehler, OBT Executive Director Peter Franc, OBT Principal Dancer Richard Gellman, MD, Summit Orthopedics Kevin Irving, OBT Artistic Director Katherine B. McCoy, PT, MTC, West Portland Physical Therapy Clinic Sharon Mirarchi, Committee Chair & OBT Board of Trustees Peter Northrup, Northrup Corporation President Alex Occhipinti, Northrup Corporation Assistant Vice President Neville Wellman, OBT Director of Finance & Operations Amy Werner, PT, DPT, West Portland Physical Therapy Clinic Katharine Zeller, MD, Legacy Health

KEVIN IRVING Artistic Director

DENNIS BUEHLER Executive 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, 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, Keenan English, Shea McAdoo, Andrew Wingert

BOARD OF TRUSTEES Cary Jackson, Board Chair Nancy Locke, Vice Chair Cate Millar, Secretary Jimmy Crumpacker, Treasurer Ken Carraro Rita Duyn Nancy W. Frisch William Gaar Alan Garcia Gary Hanifan Brianne Hyder Ken Ivey John Lenyo Keith Martin Bradley Miller Nancy J. Miller Sharon Mirarchi

Reegan Rae Dean M. Richardson Mike Weddle Kevin Irving, ex officio Dennis Buehler, ex officio Candace Bouchard, ex officio

INDIVIDUAL DONORS Oregon Ballet Theatre would like to express its sincere gratitude to those listed below for gifts received through January 15, 2017. Donations received after this period will appear in the next playbill in April.

TOUR DE FORCE ($25,000 & UP)

Howard Hedinger Sue Horn-Caskey & Rick Caskey Jeanette & Berritt Heinz Cary Jackson Nancy Locke & Don Harris Jean Pierce Arlene Schnitzer Jordan Schnitzer Bob Sweeney & Cate Millar John Van Buren David Wardell, In Memoriam Nani Warren Wendy Warren & Thomas Brown David Wedge, In Memoriam Barbara Yeager

DIRECTOR’S CIRCLE ($10,000–$24,999)

Thomas Anderson & Jack Blumberg Jimmy Crumpacker Rita Duyn Karen & Bill Early Alan Garcia & Lyn Reynolds Garcia Thomas & Elizabeth Gewecke Melissa & Gary Hanifan Kiki Hillman Charles L. Jones John & Linda Lenyo Kenneth Lewis Devin & Natalia Megy Brad & Nancy Miller Sharon & Adam Mirarchi Paul O’Brien Loren Parks Mike & Karen Weddle

ÉTOILE POINTE SOCIETY ($5,000–$9,999)

Anonymous Linda & Scott Andrews Robert Aughenbaugh Noam Ben-Hamou Linda Besant & Martha Goetsch Anne & James Crumpacker Kathleen & Benoit de Montlebert Bill Dickey Rick & Carolyn Fromm William Gilliland Gregory K. & Mary Chomenko Hinckley Brianne & Zachary Hyder Kevin Irving & Nicolo Fonte Diane Knudsen Dr. Dolores Leon & Dr. Fernando Leon Laura S. Meier Dean M. Richardson Luwayne Sammons Prashanth Vallabhanath & Evelyn Curioso Dr. Kathy Zeller & Dr. David Hill

VIRTUOSO POINTE SOCIETY ($2,500–$4,999)

Anonymous The Ajitahrdaya Gift Fund Brent Barton & Liz Fuller Dan Bergsvik & Don Hastler Richard Louis Brown & Thomas Mark Ken Carraro Guillermina & Arthur Chavez Debi Coleman Jeanie McGuire Coleman Justin & Marisol Delaney Daniel Deutsch Fund of The Oregon Community Foundation, In Honor of Cate Millar Chuck & Barbara Edgerton Nancy & Paul Frisch William E. Gaar & Lauren E. Barnes Marilyn & Hans Grunbaum Jamey Hampton & Ashley Roland Jan Jacobsen & Paul Hart Linda Rae Hickey Juliet Hillman Ronna & Eric Hoffman Fund of The Oregon Community Foundation Sandra & Stephen Holmes Jan Johnson & Susan Olsen Elise Legere & James Mitchell Carol Schnitzer Lewis Fund of The Oregon Community Foundation Bill & Kate Lockwood Jerome Magill Keith Martin Marilyn J. McIver Ellen & Carl Nielsen John & Ginger Niemeyer Suzann & Dennis Ott Kelly & David Park Denise & James Parker Jane S. Partridge Melanie & Darren Pennington, In Honor of Lainie Pennington Allison & Steven Pike Yale Popowich, M.D. & Tina Skouras Reegan & David Rae Marilyn L. Rudin, MD & Richard S. Testut, Jr. Leslie Ann Sammons-Roth Jone Sampson & Sam Weirich Carol & Tom Shults Daniel & Dawn Simcoe Albert & Victoria Starr Joan W. Sterrett The Peter & Ann van Bever Charitable Fund Betsy Warren Toby & Linda Warson Dr. Charles W. Webb, D.O. Manami Yamaguchi & Jason Moore

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

Anonymous Susan T. Armentrout Patti & Lloyd Babler Barbara & Sidney Bass Adriane & Sam Blackman Kay Bristow

Suzanne Bromschwig & William Dolan Nancy & Andy Bryant Treena & Dennis Buehler Alex Carlson Jeff Chase & Patti Warner Fund of The Oregon Community Foundation Bill Clodfelter & James Canfield The James & Nancy Dalton Charitable Fund Robert & Patricia Dant Cameron & Dick Davis Elizabeth Dye Larry & Deborah Friedman Ted & Cynthia Gaty Christine Diana Gay Rob Goodman Lora & Keith Gordon Valarie Grudier & Richard Langdon Penny Guest Beth Harper Kim & Chris Hasle Maryanne & David Holman John & Tanya Hug Michael Hummel Ken Ivey Stephen Karakashian Amy & Kevin Kohnstamm Kathleen Lewis Fund of The Oregon Community Foundation Ross M. Lienhart Molly Lytle M. and L. Marks Family Fund of The Oregon Community Foundation Melinda Marshall Judy & Louis McCraw Christina & Cade McNown Laurie & Gilbert Meigs Kirsten & Richard Meneghello Jeffrey Morgan Ken & Hana Moyle Gordon & Margaret Noel Jay & McKay Nutt Lesley Otto & Alexander Nicoloff J.P. Palanuk & Vinh Wong Carol Peterkort & Richard Gibson Carolyn & Hank Robb Alison Roper Mary Rose & Maxwell Whipps William & Nancy Rosenfeld Fund of The Oregon Community Foundation Michele Rossolo & Matt Johnson Lori & Mike Russell Hazel & Barry Schlesinger Jacqueline M. Schumacher Virginia Sewell Jean K. Stoll Stephen Sweeney & Jordyn Jones Jet Taylor & Jonathan Griffith Jim Thompson & Meredith English John Thoren David & Eileen Threefoot K. Vorderstrasse Matt Weaver Walter E. & Nancy P. Weyler Jay Wilt Zela & Elsa John & Nancy Zernel

SOLOIST DANCER’S CIRCLE ($500–$999)

Anonymous Tom Bard Mary R. Bennett Gerard Berardi Melanie Bjorge Linda & Ron Borkan Matthew Boyes & Frederic Koeleman Buzz Braley Charles Brasher & Betty Lavis David & Elaine Brown Annie & Brad Carnese Kristy & Bill Cory Dr. Dennis & Jennifer Crawford Sue Darrow Diedrich Family Leigh & Leslie Dolin Anton, Raylene & Taylor Eilers Emily & Evan Ellis Kristina & Paul Elseth Ed & Marilyn Epstein Mary & John Evans Joshua Ferrer Charles & Zoe Foster Alexandra & Zan Galton James R. Golden Peter Gronquist Marjorie & Hendrik Grootendorst Ronald & Jennifer Hapke Daniel Harmon & Jennifer Rabiah Pamela K. Johnston Mary Klein & Francis T. Schneider Barbara Lamack & James Kalvelage Gary S. Leavitt Joan Levers & David Manhart Derek & Lydia Lipman Fund of the Oregon Jewish Community Foundation Vida & Jonathan Lohnes Gerri & Yorick Lutes Diane & Tom MacDonald Marisa Mack Earlean Marsh John F. Mathews Josie Mendoza & Hugh Mackworth Doug & Malinda Moore Dan & Jackie Moore Martha Moyer Milo & Beverly Ormseth Melissa & Steven Peterman Stacy & Patrick Pritchard George & Mildred Robles Davia & Ted Rubenstein Miriam Ruth Lynette Sahnow Sue & Brian Schebler John & June Schumann Bob Speltz & Dwight Adkins Corinne & Lindsay Stewart Graham & Kristi Taylor Evans Van Buren & Marsha Warner Peter Vennewitz Richard Wasserman & Ann Coskey-Wasserman Weiss Fund of The Oregon Community Foundation Susan & Jim Winkler George Wittemyer Cynthia A. Yee Inna Zagariya

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

Anonymous Jim Anderson & Anne Lynch Gregory & Elizabeth Arntson Susan Bailey & Mike Warwick Donald & Betty Balmer Natalia Bar Charles Barany Euclid O. Bautista Pat Behm & Gary Jacobsen Holly Brooks Irene & Patrick Burk Cat & Jacob Burns Connie Butler Stephanie Butts Kristin & Geoff Campbell Susan Carey Drs. Timothy & Theresa Chen Stan Cocke & Heather A. Kmetz Margery Cohn Diane Collier Nathan Conn Kristen Cornuelle & Ian Lombard Jody DeChaine Nancy Delbrueck Tina Domanskiy Josh Duncan Sarah & Alex Ellis Conrad Eustis & Roberta Kanter Jennifer Fast Philip Fidler & Jane Cummins Rebecca Fleischman Jane Freres Kelly Freuler Andrew Fromm Melissa & Robert Good Helen A. Goodwin Barbara & Marvin Gordon-Lickey Rebecca Granquist Andrew & Ilene Harris Jay Harter & Ken Salaman Beatrice Hedlund Thomas & Verna Hendrickson Celeste HenningerLindaman Susan E. Herron, In Honor of Carol C. Herron Makino Hildestad & Chauncey Parsons Beverly Hoeffer Jonika Horton Pam & Bob Howard Tatsuo Ito Joanne Jene David C. Jensen Brian C. Johnson Becky & Jarrett Jones Marcia Kahn Allan Karsk Dr. & Mrs. Thorn Kinersly Patricia, Rick & Violet Kozak Steve & Nancy Kraushaar Laura M. Kretschmar, In Memory of Margaret Kretschmar Mary & Joseph Labadie Mary N. Laughlin Barton T. Lewis Ann Lininger & David White Stanley & Joyce Loeb Martha J. Logan Deborah & Larry Lopardo

James Lowry Jackie MacGregor Linda J. Magness Linda L. Mann Earlean Marsh Pamela Matheson Justin Matthews Lori McAdoo Bob & Margaret McMillan Carolyn McMurchie Barry & Susan Menashe Susan Sammons Meyer & Dennis Meyer Monica & Dale Monroe Robert E. Monson Carol N. Morgan Cynthia Morgan Taylor & Jordan Morrell Robert & Dona Morris Todd & Crystal Neal Steven C. Neighorn Rob Nelson Rose Neyman Katharine Noll & Frank Bryan Susan Olson & Bill Nelson Ashley Orbock Rev. Dr. Rodney & Sandi Page Amy Paul, In Honor of Peter Paul Dennis Petrequin John Bosshardt & Diana Petty Staci Pfau Judith E. Posey & Edward J. Doyle, MD Suzanne Rague William Ramirez & Roberta Staff Carol & Walter Ratzlaf Miriam & Charles Rosenthal Claire Russell Dan Ryan Sam Sadler Daniel & Kathleen Saucy Jeremy Shibley & Romalia Stickney-Shibley Scott Showalter Gary & Lydia Slangan John D. & Pamela Smith Drs. Justin Smith & Christine Liu Sue Stegmiller Michael Thomas George & Nancy Thorn Judith & Gordon Umaki Drs. R. Bastian & Barbara Wagner Scott, Colette & Zoe Wiest Erin Wilkey-Cordray & Randy Cordray Jenny & Christina Wilson Bruce & Susan Winthrop Linda M. Wood Barb Audiss Young Tamara & Chris Yunker Kurt R. & Heather Zimmer Ernest ZumBrunnen & Grace Hawes

APPRENTICE DANCER’S CIRCLE ($100–$249) Anonymous Kathy & Guy Allee Bill & Ginny Allen Frances Araujo Gabriella Armstrong Sandra Armstrong Adam Arnold Paula M. Arsenault

INDIVIDUAL DONORS April Avery Gennaro & Marilyn Avolio Diane Babcock Ruth Beiser Bach April & Brian Baker Julia & Robert Ball Rick Barron Dr. Diana Bell Barry & Jacqueline Bennett Paul & Pat Benninghoff Hisiya Beppu & Matthew LaRocco Patsy C. Berner Phil & Naomi Beymer Beth Blenz-Clucas & Richard Clucas Richard Botney Candace Bouchard & Adam Lounsbury Kelsey Boyd Joyce Brehm Alan Brickley Karin P. Brocksbank Dr. & Mrs. Gerald J. Broock, MD Laura Buckingham Maurine & Paul Canarsky Irene Cancilla Don Caniparoli Carlisle Mothers Group, In Memory of Margaret Kretschmar Katelyn Carmack David G. Cassard Alisa Castellano Jean Cauthorn Sandy Chamness Aria & Cody Clements Miguel Cobian Ilaine Cohen Deniz & Austin Conger, In Honor of Ayse & Ayla Conger Harriet Cormack Lisa Marie Coughran Lin Crimshaw Terri Cross Stuart Daily Arthur & Winnifred Danner Judy Dauble Wendy & Howard David Brian & Nancy Davies William DeBolt & Martha Graner, In Honor of Pat Walker Patti & Paul Demeter Chuck & Patt DeRousie Dagmar Dettinger Adam & Emily Dew Susan & George Durrie Kristin DuVal Laura & Dave Edelen Ruth Edsall Andrew Edwards Cydney Edwards Doris Ennis Martin & Annette Erickson Douglas Ertner Blair Exall & Misty Dawn Schlegel, In Honor of Mrs. Schumacher Abraham & Pamela Farkas Rochelle Farkas Dr. Scott & Vicki Fields Katherine A. Finstuen, In Honor of John N. Finstuen George Fleerlage Cindy Fletcher Doreen Flores Genevieve Foster Theresa Fritchle Jennifer Froistad Jim & Mary Ann Gabriel

Chris Garrett Ray & Joyce Gee Martine Geeraert & Kevin Clarke Arthur & Judith Ginsburg Gary & Susan Goncher Jenifer Gray-O’Connor Thomas Gredvig & April Freund-Gredvig Leah & Jesse Gronner Brenda Grootendorst Anna & Jeff Haagenson Candace Haines Barb Hall Kirk & Lisa Hall Carl Halvorson Gail Handelman Gary & Lynne Hartshorn Antoinette Hatfield Julie & William Headley, In Honor of Nancy Locke Robert Heald Marilyn Heiling Karen Henell & Gregg McCarty Shirley Hess Sean Higgins & Barrett Bewkes-Higgins Christian Hill & Laura Korman David I. & Laurel Anne Hill, In Honor of The Dancing Doctors Gretchen Holce Jennifer Hudson Margaret Hug Carol & Tom Hull Rebecca Hundley Alexandra Huth Jonah P. Hymes Linda Illig Elizabeth A. Javens David & Margaret Jeans Linda & Richard Jenkins Jonathan & Suzanne Jensen Dennis C. Johnson Shirley K. Johnson Caryn Jones & Jason Lander Kathy Jorda Kristin Jordan Marla Kazell Arthur & Kristine Keil Keller Family Doris & Eric Kimmel Jean Kimsey Mary King Kristan Knapp & Janna Auslam, In Honor of Tony Jones Rebecca Koteen Sophia Kremidas Mariah Krevanko Vic & Tammie Krisciunas Leonard Kuhl Carol La Brie Sloane Lamb Mana & Isis Lamonte Connie Larkin Lori Lawrence Abigail & Don Lawton Elizabeth Le & Sean O’Neill Patricia Lee Patricia Liddell Kimberly & Gregory Lind Michelle Liu, In Honor of Sophia Pi Alice Lloyd Marcy Lowy Barbara Lusch & David Klein Judy Lyons Kate Machell Christine Mackert, MD

Joanne & Boyd MacNaughton Jean & Jerry Marchildon, In Honor of Carol & Tom Shults Eileen Markson Demaris & Antonio Martinez Kari Martinez MaryAnn, Mark & Gracie Theresa Mason Shaune & Steve Mattsson Oscar & Mary Mayer Mason C. Mazzola Melody McBee Margaret McConnell & Robert Griner Jeanann McCoy Susie & Michael McShane Chena Mesling Paulette & Richard Meyer Elise Meyers Una Miniter & Omar Nazir Tony Mix & David Stauffer Barbara Modey Sean & Corinne Monogue Patricia G. Moss Karen Nelles Maria Nelson David Nijhawan Keith & Cindi Nobriga Harriet Norman Robert Olds Kris Oliveira Barry Olson & Barbara Telfold Madeline Olson Lisa O’Rourke Paula Ousley

Joan Paglin Veronica Paracchini, In Honor of Maria Swoboda Gary T. & Catherine A. Pederson Thomas & Jane Pence Jack & Chris Pendleton Anne Frances Penfound Karen Perzanowski Marilyn & Gaynor Petrequin Lisa Pfost Laury Phelps Sara Pickett J. Scott Pritchard Karen Prohaska Kathy Pruitt Ramya Ramraj Jennifer Randolph Betty & Jacob Reiss Anne Rice Martha Richards David Ritchie & LaJean Humphries Lynn Roberge Caitlin Roberts Mike & Nancy Robinson, In Honor of Kathryn Robinson Brian Rogers & Cassandra Scholte Rosemarie Rosenfeld Malini Rossington Mark Rossolo Cathy Rote Jennifer Rupert Michael Parker Sagun & Dennis Sagun Parker

Katharine Sammons, In Honor of Luwayne Sammons Carol & Steven Sandor Rick & Sharon Schaefer Anne Schagen & Michael Allen Daniel Schmidt Robert E. Schneider, PhD Clifford Schrock Aaron Scott Mary Shibley & Dale Voeller Gerald Skeels & Susan Albracht Kiviera Skiles-Petitjean & Arnaud Petitjean Barbara Smith Charlie Smith Margaret Smith Marcus & April Song Patricia A. Southard Rosemary Southwood Dean Speer & Francis Timlin Donald C. Springer Joan Stevens-Schwenger Julie Stickney Leslie & Elizabeth Stoessl Tomohito Takeuchi Gary Taliaferro Wendy Tanada Susan & Bahram Tavakolian Paul & Sabrina Teays Fred & Jean Thompson Jan Elizabeth Thorpe Robert & Rebecca Todd Dr. Donald & Jane Trunkey, In Honor of Dr. Karen Deveney

Teresa Tse Lyle M. Tucker William & Nancy Ullrich John & Cindy Ulrich Mimi Underwood Kysa & Kevin Vassily Jon Vorderstrasse Les Vuylsteke Darby J. Walker Patricia & James Walker Cynthia K. Wallace William Warren Douglas Watson Maureen & Frederick G. Wearn Duane & Cynthia Weaver Patrick Weishampel Judith Werner Diane Wernli Sonya White Erleen Whitney Anthony & Marianne Wilcox Wilkey Family Lauretta Williams Miriam Willis Jennifer Willis Julie Wilson Mary-Ann & Jim Wilson Mary Ann Wish Gail Woolf Jack Wussow & Kyle Adams Gary P. Yencich Haijing Yu Christopher & Angela Zahas Janet & Alan Zell Irene Zenev

Get 2-for-1 tickets to hundreds of performances and events in Clackamas, Multnomah, and Washington Counties. The Arts Card is our way of saying thank you to anyone who donates $60 or more. Learn more at workforart.org Work for Art is a program of the Regional Arts and Culture Council.

ALLEGRO SOCIETY

COMMUNITY CORPS DE BALLET Recognizing gifts received through January 15, 2017

GIFTS OF $100,000 & UP

Fred W. Fields Fund of The Oregon Community Foundation 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

Clark Foundation The Collins Foundation ESCO Foundation The Hearst Foundations Henry Lea Hillman, Jr. Foundation Meyer Memorial Trust The Shubert Foundation West Portland Physical Therapy Clinic*

GIFTS OF $25,000–$49,999

Cascadia Foundation Coit Family Foundation Hedinger Family Foundation Leftbank Annex* Oregon Arts Commission, this activity is supported in part by a grant from the Oregon Arts Commission and the National Endowment for the Arts 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

The Boeing Company Hotel Modera* Ivey Jacobson & Co. LLC* Jackson Foundation Jerome Robbins Foundation Melvin Mark Brokerage Company* Mentor Graphics Foundation Northwest Natural Gas Opsis Architecture LLP* PGE Foundation Portland Development Commission The Standard Starseed Foundation Twelve Wine* U.S. Bank Foundation

Work for Art, including contributions from more than 70 companies and 2,000 employees

GIFTS OF $5,000–$9,999

Accenture Mona Cordell, Artist* Cushman & Wakefield First Republic Bank Freed of London Catherine M. Gurski, ND, MSOM, LAc* Jim McBroom and John H. Weston Fine Arts Fund of The Oregon Community Foundation Juan Young Trust Jonathan Lohnes, LMT* Morel Ink Nel Centro* Old Town Florist*

GIFTS OF $2,000–$4,999

Agger Chiropractic & Nutrition Clinic* Alaska Airlines* Dr. Seth Alley* Barran Liebman LLP* The Benson Hotel* Buckley Law P.C. The Carl & Roberta Deutsch Foundation Abby Drinkard, LAc* Elemental Technologies* Elephants Delicatessen* Meredith English, Physical Therapist* Garvey Schubert Barer* Goldman Sachs & Co. Grand Avenue Floral* Kevin Kiggins Massage* Mark Spencer Hotel* New Heights Physical Therapy Plus* Pabst Brewing Company Portland Art Museum* Portland’5 Centers for the Arts PosterGarden* Pro Photo Supply* Robert F. Ratzow, DC* Residence Inn Portland Downtown/Riverplace* Roy & Diane Marvin Fund of The Oregon Community Foundation Thomcorp Town Car* Yvonne Vleer, Kinesiologist, LMT* Wells Fargo Foundation Western Partitions Wintz Family Foundation

GIFTS OF $1,000–$1,999

Arnerich Massena Bridgetown Chiropractic & Wellness Portland Clinic* Charles Fine Art Portraits* Connect the Dots, LLC* Cupcake Jones* China Forbes, Singer* Michael Allen Harrison, Musician* Longbottom Coffee & Tea* Maitri Therapeutic Massage* Aaron Meyer, Concert Rock Violinist* Solaris Bodyworks, Inc.* Studio Blue*

GIFTS UNDER $1,000

Albert & Esther Cory Foundation Apolloni Vineyards* Emily Bartha, LAc* Cappella Romana* Nadia Chopra, Physical Therapist* Classic Chauffeur Co., Inc.* Carissa Conner, LMT* Crowell Law Domaine Serene* Driftwood Restaurant* Elk Cove Vineyards* Elmer’s Restaurants Exploratorium* Feast Portland* Friends of Chamber Music* Tony Fuemmeler, Artist* Geiser Grand Hotel* George Relles Sound Reinforcement Inc.* Geranium Lake* HD Aluminum Prints* Paloma Griffin Hebert, Musician* Intel Charitable Match Trust Jefferson Neurology LLC King Charitable Foundation Larson Oregon LLC Kristen Livingston, DC, ART* Mercedes-Benz of Portland* Monique’s Boutique Newman Hotel Group* Gretchen Rose Newmark, MA, RD* The Nielson Group, LLC The Ocean Lodge* OnPoint Community Credit Union Oregon Convention Center* The Oregon

Historical Society* Oregon Shakespeare Festival* Oregon Symphony* PICA* Portland Baroque Orchestra* Portland Center Stage* Portland Opera* Portland Playhouse* Resident Association of Mirabella Portland River’s Edge Hotel & Spa* Rogue* Rolf PDX* David Saffert, Musician* Skamania Lodge* Smith Teamaker* Speed’s Towing* Sundial Baking & Events* Tavern on Kruse* Umpqua Bank Volunteers of America Oregon Yamhill Valley Vineyards*

MATCHING GIFT CORPORATIONS

Accenture AmazonSmile Foundation Chevron Matching Employee Funds Fred Meyer Community Rewards Give With Liberty Google, Inc. Intel Corporation Northwest Natural Gas Pacific Power Foundation PGE Company The Standard Tektronix Foundation Matching Gifts Program UBS Community Affairs & Corporate Responsibility U.S. Bank Foundation

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 Amanda Land, PT, DPT Jennifer Parker, PT, DPT, MOTR, CLT Tomiko Saldia, MS, PT, RYT Sarah Terpin, PT, DPT 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 CATHERINE M. GURSKI, ND, MSOM, LAC KEVIN KIGGINS, LMT 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 PACIFIC NORTHWEST ACUPUNCTURE & HERBAL CLINIC, LLC Abby Drinkard, MAcOM, LAc

RÉVÉRENCE CIRCLE In recognition of those who have included OBT in their estate plan.

Robert Aughenbaugh Brent Barton & Liz Fuller 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 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 John & Ann Symons David Wardell, In Memoriam David Wedge, In Memoriam

*Donation in-kind

POHALA CLINIC Julie E. Foster, FNP ROBERT F. RATZOW, DC ROLF PDX Olaf Wilberg SOLARIS BODYWORKS, INC. Neissan Saber, LMT STUDIO BLUE PILATES Dan Walton, Owner, Senior Pilates Instructor Emma Johnson, Yoga Instructor SUMMIT ORTHOPEDICS Richard E. Gellman, MD SYLVAN CHIROPRACTIC CLINIC & WELLNESS CENTER, LLC Seth Alley, DC, CCSP, CKTP TURNING POINTE ACUPUNCTURE, LLC Emily Bartha, LAc YVONNE VLEER, KINESIOLOGIST, LMT