The Sleeping Beauty - Oregon Ballet Theatre by Artslandia

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LETTER FROM THE ARTISTIC DIRECTOR

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LETTER FROM THE CHAIRWOMAN OF THE BOARD OF TRUSTEES

PLACES: A FIRSTHAND ACCOUNT OF DANCING IN THE SLEEPING BEAUTY

THE SLEEPING BEAUTY

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LETTER FROM THE ARTISTIC DIRECTOR

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

THANK YOU! Photo by Michael Slobodian.

BASED ON ONE OF THE MOST BELOVED AND WELL-KNOWN OF FAIRY TALES, The Sleeping Beauty epitomizes the highest ideals of classical ballet, and after an absence of an entire decade, Oregon Ballet Theatre is thrilled to return this spectacular production to our repertory. It is no exaggeration to say that this ballet also became emblematic of the aspirations of my predecessor, Christopher Stowell, who injected into this work all the wit, nobility, and purity of classical ballet necessary to rediscover the endless genius embedded in its structure. Celebrated as a pinnacle of artistic achievement, the collaboration between Pyotr Tchaikovsky and Marius Petipa in Tsarist Russia lives on because of the skill of choreographers like Stowell who succeed in making the historical come alive, and in this — our 30 th Anniversary Season — we cherish and celebrate that success. Classical ballet lovers know The Sleeping Beauty for its many highlights — the Rose Adagio, the Bluebird’s variation, and the extraordinary Wedding Pas de Deux. But what may not be obvious is the incredible strength required. The role of Aurora is truly one of the most demanding in the entire classical ballet canon, more so because of the delicacy demanded of its interpreters. Every jump, pirouette, and balance you will see in this performance is the product of years of intense training — training that often begins in childhood. As you watch this performance, perhaps you will also notice the children of OBT School and ponder whether one or more of them could be an Aurora, or a Bluebird, in years to come.

SEASON SUPPORT PROVIDED IN PART BY

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

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

a state agency

ELIZABETH POWNALL SWINDELLS Family Fund of The Oregon Community Foundation

ARTISTIC DIRECTOR INNOVATION FUND

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

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We joyfully celebrate the 30 th Anniversary of Oregon Ballet Theatre with a new generation of artists and a new generation of fans in this production of The Sleeping Beauty. We thank all of the artists who helped us create the company you see before you today, and we look forward to many more amazing and transcendent performances ahead of us for at least another 30 years. Our celebrations continue in April, with Resident Choreographer Nicolo Fonte’s luminous Beautiful Decay, and in June with The Americans 2.0, which includes works by icons Agnes de Mille and Twyla Tharp alongside a creation by OBT Founding Artistic Director James Canfield. We hope you follow us into these equally rich and exciting worlds and thank you, as always, for your support. Enjoy!

SUPPORTING SPONSORS

Kevin Irving

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

OBT HONORS Throughout our 30 th Anniversary Season, OBT Honors gives thanks and praise to outstanding individuals who have enriched our lives through their support, dedication, and passion for ballet and dance in our community. On the occasion of Oregon Ballet Theatre’s first revival of Christopher Stowell’s scintillating production of The Sleeping Beauty — itself a milestone achievement — we recognize two women who have invested greatly in our community. We are pleased to highlight OBT Orchestra member GeorgeAnne Ries, who has played in nearly every performance led by Conductor and Music Director Niel DePonte over the past three decades, and Kembe (Staley) Adam, longtime teacher at Oregon Ballet Theatre School who was hired by our organization’s very first School Director, Joe Wyatt. We salute these two incredible souls for sharing their talents with us all these years. The heart of OBT’s mission to share, inspire, and connect through the art form of dance is embodied in the longevity of these two honorees.

KEMBE (STALEY) ADAM Kembe (Staley) Adam is a native Oregonian who was privileged to study both music and dance throughout her childhood. She eventually turned her full-time attention to ballet and then, in 1990, began teaching at Oregon Ballet Theatre School. She is valued for her work with the young students, teaching them the ballet technique while instilling a love of dance. Raised with a classical music and dance education, Adam states that Mary Cain and Jacqueline Schumacher were her two most influential ballet teachers. And, after dancing in a few local musical theater productions, Adam pursued a career teaching dance. She considers continuing to learn under the direction of OBT School Directors Joe Wyatt, Haydee Gutierrez, Damara Bennett, Anthony Jones, and Marion Tonner a privilege. She said she remains “challenged, inspired, and mentored” and finds “tremendous satisfaction and joy” working with young dancers. She said her goal is “to create disciplined, thinking, eager students,” and that seeing students gain both confidence and skills, as they grow in their love for dance, is a gift she receives every time she is in the studio.

GEORGEANNE RIES

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DRAMATIC Theater. Dance. Music. Find news and reviews of the most thrilling performances to come out of Portland’s performing arts scene. Fridays & Sundays in A&E. Every day on OregonLive. OregonLive.com/performance

GeorgeAnne Ries holds the position of Principal Flute with both the Portland Opera Orchestra and the Oregon Ballet Theatre Orchestra. She has played often with the Oregon Symphony, including as Principal Flute for the 2005–06 season under Carlos Kalmar. A graduate of the University of California, Berkeley, Ries was a founding member of the Third Angle New Music Ensemble, participating in their Frozen Music concerts, Schoenberg “Verein” chamber concerts, and performing with Third Angle in Montana, California, and in China for the 2010 Beijing Modern Music Festival. Ries has been an active freelance musician in Oregon for many years, playing many touring Broadway shows including Wicked, Evita, and Phantom of the Opera, and in concerts with artists as diverse as Luciano Pavarotti, The Who, and Pink Martini. She participated in the American Ballet Theatre’s West Coast tour with Mikhail Baryshnikov, and during the summer played with numerous festival orchestras, including the Cascade Music Festival, Astoria Music Festival, and Peter Britt Music Festival. Photo by David Straub, Straub Collaborative, Inc.

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BEETHOVEN’S NINTH Oregon Repertory Singers join the orchestra and four soloists for a full-throated celebration of Beethoven’s final masterpiece.

program also includes: Igor Stravinsky’s final ballet score, the rhythmic and provocative Agon featuring: Oregon Repertory Singers, four vocal soloists, and conductor Enrique Mazzola

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MOVING MUSIC FORWARD

LETTER FROM THE CHAIRWOMAN OF THE BOARD OF TRUSTEES D E A R O BT FR I E N DS,

Thanks to you, OBT is truly a fairy tale come true.

On behalf of the dancers, the Board of Trustees, and the staff of Oregon Ballet Theatre, it is my sincere pleasure to welcome you to OBT’s production of Christopher Stowell’s The Sleeping Beauty.

Today, as you share with family and friends the beauty and elegance of art in motion, the stirring brilliance of Tchaikovsky’s musical genius, the wonder and magic of a cherished fairy tale coming to life right before your eyes, please consider helping us continue making the fairy tale a reality. Your support of our efforts is key to enlivening the cultural landscape of Portland, Oregon, and the entire Pacific Northwest.

It is appropriate that we share a story that begins “once upon a time” because, in reality, once upon a time, our city and state did not have a professional ballet company. This season, we are celebrating our 30 th Anniversary, and those 30 years were not spent sleeping. Rather, because of your support and of others like you, we have welcomed well over a million-and-a-half patrons through the doors of the theater to experience ballet, shared our educational programs with more than a quarter million students, and involved hundreds of thousands from underserved communities in our enrichment programs.

Find out more about the ways you can help in the donor pages of this program book or at obt.org/donate. “Happily ever after” takes work. Thank you for joining in the effort. Sincerely,

Allison Lane Lyneham Chairwoman, Oregon Ballet Theatre Board of Trustees

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FEATURE

PLACES: A FIRSTHAND ACCOUNT OF DANCING IN THE SLEEPING BEAUTY BECAUSE SOMETIMES, DANCER WARM-UPS BACKSTAGE CAN CAST A SPELL OVER THE NEXT ACT BY GAVIN LARSEN

Gavin Larsen as Aurora and Jon Drake as Prince Florimund in The Sleeping Beauty. Photos by Blaine Truitt Covert.

“PLACES, PLEASE. PLACES FOR THE TOP OF SLEEPING BEAUTY! PLACES! WE’RE AT PLACES!” Everyone around me was abuzz with activity, but I was completely engrossed in my head and my body. I was fine-tuning, re-checking, and re-fine-tuning every single detail, repeating carefully each step I was about to take. I had to feel that I had each one perfectly in my body before the curtain went up, even though I’d already spent dozens upon dozens of hours rehearsing them in the studio, and had known that sense of perfect execution. I needed to feel, now, at the moment of truth, that each movement was at my fingertips, hovering, ready to answer my commands right on cue. I needed proof 14

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for my suddenly doubtful mind that I was ready, because there was no time left.

on the elastic band around my upper arm scattered, rolling all over the stage.

The other dancers kept a distance from me, giving me an invisible circle of space, a sort of buffer zone with an electric fence no one would cross. At the stage manager’s “places” call, my brain said to do the first step of my variation one more time: from tendu arabesque, I stepped into sousous, perfectly balanced from absolute tipto-toe. Plie in fifth position, relevé passé, and — snap! The beaded arm band of my costume, a gloriously embellished white tutu fit for a princess (I was about to dance Princess Aurora in Act 3 of The Sleeping Beauty) had torn apart as I lifted my arms overhead. Dozens of tiny, round, clear plastic beads that had been strung

Oh! With my laser-sharp focus broken, my body froze, and I stared blankly at the floor, momentarily unable to think. Milliseconds passed before I looked up and around for someone to tell me what to do, since I felt incapable of switching gears into crisis management. The stage manager — uncannily aware of everything happening on her stage and able to react with triggerlike speed — leapt into action. Three broom-wielding stagehands magically appeared, swiftly and efficiently corralling every last bead into dustbins. Even one lone invisible rolling object under the dancers’ feet would be dangerous and disastrous.

FEATURE “Holding — we’re holding for three minutes; curtain holding for three,” the stage manager commanded into her headset. “Dancers, clear the stage! Clear!” All I could do was step aside. Get out of the way and forget about it. Wardrobe seamstresses — also appearing instantly, seemingly out of thin air — were snipping the remaining threads from my tutu and cutting off the other arm band so my classical costume would not be asymmetrical. They murmured reassuring coos in their motherly way as they fussed about me, re-creating the bubble of self-focus that had just been shattered by a tiny thread. There was no time, now, to finish my final preparations. The audience was already antsy at this unexplained delay. The shuffle and rumble of 2,000 bodies shifting in their seats and flipping through their programs, usually muted with reverent anticipation, was getting loud. The conductor had already gone down to the orchestra pit. I, along with the dozens of other dancers in the cast, had crowded into the wings while the stagehands worked. I prayed they’d found every bead. Even squished into the tight quarters of the upstage right wingspace, the circumference of my stiff, regal tutu kept the others at arms’ length. Its edges formed the border of my small world. The other dancers’ chatter and movement in the wings were dull to my senses.

a polonaise in which the guests and entertainers at our wedding presented themselves to the King and Queen, and my Prince and I arrived with great fanfare, we nearly stumbled with the shock and effort of moving so slowly through the steps of the simple processional. Waiting in the wings after that first entrance, I listened to the other divertissments, trying to gauge what to expect from the conductor when it came time for our Grand Pas de Deux, the climax of the ballet. The uncertainty didn’t rattle me. Our preparations, hours of rehearsals in the studio, were not rigid. We would just breathe a little deeper, hold and stretch and extend a little further to fulfill the possibility of the empty space inside, and within, the notes. Arriving center stage to begin, it was clear from the first hushed, spare phrases of music that this would be the slowest we had ever danced the pas de deux. It was not easy to sustain the developpes (already precarious with only one-handed support), but we silently coordinated our timing to pace ourselves through each moment. Without a word, we agreed on how to take a hair longer to prepare for the pirouettes and fish dives, moderating the speed at which we’d move from place

to place on the stage, and broadening the simplest gestures — the offering of his hand, my acceptance of his support. We milked it for all it was worth, and drank in every note. We had only one performance — did the conductor know that? Was he slowing it down for us, to make it last, let us savor each delicious drop? My arms felt freer than ever before, thanks to the release of those scratchy arm bands. After the pas de deux, we each danced a solo variation, and I triumphantly concluded mine with the glee befitting a princess who had slept for years before her prince arrived to kiss her awake: arms thrown overhead, slightly open, fingers reaching to the sky. Gavin Larsen, a former principal dancer with OBT, trained at the School of American Ballet and Pacific Northwest Ballet School. During her career, Larsen danced with Pacific Northwest Ballet,

Alberta Ballet, and the Suzanne Farrell Ballet before joining OBT. She lives in Asheville, North Carolina, where she teaches and writes about dance for magazines including Pointe, Dance Spirit, and Dance Teacher.

The overture punctured the hum backstage, pushing me into countdown mode as measured as a NASA takeoff, though without the option to abort mission. I realized that in the chaos, my partner and I had separated to our entrance-wings on opposite sides of the stage without wishing each other good luck.

OUR PREPARATIONS, HOURS OF REHEARSALS IN THE STUDIO, WERE NOT RIGID. WE WOULD JUST BREATHE A LIT TLE DEEPER, HOLD AND STRETCH AND EX TEND A LIT TLE FURTHER TO FULFILL THE POSSIBILIT Y OF THE EMPT Y SPACE INSIDE, AND WITHIN, THE NOTES. As if to make up for the speed of the pre-curtain frenzy, the conductor drew out Tchaikovsky’s sublime music in slow motion. During our first entrance,

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Xuan Cheng | Photo by Jingzi Zhao

TODAY’S PROGRAM

PRESENTS

THE SLEEPING BEAUTY BALLET IN THREE ACTS AND A PROLOGUE Scenery and Costumes courtesy of Ballet West, Adam Sklute, Artistic Director COMPOSER PYOTR ILYICH TCHAIKOVSKY

CHOREOGRAPHY CHRISTOPHER STOWELL AFTER MARIUS PETIPA

COSTUME AND SCENIC DESIGN PETER FARMER

LIGHTING DESIGN MICHAEL MAZZOLA

OBT PREMIERE: October 9, 2010, Keller Auditorium, Portland, Oregon

SYNOPSIS PROLOGUE: THE CHRISTENING King Florestan’s court gathers for the christening of his daughter, Princess Aurora. As fairy godmothers present gifts that foretell Aurora’s elegant attributes, the festivities are interrupted by the arrival of the evil fairy Carabosse, irate that she was not invited. She bears no gift, she informs the Queen, but a curse. On Aurora’s 16th birthday, she will pierce her finger on a spindle and die. The benevolent Lilac Fairy intervenes with her gift — a reprieve from death. Aurora will not die but will sleep for 100 years, to be awakened by a Prince’s kiss.

performing the same steps with each gentleman, as if testing to see which one will be the best dance — and life — partner. A mysterious guest arrives and gives Aurora a bouquet. The guest is Carabosse, who has hidden a spindle among the blossoms. The unsuspecting Aurora pierces her finger and seems to die. As the court is thrown into chaos, the Lilac Fairy fulfills her promise of reprieve. She weaves a spell of sleep over Aurora and everyone at court, and enfolds the palace in a forest of lilacs and vines. — 25-MINUTE INTERMISSION —

— BRIEF PAUSE —

ACT II: THE VISION ACT I: THE SPELL At Princess Aurora’s 16 birthday celebration, she accepts a rose from four princes who seek her hand in marriage. This famous and technically difficult passage is known as the Rose Adagio. The choreography involves her th

A century later, Prince Florimund and his retinue are hunting, but the Prince is distracted, dreaming of ideal love. The Lilac Fairy appears and shows him a vision of Princess Aurora, the woman of his dreams. In one of the most beautiful moments of the ballet, the Prince falls

in love with the vision of Aurora as she dances surrounded by divine creatures. The Prince begs to find this beauty, and the Lilac Fairy takes him to the palace where Aurora lies sleeping. Florimund tries in vain to rouse her, until it occurs to him to awaken Aurora with a kiss. The spell is broken. — BRIEF PAUSE —

ACT III: AURORA’S WEDDING Fairy tale characters Little Red Riding Hood and the Wolf, Puss-n-Boots and the White Cat, and Bluebird join the court to celebrate the wedding of Princess Aurora and Prince Florimund with dancing. All rejoice that good has prevailed over evil. The marriage of Aurora and Florimund restore the kingdom to balance and hope for a bright future.

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KEEPING BEAUTY TIMELESS: CHRISTOPHER STOWELL ON BALANCING TRADITION AND INNOVATION

CHOREOGRAPHER CHRISTOPHER STOWELL Christopher Stowell, the son of Kent Stowell and Francia Russell, was born in New York City and received his training at Pacific Northwest Ballet School and the School of American Ballet. In 1985, he joined San Francisco Ballet where he danced for 16 years, appearing in theaters throughout the world including the Paris Opéra Ballet, New York’s Lincoln Center, Kennedy Center in Washington D.C., and Moscow’s Bolshoi Theatre. As a Principal Dancer, Stowell performed leading roles in the full-length classics Romeo and Juliet, The Sleeping Beauty, La Fille mal Gardee, and Othello, and had roles created for him by Artistic Director Helgi Tomasson, as well as contemporary choreographers including Mark Morris, William Forsythe, and James Kudelka. An established interpreter of the George Balanchine repertoire, Stowell appeared in almost every Balanchine ballet performed by San Francisco Ballet.

Christopher Stowell in rehearsal with Xuan Cheng and Brian Simcoe for The Sleeping Beauty. Photo by Blaine Truitt Covert.

At its core, Beauty needs to have a sense of splendor and occasion with Tchaikovsky’s masterful score as its driving force. The first thing I did was put the ballet into two acts with one intermission, so that it had dramatic flow and urgency and didn’t feel like a Wagnerian event. The narrative is simplistic, but Tchaikovsky turns what could be insipid into something wondrous and actually moving. There are obvious highlights such as the dance for all the fairies in the Prologue, Aurora’s entrance and the Rose Adagio, the vision scene and the Wedding Pas de Deux, but the mimed encounter between Carabosse and the Lilac Fairy, the court being put to sleep for 100 years, and the Prince’s kiss are all spine-tingling moments. I’m also very proud of the Jewels pas de quatre I created for Act 3 and the Act 2 pas de deux for Aurora and the Prince. Choreographically, the classical vocabulary is very challenging and revealing, but the risk is dancers taking an academic approach rather than pursuing inspired and spontaneous dancing. I want this production to fulfill both our childhood expectations of a fairy tale and our adult hunger for a rich arts experience. (Revisiting the ballet now with OBT), it was immediately clear to me what small changes I wanted to make concerning narrative flow and theatricality. I will never tire of the possibilities for great classical dancing that are at the core of this ballet.”

In 2003, Stowell was named the Artistic Director of Oregon Ballet Theatre, a position he held until 2012. During his tenure, Stowell made significant additions to OBT’s repertoire, bringing to Portland works from some of the world’s most celebrated choreographers, including Fredrick Ashton, George Balanchine, Jerome Robbins, William Forsythe, Paul Taylor, Helgi Tomasson, James Kudelka, Christopher Wheeldon, and Lar Lubovitch. Stowell has taught and coached in San Francisco, New York, Japan, China, and across Europe. He has created works for San Francisco Ballet, Pennsylvania Ballet, Diablo Ballet, and Pacific Northwest Ballet as well as the New York City Ballet Choreographic Institute. He has also staged the works of George Balanchine, Mark Morris, and Christopher Wheeldon. In addition to serving as Ballet Master and Assistant to the Artistic Director at San Francisco Ballet for the 2014/15 season, he recently worked in Amsterdam, Antwerp, Beijing, and Copenhagen, and created his first work for Los Angeles Ballet and his first film for the San Francisco Dance Film Festival. In 2017, Stowell joined The National Ballet of Canada as Associate Artistic Director. In this role, he oversees the artistic staff, teaches, coaches, and stages works for the company and works closely with Karen Kain in realizing her vision for the National Ballet. Stowell is a member of the creative team for Kain’s new production of Swan Lake, which will premiere in June 2020. Photo by Karolina Kuras.

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THE STORIED PAST OF THE SLEEPING BEAUTY

ARTISTIC STAFF KEVIN IRVING

THE CRUMPACKER FAMILY ARTISTIC DIRECTOR A rare dancer whose career spanned multiple disciplines, Kevin Irving began dancing with jazz classes in his hometown dance school (Long Island, New York), before joining the school and training ensemble of Alvin Ailey — an experience that impacted him deeply. From 1982–1985, he danced with The Elisa Monte Dance Company of New York, a company often referred to as “postmodern,” but at 24, he took a sharp turn toward classical dance and joined Les Grands Ballets Canadiens in Montréal. Promoted to soloist and principal, Irving became a well-known figure wherever LGBC performed, excelling in classical, neoclassical, and contemporary roles — including roles and ballets created by LGBC’s resident choreographer James Kudelka. In 1993, Irving joined Twyla Tharp Dance, touring the U.S. and Europe with the acclaimed choreographer, including performances at L’Opéra de Paris and the PBS filming of Tharp’s muchlauded ballet In the Upper Room. From 1994–2002, Irving was ballet master and associate director with Nacho Duato’s Compañía Nacional de Danza in Madrid. From 2002–2007, he was artistic director of The Göteborg Ballet in Sweden. The company, during Irving’s tenure, was named the most important dance company in Sweden in Ballet International’s critic poll. From 2007–2013, Irving was a frequent guest ballet master with The Royal Danish Ballet where he staged and rehearsed works by Ji í Kylián, George Balanchine, and Jerome Robbins. He has also been a guest teacher with numerous companies and schools in the U.S. and abroad for over 20 years. Additionally, he staged ballets by Nacho Duato and Nicolo Fonte for companies such as The Royal Ballet Covent Garden, Nederlands Dans Theater, Hubbard Street Dance Chicago, Lyon Opera Ballet, and The Australian Ballet, to name just a few. In the U.S., Irving became associate director at Morphoses (formerly The Wheeldon Company) from 2011–2012, coordinating special initiatives aimed at defining the company’s unique profile in the dance world. In 2010, he founded I-DANCE (Inspiring Dance: American Nations’ Choreographic Exchange), a nonprofit that sends teachers and choreographers to dance communities in Central and South America. Irving was named artistic director of Oregon Ballet Theatre in July 2013. Photo by Michael Slobodian.

LISA KIPP

REHEARSAL DIRECTOR Lisa Kipp began studying ballet in Olympia, Washington, and finished her training at Pacific Northwest Ballet School. She danced with Pacific Northwest Ballet, Pacific Ballet Theatre, Ballet Oregon, City Ballet of Los Angeles, and James Sewell Ballet, as well as performed in the touring company of Andrew Lloyd Webber’s The Phantom of the Opera. Kipp danced principal roles in George Balanchine’s Rubies, Tchaikovsky Pas de Deux, Square Dance, Concerto Barocco, and Apollo, and appeared as the Cowgirl in Agnes de Mille’s Rodeo. Prior to joining Oregon Ballet Theatre in 2004, she was ballet headmaster for The School of Spectrum Dance Theater in Seattle, as well as the company’s rehearsal director. Kipp has been ballet master for OBT for over 10 years and rehearsal director for five. As ballet master, she has assisted James Kudelka, Lar Lubovitch, Lola de Ávila, Nicolo Fonte, Francia Russell, Bart Cook, Christine Redpath, and Helgi Tómasson. She staged George Balanchine’s Rubies, Square Dance, and Who Cares? for the company and is responsible for the corps de ballet in its classical repertoire. Photo by Joni Kabana.

JEFFREY STANTON

BALLET MASTER Jeffrey Stanton trained at San Francisco Ballet School and the School of American Ballet. In addition to classical ballet, he studied ballroom, jazz, and tap dance. He joined San Francisco Ballet in 1989, before joining Pacific Northwest Ballet in 1994. He was promoted to soloist in 1995, promoted to principal in 1996, and retired from PNB in 2011. He has performed principal roles in various Balanchine works such as Apollo, Theme and Variations, Who Cares?, and Agon. He also performed principal roles in classics such as The Sleeping Beauty, Swan Lake, Merry Widow, and Romeo and Juliet. Choreographers such as Nicolo Fonte, Christopher Stowell, Kent Stowell, Val Caniparoli, and Susan Stroman have created roles for him. Stanton has performed as a guest artist for Le Gala des Étoiles in Montréal, the Prague Gala of Stars, and the TITAS Command Performance of International Ballet in Dallas, Texas. In 1999, he was featured in the BBC filming of Pacific Northwest Ballet’s performance of George Balanchine’s A Midsummer Night’s Dream, at the Sadler Wells Theater in London. Photo by Joni Kabana.

The Sleeping Beauty began as a director’s dream. In 1888, Ivan Vsevolozhsky, Director of Imperial Theatres for Czar Alexander III, wrote a scenario based on Perrault’s La Belle du bois dormant. He envisioned a ballet so charming that “the musical imagination can be carried away,” set and costumed in the style of Louis XIV. Vsevolozhsky assigned the choreography to Marius Petipa, Premier Ballet Master for the Imperial Theatres, and invited the worldrenowned Tchaikovsky to compose the score. In a time when ballet scores were generally composed by specialists in the specific demands of music for dance, Tchaikovsky faced ridicule from ‘serious’ musicians for working in an inferior sphere. Still, he had a lifelong affinity for ballet and he was “charmed, delighted beyond all description” by Vsevolozhsky’s scenario. He accepted the invitation, writing, “It suits me perfectly, and I could ask for nothing better to put to music.” As was customary, Petipa developed the scenario into detailed instructions for Tchaikovsky. Petipa’s daughter, Vera, described how the two worked together on their masterpiece: “Pyotr Ilyich Tchaikovsky arrived at our house… and played through his work in parts, and father listened and planned his dance fantasies in harmony with the music.” Petipa moved small figurines about on his drawing room table, noting down the varied combinations with zeros for the women and crosses for the men. Inspired, Tchaikovsky worked quickly, completing musical sketches for the entire ballet in a mere four months, even while interrupted by concert tours across Europe. Full orchestration took another three months. The Sleeping Beauty was Petipa’s and Tchaikovsky’s first and only full collaboration, a true Gesamtkunstwerk, or total work of art where all elements are equal. It now ranks among the towering achievements of human creativity. In the words of historian Jennifer Homans, Petipa’s choreography expanded ballet “technique and expressivity while paradoxically reinforcing its strict formal rules and proportions,” while “Tchaikovsky’s music pushes dancers to move with a fullness and subtlety that few other composers then or since have inspired.” Following the premiere in 1890, most critics were not enthusiastic. One wrote “Sleeping Beauty does not belong to history.” To Tchaikovsky’s disappointment, the Czar said only, “Very nice.” But the public loved it. Tchaikovsky’s brother wrote to him, “Your ballet has become a kind of obsession… people have ceased saying to each other, ‘How are you?’ Instead they ask, “Have you seen The Sleeping Beauty?” References: Tchaikovsky’s Ballets: Swan Lake, Sleeping Beauty, Nutcracker by Roland John Wiley Apollo’s Angels: A History of Ballet by Jennifer Homans

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ARTISTIC STAFF NIEL DEPONTE

MUSIC DIRECTOR & CONDUCTOR Niel DePonte has been the music director for OBT and its predecessor, Pacific Ballet Theatre, since 1985. He has guest-conducted for Boston Ballet, The Mussorgsky Ballet Theatre (Maly Ballet), and Nureyev Ballet Festival. DePonte has also conducted symphonic, pops, and youth concerts with the symphonies of Oregon, Syracuse, and Charlotte, among others. He is the artistic director and conductor of the Young Artists Debut! Concerto Concert, a program of his nonprofit MetroArts Inc. He was a 2003 Grammy Award nominee for Best Instrumental Soloist Performance (with orchestra) — for his performance of Tomáš Svoboda’s Concerto for Marimba with the Oregon Symphony. His compositions and arrangements written for the ballet stage include: Christopher Stowell’s Adin, Carmen, A Midsummer Night’s Dream, and Ekho; Houston Ballet’s Peter Pan (2002); and OBT’s Nutcracker (1993). DePonte holds a master’s degree and performer’s certificate from the Eastman School of Music, as well as an education degree from the State University of New York. Photo by Joni Kabana.

MICHAEL MAZZOLA

RESIDENT LIGHTING DESIGNER Michael Mazzola’s critically acclaimed lighting and scenery have been seen in venues throughout the U.S., Europe, and Asia, from opera houses to amphitheaters and circus tents to hay barns. The three-time New York Dance and Performance Award winner has designed lighting and scenery for Oregon Ballet Theatre, Pacific Northwest Ballet, San Francisco Ballet, Whim W’Him, Queensland Ballet, the Finnish National Ballet, Stuttgart Ballet, Grand Rapids Ballet, Ballet West, Ballet Nacional de Cuba, Ballet Hispánico, Trey McIntyre Project, The Washington Ballet, Royal Winnipeg Ballet, Houston Ballet, Rachel Tess Dance at the Wanås Foundation in Sweden, Baryshnikov Arts Center, LMCC’s River To River Festival, Third Rail Repertory Theatre, Bebe Miller Company, and Liz Lerman’s Dance Exchange. For the National YoungArts Foundation’s Miami Galas, Mazzola has designed lighting and scenery since 2015. For the 2015 and 2016 U.S. Presidential Scholars Pro-

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EXECUTIVE STAFF gram and YoungArts Awards, he designed lighting and created media content at the Kennedy Center Concert Hall. He also went to Italy for a whirlwind tour with Tulsa Ballet and to Cuba for his second world premiere at Ballet Nacional de Cuba for choreographer Annabelle Lopez Ochoa. Recently, he went to Winnipeg for the world premiere of a full-length ballet by James Kudelka at Royal Winnipeg Ballet. He then traveled to Chicago for a new Giselle by The Joffrey Ballet, among others. Mazzola has been the scenic designer for Comedy Central Roasts and the 2015 Lincoln Awards at the Kennedy Center Concert Hall for upLIGHT. Photo by Alison Roper.

NICOLO FONTE

RESIDENT CHOREOGRAPHER Choreographer Nicolo Fonte has created over 50 new works for dance companies spanning the globe, garnering praise and generating excitement for his daring and theatrical approach to dance. The Australian Ballet, Pennsylvania Ballet, and The Dutch National Ballet, among many others, all have works of his in their repertoire. Whether made to Ravel’s brash Bolero or the quiet intricacy of a Bach violin piece, Fonte ballets have common ground: “The choreography is inventive, creating expressive original shapes built on an undercurrent of implicit human relationships” (Foyer, Dance Europe). “What impresses the most is that his choreography is obviously the result of a personal reflexion — distinctly and unmistakably Fonte, proof of a rare quality” (Michel Odin, Danse). Well-known to Portland audiences for a stunning roster of works including Never Stop Falling (in Love), Bolero, Giants Before Us, and Rhapsody in Blue, Fonte is recognized throughout the world as a choreographer equally comfortable with classical and contemporary dance forms. Fonte has been resident choreographer for Oregon Ballet Theatre since the 2014– 2015 season. Photo by Janna Cruder.

MICHAEL GREER

EXECUTIVE DIRECTOR Michael Greer brings leadership experience from both the for-profit and nonprofit worlds. As a former professional dancer and experienced executive, Greer enjoys using his diverse background to bring new ideas and innovative solutions to the performing arts. In his third season at Oregon Ballet Theatre, Greer continues to work with community leaders to keep dance and the performing arts in the conversations surrounding community and growth. In addition to leading the organization into its fifth year of financial success, during Greer’s tenure as Executive Director, OBT has seen record numbers of patrons, students, and donors. He is proud of the team at Oregon Ballet Theatre and the work they are doing to advance the organization’s mission to Share, Inspire, and Connect through dance. In addition to his role as Executive Director, Greer also enjoys serving his community as a Trustee on the Cultural Advocacy Coalition and as a Gubernatorial appointee on the Oregon Arts Commission. A native of Missouri, Greer spent the early part of his life as a dancer with stints at Interlochen Arts Academy, School of American Ballet, and The Royal Ballet School. He spent six seasons with Ballet West under the direction of Jonas Kåge, performing a wide variety of soloist roles. Upon retirement from performance, he returned to higher education with studies in economics (B.A.), education (M.Ed), and business administration (M.B.A.) from Hampshire College, University of Illinois Urbana-Champaign, and The Wharton School, respectively. Prior to returning to the nonprofit sector, Greer spent nearly a decade in leadership and executive roles in manufacturing, financial services, and commodities in India and Mainland China for several multinational firms. As a husband and father of two, Greer and his family are proud to call Oregon their home. As a leader in the state’s arts community, he is humbled by the opportunity to steward its arts and culture for future generations and looks forward to another fantastic season with OBT, bringing the passion of the arts to all of Oregon. Photo by Nate Eldridge.

BEAUTIFUL DECAY June 5 – 13, 2020 Newmark Theatre

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April 9 – 12, 2020 Newmark Theatre

Jessica Lind & Brian Simcoe | Photo by Christopher Peddecord

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Eva Burton | Photo by Christopher Peddecord

Call or visit the OBT Box Office

CALL: 503-222-5538 | GO: 0720 SW Bancroft St. | Mon. – Fri., 9AM – 5PM

ON STAGE: OBT’S ANNUAL SCHOOL PERFORMANCE June 13 – 14, 2020 Newmark Theatre

VISIT: 0720 SW Bancroft St., Portland Box Office: Mon – Fri. 9AM to 5PM CALL: 503.222.5538 CONNECT: school.obt.org Photo by Yi Yin

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COMPANY PRINCIPAL DANCERS

ANSA CAPIZZI

XUAN CHENG

PETER FRANC

BRIAN SIMCOE

Sponsored by Karen & Mike Weddle

APPRENTICES

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ZUZU METZLER

BAILEY SHAW

NIKO YAROSLASKI

Photos by Joni Kabana.

KANGMI KIM

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

FEB. 29 - APR. 5, 2020 503.445.3700 | PCS.ORG

SEASON SUPERSTARS

MARY & DON BLAIR

Photo: Jamie Sanders in The Curious Incident of the Dog in the Night-Time. Photo by Cory Weaver/Courtesy of Kansas City Repertory Theatre

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COMPANY PRINCIPAL DANCERS

ANSA CAPIZZI

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

XUAN CHENG

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

PETER FRANC

Peter Franc is from Lancaster, Pennsylvania. He trained with Metropolitan Ballet Theatre and Houston Ballet Academy, where he received the Michael Wasmund Award upon graduation. He then joined Houston Ballet for eight years and rose to the rank of demi-soloist. He later moved to Aspen Santa Fe Ballet (2012) before joining OBT as a soloist (2015). OBT promoted him to principal in 2016. He regards his role in Jerome Robbins’ Afternoon of a Faun as a favorite, as well as Romeo in James Canfield’s Romeo & Juliet and Prince Siegfried in Kevin Irving’s Swan Lake. Other favorites include features in works by Ji í Kylián, Hans Van Manen, Stanton Welch, Christopher Bruce, Nicolo Fonte, Cayetano Soto, and Alejandro Cerrudo.

BRIAN SIMCOE

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

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

THOMAS BAKER

Thomas Baker is from San Jose, California. He began training at the age of 15 at Westside Studio of Performing Arts under Bené Arnold and attended San Francisco Ballet School on full scholarship. While he joined OBT as an apprentice in 2010 and returned as a company artist in 2014, he also spent two seasons dancing with Ballet San Jose. He has collaborated with Barak Ballet and National Choreographers Initiative. With OBT, he has performed roles such as the Cavalier in George Balanchine’s The Nutcracker ® and White Rabbit in Webre’s ALICE (in wonderland), as well as principal roles in works by George Balanchine, William Forsythe, Nacho Duato, Nicolo Fonte, and others. Baker was promoted to soloist for the 2019–2020 season.

EVA BURTON

Eva Burton was born in Los Angeles, California, where she received training from Patrick Frantz, followed by San Francisco Ballet School. In 2010, she joined OBT as a dancer in the corps de ballet; in 2016, she was promoted to soloist. She cites OBT’s Giants program as especially significant. She performed in George Balanchine’s Serenade and William Forsythe’s In the Middle, Somewhat Elevated, and was promoted after the opening performance. By extension, favorite roles include the Waltz Girl in Balanchine’s Serenade, as well as George Balanchine’s The Nutcracker®’s Sugar Plum Fairy.

JESSICA LIND

Jessica Lind is from San Jose, California, where she began training at Dance Theatre International. Following one year at San Francisco Ballet School, she joined OBT’s Professional Division (2011), became an apprentice (2013), and was promoted to company artist (2016). She also traveled to Copenhagen with five fellow dancers to attend a Bournonville intensive. Her favorite OBT performances and roles are William Forsythe’s In the Middle, Somewhat Elevated; the pas de trois in Kevin Irving’s Swan Lake; Purple Girl in Nacho Duato’s Jardí Tancat; Sugar Plum Fairy in George Balanchine’s The Nutcracker ®; and Tarantella Girl in August Bournonville’s Napoli. Lind was promoted to soloist for the 2019–2020 Season.

MICHAEL LINSMEIER

Michael Linsmeier — raised on a family dairy farm — is from Cato, Wisconsin. He trained at Jean Wolfmeyer School of Dance and at Virginia School of the Arts under Petrus Bosman. He joined Milwaukee Ballet before joining OBT’s corps de ballet (2011) and was later promoted to soloist (2013). His favorite roles are Stepsister in Ben Stevenson’s Cinderella, Mercutio in James Canfield’s Romeo & Juliet, Nacho Duato’s Jardí Tancat, Darrell Grand Moultrie’s Fluidity Of Steel, and Helen Pickett’s Terra.

KELSIE NOBRIGA

Kelsie Nobriga is from Orange County, California, where she began dancing by age five. By 2010, she was a Professional Division student at Pacific Northwest Ballet; by 2011, an OBT apprentice; by 2014, company artist; and by 2018, soloist. She also danced with Colorado Ballet for one season. As for beloved roles, she was Dew Drop and Sugar Plum Fairy in George Balanchine’s The Nutcracker®. As for peak performances, she notes William Forsythe’s In the Middle, Somewhat Elevated; George Balanchine’s Serenade; and Nacho Duato’s Jardí Tancat.

MATTHEW PAWLICKI-SINCLAIR

Matthew Pawlicki-Sinclair is from Tucson, Arizona, where he trained with Ballet Arts. He received his high school diploma from North Carolina School of the Arts, before attending the summer session of The School at Jacob’s Pillow. He joined Kansas City Ballet in 2005. He joined the corps de ballet of Dutch National Ballet in 2008 and was promoted twice: coryphée (2014) and grand sujet (2016). Favorite roles include: Gennaro in August Bournonville’s Napoli, the Prince in Ben Stevenson’s Cinderella, Romeo in Sasha Waltz’s Roméo et Juliette, Hilarion in Marius Petipa’s Giselle, and Morold in David Dawson’s Tristan + Isolde. Favorite ballets include George Balanchine’s Rubies, William Forsythe’s The Second Detail, and Justin Peck’s Year of the Rabbit. This is his second season with OBT. COMPANY ARTISTS

COCO ALVAREZ-MENA

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

BRIAN BENNETT

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

COMPANY HANNAH DAVIS

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

ALEXA DOMENDEN

CHRISTOPHER KAISER

Christopher Kaiser is from Los Angeles, California, where he trained at Los Angeles High School for the Arts. He spent his summers training at The Joffrey Ballet, Boston Ballet, and Milwaukee Ballet. Afterward, he was accepted to The Juilliard School, where he graduated with a bachelor of fine arts and danced in the Edinburgh International Festival. He joined Alberta Ballet for three seasons before joining OBT. This will be his third season with OBT. He has enjoyed performing roles in Nacho Duato’s Gnawa, William Forsythe’s Herman Schmerman, and Paul Taylor’s Sunset.

Alexa Domenden is from Seattle, Washington. She received training with Pacific Northwest Ballet School’s DanceChance program in 2004. In 2013, she danced under the direction of Kevin Kaiser and Louise Nadeau at Evergreen City Ballet. She joined OBT2 in 2015, was promoted to apprentice in 2017, and to company artist in 2019. Some of her favorite performances include Ji í Kylián’s Falling Angels and Nicolo Fonte’s Never Stop Falling (in Love). In OBT2, she had the opportunity to perform in George Balanchine’s Walpurgisnacht Ballet and Nacho Duato’s Na Floresta.

MARC LAPIERRE

KIMBERLY FROMM

Emily Parker is from Boston, Massachusetts, and has been dancing since age four. She became an OBT apprentice (2014), whose performance in spring 2016’s Beautiful Decay program resulted in promotion to company artist. Her performance highlights include Nacho Duato’s Jardí Tancat; William Forsythe’s In the Middle, Somewhat Elevated; Ji í Kylián’s Falling Angels; and OBT’s Choreography XX (three world premieres by women) in Portland’s Washington Park Rose Garden. She also earned her bachelor of science degree from Indiana University in ballet and biology.

Kimberly (Nobriga) Fromm is from Orange County, California, where she began dancing at age four. She trained and performed with Pacific Northwest Ballet School’s Professional Division; she then joined OBT as an apprentice (2013) and was promoted to company artist (2015). Among her favorite roles with OBT are the Arabian in George Balanchine’s The Nutcracker® and Dark Angel in Serenade. Her favorite performances with OBT have been William Forsythe’s In the Middle, Somewhat Elevated; Ji í Kylián’s Falling Angels; and Nacho Duato’s Jardí Tancat.

ADAM HARTLEY

Adam Hartley is from Orange, California. He trained with Victor and Tatiana Kasatsky of V & T Dance Academy. He joined OBT as an apprentice in 2009 and was promoted to company artist in 2011. He regards his roles in William Forsythe’s In the Middle, Somewhat Elevated and in Nacho Duato’s Por Vos Muero, as two favorites.

MAKINO HAYASHI

Makino Hayashi is from Kumamoto, Japan, where she trained at Kumamoto Ballet School, and where she later received a Hitozukuri Grant. She joined Colorado Ballet as an apprentice (2001) and was promoted to corps de ballet (2004) before joining OBT (2010). Among her favorite roles are Nacho Duato’s Rassemblement and Matjash Mrozewski’s The Lost Dance. In addition, she was featured in Darrell Grand Moultrie’s Instinctual Confidence; William Forsythe’s In the Middle, Somewhat Elevated; Helen Pickett’s Petal; and as Helena in Christopher Stowell’s A Midsummer Night’s Dream.

Marc LaPierre is from Stratford, Connecticut. He trained at Ballet Academy East and the School of American Ballet at Lincoln Center. He regards Nanette Vallas as an early favorite mentor. Prior to OBT, he joined Los Angeles Ballet where he performed the pas de six and Tarantella (solo role) from Napoli’s third act. His solo role in Alejandro Cerrudo’s PACOPEPEPLUTO is another personal favorite, along with Aszure Barton’s Second to Last and George Balanchine’s Stravinsky Violin Concerto.

EMILY PARKER

COLBY PARSONS

Colby Parsons is from Santa Barbara, California, where he studied at Santa Barbara Ballet Center with Denise Rinaldi. He then trained on full scholarship at American Ballet Theatre, danced with ABT II, and had soloist and principal roles with Alberta Ballet in Calgary. He joined OBT as a company artist in 2014 and has enjoyed the roles of Lover in James Kudelka’s Sub Rosa, lead in August Bournonville’s Napoli, Prince in Ben Stevenson’s Cinderella, and Cavalier in George Balanchine’s The Nutcracker®. He has also been a guest artist in Japan, Costa Rica, Spain, Italy, Switzerland, and Canada.

THEODORE WATLER

Theodore Watler is from Long Beach, California, where he trained at Long Beach Ballet under Johnny Zhong. He attended summer courses at San Francisco Ballet School, Oregon Ballet Theatre, and Hubbard Street Dance Chicago. He holds degrees in art history and law, letters, and society from the University of Chicago. In 2017, he joined OBT as an apprentice and was promoted to company artist in 2018. His favorite roles include Tea in George Balanchine’s The Nutcracker® and Fish in Septime Webre’s ALICE (in wonderland).

APPRENTICES

KANGMI KIM

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

ZUZU METZLER

Zuzu Metzler is from Camas, Washington. She trained with OBT School, joined OBT2, and became an apprentice in 2018. She was awarded the Elena Carter Memorial Scholarship and has spent summers at Pacific Northwest Ballet School, San Francisco Ballet School, the School of American Ballet, and Exploring Ballet with Suzanne Farrell. Favorite performances and roles include Nicolo Fonte’s Accidental Signals, Cupid in the Annual School Performance of the Dream Scene from Don Quixote, and both Harlequin and Marzipan in George Balanchine’s The Nutcracker ®. She has enjoyed being in the corps de ballet for James Canfield’s Romeo & Juliet and George Balanchine’s Serenade.

BAILEY SHAW

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

NIKO YAROSLASKI

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

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YOUR FAVORITE GIRL SCOUT COOKIES™ ARE BACK!

Find cookies February 14 - March 8 at girlscoutcookies.org.

D BRAN A S U ! L P OKIE NEW CO Inspired by real girls in the Girl Scout Cookie Program,® and created for all Girl Scout Cookie™ lovers, these new lemon cookies each have an uplifting message.

THE JOURNAL OF BEN UCHIDA: CITIZEN 13559 by Naomi Iizuka

___

Feb. 29-Mar. 22, 2020 Winningstad Theatre 503.228.9571 • octc.org Recommended

for ages 10 & up

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This show uses historically accurate language (from the 1940s/WWII), including racial slurs, and bias-motivated violence. Additionally, the play contains visual imagery and indirect references to suicide in the concentration camp. The word suicide is not used in the play, nor is the act dramatized or seen on stage.

ORCHESTRA VIOLIN I

Hae-Jin Kim, Concertmaster* Casey Bozell, Assistant Concertmaster* Andrea Oh Della Davies Elizabeth Peyton Emily Sokoloff Margaret Bichteler Eva Richey Irene Gadeholt Lily Burton

VIOLIN II

Janet George, Principal* Heather Mastel-Lipson, Assistant Principal* Linda Vasey Jamie Chimchirian Jim McLennan Karen Hilley Sarah Roth Sara Pyne

VIOLA

BASS

TROMBONE

FLUTE

TUBA

David Parmeter, Principal David Anderson, Assistant Principal Milo Fultz GeorgeAnne Ries, Principal Sydney Carlson Sarah Tiedemann

OBOE

Kelly Gronli, Principal Laura Gershman Alan Juza

CLARINET

Louis DeMartino, Principal Carol Robe

BASSOON

Ben Greanya, Principal* Danielle Goldman

FRENCH HORN

Henry Henniger, Principal Lars Campbell Dave Bryan Mike Grose, Principal*

PERCUSSION

Gordon Rencher, Principal Brian Gardiner

TIMPANI

Jeff Peyton, Principal

HARP

Matthew Tutsky, Principal

KEYBOARD

Janet Coleman, Principal*

ORCHESTRA PERSONNEL MANAGER Janet George

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

Steve Hayworth, Principal Matt Monroe Mike Hettwer Jen Harrison

MUSIC LIBRARIANS

CELLO

PISTON/TRUMPET

* denotes acting title Italics denote substitute

Hamilton Cheifetz, Principal Katherine Schultz, Assistant Principal Corey Averill Justin Kagan Heather Blackburn

Charley Butler, Principal Piston* Robert Rutherford Ben Thauland, Principal Trumpet* Steve Conrow

Kirsten Norvell Rachel Rencher Eva Richey

MARCH 30 THE NEUROSCIENCE OF PLEASURE

How your brain responds to music, love and chocolate

Newmark Theatre

Brain Awareness Lecture Series 2020

W W W. OHSU.EDU/SYMPHONY

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2020 SUMMER INTENSIVE 6 WEEK SESSION June 29 – August 8

4 WEEK SESSION June 29 – July 25

2 WEEK SESSION July 27 – August 8

Photo by Emily Nash

2020 SUMMER PROGRAMS JUNIOR INTENSIVES

AGES 8 – 12 West Linn

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

Portland PRE-POINTE WORKSHOP BOYS’ PROGRAM

August 10 – 20

Photo by Jingzi Zhao

SCHOOL.OBT.ORG | 503.227.6890 | schoolofobt@obt.org

OREGON BALLET THEATRE STAFF

BOARD OF TRUSTEES

ARTISTIC

MARKETING

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

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

Allison Lane Lyneham, Board Chair

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

PRODUCTION Bill Anderson, Director of Production Ian Rutledge, Production Administrator Victoria Epstein, Stage Manager Corey McCarey, Assistant Stage Manager Michael Mazzola, Resident Lighting Designer Ian Anderson-Priddy, Production Electrician Tim Boot, Sound Designer Matt Wilcox, Sound Engineer Eileen Ehlert, Costume Shop Supervisor Fuchsia Lin, Draper Morgan Reaves, First Hand Leah Bierly, Stitcher Hillary Barsky, Sue Morgan, Marilyn L. Rudin, Costume Shop Volunteers Brian Keith, OBT2 Technical Director Brian Keith, Tony Travis, Lance Woolen, Production Support Staff Sumi Wu, Props Master Janet George, Orchestra Personnel Manager Kirsten Norvell, Head Music Librarian Rachel Rencher, Eva Richey, Assistant Music Librarians

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

PATRON SERVICES Mariah DeLude, Patron Services Manager Kristin Dillon, Patron Services Lead Shira Goldeen, Patron Services Representative

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

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

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

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

Dancer Representatives: Peter Franc Emily Parker

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INDIVIDUAL DONORS Oregon Ballet Theatre would like to express its sincere gratitude to those listed below for gifts received as of December 27, 2019. Donations received after this period will appear in the next playbill.

LEADERSHIP CIRCLE ($100,000 & UP)

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

BRAVURA CIRCLE ($50,000 & UP)

Bob Sweeney & Cate Millar Barbara Coit Yeager

TOUR DE FORCE

($25,000–$49,999)

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

DIRECTOR’S CIRCLE ($10,000–$24,999)

Linda & Scott Andrews Daniel Bergsvik & Donald Hastler Barbara & Bob Brady Kathleen & Benoit de Montlebert Cooper Dubois & Sanda Stein Karen & Bill Early Ken & Ann Edwards Jamey Hampton & Ashley Roland Melissa & Gary Hanifan Ronna & Eric Hoffman Fund of The Oregon Community Foundation Charles L. Jones Nancy Locke Peter & Allison Lyneham

OBT.ORG

The Merritt & Heather Paulson Family Fund Allison & Steven Pike Angela Roach Marilyn L. Rudin, MD & Richard S. Testut, Jr. Elizabeth B. Warren Wendy Warren & Thomas Brown Mike & Karen Weddle David E. Wedge, In Memoriam

POINTE SOCIETY ÉTOILE ($5,000–$9,999)

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

VIRTUOSO

($2,500–$4,999)

Adriane Blackman Richard Louis Brown & Thomas Mark Nancy & Andy Bryant Irene Cancilla Ken Carraro Cameron & Dick Davis Jeff Dey & Heather Amuny-Dey Nancy Frisch William E. Gaar William Gilliland Jesse & Leah Gronner, In Honor of Maia Gronner Marilyn Grunbaum

Bill Guthy & Victoria Jackson Andrew & Ilene Harris Amy Lynne Hill & Dan Hill Juliet Hillman Kevin Irving & Nicolo Fonte Bernice & Ken Ivey Julia Winkler Jacobson & Jonas Jacobson Stephen Karakashian John & Linda Lenyo Carol Schnitzer Lewis Fund of The Oregon Community Foundation Kathleen Lewis Fund of The Oregon Community Foundation Ellen E. & Carl Nielsen John & Ginger Niemeyer Cambria Noecker Jane S. Partridge Allan & Marney Pike Family Fund of the Oregon Jewish Community Foundation Carolyn & Hank Robb Caleb Schlesinger Carol & Tom Shults Tina Skouras Jaymi & Francis Sladen Joan W. Sterrett Ashley & DeWayne Trimble Toby & Linda Warson Matt & Jessica Watson Charlene Zidell

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

Anonymous Adam Arnold Gregory & Elizabeth Arntson Patti Babler Natasha Bar Alan & Sherry Bennett Jeff & Tracy Borlaug Thomas Bruner Julia & Edouard Chaltiel Drs. James Chan & Jennifer Edman Bill Dickey, In Honor of David E. Wagner William Dolan & Suzanne Bromschwig Nick & Katrine Ehlen Anton & Raylene Eilers Larry & Deborah Friedman Alexandra & Zan Galton Christine Diana Gay Peter Gronquist Valarie Grudier & Richard Langdon

Beth Harper John Herman Gretchen Holce Maryanne & David Holman Betsy & Brent Huigens Michael Hummel & Mamie Diaz Hummel Brianne & Zachary Hyder Jim Kalvelage & Barbara LaMack Jina Kim & Hyung-Jin Lee Patricia & Rick Kozak Elise Legere & James Mitchell Molly Lehman Mark Lindau Derek & Lydia Lipman Fund of the Oregon Jewish Community Foundation Marisa Mack Jerome Magill M. and L. Marks Family Fund of The Oregon Community Foundation Inge & Darren Marshall Dr. Louis & Judy McCraw Laura S. Meier Laurie & Gilbert Meigs Rich & Kirsten Meneghello Christina Merrell Marjorie & Kurt Metzler Virginia S. Mullen, In Memoriam Will Naito Steven C. Neighorn Margaret & Gordon Noel Jay & McKay Nutt Rev. Dr. Rodney & Sandi Page Leah Rinfret Mary Rose & Maxwell Whipps Davia & Ted Rubenstein Lori & Mike Russell Miriam Ruth Leslie Ann Sammons-Roth Megan & Tom Shipley Jinny Shipman & Richard Kaiser Jonathan Singer Lisa Sorenson Rosemary G. Southwood Wendy Lane Stevens & Dr. Jeffrey Stevens John Thoren David & Eileen Threefoot, In Honor of Linda Besant Evans Van Buren & Marsha Warner Frances Virden Richard Wasserman & Ann Coskey-Wasserman Tom & Laura Wiley Robyn Williams & Roger Scarbrough

Jay Wilt Cristin Campbell Winkler & Jordan Winkler Zela & Elsa

SOLOIST

($500–$999)

Anonymous Susan Thompson Armentrout Susan Bailey & Mike Warwick Tom Bard Barbara & Sidney Bass Pat Behm & Gary Jacobsen Melanie Bjorge Ryan Bradshaw W.W. Buzz Braley, Jr. Charles Brasher & Betty Lavis Kay Bristow Miguel Cobian Margery Cohn Paris Coté Sue Darrow Marvin & Abby Dawson Peter W. Edgerton Doris Ennis Joshua Ferrer Ted & Cynthia Gaty Steven & Jacquelyn Gish Melissa & Robert Good Michele & John Gordon Laurie Griffith Karen & Jim Halliday The Right Reverend Michael Hanley Kim & Chris Hasle Marilyn Heiling Donald Helfgott Susan & Richard Helzer Karen Henell Kenneth L. Holford & Harry S. Hum Nils Jensen Mr. & Mrs. Bob Joseph Marcia Kahn G. Sue Kaufman Mary Klein & Francis T. Schneider Angela & Chris Kourtoglou Mary Kuch Nancy Lee Nolan Lienhart Catherine & Kristofer Lofgren Jonathan & Vida Lohnes Alejandra Lugard & Ismir Heric Kirk Maag Dañel Malán Antonio M. & Demaris M. Martinez John F. Mathews

INDIVIDUAL DONORS Adrienne & Ian McClellan Keith & Kristin McInerney Dan & Jackie Moore Doug & Malinda Moore Carol N. Morgan Jeffrey Morgan Susan D. Morgan, VMD Storry Norman & Jack Hollis Peter & Cassie Northrup Susan Olson & Bill Nelson Milo & Beverly Ormseth MajGen Christopher & Rita Owens Barbara & Art Palmer Gesina & Matt Pedersen Dan & Sue Ann Peters Mike & Rebekah Pettinger Adolfo Portillo & John Hoskins Jaycee Pribulsky Sandra Reese & Alister Bazaz, In Honor of Bruce Arnold Russell-Powlesland Charitable Trust Eric Schindler & Jenna Fallon-Schindler Diana & Hal Scoggins Derick & Elizabeth Scovel Tatyana Shaw James & Kirsten Sheridan Robyn & Kemp Shuey Donna & Sascha Siekmann John D. & Pamela Smith Dean Speer & Francis Timlin Bob Speltz & Dwight Adkins Steve & Michelle Stapp Sue Stegmiller Graham & Kristi Taylor Minh Tran & Gary Nelson Peter Vennewitz Hans & Naomi Wandel Weiss Fund of The Oregon Community Foundation Carol & Kenneth Willeford Bruce & Susan Winthrop April Wirtz & Evan Wang Doreen Wynja - Eye of the Lady Collette Yamaguchi & Tom Napier Cynthia A. Yee John & Nancy Zernel Joy Zhou & Randy Choi

COMPANY ARTIST ($250–$499)

Anonymous Abigail Alford

Keiko Amakawa & Dr. Harvey Fishman Jim Anderson, In Memory of Anne Lynch Molly West Anderson Ray Anderson & Kathleen Baker Paula Arsenault Laura Barber Sonya Barker Mary Bartlett John Bosshardt & Diana Petty Dr. & Mrs. Gerald J. Broock, MD Kelly & Tommy Brooks Irene & Patrick Burk Alex Carlson Drs. Theresa & Timothy Chen Richard Clucas & Beth Blenz-Clucas Deniz & Austin Conger Kent Copeland Terri Cross Susan Cyganiak, In Honor of Selena Steinmetz Arthur & Winnifred Danner John & Rocio Deatherage Jody DeChaine Yvonne Deckard Lora Dow Susan & George Durrie Edward & Marilyn Epstein Charitable Fund Conrad Eustis & Roberta Kanter Katy Fackler & Charles Loving Julie Falk & Zachary Kramer Philip Fidler & Jane Cummins Jessica & Mark Flaa Rebecca Fleischman Doreen Flores Brian Forrester Bill Foster Mr. & Mrs. Patrick Franc, In Honor of Peter Franc Jennifer Froistad Kimberly & Andrew Fromm Morris J. Galen Phil & Carole Gilbertson Helen A. Goodwin Marvin & Barbara Gordon-Lickey Julie A. Greenberg & Robert J. Irving, Jr. Anton Haas, Jr. Quinton Hallett & Dennis Gould Carl Halvorson Gail & Irv Handelman Celeste Henninger-Lindaman Rebecca Hicks

Laurel Anne Hill, In Honor of the Dancing Doctors James Holstad Pam & Bob Howard Carolyn Hyde Jonathan & Suzanne Jensen Keith & Janie Johnson Pamela K. Johnston Becky & Jarrett Jones Kathy Jorda Allan Karsk Nancy Kathrens Christina Kellogg & John Gratchner Rebecka Kirchner Kristan Knapp & Janna Auslam Nancy & Steve Kraushaar Mrs. Joseph A. Labadie Nina Landey & Jody Bleyle Mary N. Laughlin Joan Levers & David Manhart Martha J. Logan Kate Machell Linda J. Magness Linda L. Mann Earlean Marsh Pamela Matheson Oscar & Mary Mayer Kathi McCoy Cheryl McDowell Rico & Malcolm McIver Margaret & Robert McMillan Carolyn McMurchie Josie Mendoza & Hugh Mackworth Susan Sammons Meyer & Dennis Meyer Amy Monroe Monica & Dale Monroe Elliott Moore Greg & Colleen Needham Karen Nelles Rob Nelson Keith & Cindi Nobriga Matt & Lauren Odman Sean O’Neill & Elizabeth Le Suzann & Dennis Ott David & Kelly Park Lynn Partin & Bill Holmes John & Christine Pendleton Carol Peterkort & Richard Gibson Dennis Petrequin Judith E. Posey & Edward J. Doyle, MD Alice & Michael Powell Suzanne Rague William Ramirez & Roberta Staff Lindsay Reynolds Rabbi & Lorraine Rose Lloyd & Rosemarie Rosenfeld Fund of the Oregon Jewish Community Foundation Miriam B. Rosenthal Mary Rotberg Claire H. Russell Sam Sadler

We exsist t o build wil l changpeeotple w ho he wor ld.

night Week-long, over youth camps ! for ages 7 to 17 cking, heerytb, aAll,rtBs,MBX,ackCapnaoeing, Arcask B a, Geocaching, Golf, DraGmuitar, Gymnastics, in ip,biMnog,unSta emoacknshClim ailing, Hors R Biking,er, Surfing, Swimminll,g, Soccideography, Volleyba r V sports, White Wate ! re Wake o m d n a .. g. Raftin

A CONCERT FOR

HOPE

March 13 & 15, 2020 Becau

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With renowned trumpeter, survivor, and research advocate Ryan Anthony. VIVALDI Concerto for 2 Trumpets STEPHENSON Concerto for Hope DVORÁK Symphony No. 8

pcsymphony.org 503-234-4077

ARTSLANDIA.COM

INDIVIDUAL DONORS Michael S. Parker Sagun & Dennis J. Sagun Parker Daniel & Kathleen Saucy Tad Savinar Gary & Lydia Slangan David, Emily and Jonah Sokoloff Patricia A. Southard Joan B. Strand, In Memory of Buzzy Sammons Karen Sweet George & Nancy Thorn Kay Toran Angelo Turner Judith & Gordon Umaki Dana & Brian Ward Christine Warden Bruce Weber Colin Michael Webert Shawn & Dave West Andrew White Ann C. Whitehouse Anthony & Marianne Wilcox Jenny & Christina Wilson Mary Ann Wish Linda M. Wood Jack Wussow & Kyle Adams Alicia Yballa Tamara & Chris Yunker Kurt R. & Heather Zimmer

APPRENTICE

($100–$249)

Anonymous Kathy & Guy Allee Bill & Ginny Allen Pilar Alvarez-Mena Sandra Armstrong Dr. James W. & Mary Ann Asaph April Avery Gennaro & Marilyn Manser Avolio Diane Babcock Ruth B. Bach John T. Bagg Robert Ball Shauna & Scott Ballo Steven Bannon Dr. Anna Bar Carol A. Baron Kathleen Bayer Nola Becket Kurt Bedell Zhanna Belinska Dr. Diana Bell Barry & Jacqueline Bennett

OBT.ORG

Catherine Bennett Paul & Pat Benninghoff Pamela J. Benso Naomi & Phillip Beymer Brian Bills & Desiree Schlotthauer Richard Botney Laura Bowman Ronald Boyce Michael Boyles Joyce Brehm Bonnie Brod Jen & Greg Brown Lillian Brown Linda Brown Dana Burdick Kerri Burke Connie Butler Ann & Hugh Bynum Nora & Aaron Cain Maurine & Paul Canarsky Efthemios & Elizabeth Carabas Kirsten & Mark Carnese Mary Carr Gus & Karen Castaneda Cecelia Castro Alison Chambers Robert P. Chamness Sandy Chamness Voula & Akash Chandrashekar Phil & Glynis Chek Gina Chiotti-Hovey Karlyn & Graham Clark Aria & Cody Clements Kristine Cloyes Stan Cocke & Heather Kmetz Harriet Cormack Elizabeth & Kevin Cote Barbara Crick Linda Crimshaw Bruce Cronin Richard A. Cuff Clark Custodio, Jr. Calli Daly Eloise Damrosch Judy Dauble Wendy & Howard David Dr. & Mrs. Joseph Davids Laurell Davidson Brian & Nancy Davies Jeanette Davis James Dehning Shawn Dempewolf & Tom Hamann Niel DePonte

Frances Derook & Keith Comess Chuck & Patt DeRousie Adam & Emily Dew Bonny Dickinson Lonnie Dicus & Therese McCarthy-Dicus Anne E. Draper Wendi Drummond Robin Dunitz Mary E. Egan Carol Englehart, In Memory of Buzzy Sammons Annette Erickson Charity Fain & Matt Goddard Abraham & Pamela Farkas Rochelle Farkas Dave & Robin Fee Alice Fernandez Marjorie Ferry Tonya Flaming Katie & Brian Flanagan Kim Foren Charles & Zoe Foster Kelly Freuler Theresa Fritchle Paula Froh Sara Gabin Jim & Mary Ann Gabriel Alan Garcia & Lyn Reynolds Garcia Francisco Garcia Ray & Joyce Gee Arthur L. Ginsburg, In Honor of Judith Ginsburg Rolf Glerum Gary & Susan Goncher Barbara Gottschalk Greater Portland Dachshund Club, In Memory of Hans Grunbaum Brenda Grootendorst Andrea Groussman Ken & Mary Lou Guenther The Haakonsen Family Candace Haines Deanna Haley James Hamilton Bert & Amy Hanifan Michael Harris Antoinette Hatfield Christopher & Garnet Hayes Beatrice Hedlund Leroy Hemmingway Carol & Timothy Henry

Akiko Hishida John & Dena Hockett Beverly Hoeffer & Carol Beeston Jennifer & Robert Hoffman Carolyn Hoty Del Hudson Carol & Tom Hull Michelle Hulquist Mimi Hunter Indira Husic Joe Hymes Julie Hymes Martha Ireland Elizabeth A. Javens David & Margaret Jeans David C. Jensen Jack B. & Kathy A. Jensen Cerise Joe Brian C. Johnson Dennis C. Johnson Fletcher & Ellin Johnson Shirley Johnson Barb & Chris Jones Marla Kazell Cristina Keefer Kristine Keil Nino Kilgore-Marchetti Doris & Eric Kimmel Jean A. Kimsey Vicki & William Knapton Shahana Koslofsky Blerina Kotori Grayson Kramer Jean S. Krosner Leonard Kuhl Damianos Kyriakopoulos Carol La Brie & Roger Edwards Sharon LaCroix Kali & Billy Ladd Sloane Lamb Kindra & William Lanford-Crick Nancy Lange Nancy LaPaglia & Stephen Slusarski Laura Larsen & Skyler Bloxham Polly Lauser A.M. LaVey Donald P. Lawton Romani Lay & Neville Wellman Judy Lefebvre

Tamara Lemon Barton T. Lewis Greg & Kim Lind Carole E. Lindell-Ross Clara Lipetzky Alice Lloyd Hugo Carey Long Henry Louderbough Ruth & Kenneth Love Melissa Love Marcy & Richard Lowy Hilary Luu Christine L. Mackert, MD Lara Mar Bel-Ami & Mark Margoles, In Honor of Hanan & Kayla Phillip Margolin Eileen Markson Susan Marmaduke Amy Matson Amy Maxwell Erin Mboup Dennis & Molly McCarty Linda L. McCullough Kathy McGrew Layla McLean Christina & Cade McNown Elizabeth J. Melching Courtney Mersereau Carol Meyer, In Memory of Estelle Winthrop Elise Meyers Rob & Sally Miller David & Tony Stauffer Mix Sean & Corinne Monogue Patricia G. Moss Martin Muller Patti & Ian Munro Sarah & Richard Munro Beth & Charlie Nance Patrick & Liz O’Callaghan Karen O’Kasey Robert Olds Kris Oliveira Barry Olson & Barbara Telfold Madeline Olson Carol O’Neill-Shaw Nancel Otsuka Paula Ousley Zac Padgett Joan Paglin Mark & Dorianne Paul Lanetta Paul Beth Paxson Molly Pedersen

INDIVIDUAL DONORS Denise & Adam Pener Anne Penfound, In Honor of Alison Maybank Charlotte A. Perry Karen Perzanowski Gunnar & Kristin Peterson Marilyn & Gaynor Petrequin Sara Pickett Lucille H. Pierce J. Scott Pritchard Terrence Proctor Karen Prohaska Zach Putnam Dick & Mary Raub, In Honor of Marianne Raub Julie McFarland Rawson Family W.W. “Clyde” Reid Betty & Jacob Reiss Judy Renzema Megan Reuther Edward & Katherine Richman Erica Rife Janice Riggs Judith Rimbey David Ritchie & LaJean Humphries Marcia & Rob Robison, In Honor of Karen & Glenn Prohaska Charese Rohny Alison Roper Celeste Rose Roth Family, In Honor of Henry Roth Jamie Rowe Jason & Angie Russo Elaine Ruys Lynette Sahnow Pam Saito Patricia Sanchez Kevin & Gabrielle Sasse David & Julie Sauer Charles Sax Tanya Schaefer Colby & Christine Schlicker Jessica & Marcus Schultz-Reynolds Bill Scott & Kate Thompson Laura Scott Marlise & Robert Scotti Becky & Todd Seidel Barb & Jack Shannon Carol Sherbenou Freda Sherburne Karen Sheridan Diane Shields Asha Singh Gerald Skeels Bonnie Skourtes

Drs. Justin N. Smith & Christine Liu Margaret Smith & Jeff Littman Sarah Smith & Raul Gomez-Rojas John Spencer Donald Springer Tom Stansbury & Suzee Parson Sam & Patty Stiles Les & Elizabeth Stoessl Jean K. Stoll Kelsey & Will Sullivan Tim & Donna Sullivan Katarina Svetlova Susan Tavakolian Jeri Tess Jan Elizabeth Thorpe Judy & David Threefoot Allen Tomlinson LaVonne Treat, In Honor of James C. Treat Kelsey & William Tucker Lyle M. Tucker Linda & Jon Twichell Nancy A. Ullrich Cindy L. Ulrich Joshua Urrutia Angela M. Vaandering Alberto Vaca Martinez Jose Vithayathil Drs. R. Bastian & Barbara Wagner Patricia & James Walker Edward Washington Lisa Watson Frederick G. Wearn, MD Jack & Paula Wells Judy Werner Colleen Westphal Jeanine & Blaise Williams Laurie Williams Lou & Lisa Williams Mark & Sophie Williams Julie Wilson Mary-Ann & Jim Wilson Lisa Wish Paulette & Lynn Wittwer Stan & Nicole Wood Gail Woolf Laura Wozniak & Stu Oken Sarah Wright Joseph O. Wyatt Melissa Yale Gary P. Yencich Casper & Sarah Yu Janet & Alan Zell Irene Zenev John, Marcia & Lincoln Zweig

$30 FOR 30

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

Anonymous Kathy Allen-Kirsch Frankie Anderson Jennifer Anderson & Alex Rice Stephanie Andre Jacque Arellano Sharla Attey Irene & Stephen Bachhuber Jana Bailey Rebecca Bailey Carol & Dave Baker Nila Baker Sandra & Jay Baraff Kay Beadle Kenneth & Alice Berta Jim Blandy Helen Braden Bill Brent Mary J. Burck Jocelyn A. Butler Julie Byler Jeff & Lauren Canfield Carolyn & Walter Carr Mary Carr & James Boehnlein Jacqueline Todd Carver Nicole Marie Charvet Carol Chestler Carole Christensen David E. Cleland Karen Cunningham Amy C. Dachtler Jimmie Darr Donna Davis Gale Demmer Sharon Denman Keith Dickson Jessica Dietz Kristin Dillon Mandy Doherty Marie C. Dolson Barbara Ellicott Laura Evans Jean Everett Karen Faw Susan & Wilson Federici Christine Firmat Gregg Fleming Jon Foster Jim Fullan Robert C. Gordon Nanny & Poppy Gronner Jon Hanifin, MD Penney Hill Scott Hillier Diana Ingle Jefferson Neurology LLC, In Honor of Katie Ali

Richard L. Katz Fenton Khan Svetlana Kotova Sophia Kremidas Vic & Tammie Krisciunas Jane Lathrop Mary & Stuart Levy Eileen Lipkin Mary Ann Lockyear Mary Jane Logan Patricia Logan Leslie Lovell Jackie MacGregor The Mansell Family Margo Marturano Louisa McCleary Michael & Melissa McGeehan T. McLaughlin James Mooney Tom Nettleton & Olivia L. Smith Elizabeth & Edward Neuwelt Kathlynn Northrup-Snyder Joseph Norvell Betty O’Brien Jennifer Olajuyin Carlton Olson Patricia O’Shea Colleen Paynich Connie Eldridge Pederson Michael & Mary Phillips Carla & Jack Pickett Laura Plagmann Vic Porter & Mark Williams Marjorie I. Powell Huon Quach Sharon Ralston Asa Reed & Debby Neely Nancy Richmond & Bill Hughes Caroline & Taniya Roberts Dr. & Mrs. Hector M. Rodriguez Valerie Schuyler Jeanette Scinto Betsy Sleeper Maureen Sloan John D. & Pamela Smith Peter Spooner Linda Stassel Laura Struble Claire Thayer Phyllis Thompson Mary C. Ulmschneider Blossom Van Houten Linda Werner Dale West Melinda Williams Nancy & Dirk Wittig Robin Yuen

ARTSLANDIA.COM

COMMUNITY CORPS DE BALLET FOUNDATIONS & GOVERNMENT GIFTS OF $100,000 & UP

Based in Portland, we are ADVANCING the WOMAN ARTIST through Knowledge-Building, Exposure and Funding Support

PERFORMING ARTS LITERARY ARTS VISUAL ARTS Generous support of our mission funds our programs! FREE! Select ARTemis Arts as your Amazon Smile Charity https://smile.amazon.com/ch/82-5062706

www.ARTemisArts.org

Elizabeth Pownall Swindells Family Fund of The Oregon Community Foundation The Harold & Arlene Schnitzer CARE Foundation James F. & Marion L. Miller Foundation The Regional Arts & Culture Council, including support from the City of Portland, Multnomah County, the Arts Education & Access Fund, and more than 1,000 donors to RACC’s Arts Impact Fund

GIFTS OF $50,000–$99,999

Meyer Memorial Trust The Shubert Foundation

GIFTS OF $25,000–$49,999 Cascadia Foundation Clark Foundation The Collins Foundation Henry Lea Hillman, Jr. Foundation Maybelle Clark Macdonald Fund The Swigert Foundation

GIFTS OF $10,000–$24,999 Argyros Family Foundation Betsy Warren Endowment of Coastal Community Foundation of SC Fred W. Fields Fund of The Oregon Community Foundation Hampton Family Foundation of The Oregon Community Foundation Jackson Foundation Jerome Robbins Foundation National Endowment for the Arts Oregon Arts Commission, a state agency Oregon Cultural Trust Rose E. Tucker Charitable Trust Roy & Diane Marvin Fund of The Oregon Community Foundation Starseed Foundation Willard L. & Ruth P. Eccles Foundation Zidell Family Foundation

GIFTS OF $5,000–$9,999 Coit Family Foundation Juan Young Trust Hoover Family Foundation The Reser Family Foundation Robert D. & Marcia H. Randall Charitable Trust

GIFTS OF $2,000–$4,999 Applied Materials Foundation H.W. Irwin & D.C.H. Irwin Foundation Leupold & Stevens Foundation Sydney D. Holland Foundation Wintz Family Foundation

OBT.ORG

GIFTS OF $1,000–$1,999 The Fremarch Foundation

CORPORATIONS GIFTS OF $10,000 & UP Accenture The Boeing Company PGE Foundation The Standard U.S. Bank Foundation Wells Fargo Bank

GIFTS OF $5,000–$9,999

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

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

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

GIFTS UNDER $1,000 The Aspire Project Fortney Contractors, LLC Monique’s Boutique PCA Design & Construction PGE Company Rose City Ballet School

MATCHING GIFT CORPORATIONS AmazonSmile Foundation Chevron Matching Employee Funds Give With Liberty

IN-KIND SUPPORT

Recognizing gifts received as of December 27, 2019 Google, Inc. Intel Kroger Rewards NIKE, Inc. Northwest Natural Gas Pfizer Foundation PGE Company U.S. Bank Foundation Employee Matching Gift Program Verizon Foundation

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

ALLEGRO SOCIETY

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

AGGER CHIROPRACTIC & NUTRITION CLINIC

KATHARINE ZELLER, MD

Simon J. Agger, DC

ANNA YARZAK, PT, DPT

Nadia Chopra, PT, DPT, OCS, COMT

BLUE OX ATHLETICS

MEREDITH THOMPSON, MS, PT

Scott Hagnas

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

MEND PHYSICAL THERAPY

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

OHSU CHH SCOLIOSIS CLINIC

CATHERINE M. GURSKI, ND, MSOM, LAc

Kim Osterberger, PT, DPT, BSPTS

DAVID HILL, MD

OHSU MARCH WELLNESS & FITNESS CENTER

GENTLE CARE CHIROPRACTIC Amanda Tipton, DC

INNER GATE ACUPUNCTURE

POHALA CLINIC

Julie E. Foster, FNP

Elizabeth Bourgeois, LAc

ROBERT F. RATZOW, DC

JADE BUCHANAN, LCSW

SOLARIS BODYWORKS, INC.

JONATHAN LOHNES, LMT

Neissan Saber, LMT

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

Karen & Bill Early Peter W. Edgerton Marilyn Grunbaum Don Hewitt Charles L. Jones Belinda & Frederick Kinyon Diane Knudsen Perry Lee Dr. Dolores Leon & Dr. Fernando Leon Derek & Lydia Lipman Martha J. Logan Marna McComb Rich & Kirsten Meneghello Brad & Nancy Miller

SYLVAN CHIROPRACTIC CLINIC & WELLNESS CENTER

Seth Alley, DC, CCSP, CKTP

THERAPEUTIC ASSOCIATES FOREST GROVE PHYSICAL THERAPY

E. Anne Patron, PT, DPT

TURNING POINTE ACUPUNCTURE Emily Bartha, LAc

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

WILD HEARTS WELLNESS

Maura Dawgert, DAOM, L.A.c

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

ARTSLANDIA.COM

Photos by James Colhoff Jr.

obt â&#x20AC;&#x2122;s annual gala fundr aiser

portland art museum

2.1.20

Thank you to everyone who made this evening such a success! 36

OBT.ORG

BENEFITS OF

BECOMING AN OBT DONOR

Your support of Oregon Ballet Theatre helps us to produce quality performances, provide scholarships to our school, bring arts education to our entire region – and so much more! Please visit obt.org/contribute or the OBT kiosk in the lobby for information on how you can support the ballet, and for a full list of benefits by tier!

PERKS OF BEING AN OBT DONOR Just a select preview of benefits. Donor benefit eligibility varies based on contribution level.

RECOGNITION IN OBT PLAYBILL

POINTE SOCIETY LOUNGE

OPENING NIGHT PARTIES WITH OBT DANCERS

INVITATION TO POINTE SOCIETY LOUNGE INTERMISSION RECEPTIONS

DATES TO BE ANNOUNCED

GIVING LEVEL: APPRENTICE and above

GIVING LEVEL: VIRTUOSO and above

SEASON UNVEILING SOCIAL INVITATION

FINAL DRESS REHEARSAL TICKETS

INVITATIONAL STUDIO REHEARSALS WATCH COMPANY DANCERS REHEARSE A CURRENT PRODUCTION AT OBT STUDIOS

TO SEASON UNVEILING SOCIAL

GIVING LEVEL: VIRTUOSO and above

GIVING LEVEL: COMPANY ARTIST and above

GIVING LEVEL: APPRENTICE and above

COMPLIMENTARY PARKING & COAT CHECK

VIP BOX OFFICE & TICKET SERVICE

PERSONALIZED BACKSTAGE TOURS

DEDICATED BOX OFFICE REPRESENTATIVE AND VIP TICKET SERVICE

FOR FOUR GUESTS AND SUBJECT TO AVAILABILITY AND ADVANCE ARRANGEMENT

GIVING LEVEL: DIRECTOR’S CIRCLE and above

GIVING LEVEL: ÉTOILE and above

GIVING LEVEL: VIRTUOSO and above

Thank you for suppor ting Oregon Ballet Theatre For questions about making a donation and donor benefits: Lauren Watt, Development Associate - 503.227.0977 ext. 259 - Lauren.Watt@obt.org Photo by Yi Yin

ON POINTE

BRIAN BENNETT OREGON BALLET THEATRE COMPANY ARTIST

OBT.ORG

Though Oregon Ballet Theatre has a strong legacy of diversity, the art form of classical ballet has historically lacked racial and ethnic differences in its ranks. OBT company dancer Brian Bennett shares his experiences and ideas for the future with Artslandia readers. WHEN I WAS A KID, there was no cultural precedent in classical ballet when it came to the black community. My family, peer groups, and neighbors didn’t do ballet. Back then, it was normal for white six-year-olds to start dance or piano classes, but most people’s preconceived notion was that their kids would play a sport. I found my love for dance when I was young, exploring jazz, tap, and hip-hop and was attracted to ballet initially because of the freedom it gave me to express emotions and ideas with my body.

I started my ballet training in high school at Baltimore School for the Arts. It was incredibly diverse, and having all those cultures represented in the halls was inspiring and comforting. So many different people were working toward the same goal of creating art. The kids there made the most of what they had, persevered when they weren’t expected to. I still stay in contact. My peers are doing things we always imagined — that we weren’t expected to succeed pushed so many of us to strive. I enjoy watching them grow and celebrating their success. It gives me hope.

Company dancer Brian Bennett gracefully communes with nature in the courtyard of The Hotel Zags. The expansive, nature-filled space contains the living wall, elegant lounge areas, and cozy firepits for the ultimate urban escape. Guests who like to mix in a little adventure with their chill will love the Gear Shed’s vast array of loaner bikes, boards, outdoor equipment, lawn games, and cameras. For the indoorsy types, the selection of recreational equipment includes Wii, Xbox, and Nintendo gaming consoles. It’s a little slice of heaven in Downtown Portland.

When I first began training in ballet, I wasn’t making a statement, but I felt a sense of pride in sticking out. I wanted to do my part to break the

The Hotel Zags is a proud supporter of Oregon Ballet Theatre and the arts in Portland.

>>> CONTINUED ON PAGE 40

THEHOTELZAGS.COM

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Your host Ashley Coates.

As a person of color, the ideas explored in classical ballet can feel foreign. All of our cultural ancestors stressed the importance of the arts. Still, given the time and place that many of the classics emerged, people of color weren’t involved in influencing the narrative of classical ballet. Though there are parallels in the plot lines to folklore in a variety of cultures, it was hard to find myself and the ideals I learned growing up as a black male reflected onstage. There was a disconnect from black culture.

I look forward to change, to seeing every shade reflected onstage. Those who feel the same should take the initiative to figure out what local organizations are doing to break barriers to access for all and support them.

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stigma of being “other.” It was hard to immerse myself into the ballet culture and etiquette. It was challenging to adapt and communicate, surrounded by cultures that were different from my own. It’s easy to be open about exploring your own cultural influences when you’re around people who are similar to you, but it’s a bit harder to do it with confidence when no one fully understands where you come from. For example, I find a ton of influence from soul, funk, and hip-hop. Even now, sometimes, using those influences as reference points to relate to the work I do in the ballet studio seems like it is out of place but it is not. This was and is sometimes still discouraging. On the bright side, I’ve learned that the dilemma of finding mutual understanding isn’t limited to my experience, and dancers can always fall back on the love of dance to communicate through differences.

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The ballet world became less diverse as I got deeper into the profession, but always being one of three people of color in the room eventually desensitized me from feeling alone. It’s a great opportunity to add influences into the melting pot of references that make ballet so great. It gave me the confidence to be myself even when I wasn’t around people like me. Along the way, I discovered that there were actually many opportunities for people of color to train in ballet. Still, though the training is available, it’s hard for kids to take advantage of it because of the lack of exposure in the community. When I chose to pursue a career in ballet, I was skeptical about how far I could go within it, which in turn made me doubt whether I’d made the right decision. Initially, my choice of Oregon Ballet Theatre made me feel like I was going against what was expected of me — to join Alvin Ailey, Dance Theatre of Harlem (which is a fantastic ballet company) or one of the other companies that hire primarily black dancers. In the end, though, I’m happy with my decision — OBT has an extremely versatile repertoire

Brian Bennett in George Balanchine’s The Nutcracker®. Photo by Blaine Truitt Covert.

and a solid outreach program. Organizations are trying to broaden the cultural spectrum in some way or another. Not all black people are economically challenged, so discounted tickets aren’t necessarily the best way to convince audiences to attend the ballet or to draw kids to study dance.

on an untouchable pedestal for people of color. I want people to understand that ballet is an art of the people for the people. You don’t have to be a certain type to practice, understand, or enjoy it. Even in classical ballet, there are opportunities to show your own personality through your work. I need to be a role model in that way.

Community engagement and outreach programs solve the exposure problem and inspire children, so that’s how OBT reaches out to diverse communities. My company’s efforts have reached more than 35,000 kids, parents, and providers in the greater Portland area. Teaching in Schools, the student series, allows children interested in ballet to see their peers create art onstage. OBT brings in so many kids of all cultures to the studios twice a week where they can learn about ballet, see and experience it themselves.

The ballet world has to change and adapt, too. Music has evolved; talent has evolved; attention spans have altered. It doesn’t have to be the historically black organizations inspiring people of color. Local companies do their part to inspire and create new art every week. They could expand their repertoire to be more relevant to their audiences, especially to young people of color. Discussions with the communities surrounding a ballet company would help people to understand the art, what it does for the dancers and audiences, and how it’s an invaluable resource on the same level as the programs like the Boys & Girls Club. They need to see themselves reflected onstage to imagine themselves telling stories with their bodies. Community demonstrations for older kids could highlight the athletics of ballet, the strength it requires.

But there is still room to improve. I’ve come to see that we should be careful about segregating the art form just because it’s still more common for white people. As a society, we place a great deal of pressure on cultural relevance. In my mind, classical ballet is relevant to people of color because we appreciate and value the art and the magic of dance on a stage. It provides an escape from reality and inspires bodies of all shapes and sizes. Ballet is just as relevant to people of color as the Mona Lisa. I want to go against the stereotype that puts ballet

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THE ART OF COCKTAILS

THE CARABOSSE INSPIRED BY THE SLEEPING BEAUTY

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your cultural concierge Photos (left to right): Brent Luebbert, Daniel Kirk, Alicia Cutaia, photo by Michael Shay Polara; Carlos Kalmar, photo by Leah Nash; Caroline MacDonald, photo by Blaine Truitt Covert; Deidrie Henry, photo by Patrick Weishampel; Kayla Banks, photo by Meg Nanna.

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

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

DEAR URSUL A ,

Attending live performance art is one of the great joys of my life. Another is my nephew, which is why one of my recent gifts to him was a pair of tickets for us to use together. The more I learn about the benefits of performing arts exposure for children, the more I am determined to bring the arts into his life. I’m not sure which of us is more excited, but my anticipation comes with a tinge of nerves about taking a kid to a show. It will be the kiddo’s first live performance experience. He’s a good kid, but his interpretation of “whisper” is a breathy shout. Sitting still isn’t exactly his strong suit. What can I do to help prepare him? Any advice on how to handle challenging behavior in the moment? — Don’t Want To Be THAT Person A

DEAR DON’T WANT TO BE THAT PERSON,

You, my good reader, get a gold star for noting the merits of the performing arts for our young people. I often take to my soapbox on this topic, but my resolution for the new year was to digress less. I’ll say just this: being among the audience of performing arts is an unparalleled, immersive educational experience. Brilliant people have studied this. I also

say it’s true, which is enough in itself. Children must be taught to appreciate art, and that begins with exposure. Bravo. Surely, you’ve done your research and checked on any age restrictions and the recommended age before you selected your nephew’s first show. There is no shortage of “family-friendly” productions, including children’s theater and the Oregon Symphony’s Kids Concerts. The programming of these types of shows is explicitly geared toward children, as is the length of the performance. The Symphony, for example, recommends their kid-friendly shows for those ages 5–10. For children under age three, there are Symphony Storytimes with musicians playing live to read-aloud stories. My five children, 14 grandchildren, and seven great-grandchildren adore these, each in their own turn. Like appreciation, propriety is learned behavior. No matter one’s age, a little preparation goes a long way for first-timers. Talk to your nephew about the upcoming production. If it’s an adaption of a storybook, read the story. If it’s a concert, listen to similar music. Explain that the theater or concert hall is a special place that comes with particular behavior. Talk through the

expected behavior — staying seated, listening, saving questions for later. In my experience, many adults could do well with a refresher. Depending on the child’s age, you might share some of the strategies you use when you get antsy. Teach that boredom is not an emergency. It’s an opportunity. Be sure to arrive 30 minutes early to get situated in your seats and borrow a booster seat from the coat check room if needed. Make a last trip to the restroom just before the show begins. Model good manners yourself as you turn off your cell phone for goodness sake! While an ounce of prevention is worth a pound of cure, don’t expect that every attempted exposure to live art will be smooth. If sitting reasonably still and remaining reasonably quiet becomes unmanageable, it’s acceptable to step out of a kid-friendly performance. If patience and restraint have run out, it’s ok to leave. These virtues will build by degrees. In my vast experience with humankind, the concern about being THAT person rarely becomes a reality. The first step toward propriety is good sense. Simply being aware that a situation involves particulars is half the battle. —Ursula the Usher

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The Sleeping Beauty - Oregon Ballet Theatre

Articles inside

ON POINTE: BRIAN BENNETT

THE ART OF COCKTAILS: THE CARABOSSE

GALA PHOTOS

ASK URSULA THE USHER

DONORS

OREGON BALLET THEATRE STAFF & BOARD OF TRUSTEES

PLACES: A FIRSTHAND ACCOUNT OF DANCING IN THE SLEEPING BEAUTY

EXECUTIVE STAFF

LETTER FROM THE CHAIRWOMAN OF THE BOARD OF TRUSTEES

CHOREOGRAPHER

LETTER FROM THE ARTISTIC DIRECTOR

COMPANY

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