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SUPER SUPPORTER
SPOTLIGHT ON LOUISVILLE BALLET BOARD MEMBER ANGIE ZUVON NENNI
isconsin native Angie Zuvon Nenni has made Louisville her home since 1988. Nenni has made her professional home with Delta Dental of Kentucky, where she’s worked and grown her career for 29 years, and where W she currently helps lead the organization as Vice President and
Chief Administrative Officer.
She adores Louisville for so many reasons — the spectacle, excitement, and especially the fun of the Kentucky Derby — and she can think of no better place to have raised her now adult children, Krista, Jake, and Brad. Angie joined the Louisville Ballet board of directors in 2019 and we’re so fortunate to have her strong, thoughtful presence. We sat down with her to talk that the people involved with the company are delightful, and
about her role on the board and what keeps her passionate about the ballet.
Louisville Ballet: Why did you made the decision to join the Louisville Ballet board? Angie Nenni: Joining the Louisville Ballet board was unexpected. A friend in the community thought it might be a good fit, so he made a recommendation to the Louisville Ballet nominating committee. I was not looking to join another board at that time, but the thought of Louisville Ballet intrigued me. I was invited to a lunch to meet a few board members and see if it was a fit for both the Louisville Ballet and me. For a moment, I wondered if there would be a mark against me, since I was I invited clients, colleagues, and family, and many of my guests
using crutches because I had recently broken my foot – of all things – dancing.
Before I made my decision, I attended the ballet’s spring 2019 production of Cinderella, a revival of Alun Jones’ 1979 production. I also soon after saw the ballet’s summer performance of Cleopatra, with original choreography by Louisville Ballet company dancer Erica De La O, as part of Kentucky Shakespeare’s season in Central Park. Just from experiencing both of those Louisville Ballet. The perfect combination of Robert and the ballet dancers was new, different, and exciting, and I wanted to be a part of it.
— Angie Zuvon Nenni
LB: What keeps you involved? AN: There are several reasons why I like being involved with Louisville Ballet. On the most basic, immediate level, I’d say the art of dance is beautiful. I’d also really say that I’ve found the ballet is an enjoyable way to bring together family, friends, colleagues, and clients.
The company’s board of directors, Artistic Director Robert Curran, the administrative team and the ballet dancers have a dynamic synergy and dedication to our ballet and our community. I’m also happy to add their new Executive Director, Nichole Gantshar, as another engaged, spirited force for the ballet.
I enjoy introducing people to the Louisville Ballet who have never attended a performance before. During the past season, productions, I knew there was something very special about
had not attended the ballet. I love watching the transformation they experience when they realize ballet can be fun, amazing, and exciting. They are so often surprised when they find, after experiencing a performance for themselves, that they love it, too. I have had instances, immediately after a performance, where my guests would ask if I would invite them again.
One of my favorite family outings was when my children asked to join me for the Antipodes performance, the final production of the 2019-20 Season. We started with a family dinner at a
Louisville Ballet, Cleopatra. Choreography by Erica De La O, performed as part of Kentucky Shakespeare's season in Central Park and one of Angie Zuvon Nenni's most memorable performances. Photo by Sam English, 2019.
Louisville Ballet Company Dancer Leigh Anne Albrechta in Ronald Hynd's The Merry Widow. Photo by Sam English, 2019.
local restaurant and then attended the performance. It was a wonderful way to spend time with my family, and everyone enjoyed the performance. We are already making our plans to attend the upcoming virtual Season of Illumination together from our living room. Even though the venue will be different from last season, I’m certain that the family togetherness and fun will be the same.
LB: What's your favorite Louisville Ballet moment? AN: The Merry Widow, the first production of the 2019-20 season, for sure. This performance coincided with the annual Louisville Ballet Gala. Our Delta Dental of Kentucky clients, along with some of my colleagues, joined us at the Gala and at The Merry Widow performance immediately afterwards.
Most of our guests had not been to a ballet besides our fabulous Brown-Forman Nutcracker. And, to be honest, the morning of the performance I realized that I had no idea what this ballet was about, so I started researching to find out. The more I read, the more excited I got. And for good reason. It was a beautiful ballet with comedy woven throughout the performance. I sent the story of The Merry Widow to all of our guests before we all attended. Their reaction and comments were sent back and forth throughout the day, making for such a fun and exciting interaction leading up to the event. I had no idea that humor could or would be part of a ballet performance. I hope this production returns some day for those who did not have the opportunity to see it. It is a must-see.
LB: What is special about Artistic Director Robert Curran, and why does his vision for the ballet resonate with you? AN: Robert is one of the main reasons I joined the Louisville Ballet board of directors. His vision and artistry are dynamic and creative, no question. Not only does he choose productions that are known and loved by all, but he also introduces Louisville to new productions. There is something for everyone, every season. Many people may not know that Robert danced with The Australian Ballet for 16 years, with 10 of those years as a principal dancer. Louisville is so fortunate to have such a talented professional in our city’s artistic community.
LB: What do you wish everyone knew about Louisville Ballet? AN: I wish that everyone knew, without hesitation, that ballet is not only for people who have had a love for it all their lives; love and appreciation for the ballet really can begin at any time. I encourage those who have not had the opportunity to attend, or haven’t been to a performance lately, to make some time to watch the upcoming virtual season. Make this your own personal experience – family time, friend time with your favorite wine, pick up a fabulous dinner and watch it with your spouse or loved one. Do it any way you want to do it, make it your ballet!
LB: What do you think is the biggest challenge facing the ballet? Opportunity? Is this different from other arts organizations? AN: One of our biggest challenges, like so many in our community, is navigating through this time of COVID. Ballet has historically been centered on patrons experiencing performances in theaters. Until we can get back to these venues, it is so important that we stay creative and flexible with how we bring the ballet to our guests.
However, this really can be an opportunity to invite more people to experience ballet. For those unable to typically attend performances, we’ve now created opportunities for them to join us. Louisville Ballet is creating a virtual season, where anyone with an internet connection can experience the magic of ballet from their living rooms. I’m so excited to experience these ballet art films for myself and to share them, and the experience, with my friends and family.
LB: Is there anything else you feel like we should know about Louisville Ballet? AN: I loved discovering these Louisville Ballet “fun facts” as I learned more about the company, like Louisville Ballet is the official state ballet of the commonwealth of Kentucky. I was also a little stunned to find out that Louisville Ballet was originally founded in 1952 and will celebrate its 70th year during the 2021-22 Season. They’re also the only regional company that has danced with Mikhail Baryshnikov as part of performances. During its storied history, the ballet has had more than 60 world premiere performances and more than 100,000 people typically attend their annual productions.
This incredible company deserves to be celebrated, and I’m so happy to have the opportunity to help it grow and thrive for years to come.
Bring the joy of dance into your home by viewing these beautiful, moving performances.
VIDEO: Louisville Ballet Season of Illumination memberships are available now. Get a preview of the experience!
VIDEO: "Why Dance?" The benefits of dance education.
TAKING THE REINS Louisville Ballet’s Nichole Gantshar
The Louisville Ballet’s mission is to make moving art that respects tradition, encourages innovation, and fosters life-long learning. The organization inspires connection, conversation, and a profound sense of community by striving for bold collaborations, by nurturing the next generation of artists, by celebrating diversity, and by creating access for all.
Under the leadership of Artistic Director Robert Curran, the company is regarded as one of the finest in the country, and has celebrated several successful seasons. To continue to grow and inspire, the Louisville Ballet is pleased to introduce its new Executive Director, Nichole Gantshar.
Gantshar has been serving as Interim Director since early March and has now transitioned into the permanent role. Curran, who has acted as both Executive Director and Artistic Director since 2015, will shift his focus fully to Artistic Directing.
Gantshar has an extensive background in dance and administration. Most recently, she served as Executive Director for The Rochester City Ballet. While under her leadership, the company received two by Jamie Mountford grants from the National Endowment of the Arts, tripled its overall grant revenue, and increased ticket sales by 30%.
Prior to that, Gantshar was on staff of the Tulsa Ballet and Pittsburgh Ballet Theatre, and earlier in her career worked for Richmond Ballet, Syracuse Stage, and Milwaukee Ballet. She was also a freelance dramaturg for Playwrights Horizons and Pittsburgh Public Theater.
Her talents extend to the classroom and studio as well. She taught at Syracuse University, the University of Stony Brook, the University of Pittsburgh, and Wooster Center of the Arts. Her varied interests have also included serving as a legislative aide in U.S. Congress, and serving on the staff of the Post-Standard newspaper.
“On behalf of the board of trustees, I am excited to formally welcome Nichole as Executive Director,” says Jim Haynes, Louisville Ballet Board President. “We believe that she brings a strong background of administrative leadership, financial discipline, and ballet experience that when combined with Artistic Director Robert Curran’s incredible vision and drive, will ensure the continued success of the company. We look forward to celebrating the positive outcomes of this promising partnership.”
ARRIVING AT A TIME OF CRISIS Gantshar’s arrival in Louisville has not been without its challenges. “Normally, the first 90 days as Executive Director are spent outside of the office learning the city and meeting community leaders, the board, and the staff,” she says. The lockdowns made that impossible, so she has done her best to explore the city on her own.
She recounts walks to Cave Hill Cemetery to visit Muhammad Ali’s grave, strolls through the grounds of the Southern Baptist Theological Seminary, and visits to several local ethnic restaurants. She is most excited about becoming a season subscriber to the Louisville Bats next year.
Gantshar’s first days on the job were also met with unexpected challenges. “On March 11, I loaded up my car with every cocktail dress I own, two Derby hats, a ball gown for good measure, and two pairs of blue jeans,” she says. “On March 12, my first day, Robert handed me a bottle of bourbon and said, ‘I got you a present. You may need it by the end of
For a city many would consider part of the traditional South, Louisville is much better poised to have the conversation about race and inequality than other cities I’ve lived in... I look forward to the Louisville Ballet being part of the conversation.
the day.’ Within the first 30 minutes, we had postponed Kentucky! Volume One and the upcoming fundraiser. The next day, we sent everyone home. I have yet to wear a cocktail dress, and I had to buy more jeans.” Although her experiences as Executive Director have been atypical, her initial impressions of the city and the Louisville Ballet from her interview in November remain very positive. She adds that this time while stages are dark has given her the opportunity to get to know Curran better.
“My impression when I started was that Robert Curran was incredibly talented. What I have learned is that he is not only artistically brilliant, but also intellectually brilliant.” She also jokes about her affinity for Australians. “Robert is the third Australian I have worked with. I was a dramaturg for Rod Wissler, a professor from the University of Quennsville, while he was in the United States directing, and the Artistic Director at The Rochester City Ballet, David Palmer, was also Australian.”
A RETURN TO THE (VIRTUAL) STAGE Gantshar is looking forward to finally seeing the company’s dancers in action when they return Aug. 31 to begin preparing for the 2020- 21 season. The fully digital season, Season of Illumination, will feature ballet art film productions of locally inspired new works and internationally recognized classics, all innovatively and cinematically filmed. “Robert was in front of most ballet companies to go with a digital season — Nichole Gantshar this year,” Gantshar says. “The board made a strong commitment to bring back the dancers. They are our reason for being.” “I’m excited to welcome Nichole to join me in leadership of this company’s dedicated and talented team as we continue to move forward during our upcoming digital Season of Illumination and beyond,” says Curran. “The dancers and staff have proven their capacity for great things, even in the midst of significant challenges. I look forward to pulling together, with Nichole’s insight and support, to continue making moving art, this season and for many seasons to come.”
MOVING THE COMPANY FORWARD Despite the shutdown and other challenges, Gantshar has been hard at work with the Louisville Ballet team behind the scenes. She has submitted a proposal for a National Endowment of the Arts grant. She is also learning all she can about the ballet’s engagement programs, including the upcoming Ballet Bound.
Ballet Bound is a new initiative that provides young dancers from all across Greater Louisville the opportunity to study classical ballet free of charge in a professional setting. Last year, the program offered free dance classes in underprivileged schools. This year, Ballet Bound will add a scholarship program for 15 participants to study at Louisville Ballet. The program is designed to build diversity in the world of ballet while serving as a pathway for dancers to The Louisville Ballet School, Louisville Ballet Studio Company and eventually a career with Louisville Ballet. Louisville, like much of the country, has been impacted by racial tensions and protests, and Gantshar has paid attention to Louisville's response.
“For a city many would consider part of the traditional South, Louisville is much better poised to have the conversation about race and inequality than other cities I’ve lived in,” she says. “Sometimes in the North, people pretend racism doesn’t exist. I share everyone’s concern about what is going on in Louisville, but I am optimistic that Louisville has the personnel, people, and spirit to resolve these issues. I look forward to the Louisville Ballet being part of the conversation.”
LOOKING TO THE FUTURE As Executive Director, Gantshar recognizes that she is building on Robert Curran’s success. When the company was smaller (under $3 million), a single director could run the organization effectively. But now, like most of the major ballet companies in the country, Louisville Ballet has expanded to a size that necessitates two full-time directors. Curran had grown the company to $4.5 million pre-COVID.
While Gantshar assumes an Executive Director’s responsibilities, Curran can concentrate on artistic direction. “My job is to empower Robert Curran’s vision for the company, and anything I can do to do that is my goal for the ballet,” she says. “He is the visionary leader taking us forward. I can facilitate that by making sure the organization is running well, expanding fundraising, and strategic planning with board members.”
Gantshar considers herself a talker and loves hearing what inspires patrons and donors about the ballet. She also loves solving problems.
“One of the best things about my job is that if there is a problem, I can fix it. I can engage allies,” she says. “I remember on opening nights in Rochester, I knew my staff and myself had helped make the performance happen by raising the money for them to create art, and I would cry. I look forward to doing that here as well.”
