2015 volume 3
front row 52nd season preview In this issue
KATLYN ADDISON becomes the sugar plum fairy
CHRIS RUUD reflecting and innovating
ADAM SKLUTE on iconic classics
PETER MERZ on nijinsky
ROMEO & JULIET by the numbers
the front row | 1 demi soloist katlyn addison | photo by luke isley
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IN THE NEWS Northrop Tour Ballet West’s first performance of the 2015–2016 Season was also its debut at the Northrop Auditorium in Minneapolis, Minnesota. The one-night engagement sold out and was a huge success. “Ballet West dancers delivered a show with excellent technical skills. The dancers’ timing was impeccable and the artistry was beautiful,” said one critic. The Company performed Jerome Robbins’ Fancy Free, which is also part of Ballet West’s Season Opener, “Iconic Classics,” and George Balanchine’s Who Cares? The presenters are already looking at dates to bring the Company back to The North Star State.
Tara Simoncic Appointed Music Director Ballet West is excited to announce Tara Simoncic has been hired as Music Director. Simoncic made her conducting debut with Ballet West in 2014, and most recently worked with the Company during Swan Lake in the spring of 2015. She has also worked with symphonies around the world, and is considered to be at the forefront of young American conductors.
table of contents 4
ICONIC CLASSICS
6
KATLYN ADDISON
a well-balanced mixed repertoire
sugar plum dreams
10 NIJINSKY 101
peter merz states the facts
10 CHISTOPHER RUUD on the family business
8
by the numbers Romeo and Juliet
14 new and renewed donors Welcome to our newest supporters sponsors
16 upcoming events Our quarterly calendar staff Josh Jones Writer & Editor
Whitney Shaw Design
Sara M. K. Neal Associate Director of Marketing
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iconic classics “When I plan a mixed repertoire program, I like to think of it as a great, wellbalanced meal. An appetizer, entrée and dessert,” says Adam Sklute, Ballet West Artistic Director. With the 2015-16 season opener, “Iconic Classics,” that is exactly what Sklute has accomplished, starting with Jerome Robbins’ and Leonard Bernstein’s charming and playful Fancy Free – the predecessor to the Broadway show and classic film, On The Town. Jiří Kylián’s Overgrown Path, set to a haunting solo piano cycle, follows. The program comes to a show-stopping conclusion with George Balanchine’s sparkling and jubilant Symphony in C – performed in its complete form for the first time in Utah, with 50 dancers, and set to the music of George Bizet. “These three pieces are iconic, not only to the art form, but to me, personally,” says Sklute looking out the window of his third floor office in the Janet Quinney Lawson Capitol Theatre. “All three are from iconic choreographers, all of them redefined how we look at ballet, and all three inspired me to become a ballet dancer.” Sklute says he first saw Fancy Free in 1982, performed by New York City Ballet. “It was wonderful. It had storytelling, humor, and a Broadway musical style charm.” Sklute was fascinated by the spontaneity of the physicality and the acting. It wasn’t until long after the performance that he learned that this was a Robbins’ trademark: dancers might appear to be improvising on stage, but in reality, every tiny movement was choreographed, and nothing was left to chance.
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In 1981, Sklute saw Jiří Kylián’s Overgrown Path at the Metropolitan Opera House with Kylián’s original company, The Netherlands Dance Theater. Never before had he experienced such intensity of emotion brought out through such simplicity of economic movement and a perfect melding of music and dance. “This ballet was a revelation to me,” said Sklute, “and indeed, it was one of the main reasons I decided to become a dancer.” On stage that day in 1981 was Netherlands Dance Theatre’s Roslyn Anderson who, after retiring from dance in 1994, became a repetituer of Kylián’s work, circling the globe to set his ballets for other companies around the world. Thirtyfour years after Sklute first saw her dance, he is hosting Anderson as she sets the piece for Ballet West this season. When you go back to the metaphor of the meal, Sklute says, “Fancy Free is definitely a joyous appetizer. Overgrown Path is the main course: deep, intense, and very moving. So, we had to have a spectacular dessert: George Balanchine’s Symphony in C.” In 1982, on Opening Night of New York City Ballet's season, Sklute purchased a ticket for $2.50 for the highest mezzanine in what is now the David H. Koch Theater at Lincoln Center. “At some point, I looked down and scanned the house and saw an open seat in the first row. During an intermission, I casually walked down and took
that seat. I saw Symphony in C as a teenager from the front row, and I was overwhelmed.” Sklute leans across his desk, “Fifty dancers, gleaming white tutus on the women, and the men in stunning black. It was exhilarating, thrilling and heart-pounding. Every member of this huge cast works with enormous technical demands. I walked away thinking it was the most incredible thing I had ever seen!” His eyes are wide as he recounts this moment from the edge of his seat. Sklute was not the first to be moved by the piece, and he certainly won’t be the last. When it premiered in 1948, Jerome Robbins was in the audience and wrote to Balanchine that night, asking to be hired in any capacity at New York City Ballet. Now, over 30 years after Sklute first experienced three thrilling works, “it is a dream come true as an Artistic Director to be able to present them to audiences in Utah and around the globe.” “Each piece is iconic, the composers are some of the most quintessential in the last 100 years, and the choreographers are certainly some of the most important in modern history.” By Adam Sklute’s own words, Iconic Classics will definitely be a “meal” to savor.
photo by beau pearson
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katlyn addison's sugar plum dreams Demi-Soloist Katlyn Addison has danced with Ballet West since 2011. She grew up in Campton, Ontario, Canada and started her training at The National Ballet School of Canada. Addison recently learned that she will perform the prestigious role of Sugar Plum Fairy in the Diamond Anniversary of The Nutcracker, a role she has dreamed about since she was four. She talks about those aspirations and her thoughts on race in the ballet world. Tell us about some of your Nutcracker memories. My Mom told me The Nutcracker is how I first fell in love with ballet. I was very young, perhaps four years old, and two of our family holiday traditions were to attend The Nutcracker, as well as Disney on Ice. I remember The Nutcracker being my favorite ballet. My Mom said when the Sugar Plum Fairy came on stage in that sparkling white gown with her big smile and huge eyes, I looked up and asked her, “When I grow up, can I do that, and dance like her?” My Mom is an educator, and she said, “You can do anything you want to do when you grow up.” She told me that I’ve been excited about ballet ever since (which is true to this day). Over the years, I have had many roles in The Nutcracker, and I still look forward to it. Who is your biggest inspiration, both professionally and personally? My biggest inspiration is my Mother. Her journey has had many obstacles, and she still inspires. She’s shown me that anything is possible if you truly put your faith in God’s hands and work hard for what you want. All things in life are possible.
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What did you say when Adam cast you as Sugar Plum Fairy? What are your feelings on taking on this iconic, beloved role? For the past three years, I’ve been understudying for the role, so it allowed me to learn the Sugar Plum Fairy role. When I saw my name on the board as a cast member, I told myself that I had to get this part. The way I found out was Adam [Sklute, Artistic Director] came and asked me what color tights I wanted to wear when performing the Sugar Plum Fairy. The first thing that came to mind was, “Thank you, God, I have finally made it!” I called my family immediately and they wanted to know the dates I'd be performing so they could come see me. I am excited, and so happy. For my entire ballet career, I’ve watched many different companies perform The Nutcracker, and knowing I’m finally ready to be the lead ballerina in this amazing Company, well, I feel very humbled. Being able to perform this iconic and beloved role makes me feel honored. It truly makes me a classical ballerina.
favorite part of salt lake city
The natural beauty You will be one of the first black ballerinas in the United States to be cast as Sugar Plum Fairy. Tell us your thoughts on that. Performing a role that is mostly done by white ballerinas makes me feel as if I've stepped out of the bubble. People are no longer seeing me as just the “black” ballerina; they can see my abilities. I've stepped out of that bubble in the sense that I am being judged solely by my talents as a beautiful ballerina. And, I’m happy that Adam thinks I'm more then capable of taking on this leading role of the Sugar Plum Fairy in a Ballet West production of The Nutcracker. I know there are a lot of black dancers and ballerinas that look up to you. What is your perspective on that? Knowing that young and old dancers and ballerinas look up to me is an honor. I am touched and inspired. Being a role model comes with responsibilities. I must demonstrate the work ethics required to do this job, and it drives me to be better at my craft. I must have a willingness to make sacrifices. Trusting in God, I know that he will take care of me at all times.
favorite restaurant
Sampan if i’m not dancing i am
Watching Movies favorite movie
Love & Basketball people would be surprised by
My little brother, Jeremiah Addison was drafted in the 2015 NHL Draft by The Montreal Canadiens.
Do you feel like a role model to those little girls who don't look like a lot of other girls in their dance studio? Yes, I do feel like a role model to all of those young girls out there who don't look like a lot of others girls in their studios. I know how it feels, because I was one! This is why every day that I step into the studios or step onto the stage, I'm not just dancing for myself, but I'm dancing for every little girl who thinks they can't be a ballerina. They can.
the front row | 7 photo by luke isley
ROMEO AND JULIET
by the numbers michael andrew currey vice president of artistic and production operations
Romeo and Juliet will be one of the largest productions ever staged by Ballet West. It includes a massive cast, huge sets, a large orchestra, and hundreds of props. Michael Andrew Currey, Vice President of Artistic and Production Operations, is in his seventh season with Ballet West, and will ensure that all of those thousands of pieces and details are precisely in place for every performance. Here are some numbers that highlight the grand scale of this ballet, which audiences will be able to enjoy from February 12–20, 2016:
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75
cast members
50
orchestra members Sergei Prokofiev’s score, written specifically for Romeo and Juliet, is considered one of the greatest full-length ballet scores since those created by Tchaikovsky
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mandolins used in every production
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number of ballet companies in the United States entrusted with, and licensed, to perform John Cranko’s version of Romeo and Juliet
1,903 miles the set will travel
It is rented from The National Ballet of Canada, in Toronto, Ontario
1 bridge 1 crypt 1 balcony The production is known for having beautiful, large set pieces.
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250 costumes
This includes several changes for Juliet, the Duke and Mercutio
14 swords
The Company will bring in a stage combat expert to instruct the dancers on how to safely use the instruments. Minutes before every performance, dancers will be called to rehearse scenes involving the weapons,so that the movements are fresh in everyone’s minds.
100 s pieces of prop fruit and vegetables
That are used in the marketplace fight scene
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semi-trucks are needed to transport costumes, set, props to the Janet Quinney Lawson Capitol Theatre
acts
2 hours 45 minutes (Running time with two intermissions)
the front row | 9 first soloist sayaka ohtaki | principal artist christopher ruud | photo by beau pearson
PETER MERZ
nijinsky 101 peter merz director of ballet west academy
Professor Merz is one title the Director of the Ballet West Academy, Peter LeBreton Merz, has utilized in his career. Along his journey in the dance world, Merz has been a student, production manager, technical director, choreographer of over 40 ballets, and professional dancer with Cincinnati Ballet. But, he tends to like “Professor” the best. “I love the intellectual side of dance,” says Merz, “At the beginning of the year, I like to look at each student as a Rubik’s Cube. I like to figure out what motivates them, and how to help them problem solve. It’s a great feeling to see someone when they discover something on their own or understand a new idea or concept.”Niji We’ve asked Professor Merz, who taught at Point Park University in Pittsburgh, Pennsylvania, to enlighten us on the great Vaslav Nijinsky, the Russian-born dancer and choreographer who inspired Adam Sklute, Artistic Director to program Ballet West's spring production as a tribute to this legendary man. Before you see “The Nijinsky Revolution,” Merz tells us the top eight fascinating facts you’ll want to know about him.
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the front row | 10 photo by luke isley
Nijinsky was teased as a child for being Polish. He was also envied for his dance skills by other students. He was bullied mercilessly throughout his childhood. When he was 11 years old, one of his classmates tripped him, causing a concussion that left him in a coma for four days. Nijinsky was the first man to wear tights in ballet. In fact, he was dismissed from the Imperial Theatre in St. Petersburg, Russia when he refused to wear trunks over his tights during Giselle.
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A turning point for Nijinsky was his meeting the great Sergei Diaghilev, the celebrated producer who promoted Russian culture abroad through his Company, the now-famous Ballet Russes. While working and dating his supervisor at Ballet Russes, Nijinsky traveled via ship to South America and became interested in a fellow dancer, a young Hungarian heiress. When they docked in Buenos Aires, they were married. Upon learning of the marriage, his boss at Ballet Russes fired him immediately.
rite of spring | photo by luke isley
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In 1913, The Rite of Spring debuted in Paris. “It started with a bassoon and ended with a brawl,” was how one newspaper described the evening. Nijinsky’s modern movements and a narrative of pagan sacrifice caused vegetables to be thrown on stage, and a riot to spread from the theater out into the streets. One hundred years later, on May 29, 2013, in the same theatre, the Mariinsky Ballet performed the piece again, and not only did the audience stay for the entire performance, but the evening was live-streamed on French national television. During World War I, Nijinsky was interned in a war camp in Budapest, Hungary. It was United States President Woodrow Wilson and the King of Spain who successfully bid for his release.
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After a tour to the U.S. and another to South America in 1917, Nijinsky, his wife, and two daughters settled in St. Moritz, Switzerland. His mental condition rapidly deteriorated, and he was diagnosed with schizophrenia in 1919 and committed to an asylum. For the next 30 years (half of his life), he was in and out of institutions, never to dance again in public. Nijinsky died of kidney failure at a clinic in London on April 8, 1950. He was buried in London, but his remains were later moved to Paris in 1953.
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CHRISTOPHER RUUD
the family business Tomm Ruud danced for Ballet West for 10 years before joining San Francisco Ballet in 1975. Three
choreographic steps of his father as he stages
years later, his son, Christopher, was born, and
his ninth original work for Innovations 2016.
with him, a ballet dynasty. He was mimicking his father as soon as he could stand, and not long after, was talking ballet when he found his true voice. Plies and pirouettes weren’t far off. Ruud is a protégé of his father, and a prodigy of the art form itself.
“This came about in a haphazard way. Adam [Sklute, Artistic Director] came to me and asked if I had any ideas for choreography. We had this great, organic conversation with many concepts, and one of the ideas was to tell about the climb through life, particularly a woman’s life,” recalls
As a child, Christopher grew up on stage; well,
Ruud. “We talked about using a local score, and
stage left, that is! He watched as spotlights
we both mentioned Jared’s [Oaks, Assistant
followed his father’s leaps through the air and
Musical Director] name at the same time. And,
then gracefully landed him back to earth, yards
it was Jared who came to me with Lord Alfred
from where he launched. Christopher saw his
Tennyson’s On Memoriam A.H.H., which has
Dad perform magic on stage nightly, and it was
given a stronger narrative to the entire piece. Each
impossible for him not to be pulled into the
stanza talks about ones’ own ability to succeed,
tractor-beam of ballet.
and rising above whatever you’re born into.”
Early in his career at Ballet West, he would put
Lord Tennyson’s poem is a requiem for a beloved
on a costume and notice the name “RUUD” on
friend who died suddenly at a young age. The
a faded tag on the inside of his garment. Now,
piece took 17 years to write, and is considered
with 18 years in the Company and 12 as Principal,
one of the greatest poems of the 19th Century.
in his own words Christopher Ruud has danced for 18 years, but he’s lived his whole life on stage. We asked him what advice he would give to a young dancer. The answer was raw, honest, and introspective. the front row | 12
Christopher Ruud is again following in the
•
Becoming a ballet dancer is a monastic journey; it is full of ritualistic discipline that only becomes greater and more difficult as you move forward in your career.
•
The trick is to be able to give up the “self ” without losing the “self.” You have to find the desire, the passion, and the will-power to never stop achieving.
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You give up absolutely everything else in your life to work toward a singular goal of refining the beauty that is ballet.
From this inspiration, Ruud wants to tell the story of one woman through five phases of her life, or five stanzas. Five female dancers will take a character, each playing a phase of life. For more inspiration, Ruud interviewed his dear friend and major supporter of Ballet West, Barbara Barrington Jones. “I asked her a set of questions about each part of her life. I wanted to watch her reflect, and physically witness her reaction to major events or portions of her life. From that interview, I saw her gestures and her movements evolve as she spoke about progressing through each phase. There was a beauty to her answers to each question.” Ruud went home and had a nagging feeling that if this ballet was going to be inspired so heavily by Jones’ movement and her personal story, it only seemed fitting for her to be in the cast. “She played a much larger role in the narrative than I had expected. This ballet is about being in the midst of the climb of life, fighting against all
odds, and then finally getting to a point where people look up to you, and you look back and see the complexity and meaning of it all. I’ve created a part for Barbara in the opening and postlude, and it will have a lot of emotion.” The piece will continue to be refined between now and May 20 when Innovations 2016 opens. Ruud is, by all measures, excited to maneuver the creative corridors that he’ll take between now and then. “The problem with this career,” said Ruud, “is that you could spend an entire lifetime refining and creating artistry, and there will always be more to achieve.” Thankfully, Christopher Ruud has a dynasty to live up to, and we don’t see him slowing down any time soon.
principal artist christopher ruud | the lottery | photo by luke isley
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The great thing about ballet is, the more you accomplish, the more you discover that there is an absurd amount to accomplish. I will never be able to do everything I want to do in this career.
•
I’ve done so much and worked so hard with so many great people that when I’m ready to say that I’m not an active dancer, I won’t have any regrets. The gratitude for all the moments I shared on stage will vastly outweigh anything I could hope to have done.
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donors founder’s circle Beano Solomon Barbara Kipper Difiore Family John and Marica Price Family Foundation Keith and Nancy Rattie James Lee Sorenson Foundation Paul and Cheryl Huntsman
Each issue of the Front Row will feature a listing of current Heritage Club and Founder's Circle patrons, corporate sponsors, foundation and government supporters, and new members ($350+ level) who have joined since our last publication. For a full listing of our generous donors, please visit BalletWest.org/donor-acknowledgments.
Carol Browning, Céline Browning, and Rete and Tikki Browning
Child
Ginny Bostrom
Mark Weisbender
Gordon Irving
Marla M. Gault
Carol Carter
Willis McCree and John Fromer Ballet Master
Govert Bassett
Mary Ann Gardner
Howard A. and Lou Ann B. Jorgensen
Mary Bird and Lance Wood
J.H. Bogart
Michael Fife
Jacquelyn Wentz
Mitch and Shannon Rice
Alexis Carr
James R. Kruse and Mary Jo Smith
N. Leone Rogers
Amalia Cochran
Jeanie Pollack
Amy Wadsworth and David Richardson
Johann Jacobs and David Heuvel
Nile Eatmon
Anamarie Gold
John and Ilauna Gurr
Arthur and Diane Walden
John and Marilyn Alleman
Patrica Anderson
Bill and Betty Weldon
John Bogart and Carol Mone
Carol Christ Cecile and Hal Christiansen Conrad and Anne Jenson Deborah B. and Edward Felt Doug Brown
Peggy Bergmann
Dr. Clifford S. Reusch, M.D.
Stephanie and Tim Harpst
E. Lindsay and Carla Carlisle
Theodore Schmidt
Ellen and Chris Rossi
heritage club
Erik and Uzo Erlingsson
Archivist and Director
George H. and Tamie P. Speciale
Alan and Jeanne Hall
Hu Ding
Carole Wood and Darrell Hensleigh
James and Barbara Clark
Dan Miller
Jennifer Speers
John and Andrea Miller Judy Brady and Drew W. Browning Katharine W. Lamb Katherine Scott Liz and Jonathan Slager
Janet Richardson Jerry and Linda Rowley Kevin Voyles Marelynn and Edward Zipser Margaret Anderson
Marie and Kevin Brown
Peter and Catherine Meldrum
Stanford and Dixie Stoddard
Petras and Liuda Avizonis
Sue J. Ellis
Richard and Lois Peterson
Vilija Avizonis and Greg McComas Ballet Mistress and Choreographer
Ron and Shelley Hansen Roy Vincent Scott and Lisa Altman
Adam Sklute and Christopher Renstrom
Spencer F. Eccles
Angela Martindale
Sue and Jack Stahl
Barbara Tanner
Sue and Walker Wallace
Bonnie Jean Beesley
Teresa Silcox
Brad and Linda Walton
William and Melissa Connelly
Brian and Janae Powell
Stephen Anderson
William and Patricia W.
Aharon Shulimson and Julie Terry Al and Carol Baer Alex Fenech
Brent Johnson Brian Burka and Jerry Hussong Brian Valentine
John Eckert John H. and Joan B. Firmage
Carol and Guy Kroesche
John Karls
Charles and Susan Critchlow
John Sklute Jon and Helle Le Rette
Christopher D'Addario
Jonathan Crossett and Pascale E. de Rozario
Clisto and Suzanne Beaty Connie Holbrook
Julia Watkins
Daniel Horns & Renee Zollinger
Julie Hopkins Karen L. Freed
David and Donna Lyon David and Linda Irvine
Katherine Probert Labrum
David and Sandylee Griswold
Katherine Smith Kenneth Handley
David E. and Helane B. Leta
Larry and Tina Howard
David Keith Garside
Linda S. Pembroke
Dee Gauss Diana Major Spencer Dr. Mark and Linda Scholl Dr. Pamela Parkinson and Joshua Scoby G. Frank and Pamela Joklik Gary and Joann Rieben Gary Beers
Archivist Dinner On September 26, 2015, longtime Ballet West donors gathered outside Kamas, Utah for the first-ever Archivist Dinner. Under a fall sky, and surrounded by colorfully painted mountains, Katherine Scott’s ranch was the perfect setting for a wonderful evening of memories, reminiscing, and excitement for the future of the Company. Adam Sklute, Artistic Director, and Bruce Caldwell, Ballet Master and Company Archivist, took guests through an oral and visual history of the Company, while also giving a preview of the 2015-16 Season. the front row | 14
Laura Scott Marcy Barlow Margaret P. Sargent Marilyn and Chester Johnson Marilyn Neilson Marina Lawson Marjorie and Thomas Mclaughlin Mark and Wendi Holland
Nancy and Robert Sparrer Oren and Liz Nelson Patti Eylar and Charlie Gardner Rachele McCarthey and Brock Vandecamp Raili A. Fuller Ray Pickup Rebecca Marriott Champion Rick and Chris Veit Robert and Dixie Huefner Robert Schumacker Rose Kuo & Larry Gross Sandy Haughey Scott and Allison Kendell Scott and JoAnn Narus Scott Nichols Sheri P. Morgan Sissy Eichwald Susan Warshaw Tami Hansen Thomas and Mary McCarthey Tim Jones Tina Jensen Todd Smith Tony and Roxanne Christensen Lazzara Victoria Jane Ream Anonymous
What a fantastic and unique event; it made us even more excited to support Ballet West! —willis mccree
new and renewed members Lois Haroldsen Karen Major Andry and Ludmila Zharkikh Lois Martino Carole Sharp
foundations, corporate, and government support $100,000+ George S. and Dolores Doré Eccles Foundation James Lee Sorenson Family Foundation
$10,000-$24,999 Beaver Creek Foundation
Henry & Leslie Eskuche Foundation
Florence J. Gillmor Foundation
Henriksen-Butler
Salt Lake Mailing and Printing*
High West Distillery*
Southern Wine & Spirits*
C. Comstock Clayton Foundation
Intermountain Health Care
Snow, Christensen & Martineau
The Container Store
Joanne L. Shrontz Family Foundation
Stoel Rives
Larson & Company PC
Tanner, LLC
Cyprus Credit Union
Frederick Q. Lawson Foundation
Durham Jones & Pinegar
Peter & Catherine Meldrum Foundation
Hotel Monaco & Bambara Restaurant*
S.J. and Jessie E. Quinney Foundation
Richard K. & Shirley S. Hemingway Foundation
Salt Lake County Zoo, Arts and Parks Program
Dr. Jeremy Wimmer with Elite Chiropractic Center*
University of Utah Health Sciences*
Every Blooming Thing*
W. Mack & Julia S. Watkins Foundation
Raili Fuller
Utah State Legislative Funding through the Utah State Office of Education Professional outreach Program in the Schools.
Renee Matsufuji Toomey
$25,000–$99,999
Sara and Trevor Snell Jessica Kidman Corey Carroll Don L. Stromquist Julie Eskind Casey Preece Dennis Flynn Danielle Willardsen Shauna Smith Mathew Ackerman and Alicia Reichert
Julie O'Brien Melody Kester
Barbara Barrington Jones Family Foundation
Tracey Collier
B.W. Bastian Foundation
Kathleen Bingham
Emma Eccles Jones Foundation
Kathy Melby Richard Carver Lisa Nichols Ingrid Bornschein Anna Rolapp Caitlen Besler David Roberts Nancy Futrell Ron and Shelley Hansen Bryce Jamison Hatch Amber Hollingsworth Katherine Noble Catherine Stashak
Janet Q. Lawson Foundation Jerome Robbins Foundation Huntsman Family Foundation Le Croissant Catering* Marriner S. Eccles Foundation Nuvestack* Salt Lake Regional Medical Center* Shubert Foundation
Cammie Titus
Sorenson Legacy Foundation
Cynthia Huntsalong
Utah Toyota Dealers
Lauraine Stephen
Utah Arts and Museums with funding from the State of Utah and the National Endowment for the Arts
Amanda Wirth Vivian Cook Shannon Skiles Nathan Levanger
Zions Bank
Goldman Sachs
Holiday Inn Express*
Rowland Visuals* Ruth's Chris* Salt Lake City Arts Council Union Pacific Foundation
Larry H. & Gail Miller Family Foundation
$1,000-$4,999
Lawrence T. & Janet T. Dee Foundation
5 Wives Vodka* The Boeing Company
O.C. Tanner
City Creek Center*
R. Harold Burton Foundation
cityhome COLLECTIVE*
Ray and Tye Noorda Foundation
Delta Airlines*
Simmons Family Foundation Sorenson Legacy Foundation
Workers Compensation Fund Whole Foods
Dorsey & Whitney LLP Katherine W. Dumke & Ezekiel R. Dumke Jr. Foundation Epic Brewery *
Mark Miller Subaru
Trolley Square Ventures*
Merrick Bank
Webb AV*
Mills Publishing
Wells Fargo Bank Foundation
Molina Health Care
Church of Jesus Christ of Latter-day Saints Foundation
Visit Salt Lake*
Diamond Rental*
The New Yorker*
Chevron
US Bank Bancorp Foundation
Cuisine Unlimited*
Holland & Hart LLP
$5,000-$9,999
Target
Caitland Photography
Taubman/City Creek Center*
Wheeler Foundation
Swire Coca-Cola
3M
Mina Vaughn Foundation
Rocky Mountain Power Foundation
Company*
J Wongs*
Joe Muscolino* Nicholas & Company* Nordstrom Cares Foundation Overstock.com* The Robin's Nest * Salt Lake Brewing
*in kind donation
august 1, 2015 – october 10, 2015
the front row | 15
upcoming events
52 west 200 south salt lake city, utah 84101
Opening Night Gala
november 6
A Gala unlike any other, this year held at the Jessie Eccles Quinney Ballet Centre! Iconic Classics
november 6–14 Three 20th century masterworks on one dazzling program The Nutcracker
december 10–27 No holiday season is complete without the festive cheer of The Nutcracker Romeo and Juliet
february 12–20 The most romantic story of all time
november s
Beauty and the Beast
march 31–april 3
The Nijinksy Revolution
april 15–23
Innovations 2016
may 20–28
tickets the801·869·6900 front row || donations 16 801·869·6949 | balletwest.org
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