Front Row Spring 2019: Jenna Rae Herrera

FRONT ROW 2019 SPRING

Faithful

JENNA RAE HERRERA’S STORY OF DETERMINATION

SOLOIST JENNA RAE HERRERA | PHOTO BY BEAU PEARSON

2 | FRONT ROW

CONTENTS

SPRING 2019

Kudos for Costuming

Utah Governor Gary Herbert and First Lady Jeanette with Ballet West Costume Production Director David Heuvel.

SOLOISTS JENNA RAE HERRERA IN DIVERTIMENTO NO. 15, CHOREOGRAPHY BY GEORGE BALANCHINE ©THE GEORGE BALANCHINE TRUST | PHOTO BY LUKE ISLEY

4 9 10

FRONT ROW PROFILE: JENNA RAE HERRERA ONEGIN’S JOURNEY TO SALT LAKE CITY

SEASON OVERVIEW

David Heuvel, Ballet West Director of Costume Production, received Governor Gary Herbert’s prestigious Artist Award for Visual Arts in January. For five decades, Heuvel has been designing and building costumes, which has taken him to every corner of the globe. Because of his work, the company has received worldwide acclaim and, at home, he makes artists shine. “If they touch the stage feeling comfortable and regal, I have done my job.”

In 2017, David became a United States citizen. “Before, Utah was my ‘adopted home.’ Now, I just call it home. This state has embraced me, and I am blessed to live in a place that truly values its arts— and artists.”

SEASON SPONSORS

STAFF Joshua Jones Writer & Editor

Amy Falls Contributing Writer

Alex Moya Art Direction and Graphic Design

Sara M. K. Neal Chief Marketing Officer

FRONT ROW | 3

front row p rofi le

PRESSURE & PERSEVERANCE

by Joshua Jones

Jenna Rae Herrera’s dance story starts several months before birth. Her mother had gone to the doctor with an excruciating pain in her ribcage. After examination, the doctor explained that future—Jenna’s foot was lodged between two ribs. After some manipulation and massage, the doctor foreshadowed, “I think you’ve got a little pointe shoe dancer in there.”

However, at about two, Liza and Ric Herrera were worried. Jenna had a hard time walking, she would fall down stairs, and her hand-eye coordination just did not seem ‘right.’ Their pediatrician advised them to enroll her into a movement or dance class for toddlers. “And that was the beginning of the rest of my life. I have been in a studio ever since. What can I say? It just stuck.”

O

SOLOISTS JENNA RAE HERRERA IN SERENADE. CHOREOGRAPHY BY GEORGE BALANCHINE ©THE GEORGE BALANCHINE TRUST | PHOTO BY BEAU PEARSON

N STAGE, JENNA IS “LUMINOUS,” “joyous,” and “perfectly executes every technical difficulty” (critics’ words, not ours). Off stage, she exudes the same effervescent qualities, ventilating a room with her broad smile. “Jenna is a wonderful dancer and co-worker,” said Artistic Director Adam Sklute.

“She embraces each challenge with integrity and hard work. Moreover, she is one of those rare people who’s inherent joy and love can create a positive atmosphere just by her being present.”

With a straight face (unusual for Jenna) she says at seven years old she knew she would dance the rest of her life. “It wasn’t just an afterschool hobby.

I knew it was going to be my career. I was a very determined little girl.” That energy and conviction comes directly from her parents who, without any ballet or dance background, always supported Jenna’s dream. “They have sacrificed so much,” she said. “My dad drove me to Pasadena Dance Theatre every day, and it was one and a half hours in both directions.” This went on for six years, but Ric recently said he would do it all over again.

She was attending ballet school at Pasadena Dance Theatre, being taught by Cynthia Young, serendipitously a former Ballet West principal dancer. “Even as a young dancer, Jenna had a light and magical spirit,” recalled Cynthia. “She was always first to class and last to leave. Yes, she was a diligent and hard worker, but it was the joy she brought into the room that was, I believe—and still

is—magnetic. Watching Jenna grow from a giggle to a sincere and thoughtful artist has been a pure pleasure and it was my privilege to have been a part of her journey.”

Jenna attended summer intensives at New York City Ballet’s School of American Ballet and then Seattle’s Pacific Northwest Ballet before auditioning with the Joffrey Ballet at Los Angeles’ Dorothy Chandler Pavilion. There, she met Adam Sklute who was Associate Director of the Chicago company, but had just signed a contract with Ballet West to take the Artistic Director mantle.

“He offered me a Ballet West II contract and I was thrilled,” said Jenna.

She had never been to Salt Lake City and she fell in love. “From the minute I stepped into the studios I knew I wanted to dance here. I realized I could fit in and grow, that this could be my family.”

Ballet West is particularly good at building families.

With around 16 dancers married to other dancers or former dancers, there seems to be a Cupid roaming the studios. It may start with Jeanne Potucek, a former board member who opens her home to new dancers their first year—it was here that Jenna met her future husband, current Ballet West soloist Alexander MacFarlan. She laughs, “While we lived at Jeanne’s house, I think he thought of me as a little strange and annoying thing!” Sharing a deep faith in God (and a healthy love for Mexican food), the two were married in Memory Grove in 2015.

FRONT ROW | 5

front row p rofi le

“WITHOUT GOD’S PROVISIONS, I WOULD HAVE THROWN IN THE TOWEL A LONG TIME AGO AND GIVEN UP.” In Ballet West II, Jenna and Alexander were being coached and mentored by the late Ballet Master Mark Goldweber. “I owe so much to Mark,” Jenna says. “He taught me how to be in a professional company. He told us things that are now common sense. He was a fatherly mentor and I was lucky to learn from him.”

Mark died in 2011 of cancer at just 53. “His passing was shocking. He was healthy one day and then gone.

It deeply affected us all—we were heartbroken. Our whole family was broken.” The night he died, the company performed The Nutcracker. “We felt every emotion. Everyone danced for Mark that night and he was in heaven looking down on us.”

Jenna says she and Alexander still think of Mark often.

“I’ll ask Alex, would he be proud of us? What would he think of us working in the company now? I miss him so much, but he’s still with me—I hear him in my head telling me to check my ribbons, to get in line, teaching me how to be a ballerina.”

After two years in the second company, Adam Sklute told Jenna that there was no position for her in the company. “It was such a hard decision. I loved Jenna but did not have a a full-time position for Jenna that year. Through a series of events, however, I was able to offer her part-time supplemental work.” said Adam.

“I was heartbroken,” said Jenna.

“After two years, I had fallen in love with the company, the dancers, and community. I had these feelings of not being ‘enough.’

For a dancer, that can be very debilitating and hard to overcome.”

Her inspiration to continue came from Christopher Ruud.

SOLOISTS JENNA RAE HERRERA & ALEXANDER MACFARLAN | PHOTOS BY BEAU PEARSON

“I was surprised to be getting a call from a principal dancer. He told me to take the supplemental contract. To swallow my pride and accept the role with grace and continue to work as hard as I could—it made quite an impression.”

Returning as a supplemental dancer, she was able to dance in quite a few large productions including Sir Frederick Ashton’s The Dream, The Nutcracker, George Balanchine’s Serenade, and Swan Lake. “I decided to throw myself into it. I had to prove to everyone that I deserved to be here. I set emotions aside and focused on growing by listening to staff.”

6 | FRONT ROW

ARTISTS OF BALLET WEST | PHOTO BY BEAU PEARSON

Jenna felt like it was sink or swim, but it paid off with Adam offering her a contract in the corps. “That was like a huge weight being lifted off my shoulders. Adam had validated everything I had worked towards.”

For the next five years, she labored in the corps… and loved it. “I had breakout roles in the corps, you get close with those girls, and you get to dance a lot.”

However, after a few years, she wanted to push herself, to prove that she could dance at a higher level.

Her motivation to climb was the same, but her inspiration was different. She says that her faith was pivotal during this time. Jenna, an Episcopalian from birth, said, “Without God’s provisions, I would have thrown in the towel a long time ago and given up.” One of her favorite scriptures is Isaiah 30:21: “Your ears shall hear the word behind you, saying, ‘This is the way, walk in it’ whenever you turn to the right hand or to the left.” Jenna’s faith has been a guiding path throughout her life. Even today, she and other Ballet West dancers regularly meet for Bible study. “My faith is a place for me to refocus and find peace. In this career, you can draw so much of your value from casting, rehearsals, and performances. It is nice to know there is a bigger picture—that my value isn’t based entirely on this place.”

“Mom often says, ‘a delay is not a denial.’” With those words guiding her focus and energy, Jenna was rewarded with a promotion to demi-soloist in 2015; the following year she became a soloist. “My story is really one of perseverance. I have a passion and willingness to do whatever it takes to make my goals come true.”

“Every time I take the stage, I tell myself, this is a gift.”

SCOTTISH BALLET JOINS BALLET WEST CHOREOGRAPHIC FESTIVAL SALT LAKE CITY, UT—Ballet West is thrilled to welcome the renowned Scottish Ballet to the line-up of the third annual Choreographic Festival at the Rose Wagner Performing Arts Center, May 9–11. Celebrating its 50th anniversary this year, Scottish Ballet, under the leadership of CEO and Artistic Director Christopher Hampson, will present a new work by their Artist in Residence, Sophie Laplane, titled Sibilo.

“I’m excited that Chris chose to bring this unique and dynamic work from Sophie Laplane” said Artistic Director Adam Sklute. “Sibilo’s quirky humor and interesting groupings make the work perfect for the Choreographic Festival as it explores movement, sound, and theatrics through the prism of ballet.”

Laplane’s inventive piece for eight dancers features whistling (Sibilo means “whistle” in Latin) with additional music from Glasgow’s Alex Menzies that modulates from electronica to mid-century pop music. The result is hilarious, moving, and eccentric.

Also on the program for the Choreographic Festival is a world premiere from celebrated choreographer and BalletMet Artistic Director Edwaard Liang, along with premieres by Ballet West artists Emily Adams, Katlyn Addison, and Trevor Naumann.

Past presenters at the Choreographic Festival include Pacific Northwest Ballet, Pennsylvania Ballet, Cincinnati Ballet, and others. “Every year I look forward to this Festival. The terrific camaraderie that is built between

all the companies is so inspiring to me and my dancers. It’s about taking chances. Its about seeing what other companies are doing.

And it’s about learning from one another,” said Sklute. “This year’s program will certainly take those same risks and I’m thrilled that we are welcoming our first International company. I know our audiences will be fulfilled by the exploration.”

The Choreographic Festival will be held at the Rose Wagner Performing Arts Center, 138 Broadway, Salt Lake City, Utah.

Tickets start at just $25, and are available by calling 801-869-6900, or online at balletwest.org.

SCOTTISH BALLET COMPANY | PHOTO BY JANE HOBSON

LEGACY AND MODERNITY COMMUNICATED THROUGH NEW BALLET WEST LOGO Following more than a year of careful consideration, consultations with the Ballet West community, and artful refinement, Ballet West is excited to share a bold and dashing new logo.

“Under the growth of Adam Sklute, Artistic Director, Ballet West is now recognized around the world for its fearless innovation and daring artistry, balanced with its

dedication to classical ballet history,” said Sara Neal, Chief Marketing Officer. “It was time to have a logo which represents both the history and the future of this bold and visionary company.”

Working with dancers, board members, local artists, and Academy parents, Ballet West graphic designer Alex Moya took inspiration from the community to begin his conceptual drawings. In the end, it was in the essential tools for any dancer that he found a creative launch pad. “I looked at the differences and similarities between pointe and flat shoes, and then made abstractions of them to create shapes that suggest the B and the W. I also wanted to communicate a sense of theatricality through the implied

stage lights of the W,” said Moya. “Just as our audiences get to immerse themselves within the dance presented on stage and interpret it as they wish, I wanted the community to engage with the forms and movement, to find both whimsy and strength in the shapes.”

FRONT ROW | 7

FROM STUTTGART, WITH LOVE: ONEGIN’S JOURNEY TO SALT LAKE CITY

by Amy Falls

Tatiana Loves Onegin; Prince Gremin loves Tatiana.

Lensky loves Olga; Onegin flirts with Olga. What happens next? No spoilers here, but read on to learn more about John Cranko’s renowned production, Onegin, coming to the Eccles Theater.

“I

first saw John Cranko’s Onegin performed by the Stuttgart Ballet in the 1980s, and fell in love at first sight.” Artistic Director Adam Sklute fondly remembers his initial impression of the production Ballet West will now present this month.

In 2016, Ballet West staged Cranko’s Romeo and Juliet, which was an artistic, as well as strategic, decision for Sklute. “By starting with Romeo and Juliet, the dancers were really able to understand what Cranko was all about, and his brand of theatricality and storytelling.” He notes Onegin is yet an even more technically challenging ballet, and for the production’s entire corps de ballet in addition to its demanding lead roles.

Never one to shy from a challenge, Sklute now hopes to give the dancers of Ballet West the chance to sink their teeth into what could be one of the most exciting opportunities of their careers, following up Romeo and Juliet with Onegin this season. “Onegin is one of the great story ballets in ballet history, and a benchmark for a classical ballet company,” Sklute explains.

The path to producing any Cranko ballet begins in Stuttgart, Germany, with the estate of the late choreographer. Reid Anderson, who recently retired from his role as artistic director of the Stuttgart Ballet after 22 years, is the artistic director of the Cranko estate. He works with a team of choreologists, who use Benesh notation (similar to musical notation) to recreate Cranko’s ballets. Dieter Graefe, to whom the rights to Cranko’s ballets were left following the choreographer’s sudden passing in 1973, vets all performance requests.

The estate then oversees staging and coaching of all the ballets on companies around the world.

In March, choreologist Jane Bourne spent a month with Ballet West, teaching the company the entire ballet, which clocks in at two hours. Then, once the dancers know all of the choreography, Anderson will return the week before the performances to coach Onegin, passing along wisdom gleaned from Cranko himself as the dancers prepare to take the stage.

As Sklute describes, “Coaching is vital because it gives the dancers the opportunity to really understand what their roles are about. Reid will impart his knowledge of how Cranko wanted the story told, of the characters, and of technical aspects. It’s a valuable part of the process.”

“Onegin is one of the great story ballets in ballet history, and a benchmark for a classical ballet company.”

To cast Onegin, Anderson travelled to Salt Lake City for a few days last December, during which time he watched company classes and performances of The Nutcracker to get as full a picture of Ballet West as possible. Though the visit was brief, Sklute describes it as inspiring. “Reid is wonderfully collaborative,” he observes. “He said right away, ‘You know your company better than I know your company.’ So we really worked together.”

Sklute first met Anderson in the 1980s, as a dancer with the Joffrey Ballet. Anderson was in town coaching Cranko’s Romeo and Juliet as the Joffrey geared up to become the first U.S. company to mount the

8 | FRONT ROW

production. Since that time, “Reid has always been a huge inspiration to me,” Sklute remarks. “From brilliant dancer and performer, then moving into artistic directorship. But this was the first time I was able to visit with him as one artistic director to another.”

Anderson, too, stresses that ballet is a hand-me-down art form. His firsthand knowledge of Cranko’s oeuvre runs deep: he joined the Stuttgart Ballet as a dancer in 1969, coming directly from the Royal Ballet School at 19. Cranko was artistic director at Stuttgart at the time, so Anderson would work closely with him over the next few years.

At Stuttgart, Anderson began to accumulate what would become his own manifesto of sorts, citing the influence that Cranko’s unique way of conducting rehearsals and interacting with the dancers had on him. “He was an amazing choreographer, absolutely extraordinary,” Anderson remembers. “And I watched him choreograph so many things—I’m probably one of the few people that’s alive now that did. But he was also very human.”

bac kstag e ac c es s

That human quality would manifest itself not just in the canteen of the Stuttgart Ballet (Cranko’s approachable “office,” as Anderson recalls) or in the studio, but on stage at the heart of Cranko’s ballets. “The emotional component and the physical component are totally interjoined,” Anderson says. “That’s the way you dance Cranko.” In a ballet like Onegin, which adapts a Russian literary work, this becomes essential.

“The trick of it is to enable the dancers to find themselves as artists within the material. You have to give them many keys to open doors—on a psychological, as well as physical, level.”

Onegin recounts Alexander Pushkin’s verse novel, Eugene Onegin. Other adaptations span several genres: opera-going audience members, for example, may note that the ballet, while set to Tchaikovsky, does not utilize the opera’s score. While most adaptations use Pushkin’s full title, Cranko distinguished his with just the surname. In Stuttgart, the state-funded ballet and opera companies often shared a poster, so he hoped this would eliminate confusion.

Despite its basis in Russian literature, when Cranko began choreographing Onegin in 1965, intimidating the audience was not his aim. “John was very much of the mind that he didn’t do the ballets for himself,” Anderson avers. “He needed to choreograph because that’s what he loved to do, but he did create his ballets as entertainment… he wanted his audience to ‘get it’.”

PRINCIPAL ARTISTS BECKANNE SISK & CHASE O’CONNELL | PHOTOS BY BEAU PEARSON

Cranko, speaking with The New Yorker in 1969, explained, “...the ultimate definition of the images comes from the eyes of the public, not from my eyes.” For Anderson, this calls to mind the first time he saw both the Stuttgart Ballet and, consequently, Onegin. “I didn’t speak the language [German], I couldn’t read the program, I didn’t know the novel, but I got into the theater, the lights went down, and I was transported to another world. I understood everything.”

Anderson was struck by the dramatic, yet natural, quality of the acting, and was moved to tears by the end. He knew immediately that he wanted to dance Onegin himself one day, and he did, first in 1969 as Prince Gremin, then capping off his performing career in 1985 as the titular character alongside Canadian superstar Karen Kain (in addition to many performances in between).

Onegin’s universal interpretation of love and tragedy has made it one of the most prolific story ballets in the world. It’s currently danced by thirty companies internationally, with Ballet West becoming the sixth U.S. company to join the ranks. Anderson explains, “Because John was such a great storyteller, and since the language of dance is body language, you can dance it anywhere in the world.”

Anderson’s coaching is paramount to ensuring the dancers’ body language communicates effectively with the audience. “I’m the ‘why’ guy,” he says. “Why do you do this [step], what does it mean, what is it saying?” While it is the choreologist’s job to relay the blueprint of the ballet, Anderson’s coaching adds layers that put the story itself in relief.

As such, technical skills are not the only factor in Anderson’s casting. “It’s finding the ‘them’ in the roles,” he says. “The trick of it is to enable the dancers to find themselves as artists within the material. You have to give them many keys to open doors—on a psychological, as well as physical, level.”

“But,” he reminds, “it’s a surprising art form. The fun part is that it’s always different. This will become Ballet West’s way of doing Onegin.”

Following his visit, Anderson is excited to see Ballet West’s way brought to fruition. He observes the company is currently the ideal size to mount the ballet, having grown under Sklute’s 10-plus years at the helm, and that he is impressed with how the dancers interact in class and present themselves on stage.

Additionally, he notes that Ballet West’s varied repertoire, ranging from classics such as Sir Frederick Ashton’s Cinderella to brand-new commissions, uniquely positions the company to tackle such a demanding production.

“It’s a perfect company to do Onegin. I’m really looking forward to coming back to Salt Lake City to work on it.”

Anderson describes Onegin as the red thread in his life, likening the many paths radiating from Stuttgart, as he travels the world coaching Cranko’s ballets, to the crisscrossing flight-route maps found in airline magazines. “John was like a stone you threw into a pond,” he asserts about his late mentor. “The ripple effect is still being felt, the ripples of his having been here. Now his ballets are all over the world, and those of us who danced in Stuttgart are his disciples.”

Compelling dramaturgy and emotive choreography have buoyed Onegin to its current position of international acclaim, performances of the work now spanning six decades and multiple continents. But it’s Cranko’s attention to the crux of the story, and his proclivity to reach each audience member, that has made it one of the greatest story ballets of the twentieth century.

Ballet West will soon become a new red thread on Anderson’s map, as the company works closely with Anderson and Bourne to bring John Cranko’s famed production to Utah. That a ballet with its beginnings in a small town in Germany may now reach audiences in Salt Lake City is a testament to the transporting power of Onegin.

Join Ballet West for the eagerly anticipated company premiere of John Cranko’s Onegin, April 5–13, 2019, at the Eccles Theater in downtown Salt Lake City.

Production sponsor Marriner S Eccles Foundation

FRONT ROW | 9

se a s on p revi ew

A Season of Daring BALLET WEST’S 56TH SEASON HERALDS LEGENDARY MASTERPIECES AND BOLD NEW WORKSPLUS, A HISTORIC ANNIVERSARY OF AMERICA’S FIRST NUTCRACKER “This will be a season of history, mystery, glamour, and drama,” said Artistic Director Adam Sklute. “I am thrilled to be able to present works that have fascinated me for many years, and build a season that highlights the great technical and theatrical versatility that I believe has become a hallmark of Ballet West.” Sklute adds, “Each program has a unique magic all its own, and the entire season is designed to take our audiences on a journey through great historical landmarks into new and untried territory.”

Celebrating the 110th anniversary of Sergei Diaghilev’s revolutionary company, “Balanchine’s Ballets Russes” will explore the origins of George Balanchine’s choreographic genius, and opening the season from October 25–November 2.

This historic and groundbreaking triple bill will chronologically reconstruct his most significant early works for Ballets Russes while he lived in France, showing his development into a master choreographer while collaborating with some of the world’s most renowned artists and composers.

The program begins with a United States premiere, The Song of the Nightingale. Balanchine created this work in 1925 when he was only 21 years old and it marks the first time he partnered with Igor Stravinsky, leading to a 46-year friendship that produced some of the greatest ballets of the 20th century. With sets and costumes by Henri Matisse, it tells the tale of a mysterious songbird who cures an ailing Chinese emporer. This production makes Ballet West the second company in the world to present this important reconstruction. Apollo, Balanchine and Stravinsky’s second collaboration, is next on the bill. This Ballet West premiere will include the rarely performed original childhood scene and the final ascent to Mount Olympus. Elegant and restrained, Apollo remains a standard of Balanchine’s signature style, a clean and refined approach to dance.

Finally, Prodigal Son’s story of sin and redemption, taken from the Gospel of Luke, presents a universal message through its powerful, revolutionary choreography. It also presents striking images with Expressionist sets and costumes by Georges Roualt. Sergei Prokofiev, who composed the score for Prodigal Son, died soon after the premiere in 1929, as did Diaghilev, closing the chapter on a short-lived, but brilliant company, and ushering Balanchine to the United States to eventually found the New York City Ballet and develop his iconic American style.

10 | FRONT ROW

se a s on p revi ew

The George S. and Dolores Doré Eccles Foundation presents the milestone 75th staging of Mr. Willam Christensen’s The Nutcracker, December 6–24. A Utah native and Ballet West’s founder, Mr. C, as he was affectionately known, staged the first full-length version in 1944, as the Artistic Director of San Francisco Ballet. The Nutcracker is now an international phenomenon, permeating holiday traditions, performed by thousands of companies around the globe.

The intimate Rose Wagner Performing Arts Center will host the 2020 World Choreographic Festival. Ballet West will host renowned international companies Singapore Dance Theater and Royal New Zealand Ballet for one week of explosive new works. Ballet West will premiere two new creations from athletic and soulful international choreographer Jennifer Archibald and from Matthew Neenan, who last staged The Sixth Beauty, an inventive work, on Ballet West in 2014.

Since its Paris premiere in 1841, Giselle, February 7–15, has been an instant triumph with audiences and especially beloved in Utah. A love story, a ghost story, and a tale of forgiveness from beyond the grave, this enduring masterpiece was reconceived in 2014 by Artistic Director Adam Sklute and called “exquisite” by The Salt Lake Tribune.

In addition to the regular season, Ballet West II will present Snow White, a world premiere from gifted in-house choreographers Pamela Robinson and Peggy Dolkas. A new addition to the popular Family Classics Series, this recreation runs for just three performances, November 8–9. The Grimms’ fairy tale is given a ballet treatment to a score from Edvard Grieg, and is presented in 90 minutes with guided narration to ensure the youngest audience members can enjoy the ensuing drama on stage.

Patrons are encouraged to subscribe now or renew their season subscriptions for best availability.

Dynamic power and comedic timing are on full display April 17–25, with Sir Frederick Ashton’s The Dream and resident choreographer Nicolo Fonte’s Bolero. Based on William Shakespeare’s A Midsummer Night’s Dream, Ashton’s Victorian retelling of the Bard’s ironic farce is both hilarious and charming and its music by Felix Mendelssohn is instantly recognizable.

Ravel’s energetic score is combined with athletic and dynamic movement in Fonte’s acclaimed Bolero, being restaged for the first time since 2012.

Three-show subscription packages begin at just $64. Contact Ballet West at 801-869-6920, or visit balletwest.org

ALL PHOTOGRAPHY BY BEAU PEARSON. LEFT: APOLLO PRINCIPAL ARTIST ADRIAN FRY, THE PRODIGAL SON PRINCIPAL ARTIST EMILY ADAMS & DEMI-SOLOIST TREVOR NAUMANN. RIGHT, CLOCKWISE: THE NUTCRACKER ARTISTS OF BALLET WEST, CHOREOGRAPHIC FESTIVAL PRINCIPAL ARTIST BECKANNE SISK, SNOW WHITE ARTIST OF BALLET WEST II SEVERINA WONG, THE DREAM ARTISTS OF BALLET WEST, GISELLE ARTISTS OF BALLET WEST.

FRONT ROW | 11

me m o ri es

A letter to my younger self Before he takes a final bow with Ballet West at the Choreographic Festival, Christopher Ruud writes a poignant letter to his younger self.

Dear Christopher, On the eve of retiring from dancing with Ballet West, I find myself grateful and reflective. It has been a colorful career filled with joy and triumph along with some sorrow and anguish. In the midst of this reminiscence, I want to write my younger self a letter. Not so much as a warning about what to avoid or to change the future of our life, but mostly to give you hope.

You will lose almost everything.

Tomm Ruud, or Dad, is the first great soul you will ever know and he loves you more than even the most eloquent poets could describe. You already know this though. I remember that feeling too. How every hug and every word felt like a great wizard putting the complex puzzle pieces of your perception, and of life itself, together effortlessly. You will carry his love and his example with you forever and it will make you strong. He will die—far too soon. You will be holding his hand at the very moment he passes. You will suddenly feel you are completely empty. Not like part of your soul is missing, but all of it.

I cry as I sit here writing this. His absence changed the world as the death of a star changes the gravitational balance of a galaxy. I feel that shift still. However, it is what will solidify your strength and galvanize your determination. It is going to hurt like hell but you will never truly lose him.

Later in your life, you will perform “Ferdinand” in Michael Smuin’s The Tempest. You will be utterly aware of the fact that this role was created on Dad and how rare that is for any dancer and how special that is for you. You will even wear his costume. With his name still sewn into the seam. After your last exit on opening night, you will find a quiet corner back stage and weep.

And this is when it will really happen. You will realize that he is with you. He was there on that opening night and he’s been there every day of your life. He imbued you with his spirit. His love. His effervescence. Which brings me to my point…

You are a collection of all the experiences of your life.

Ultimately, that is why you will succeed on stage and in life. To the audience you will be able to communicate love, loss, grief, sadness, and true happiness because of it. You will suspend the audience’s disbelief and bring them into a world that you create if only for those few precious moments. You will love your friends and family fiercely. You will live and you will dance with every ounce of your being, and to complete and utter exhaustion.

You won’t accept defeat because your heart will be defeated completely and you cannot accept that again.

You will live!

And this is when you will meet Loren. The how and why of your meeting and courtship I will leave out so as not to spoil the beauty and splendor of the beginning of

12 | FRONT ROW

memorie s

your lives together. I will only say that you are happy, you are with her now, and you have “met your match” in every sense of that colloquialism. She will help to reshape your life and inspire you to be better. To strive to be the best version of you that is possible.

She is not the only woman to do this for you.

Mary Wood is the epitome of what a mother is and should be.

She sang to you every night as a young child. She puts up with your tantrums. She tends your wounds. She cooks healthy meals for you every night. She drives you to gymnastics meets and ballet performances and cheers for you in the audience.

Her heart and soul worry for your safety and wish for your happiness every moment and she will never stop. Call her more often. Listen to her without distraction. She is one of the most emotionally and intellectually intelligent human beings that you will ever meet.

You will be under the tutelage of two artistic directors in your dancing career for roughly a decade each. Jonas Kåge and Adam Sklute. These great men will put up with your flaws far more and for far longer than they could be expected to. The best part of your dynamic with these two great men is that they won’t simply expect greatness in your dancing; they will expect greatness in how you conduct and represent yourself. They will take pains to teach you this lesson. I implore you to recognize this early on and to never forget it. They and everyone that works directly under them will give you more and bigger chances than most people ever get in their career.

You will lose everything, and you will gain everything. You will be shocked at exactly how much of life’s richness you absorb and how many people you gain as valued colleagues, friends, and family. There is an almost endless list of stage partnerships that you will cherish literally forever and right alongside that are a group of administrators, donors, crewmembers, costumers, teachers, dancers, choreographers, and re-stagers that are equally as important to your heart. They are the family you will gain. None of them related by blood but people who are your brothers, sisters, and parents.

Take a deep breath. Try to enjoy the ride. Let the path come up under your feet.

LEFT PAGE: PRINCIPAL ARTIST CHRISTOPHER RUUD | BOTTOM PHOTO BY LUKE ISLEY

Christopher

Join Ballet West to celebrate the extraordinary, 21year career of beloved Principal Artist Christopher Ruud. The celebration will follow the closing night performance of the Choreographic Festival, Mr. Ruud’s final bow onstage with Ballet West in a new work by Edwaard Liang. Hors d’oeuvres, wine, and beer will be served.

The celebration will begin at 9:30pm at Hotel Monaco.

Guests must be 21 or older. Space is limited; tickets will be available on a first-come, first-served basis.

Tickets are $75 each, and are available at balletwest.org or by phone at 801-869-6920.

IN REMEMBRANCE

Peter Meldrum 1947–2018 Peter Meldrum received awards and plaques that could line hallways during his life. He had the ear of presidents, built an empire at Myriad Genetics, and was named one of the most visionary scientists of our time. Through it all, Peter remained humble and earthbound, even though his hobbies—from climbing mountains to supporting dance— took him skyward.

As Chairman of the Ballet West Board of Directors, Peter led the search for a new Artistic Director in 2007, while also guiding the company during a financial tsunami. “Beginning with Mr. C, Ballet West has had an excellent reputation.

Under Adam Sklute, it is recognized as one of the leading ballet companies in the country,” said Peter in 2016. “In fact, it is more recognized today than ever before… we have dancers on the cover of international magazines, articles in the New York Times, and we’re touring the country—and this season to Cuba!”

After Peter’s tenure as Chairman of the Board, Peter and Cathie continued to actively promote and support the company through The Meldrum Foundation and helped launch the Innovations Series, which developed into the Choreographic Festival. Peter was proud of his Scottish heritage, so it is a serendipitous coincidence that Adam invited the Scottish Ballet to the third annual Choreographic Festival, which is being staged posthumously in Peter’s honor.

“I remain eternally grateful to Pete. He headed the search committee that hired me for Ballet West,” recalls Artistic Director Adam Sklute. “Later, he was a remarkable, committed, and hands-on chairman of our board and he mentored me on so many levels. He was a champion of my work, indeed he was a champion of all arts, theater, and music both locally and abroad. Our Choreographic Festival would not have come to fruition without his passion for new and innovative work. I can honestly say I would not be the artistic director I am today without Pete’s guidance. I will miss him tremendously.”

FRONT ROW | 13

DONORS Each issue of the Front Row features a listing of current Heritage Club and Founder’s Circle patrons, corporate sponsors, foundation and government supporters, and new members ($500+ level) who have joined since our last publication.

For a full listing of all our generous donors, please visit balletwest.org/donor-acknowledgments.

FOUNDER’S CIRCLE We thank our Founder’s Circle donors, each of whom has given significantly to the company throughout its history, either through collective annual giving or extraordinary, one-time gifts.

B. W. Bastian Foundation Peggy Bergmann Val A. Browning Foundation George S. and Dolores Doré Eccles Foundation Marriner S. Eccles Foundation Huntsman Foundation Barbara Barrington Jones Emma Eccles Jones Foundation Frederick Q. Lawson Foundation Janet Quinney Lawson Foundation The Meldrum Foundation John and Marcia Price Family Foundation Shari and David Quinney S. J. and Jessie E. Quinney Foundation Rocky Mountain Power Foundation Beano Solomon James Lee Sorenson Family Foundation Wells Fargo HERITAGE CLUB Mr. C & Mrs. Wallace $25,000+ Peggy Bergmann Judy Brady and Drew W. Browning John and Kristi Cumming Kathie and Charles Horman Paul and Cheryl Huntsman Barbara Barrington Jones Peter and Catherine Meldrum John and Marcia Price Family Foundation

14 | FRONT ROW

Shari and David Quinney Theodore Schmidt Beano Solomon Krista and Jim Sorenson Principal and First Soloist $10,000+ Vilija Avizonis and Gregory McComas Michael Black and Kimberly Strand Judy and Larry Brownstein DiFiore Family Alan and Jeanne Hall Foundation Stephanie and Tim Harpst Katharine W. Lamb Jennifer and Gideon Malherbe Santiago and Valeria Marti Rachèle McCarthey and Brock VandeKamp Dan P. Miller John and Andrea Miller David Parkinson and Leonardo Arantes Silveira The Paterson Center Jeanne Potucek Keith and Nancy Rattie Erin and Bryan Riggsbee Jonathan and Liz Slager Barbara L. Tanner Brad and Linda Walton Julia S. Watkins Carole Wood and Darrell Hensleigh Anonymous Soloist and Demi-Soloist $2,500+ Stephany Alexander Margaret Anderson Bonnie Jean Beesley Kathleen and Andy Blank The Brown Family Foundation

Carol Browning, Céline Browning, and Rete and Rikki Browning Alexis Carr Carol T. Christ Spencer F. and Cleone P. Eccles Family Foundation Erik and Uzo Erlingsson John and Ilauna Gurr Marc and Mary Carole Harrison Cindy and Howard Hochhauser Jennifer S. Horne Scott Huntsman Jeanne M. Kimball James R. Kruse and Mary Jo Smith Cynthia Lampropoulos and Dr. George Gourley Attila Lenkey David and Naja Lockwood Paul and Melanie Lyon Angela Martindale and Michael Snow Thomas and Mary McCarthey Willis McCree and John Fromer Anthony and Jessica Mirabile Edward B. and Barbara C. Moreton Scott and JoAnn Narus Anne and Ila Neeley Richard and Lois Peterson Madeleine and Harvey Plonsker Jeanie Pollack Richard and Nancy Potashner Brian and Janae Powell Mark and Melanie Robbins Ellen and Chris Rossi Margaret P. Sargent Jonathan and Amanda Schmieder Benjamin and Lael Selznick Shiebler Family Foundation Braden and Heather Shupe Adam Sklute and Christopher Renstrom

John Sklute George H. Speciale Sue and Jack Stahl Rick and Chris Veit Roy Vincent Sue and Walker Wallace Susan Warshaw Beatryx Washington Jacquelyn Wentz Marelynn and Edward Zipser Corps de Ballet $1,000+ Eric Ahlstrom John and Marilyn Alleman Patricia Andersen Jeffrey Bronson Anderson Stephen Anderson Bené Arnold Carol Baer Stephen and Marcy Barlow Frances and Jerome Battle Clisto and Suzanne Beaty Gary Beers Alene Bentley Sharon and Michael Bertelsen Julie and Don Bigelow Anita Blundell Ginny Bostrom Robert Chamberlain Rebecca Marriott Champion Carmen Chirinos Cecile and Harold Christiansen Jim and Barbara Clark Drs. Joan L. and William J. Coles William and Melissa Connelly Meri Crandall Pascale De Rozario and Jonathan Crossett Willard and Julie Dere Meredith and Stephen Drechsel

John Eckert Sissy Eichwald John and Joan Firmage Tracy Frankel Karen L. Freed Patti Eylar and Charlie Gardner David Keith Garside and Audrey Miner Marla M. Gault DeGauss Ann and Rick Gold David and Sandylee Griswold Jon and Tami Hansen Sandra and David Haughey Connie C. Holbrook Julie Hopkins Daniel Horns and Renee Zollinger Larry and Tina Howard Robert and Dixie Huefner Scott and Heidi Ingham David and Linda Irvine Gordon Irving David P. Heuvel and Johann Jacobs Anne and Conrad Jenson Marilyn and Chester Johnson G. Frank and Pamela Joklik Howard A. and Lou Ann B. Jorgensen John S. Karls Scott Kirkpatrick The Kohlburn/Lecointre Family Carol and Guy Kroesche Katherine Probert Labrum Roxanne Christensen and Tony Lazzara Bruce and Sheryl Lefavi David E. and Helane B. Leta Kathy Lynch Richard Mandahl and Franci Leary Dr. John and Colleen McCarter Nancy Melich and Lex Hemphill

SOLOISTS JENNA RAE HERRERA IN JEWELS. CHOREOGRAPHY BY GEORGE BALANCHINE ©THE GEORGE BALANCHINE TRUST | PHOTO BY BEAU PEARSON

David and Colleen Merrill Sheri P. and Ted Morgan Carolyn Nebeker Oren and Liz Nelson Karen Nichols ONTOUR Pictures LLC Joanne Parrish Linda S. Pembroke Andrea and Don Peterson Troy and Helena Piantes Kyle and Brenda Powell Lee Quinney Nancy Rapoport and Jeff Van Niel Suzanne and David Razor Victor and Susan Rickman Mark and Linda Scholl Robert and Nancy Schumacker Katherine Scott Laura Scott and Rodney Mena Aharon Shulimson and Julie Terry Beth and Randy Siebert Teresa Silcox Lou Ann Stevens Jennifer Strachan and Tom Biersbach Cyndie Taylor Raymond Vismantas Amy Wadsworth and David Richardson Sue Wilkerson Mr. & Mrs. Jay Edward Wilson Mary Bird and Lance Wood Kathryn Zwack and Brian Allison Anonymous The above list includes individual donations received between March 1, 2018 and March 5, 2019.

PRODUCER MEMBERS $500+ Angela Adams Jordan Atkin Vicki and Bill Bennion Ronald and Tracy Bolander Lee and Deann Broadbent Allen Chantry Pat and Frank Child Susan Chilton James M. and Sherise G. Clayton Wilma Corkery and John Ripley Sandra Covey Jason Crethar John Bohnsack and Rebecca Day Lee Dever and Carolyn Nichols Paul and Terrell Dougan Eric and Shellie Eide Barbara W. Frazier

Mark and Wenda Fry Dr. Nancy Futrell, M.D. and Dr. Clark Millikan, M.D. James Halliday Cynthia Hamman and Robert Robbins Kenneth and Kate Handley Scott Hansen and Peggy Norton Joel and Frances Harris David and Sheila Hayes Moore Mark and Wendi Holland Barbara Horwitz Cynthia Huntsalong Elise Hutchings Scott and Allison Kendell Timotha Ann Kent Marvin Kimball Alisha Knight Dr. Hank and Marty Lamb Than Larsen Helle and Jon Le Rette Mark Love David and Donna Lyon Dr. and Mrs. Ned L. Mangelson Howard Mann Drs. Daniel and Noémi Mattis Tracy NcNally Keith and Donna Mercer Marilyn Neilson Kathy G. Oakley Carol M. Oliver Ronald and Camille Parker Tim Payne Vantage Point Advisors Joy Rocklin Rob and Susan Rodgers Jared Ruga Paul and Carol Sonntag Kevin and Alice Steiner Dave and Jerre Winder Richard and Marsha Workman Anonymous (4) FOUNDATION, CORPORATE, AND GOVERNMENT SUPPORT $100,000+ George S. and Dolores Doré Eccles Foundation The William Randolph Hearst Foundation Huntsman Foundation Meldrum Foundation Salt Lake County Zoo, Arts & Parks (ZAP) Utah State Board of Education Professional Outreach Programs in the Schools (POPS)

$25,000+ Ballard Spahr LLP*◊ B. W. Bastian Foundation BMW of Murray ◊ Dominion Energy Marriner S. Eccles Foundation Florence J. Gillmor Foundation Holland & Hart LLP*◊ Intermountain Healthcare IOXO*◊ David Kelby Johnson Memorial Foundation Emma Eccles Jones Foundation Jones Waldo*◊ The Kahlert Foundation Frederick Q. Lawson Foundation Mergenthaler Transfer & Storage* O.C. Tanner ◊ The Rea Charitable Trust Salt Lake Regional Medical Center*◊ SEARCH Group Partners* The Shubert Foundation Simmons Family Foundation Sorenson Legacy Foundation Virginia B. Toulmin Foundation Utah Division of Arts and Museums $10,000+ Bank of American Fork ◊ Beaver Creek Foundation The Church of Jesus Christ of Latter-day Saints Foundation C. Comstock Clayton Foundation CompuNet, Inc. ◊ Lawrence T. and Janet T. Dee Foundation Eleve Dancewear◊ Goldman Sachs & Richard K. and Shirley S. Hemingway Foundation JP Morgan and Chase Janet Quinney Lawson Foundation National Endowment for the Arts S. J. and Jessie E. Quinney Foundation The Jerome Robbins Foundation Rocky Mountain Power Foundation Salt Lake City Arts Council Salt Lake Power Yoga* Summit County Cultural RAP Tax U.S. Bank Foundation Visit Salt Lake ◊ Wells Fargo Dr. Jeremy Wimmer with Elite Chiropractic Center* Anonymous

$5,000+ America First Credit Union ◊ Bambara Restaurant*◊ R. Harold Burton Foundation Henry W. and Leslie M. Eskuche Charitable Foundation Freed of London Choo-San Goh & H. Robert Magee Foundation Myriad Genetics, Inc. ◊ Nordstrom PrincePerelson and Associates ◊ Promontory Foundation Ruth’s Chris Steak House*◊ Workers Compensation Fund ◊ $1,000+ 3M Health Information Systems A&Z Produce Company* AC Hotel Salt Lake City/Downtown* Mallory Berge, L.Ac* Blue Iguana* City Center Psychology* Coldwell Banker Residential Brokerage Community Foundation Cosset Bath and Body* Katherine W. & Ezekiel R. Dumke, Jr. Foundation Durham Jones & Pinegar Hilton Salt Lake City Center* Holiday Inn Express Salt Lake City* Industrial Supply* London Belle Supper Club*◊ Merrick Bank Parr Brown Gee & Loveless PSAV Presentation Services* Residence Inn* Snell & Wilmer Snow, Christensen & Martineau Foundation Summit Sotheby’s International Realty Allen Tran, U.S. Ski & Snowboard Team* The Williams Companies Foundation YMCA of Northern Utah

ACADEMY SCHOLARSHIP FUND DONORS $1,000+ Bud and Janet Blackmore Marie and Kevin Brown John and Kristi Cumming Barbara Barrington Jones Scott Kirkpatrick Susan and Chris Lockwood Jenny and Joe Maffuccio Jan Mitchell Park City Community Foundation: The Solomon Fund Promontory Foundation Shari and David Quinney Braden and Heather Shupe Summit Sotheby’s International Realty The above list includes scholarship donations received between March 1, 2018 and March 5, 2019.

The above lists includes corporate, foundation, and government support received between March 1, 2018 and March 5, 2019. * Indicates contribution made in-kind ◊ Indicates Corporate Council member

FRONT ROW | 15

52 WEST 200 SOUTH SALT LAKE CITY, UTAH 84101

Upcoming events & performances on tour

APRIL 17–21, 2019 Merce Cunningham Centennial The Joyce Theater, nyc

APR. 27

In-Studio Rehearsal, Ballet West II; Studio A, 7-8:30pm

RESERVE YOUR TICKETS TODAY!

ARTIST KYLE DAVIS | PHOTO BY BEAU PEARSON

Please contact Sarah West, Chief Development Officer, at 801-869-6936 or swest@balletwest.org.

MAY 9–11

75th anniversary

Join Ballet West as we honor Ballet West founder Willam Christensen and the 75th anniversary of America’s first Nutcracker. Anniversary plans include a documentary in partnership with BYUtv, a special Nutcracker dinner and “Land of the Sweets” onstage party.

ARTISTS OF BALLET WEST | PHOTO BY BEAU PEARSON

For more information, please call 801-869-6936.

Choreographic Festival, Rose Wagner Performing Arts Center

MAY 11

A Farewell Celebration for Christopher Ruud (Please call Patron Services at 801-869-6920 to purchase tickets.)

balletwest.org 16 | FRONT ROW

TOP TWO: ARTISTS OF BALLET WEST II, ARTISTS OF BALLET WEST PHOTOS BY BEAU PEARSON. BOTTOM: PRINCIPAL ARTIST CHRISTOPHER RUUD | PHOTO BY LUKE ISLEY