2021 SPRING
TRAGEDY &TRIUMPH Overcoming all odds, the journey of Hadriel Diniz from Brazil to Ballet West Principal is a story of unbridled hope.
PRINCIPAL ARTIST HADRIEL DINIZ | PHOTO BY BEAU PEARSON
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Artist Olivia Gusti and First Soloist Tyler Gum in Jennifer Archibald’s Tides. Photo by Beau Pearson.
CONTENTS SPRING 2021
PRINCIPAL ARTIST HADRIEL DINIZ WITH MEMBERS OF BALLET WEST II IN THE NUTCRACKER PHOTO BY BEAU PEARSON
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FRONT ROW PROFILE: HADRIEL DINIZ
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DANCERS’ PROMOTIONS!
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DIVERSITY & INCLUSION IN BALLET
SEASON SPONSORS
STAFF Josh Jones Writer & Editor
Sarah West Writer & Editor
Alex Moya Art Direction & Graphic Design
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TRAGEDY &TRIUMPH WORDS BY JOSHUA JONES
Hadriel Diniz’s father died when he was young, as a boy he begged for food on the streets, he has been shot at, and he has been homesick for his mother for three years. You would never know the trauma and obstacles Hadriel has conquered to become a Principal Artist with Ballet West because, with a glowing smile, he says in his Portuguese accent, “Somehow, it worked out. I’m one of the luckiest people in the world.”
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PRINCIPAL ARTIST HADRIEL DINIZ | PHOTO BY BEAU PEARSON
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IN THE BRAZILIAN HEARTLAND, THE STATE OF MINAS GERAIS IS DOTTED with colonial cities, industrial centers, and blessed with natural beauty and resources. Like other parts of Brazil, it also suffers from institutional corruption, extreme poverty, and widespread crime. Tourists don’t flock to this region like São Paulo and Rio de Janeiro, which means the natural mineral spas, lush forests, waterfalls, and caverns are left to be explored and enjoyed mostly by Brazilians. Hadriel grew up in a poor neighborhood near Uberlândia and was close to his two older brothers, Meliagro and Marramedes; together, they played soccer late into the night under the glow of street lamps. At 11, Hadriel’s father died a short time after falling from a roof. He had led a tumultuous life, but in the previous two years before the tragic accident his father had sworn off alcohol, married Hadriel’s mom, and become a loving father to his sons. “Me and my brothers were in so much pain after our father died,” says Hadriel. To institute a steady routine, his mother, Maria da Conceição enrolled the three boys in an afterschool program. “She was so worried about us getting into trouble, and she wanted us to have something to take our minds off the pain.” In Portuguese, the program is called “Lar” meaning fireside, hearth, or home. Hadriel would go to school and then attend Lar from 1 to 6 pm every day. Along with food, they also supplied the kids with help on their homework. “It was awesome. It helped so many kids, and I felt happy to be part of it.” One afternoon, soon after enrolling, an instructor interrupted the kids’ soccer game to tell them the program would begin offering a ballet class. Hadriel told his best friend, “Ballet is for gay people. No way am I going.” However, his friend cajoled him, saying there would be a female teacher in a leotard. The 11-year-old’s interest was suddenly piqued, and he agreed to take a class the following day. “Oh, I was so angry at him the next day when we entered the room and it was a man instructing. Not only a man, but also a gay man! My teacher said, ‘You are in the studio, so you have to take the class. You are not leaving.” He begrudgingly stayed in the room, certain he would never return. The class started and something happened.
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“It was so interesting. I can honestly say I fell in love.” “Immediately, I wondered, ‘why do I like this so much?’ I did not even know what dance was. Everything was coming to me so easily. Halfway through, I just thought, ‘Oh my God, I love this!’” “I had never felt that feeling before, not even playing soccer, and I love playing soccer.”
Hadriel returned daily. He proudly says he would run to be the first in line to enter the classroom, and he even grew fond of the instructor, João Gabriel. However, there was an underlying anxiety that accompanied his new passion. “I was very scared to tell my mom because I didn’t want her to think I was gay. I was afraid that if I told her, she wouldn’t let me take the classes anymore.” After a few weeks, he could not avoid telling her. “It was soon after I got home one night. My heart was racing,” Hadriel recalls with a smile. “I told my mom that I needed to tell her something. I asked her, ‘Mom, are you going to think I am gay if I do ballet?’” The boy’s nerves were about to crack. Her response surprised him. “WHAT? Of course not. Why would you think that? Even if you were, I don’t care.” She told Hadriel that she loved him no matter what he did. “It went the exact opposite of how I thought it was going to go,” he said.
Two months after his first ballet class, Mr. Gabriel said that another instructor was coming from Vórtice, a local ballet school, and they would be teaching class to pick potential new students and perhaps even award scholarships. The night before, Hadriel was so excited, he could not sleep. “There were ten kids in the class, but I was always early—I never missed one class. I was just excited to do even more.” After Ms. Guiomar Melo from the school taught the class, Hadriel waited a week before Mr. Gabriel told the students that just one student had been picked and that person would be getting a full scholarship. “The whole class was saying my name, and I was just praying that it would be me. When Mr. Gabriel said, ‘Yes, it is Hadriel,’ I went nuts!”
“SOMEHOW, IT WORKED OUT. I’M ONE OF THE LUCKIEST PEOPLE IN THE WORLD.” “You have to realize how hard it is to be a dancer in Brazil,” states Hadriel. “If you are a dancer, you are considered feminine, you are considered gay. Kids would pick on me all the time. Even my brothers would pick on me.” His smile brightens. “But I didn’t care! I loved doing ballet, and I knew who I was. My mom told me not to listen to anyone, to follow my heart.” His smile beams as he tells the story of running home with his first pair of ballet slippers. “I was so excited to show my mom. Honestly, she was the only person who mattered to me. I don’t think I would be here today without her.”
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The scholarship would pay for clothing, shoes, and even a bus pass to the studio. “You have to understand how poor we were. I have been to bed hungry. I have begged for food on the streets. There was no extra money. Without that scholarship, there is no way I could have continued my training.”
So, at 12 years old, Hadriel would board the bus at noon and wind his way to downtown. He would get to Vórtice at 1:00 pm to start taking class at 3:00 pm. Why did he get there so early? “I loved watching the adult classes.” At the end of the year, the school had a public performance, and the students were told there would be a prize for one student of 100 Real, (about $20). “It is nothing now, but for a poor kid in Brazil, it is a fortune. I was so focused to win. I couldn’t stop thinking about it.”
PRINCIPAL ARTISTS BECKANE SISK & HADRIEL DINIZ IN GEORGE BALANCHINE’S RUBIES FROM JEWELS © THE GEORGE BALANCHINE TRUST | PHOTO BY BEAU PEARSON
“The truth is, I still have that same feeling. I love ballet.”
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It would be the very first time his mother saw him on stage performing. “I was afraid I would disappoint her.” After the show, all the dancers were brought on stage to announce who would win the money. “My heart was pumping out of my chest. Then, Ms. Melo said my name, and I went crazy. I looked at my mom in the audience and she was crying. She couldn’t believe that I got this award--she was so happy.”
THE BOY SEES THE WORLD, AND THE WORLD SEES HADRIEL At 14 years old, with Ms. Melo and the school supporting him, Hadriel traveled to New York City to compete at the world’s largest dance and scholarship competition, Youth America Grand Prix. He received offers to train with various dance programs, but Ms. Melo thought he needed more time to develop. Back in Brazil he continued to grow, compete in local competitions, win awards, and even appeared on television. However, he would dream of returning and working in the United States every time he heard Alicia Keys singing, “New York! Concrete jungle where dreams are made of. There’s nothing you can’t do, now you’re in New York.” Ms. Melo remembers Hadriel well. “Being Hadriel’s teacher was one of the most beautiful experiences of my life. He has an incredible ability to overcome. He has wonderful joy and his example of success inspires children in our country to follow their dreams and change their lives for the better.” After performing Acteon on his third trip to YAGP, Ms. Melo was speaking with Patrick Armand, the San Francisco Ballet School Director. Hadriel did not speak any English, so she translated that Armand was interested in giving a full scholarship to the 16 year old. “He’s going to give you a full scholarship and they will treat you well. They’ll include a place to stay, tuition, and even give you gift cards for food.” Of course, Hadriel was ecstatic. He flew back to Brazil for the summer and then boarded a plane for San Francisco in the fall. His mother gave him $150. “I was scared,” remembers Hadriel. “I was 16--a little scared kid. I didn’t know any English, I had never traveled alone before. I prayed to God, ‘Please be with me.’ Like my Mom always told me to do.” The majority of his Mom’s money went toward the taxi ride to the dorm house provided by the school. “I was really freaking out. I realized how expensive San Francisco was and that I had to be smart with the money I had.” Luckily, most costs were covered by the school. His roommates were from Spain, so he learned Spanish quickly, and the boys would help him in the studio to understand what the teachers were instructing. However, he needed to learn English to get everything out of the experience, and the way he did so was quite clever. Hadriel had brought his favorite book with him, Mao’s Last Dancer, translated into Portuguese. A true story, the autobiography of Li Cunxin is an extraordinary memoir of a peasant boy raised in rural Maoist China who was plucked from his village to study ballet and went on to become one of the greatest dancers of his generation. “I had read the book many times,” says Hadriel. “I found the English translation in the dorm’s library and would connect the stories… paragraph by paragraph. I read it in Portuguese and then English, over and over. If I did not understand something, I would use Google Translate. And that is how I learned English. By the end of the first year I could mostly understand and speak English.”
PRINCIPAL ARTIST HADRIEL DINIZ | PHOTO BY KATE TAYLOR QUINCE & MULBERRY STUDIOS
At the end of the first year, Mr. Armand was watching Hadriel partner and perform lifts in the studio. He had kept an eye on Hadriel all year, gently coaching him and encouraging other teachers to work closely with him. As they prepared for a final performance, Hadriel saw the next day’s schedule, which called him to a rehearsal with the Trainees, a level higher than where he was. “Do I really get
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he not be disappointed? “I had already won a lot. I was very happy. I got to study three years outside my home country. I was not upset at all. I accepted it immediately. I had no disappointment.”
THIS IS THE PLACE Hadriel was ready to go home, perhaps audition for a ballet company in Brazil, or teach in a school. But before leaving for home, he was invited to do a final performance at the University of Utah. “I got to stay in the U.S. for a few more weeks, so of course, I said yes.” “I immediately fell in love with Salt Lake. I liked that it is quiet. It is not crowded. And, it has mountains! I thought, ‘This place is awesome!’”
SOLOIST CHELSEA KEEFER & PRINCIPAL ARTIST HADRIEL DINIZ, METAMORPHOSIS PERFORMANCE CHOREOGRAPHED BY CHELSEA KEEFER FOR ONE SMALL MIRACLE | PHOTO BY DAVID MONSON
to do this?” He asked himself. At the rehearsal, Mr. Armand asked him if he knew the pas de deux from Paquita. “Yes, I do,” answered Hadriel. “I think he was surprised by my answer... I was thinking of Ms. Melo, who told me that if you are good at partnering, you can get a job anywhere.” Mr. Armand asked another couple to demonstrate the routine for Hadriel and he noticed small differences from the way he was taught. Afterward, Hadriel told Mr. Armand he was ready to rehearse it. The Paquita pas de deux is one of the most difficult in the ballet canon. If done correctly it is one of the most beautiful and exciting. Hadriel and his partner began the routine. “I thought it was going well. Then, all of a sudden, Mr. Armand stood and asked us to stop.” Hadriel was afraid, worried he had ruined the rehearsal. “He just looked at us with his hand on his mouth. It was very quiet in the studio. He finally said, ‘It was unbelievable. You make her look pretty, and you look pretty. I just stopped to say that. Thank you.’” After the rehearsal, Mr. Armand asked Hadriel to perform the Paquita role with the Trainees for the final year-end performance. Mr. Armand remembers Hadriel fondly: “He was one of the first students I brought to the school when I became director. I remember him always being a happy student and a gifted performer, partner, and technician. He was very charismatic and I am thrilled for his promotion at Ballet West.” That summer, Hadriel returned home. When he walked in the door, his mother cried. He returned to Vortice and Ms. Melo cried, “You look… different!” “My friends all still made fun of me because I was doing ballet, but I could tell them, look at me, I’m working in the United States!” Hadriel returned to San Francisco Ballet School for three seasons, but in the end, he did not get a contract to join the company. “Sometimes you win and sometimes you don’t—that’s how it works in this career.” How could
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In the rush to pack and travel to Utah, Hadriel had not said goodbye to Mr. Armand. “It was my mistake, and I really regretted not reaching out to him and thanking him.” However, serendipitously, Mr. Armand contacted Hadriel. His first question: “Why did you leave without talking to me?” After an explanation, he offered to contact Boston Ballet on his behalf. However, Hadriel asked him to place a call to Ballet West first. It was late June and Mr. Armand knew Ballet West Artistic Director Adam Sklute had closed auditions months before. However, he contacted his friend and asked him to go to the University of Utah performance and see his student. Hadriel wasn’t sure Sklute would actually make it, but at the end of the performance, Adam introduced himself. “So, I hear you want to be in the Company,” said Sklute. “Yes, I really do, I love it here,” responded Hadriel. “Well, we would love to have you here.” Hadriel began his career in 2015 with Ballet West. First in the corps and steadily rose through the ranks. Some might say his career began with Mr. Gabriel at 11 years old. “For some reason it just worked for me. From the beginning to the end, everything just worked. I’m the luckiest guy in the world.” He considers himself lucky, but also sorrowful. Because of complicated immigration issues, Hadriel hasn’t been home in three years. He had planned to take his girlfriend, Ballet West corps dancer Victoria Vassos to Brazil a year ago, but due to the pandemic, he had to cancel the trip. “I miss my family. I miss my mom so much. It is very upsetting to me. Three years is too much.” “Hadriel’s story is cinematic,” says Adam Sklute. “It’s is a story of overcoming all odds, of perseverance. We are so lucky, so blessed to have this talented, thoughtful, and soulful dancer in our ranks. His star is bright, and it has just begun to shine.”
meet the da nc er s
Promotions Announced For 21/22 Season SALT LAKE CITY, UT—Ballet West Artistic Director Adam Sklute announced two exciting and significant promotions for next year’s 58th Season. Katlyn Addison and Hadriel Diniz, both currently First Soloists will be promoted to the rank of Principal Artist. It has been four years since Sklute last promoted a dancer to a Principal position. “Both Katlyn and Hadriel have shown repeatedly their dedication to their artistry and demonstrated their commitment to the Company. They both have so much more to give to ballet, and I look forward to witnessing their progress—which is limitless,” says Adam Sklute.
PRINCIPAL ARTISTS KATLYN ADDISON & HADIREL DINIZ | PHOTOS BY BEAU PEARSON
FIRST SOLOIST KATLYN ADDISON grew up in Campton, Ontario, Canada and started her training with The National Ballet School of Canada. She joined Ballet West in 2011 and has earned many notable roles including the Siren in George Balanchine’s Prodigal Son and Sugar Plum Fairy in Willam Christensen’s The Nutcracker. In 2019, the Scottish Ballet requested that Addison appear in the World Premiere, The Snow Queen as the title character, to which she received generous accolades from international press. Addison has also complemented her dance career with soulful and dramatic choreographic works that have been staged at the Ballet West Choreographic Festival and Unorthodox Dance at the University of Utah. “Katlyn Addison is a remarkable artist. She has a depth and passion for her art that every Artistic Director craves in a dancer,“ said Artistic Director Adam Sklute. “She has dedicated her whole life to this art form, and methodically worked hard to get to this point and she deserves this promotion. I am excited to work with her at this new level of her career. I know she will continue to soar.”
FIRST SOLOIST HADRIEL DINIZ from Minas Gerais, Brazil started training in ballet at 11 years old. He competed at Youth America Grand Prix several times before being offered a full scholarship with with the San Francisco Ballet School. He was hired at Ballet West in 2015 and has steadily risen through the ranks. Resident and guest choreographers have consistently offered principal roles to Diniz, most recently the prominent and prized title role in George Balanchine’s Prodigal Son. “In any role, Hadriel will delight the audience with his stage presence and bravura technique. He is also a consummate partner. His love for his art form is palpable and his kindness and generosity of spirit make him a joy to work with,” said Sklute.
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BALLET WEST RECEIVES ATTENTION FOR LEADING THE CHARGE FOR BALLET COMPANIES TO BE MORE OPEN, DIVERSE, AND INCLUSIVE
Ballet by and for
EVERYBODY
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N THE PAST YEAR, BALLET WEST HAS announced several substantive policy changes that allow for greater equity for dancers of color. These updates have garnered the Company accolades from the press and the performing arts community.
The Salt Lake Tribune noted it is not the first time Ballet West has confronted racism and stereotypical cultural depictions, but that the recent push puts Ballet West as an ambitious leader in the way the company is confronting issues around diversity, equity, and inclusion. In October, a three-month audit of policies and procedures revealed several impediments for dancers of color that created unfair challenges, inequitable preparation time, and inadequate representation. Some of the updates are
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nuanced—audiences may not necessarily notice the changes, but they ensure Ballet West is a more inclusive and welcoming company for all. Some of these updates include:
• Eliminating historic ‘paling’ body make-up for women in such roles as Swan Lake and Giselle. • Not allowing make-up that attempts to indicate a race or ethnicity, other than the dancer’s own. • Tights and shoe straps will be supplied by the Company to artists to more accurately match individual skin tones. • The Company will dye pointe shoes and paint slippers to match the skin tone of the dancer.
“I believe a more diverse and inclusive organization is a stronger Ballet West,” said Artistic Director Adam Sklute. “It is time we hold a mirror to ourselves and examine how our art form—and how Ballet West—can do better in dismantling systems that do not foster equity, and to institutionalize structures that do.” In February, Sklute announced another endeavor designed to create more access and opportunities for young dancers of color. Along with 14 of the largest ballet companies in the United States, the program invites
dancers to a class with the main company, followed by a question and answer period. Along with an introduction, the two-hour ‘virtual open house’ will allow young artists and their families from across the country to experience Ballet West’s vision, culture, and community. The Company is also presenting an ongoing serial panel discussion, “Dismantling Racism in Classical Ballet.” Moderated by Dr. Elizabeth Stordeur Pryor, these discussions focus on the challenges artists of color have faced in ballet and present ideas on how the art form can move forward into the 21st century. Panelists have included Ballet West Artists, community members and legendary figures in the dance world, including Lauren Anderson, Houston Ballet’s first African American Principal Dancer; Debra Austin, the very first African American Principal Dancer in the United States while at Pennsylvania Ballet; Evelyn Cisneros-Legate, first Hispanic American Principal Ballerina at San Francisco Ballet; and Virginia Johnson, founding member and Artistic Director of Dance Theatre of Harlem. Panels can be viewed on YouTube. “With the panel discussions, I wanted to simply create a space for these important conversations to be had,” said Sklute. “The stories being told are fascinating, sometimes unsettling, but always inspiring. By stepping back to listen, I learn so much and become hopeful for the future of our industry.” Sklute adds, “These announcements are just the beginning. Ballet West will continue to remain proactive, striving for greater equity and inclusion.”
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c ompa ny news
Ballet West Board Spotlight KATHY CARTER An advocate for the arts, Kathy believes Ballet West is the “jewel in the crown.” She formerly served on the boards of the Utah Symphony and The School of Fine Arts at the University of Utah. Kathy joined Ballet West’s Board of Directors in September 2018. Last year she took a leadership role in promoting the 75th anniversary of The Nutcracker and proudly promoted a favorite childhood memory of her mother giving her and her siblings Nutcracker tickets each holiday season. Two of her granddaughters train at the Frederick Quinney Lawson Ballet West Academy, and more grandchildren are waiting in the wings to perform with Ballet West.
RACHELE MCCARTHEY Rachele grew up going to Ballet West performances and she now shares that tradition with her husband and children. She is an adult, child and adolescent psychiatrist and assistant professor at the University of Utah. Rachele joined Ballet West’s Board of Director’s in 2018. You will often see Rachele and her husband Brock at the ballet with her parents, Mary and Tom McCarthey.
SARAH ECCLES TAYLOR A life-long student of ballet, Sarah shares her passion for dance by instructing at the CenterPoint Academy in Centerville. She grew up dancing and performed in Ballet West’s Nutcracker as a child. Last year, Sarah played a leadership role in reaching Ballet West alumni to join the organization for the 75th anniversary of The Nutcracker. She currently serves as Chair of the Frederick Quinney Lawson Ballet West Academy’s Board Committee.
MICHAEL BLACK In addition to being a tax attorney at a Utah law firm, Mike is an active ballet dad. Both of his children train at the Frederick Quinney Lawson Ballet West Academy and perform in The Nutcracker. Mike’s wife, Kim Strand, is equally active in promoting Ballet West and both are unstoppable advocates for the company. Mike has served on Ballet West’s Board of Director’s since 2018.
CINDY HOCHHAUSER Growing up in New York, Cindy studied ballet and developed a deep passion for the art form, its discipline, and appreciation for the human body. After her retirement from her chiropractic practice and moving to Park City, she embraced volunteering at nonprofit organizations in the arena of education, child development, and social justice. Her son inherited her passion for dance and trains at the Frederick Quinney Lawson Ballet West Academy, Peggy Bergmann Park City campus. Cindy has served on the Board of Director’s since 2018.
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DEMI-SOLOIST LINDSAY BOND | PHOTO BY BEAU PEARSON
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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 Members at the Producer ($500+) level. 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 Barbara Barrington Jones Emma Eccles Jones Foundation Frederick Q. Lawson Foundation Janet Quinney Lawson Foundation The Meldrum Foundation John and Marcia Price Family Foundation S.J. and Jessie E. Quinney Foundation Shari and David Quinney Rocky Mountain Power Foundation Beano Solomon James Lee Sorenson Family Foundation Wells Fargo HERITAGE CLUB Mr. C & Mrs. Wallace $25,000+ and above Peggy Bergmann Judy Brady and Drew W. Browning Barbara Barrington Jones The Meldrum Foundation John and Andrea Miller John and Marcia Price Family Foundation Shari and David Quinney Theodore Schmidt Jonathan and Liz Slager Beano Solomon Krista and Jim Sorenson Anonymous Principal and First Soloist $10,000-$24,999 Barbara L. Tanner Vilija Avizonis and Gregory McComas Bonnie Jean Beesley Michael Black and Kimberly Strand Judy and Larry Brownstein DiFiore Family W. Hague & Sue J. Ellis Foundation Erik and Uzo Erlingsson Stephanie and Tim Harpst Cindy and Howard Hochhauser Jennifer Horne-Huntsman and Scott Huntsman
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Deborah B. and Edward Felt Hot Shot Sprinkler Repair & Landscape LLC John and Joan Firmage Jason Flower Tracy Frankel Barbara W. Frazier Karen L. Freed Patti Eylar and Charlie Gardner David Keith Garside and Audrey Miner Marla M. Gault Elizabeth and Jack Hammond Kenneth and Kate Handley Jon and Tami Hansen Sandra and David Haughey The Aaron A. Hofmann Foundation Kathie and Charles Horman Larry and Tina Howard Dominique Ingegneri David and Linda Irvine David P. Heuvel and Johann Jacobs Marilyn and Chester Johnson G. Frank and Pamela Joklik Kristine Jordan John S. Karls Lawrence and Linda Kelley Scott and Allison Kendell The Kohlburn/Lecointre Family Katherine Probert Labrum Cynthia Lampropoulos and Dr. George Gourley Roxanne Christensen and Tony Lazzara Helle and Jon Le Rette David E. and Helane B. Leta Merrill Lewen and Laurence Cooper Kathy Lynch Dr. John and Colleen McCarter Nancy Melich and Lex Hemphill David and Colleen Merrill Jan Mitchell David and Sheila Hayes Moore In Memory of Barbara C. Moreton Karen Nichols Trevor and Amy Nielson Kirsten Novak and Mark Martinez Linda S. Pembroke Andrea and Don Peterson Richard and Lois Peterson Katie Marie Pollard Nancy Rapoport and Jeff Van Niel Nebeker Family Foundation Ogden Suzanne and David Razor Barbara Snarr Reid Mark and Linda Scholl Robert and Nancy Schumacker Aharon Shulimson and Julie Terry Beth and Randy Siebert Danielle and Benjamin Stern Lou Ann Stevens
Rick and Chris Veit Raymond Vismantas Amy Wadsworth and David Richardson Mark Weisbender Jacquelyn Wentz Elaine Wolbrom Anonymous (4) PARK CITY BALLET CORPS We thank our Park City Ballet Corps for their support in bringing worldclass ballet to Summit County. En Pointe $50,000 and above Hank and Diane Louis Allegro $5,000-$9,999 Howard and Kathy Rothwell Summit Sotheby’s International Realty PRODUCER MEMBERS $500 and above Frances M. Akita Monica Allen Christine Anderegg Sara Andersen Julia Anderson Ronald and Kathy Aoki Ann Atkisson Amanda Baer Michael and Jacqueline Bailey Nancy and Lewis Baker Deborah and Byron Barkley Chris and Robin Bateman Keith Bateman Thomas and Mary Ann Bauman Kenneth Birrell Richard Blake Marie Bohata Ronald and Tracy Bolander Louisa and Robert Boswell Richard Brandt Helen W. Brown Judith Brunvand Brett Campbell Richard and Judith Cannon William Carlson Jeffrey, Catherine, and Deirdre Carney Matthew Castillo Darrell and Sharon Child Susan Chilton Carol Ann Clark Dr. and Mrs. Kevin Clark Nancy Cohn and George Cassiday Janice Coleman Richard Cook
Holly Cooper Sandra Covey Charles and Susan Critchlow Ann Darling Debbie Davis John Bohnsack and Rebecca Day Eydie and Brad DeBry Dr. Michael and Carol DeCaria Ashby and Anne Cullimore Decker Dr. Frances Dolloph and Aleisa Barber Nancy and Matt Dorny Paul and Terrell Dougan Metta Driscoll Richard and Pamela Dropek Michelle and Fred Dunbar Jeffrey and Sarah Jane Dunn Teresa Edwards Eric and Shellie Eide Ivy Estabrooke William Etnyre/PhD Linda Evans Carole Farr Angelina Feichko Susan and Blair Feulner Sandra Ficke-Bradford Wenda Fry Dr. Nancy Futrell, M.D. Bryson and Jan Garbett Dee Gauss Dr. Martin I. and Sheila G. Gelman Geurts Family Robert and Mary Gilchrist Ann and Rick Gold Ceselie Goodwin Mary Gootjes and John Davis Edward and Natalie Grandy David Gustin Barbara Hall and John Eicholtz Michael Halloran Cynthia Hamman and Robert Robbins Scott Hansen and Peggy Norton Michael R. and Sheila I. Harper Robert Harrison Jenna Herrera and Alex MacFarlan Laurie Hillier Laurie Hofmann and David Classen Mark and Wendi Holland Julie Hopkins Barbara Horwitz Carolee Hosfeld Linda Hull Elise Hutchings Karen P. Hyde Beth and Carrie Icard Jacobs Family Brent and Maren Jensen Denis Deck and Sandra Jones Helen Kennedy Jessica and Reese Kidman Marvin Kimball Gene and Richard Klatt Priscilla Klaus Carol and Guy Kroesche Christine Kruskamp Catherine and Matthew Lake Sharla Landers Kelly Latimer
Helle and Jon Le Rette Jana Leavitt Maribeth Lehoux Julie Lewis Charlene Lind Dan Lofgren John and Georgia Loutensock Sarah Lowe David and Donna Lyon Courtney Maclean Heidi and Edward Makowski Dr. and Mrs. Ned L. Mangelson Howard Mann Elizabeth Marcus and Ira Belcove Amanda Maughan Katie McDermott Heather McMaster Elisabeth McOmber Traci Memmott Keith and Donna Mercer Denece Mikolash Elia Miller Carolyn Mizell Kevin Murray Melonie Murray Marilyn Neilson Anne M. and William C. Nelsen JoAnn G. Robertson Natalie Oaks Steven L. and June Anne Olsen Maura and Serge Olszanskyj Tomi Jean Ossana and Chris Proctor Amy Oxman Ronald and Camille Parker Taylor and Holly Parkin Elodie Payne Ann Pearce Cash and Carrie Peterson Kyndra and Douglas Peterson Lana and Boris Petkovic Candice Pitcher Madeleine and Harvey Plonsker Casey Preece Revolution Gear and Truck Parts Joy Prout Delia and Craig Reece JoAnn Robertson Kathe Rogers Genevieve Maire Rosol Carla Rowe Vytas and Joanne Rupinskas Leonard and Alene Russon Nannette and Daniel Sageser Michael Scolamiero Antonia Sears Richard and Lorraine Shew Anne Smith John Sonnenberg Beverly Souder Robert and Arita Sparks Diana Major Spencer Heidi and Scott Spencer Kenneth W. Spitzer and Diana Stafforini Kevin and Alice Steiner Annie and Cory Strupp Summerhays Music David Sundwall Merlin and Joan Taylor
Nathan Thomas and Jinna Lee Brenda Thompson Julie Thorum Chris and George Tobler Ellen Tolstad Mr. and Mrs. William L. Townsend Janet and Herbert Trayner Ed Turner and Steve Baker Austin Tyler Neli Ulrich Steven Vigil Kevin Voyles Donald and Barbara Walker Jerry and Ann Walters Helen Ward Rochelle Warner Bruce and Leigh Washburn James Wells Jason Wheeler Sue Wilkerson Dave and Jerre Winder Richard and Marsha Workman Anonymous (11) FOUNDATION, CORPORATE, AND GOVERNMENT SUPPORT $100,000+ and above George S. and Dolores Doré Eccles Foundation The Church of Jesus Christ of Latter-day Saints Foundation The William Randolph Hearst Foundation Emma Eccles Jones Foundation Frederick Q. Lawson Foundation The Meldrum Foundation Salt Lake County Community Services - Tourism, Recreation, Culture & Convenion Salt Lake County Zoo, Arts & Parks (ZAP) Beverley Taylor Sorenson Foundation Utah Division of Arts & Museums Utah Office of Tourism $25,000-$99,999 Ballard Spahr LLP* Bank of America BMW of Murray, Official Luxury Vehicle of Ballet West B.W. Bastian Foundation Cranshaw Corporation David Kelby Johnson Memorial Foundation Dominion Energy Florence J. Gillmor Foundation Garbett Family Foundation Governor’s Office Of Economic Development Intermountain Healthcare Janet Quinney Lawson Foundation Mark Miller Toyota, Official Vehicle of the Frederick Quinney Lawson Ballet West Academy Marriner S. Eccles Foundation The Kahlert Foundation O.C. Tanner The Rea Charitable Trust
S.J. and Jessie E. Quinney Foundation The Shubert Foundation Simmons Family Foundation Sorenson Legacy Foundation Summit County Cultural RAP Tax Anonymous $10,000-$24,999 Ballard Spahr LLP* Bank of America BMW of Murray, Official Luxury Vehicle of Ballet West B.W. Bastian Foundation Cranshaw Corporation David Kelby Johnson Memorial Foundation Dominion Energy Florence J. Gillmor Foundation Garbett Family Foundation Governor’s Office Of Economic Development Intermountain Healthcare Janet Quinney Lawson Foundation Mark Miller Toyota, Official Vehicle of the Frederick Quinney Lawson Ballet West Academy Marriner S. Eccles Foundation The Kahlert Foundation O.C. Tanner The Rea Charitable Trust S.J. and Jessie E. Quinney Foundation The Shubert Foundation Simmons Family Foundation Sorenson Legacy Foundation Summit County Cultural RAP Tax Anonymous $5,000-$9,999 Ballet West Guild Choo-San Goh & H. Robert Magee Foundation Freed of London* Goldman Sachs Lifetime Products Inc. Merit Medical Systems, Inc. Myriad Genetics, Inc. Nicholas & Company Park City Municipal Corporation Parr Brown Gee & Loveless PrincePerelson and Associates Promontory Foundation Rocky Mountain Power Foundation Ruth’s Chris Steak House* Salt Lake City Arts Council U.S. Bank Foundation Zions Bank $1,000-$4,999 3M Health Information Systems AC Hotel Salt Lake City/Downtown* Coldwell Banker Residential Brokerage Community Foundation Durham Jones & Pinegar EDCUtah* EMI Health Henry W. and Leslie M. Eskuche Charitable Foundation
Holland & Hart LLP Ray, Quinney & Nebeker Foundation Segal Foundation Inc. Snow, Christensen & Martineau Foundation Swire Coca Cola Trois Couers Foundation *Indicates contribution made in-kind ARTISTIC IMPACT FUND DONORS We thank the below donors for their generous gifts made in support of one of three company initiatives: Commissioning New Works, Commissioning New Productions, or Sponsoring National and International Touring. Peggy Bergmann Kathie and Charles Horman Barbara Levy Kipper Shari and David Quinney Keith and Nancy Rattie Visit Salt Lake ACADEMY SCHOLARSHIP FUND DONORS We thank those who have contributed to the Ballet West Academy Scholarship Fund, spanning all four Academy campuses, with generous donations of $1,000 and above. In Memory of Robert Arbogast, from Friends, Family, and the Ballet West Guild Bruce Bastian Marie Brown Scott Kirkpatrick and Lydia BiegertLeave Cindy and Howard Hochhauser Barbara Levy Kipper Maidee Kirkeby Dorothy McBride Susan and Chris Lockwood Willis McCree and John Fromer Park City Community Foundation: The Solomon Fund Madeleine and Harvey Plonsker Shari and David Quinney Jonathan and Amanda Schmieder Brian and Brandy Slagle Braden and Heather Shupe Summit Sotheby’s International Realty The above lists includes individual donations received as of March 1, 2021.
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52 WEST 200 SOUTH SALT LAKE CITY, UTAH 84101
Celebrate the careers of beloved company dancers who will be retiring this year. Enjoy archival footage as well as new, exciting and unseen performances from the comfort of your own home. Revel in a jubilant evening for $50 per household. Sponsorships with a suite of benefits, start at $500. If you wish to use a gift certificate to purchase tickets, please contact the Ballet West ticketing office at 801-869-6920. Please inquire to have a gourmet meal, prepared by a locally-acclaimed chef, delivered to your doorstep the evening of the Spring Soirée.
SPRING SOIREE CO-CHAIRS Mark Robbins & Kristin Stockham LATE NIGHT CHAIR Chloe Johnson
7-8 PM
THANK YOU TO THE GENEROUS SPONSORS OF BALLET WEST’S VIRTUAL SPRING SOIRÉE John & Andrea Miller Frederick Q. Lawson Foundation
16 | FRONT ROW
Cindy & Howard Hochhauser
Paul & Melanie Lyon
Anonymous
Mark & Melanie Robbins
Ellen & Chris Rossi
Kristin & Tom Stockham