Front Row 2016 Volume 1 by Ballet West

2015 volume 3

front row In this issue

MISTER NICE GUY dancer profile: christopher sellars

NUTCRACKER NEWS reimagining the classic

DONOR PROFILE dr. kent difiore

BEHIND THE PLAYBILL COVER karen horne

the front row | 1 first soloist christopher sellars | photo by luke isley

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IN THE NEWS BALLET WEST TO HOST YOUTH AMERICA GRAND PRIX For the first time in its 17-year history, the premier global dance network, Youth America Grand Prix, will hold a regional semi-final audition in Utah by collaborating with Ballet West. YAGP is the world’s largest ballet scholarship audition, known around the world for launching the careers of some of the biggest talents in dance. Ballet West will host this prestigious affair and welcome dancers from around the globe to Salt Lake City, from February 26–28, 2016. In conjunction with the auditions, the weekend will feature Night of Shining Stars—a Tribute to Bruce Marks on Saturday evening, February 27, 2016. This event is open to the public and will spotlight some of the world’s leading dancers, as well as YAGP winners past and present. Leading dancers from New York City Ballet, San Francisco Ballet, and a number of international ballet and modern dance companies will perform, in addition to Ballet West Principal Artist Beckanne Sisk and The Joffrey Ballet star, Fabrice Calmels, who will dance the popular pas de deux from Light Rain. Multi-award winning, Utah-native and former Boston Ballet Principal Artist, Whitney Jensen will perform the Black Swan pas de deux with Ballet West’s own Chase O’Connell. Also on the bill is Utah-based Ashly Costa, one of the celebrity coaches from “Dancing with the Stars.” And a world premeire by Ballet Red Artistic Director Josie Walsh. Other national and international guest stars will be announced soon, check balletwest.org for updates!

MISTER NICE GUY

DONOR PROFILE

dancer profile: christopher sellars

dr. kent difiore

12 BEHIND THE

PLAYBILL COVER karen horne

jack stahl Staff profile

nutcracker reimagined A New Nutcracker for 2017

ballet west board Four new members join

14 new and renewed donors Welcome to our newest supporters

season sponsors

16 upcoming events Our quarterly calendar

staff Josh Jones Writer & Editor

table of contents

Whitney Shaw Design

Sara M. K. Neal Associate Director of Marketing

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christopher sellars the team player Dancers stand out in a crowd. They are beautiful and, if you’re dancing with Ballet West, you’re probably tall, making you even more noticeable. But, First Soloist Christopher Sellars stands out for another reason. Yes, he looks like a blond Superman and he is a brilliant dancer, but he’s also got a warmth that resonates whenever you’re fortunate to run into him. Because he is friendly, many of our longtime patrons know these qualities in Sellars: he's charming and he's nice. He puts on no airs, no tiresome attitude, he is a Boy Scout in every way, and he's very happy in his own skin. And by Boy Scout, we mean, Eagle Scout. Scouting was just one of a myriad of extracurricular activities that pulled at Sellars' attention during his childhood. He excelled at Tae Kwon Do and had (still has) a love of playing baseball, but it was ballet –through an introduction in jazz technique—that lured him into what has become his life’s work. “You can work a lifetime and not be perfect. It is an addictive and luring art,” said Chris. He chuckles and reveals his mantra: Everything worth doing is worth doing right. At 11, Sellars says he stopped “fooling around” and made a hard decision: baseball would not be his career path. “I love the game so much, but I was a pitcher and couldn’t throw the ball any faster.” (While he derides his talent, it should be noted that he is one of the rock stars of the Ballet West Ballers, the Company’s softball team.) In the end however, baseball’s loss was ballet’s gain. At 16, he was accepted to American Ballet

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Theater's Summer Intensive, one of the most rigorous in the country, and he’s been working his way up the ballet ladder ever since. “Sometime people don’t see ballet as a team sport, but it can be,” said Sellars. “Of course it can be solitary, but it is a competitive stage, and—even though I’m not the most competitive person— that competition can make you better. When I was young I loved those moments after class, working on tricks and having guys push me to try new, more intricate and daring moves.” Sellars was 19 and on scholarship at the prestigious Rock School in Philadelphia Pennsylvania when he took a train into Manhattan to the School of American Ballet for a Ballet West audition. He’d embarked on this three-hour round trip for months, auditioning with dozens of companies when Jonas Kåge offered him a paid position with Ballet West II. It was actually Mr. Kage’s wife, Debra, who had led the audition that opened up the opportunity. “I initially I had not been asked to stay, so I was outside the studio. I struck up a conversation with Debra and made small talk about where I was from and the direction I wanted to go. She went into the studio and moments later walked out with Jonas, who presented a contract and said, "How would you like to come to Utah?” Now, with 10 years at Ballet West under his belt, Sellars is one of the more senior members of the Company, he was Interim Director of Ballet West II for two season, and has danced just about every role he ever wanted. But, he has a list of goals he’s checking-off, and he certainly

shows no sign of slowing down. In fact, in 2016 he’ll take-on another title: Choreographer. While he choreographed his original piece, Rhapsody in Blue, for Ballet West II, Innovations 2016 will be the first time he’s choreographed with professional dancers. Artistic Director Adam Sklute said, “Chris Sellars is a consummate artist. He has a powerful technical ability and brilliant theatricality. He is easy to work with and has a deep understanding of the artform of ballet and all it takes. He is one of those unique individuals who create a good energy in a room with his presence.” Sklute adds, "Chris has also grown into an interesting choreographer. He has been creating for quite some time and I've enjoyed watching the depth of his work grow. It is time for him to create on Ballet West." Still untitled, Sellars piece is particularly exciting because of the live piano and saxophone that will accompany it. “For me, it always starts with the music.” In fact it was Associate Music Director Jared Oaks who first presented Erwin Schulhoff’s playful Hot Sonata to Sellars, thinking it might spark his choreographic imagination. Sellars said, “It sounds a bit like Gershwin, but with a little more jazz. As soon as I heard it, I started imagining movements, and I knew the music would have to be played live on stage.”

knows there will be a learning curve. “The anxiety I do have is over the things I haven’t done before. Costuming is one, especially for the women, and controlling a limited budget is the other concern. The comforting part is that I know Ballet West has a lot of resources to pull from.” One of those resources is the man who selected him as a presenter for Innovations, Adam Sklute. “What I saw on stage during a preview of what Chris is working on was bit of nuanced Balanchine style, but with a modern ballet influence. I knew I wanted to see more. Christopher is both patient and a perfectionist, so I know in the next few months he will find a clear voice that is all together his, and all together beautiful.” Sellars looks up and introspectively says, “I guess the one thing that has gotten me so far in this profession is my reliability and stamina. Sometimes I go through a trial by fire, but eventually by sheer tenacity, I will accomplish my goals.” With those qualities, combined with his mantra that, “everything worth doing is worth doing right,” we have no doubt that his Innovations debut will be nothing short of spectacular.

He is experiencing a range of emotions as he starts this process. “I’m excited to work with professionals,” said Sellars, who has choreographed at his parents’ studio in Huntington Beach California, as well as on Ballet West II. “This will be my first time working with professionals, so I know the process will be much smoother. I will not have to hold back anything as I create, which is very exciting.” But he

principal artist arolyn williams and first soloist christopher sellars photo by luke isley

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STAFF PROFILE: MANAGER OF TECHNOLOGY AND TICKETING

jack's stats

Jack Stahl discusses a quarter century of working in the arts. From negotiating with parents trying to get their fussy babies into the theatre to escorting out a patron who had snuck their 1-month old puppy into a performance, Jack Stahl has done it all. Of course, with 26 years at Ballet West, Jack has been with the Company half the length of its existence, so he kind of has seen it all. He’s worked with four Executive Directors, three Artistic Directors, seven Marketing Directors, and helped sell literally millions of tickets. Jack’s first love was baseball. He played for several minor league teams, and was then signed by the Los Angeles Angels to play in their farm team, the Shreveport Pirates. He hated it. The travel was awful. The flying Palmetto Bugs of the south were disgusting, but not as frightening as the raucous crowds who would throw beer bottles at the players. (To be sure, the ballet offers a much better class of ticket buyers!) Though his stats on the field were very good, he was excited to return to Utah after being offered a job at the University of Utah as the Sports Information Director. That first job in marketing was exciting to him and led to a position with the U.S. Ski Team as PR Director, and then to the Salt Palace were he headed their Marketing Department and sold tickets to everything from basketball and hockey games, to rock concerts and antique conventions. When Ballet West called in 1990, he was excited. He’d been working 300 nights a year and was relieved to pare that number down to around 50. “I was at the house so infrequently that my kids had a nickname for me, ‘Daddy Who,’ and though I didn’t know a lot about ballet, I realized quickly that my love of sports, athletes, and teams would actually translate to the ballet,” said Jack.

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Rachel del Valle, Jeff Rogers, and Mercedes Rice are just a few dancer’s names Jack rattles off as people he’s become friends with through the years. And though some have been gone from the organization for a while, he still keeps up with their families and careers. “I love my association with the dancers. It is the reason my wife and I contribute to the organization.” He’s also had a warm relationship with the Artistic Staff, starting with the Company’s founder, Willam Christensen and his wife Florence. “Mr. C was a good ol’ boy and his wife was lovely. They would both call me at home to re-arrange tickets or order some more. I didn’t mind at all. They were just like family.” Of course, through his proximity to patrons and donors in the box office, he’s also made many good friends with Utah’s top philanthropists. “Janet Quinney Lawson [for whom the Capitol Theatre is named] actually threw a wedding party for my wife and me.” During a recent performance, there is a frenzy of energy in the lobby, but inside the box office, it’s a fortress of solitude. There, Jack is calmly greeting donors and ticket buyers with the same warmth, and quickly getting tickets out the windows. “People get upset when things go wrong. I completely understand how they feel, and I honestly don’t take it personally. I just have to let them know that I’m here to help them. We’ll work with people to make sure they see the performance.” As for the guy who brought the puppy into the theatre? “I told him I would babysit the dog. I watched it for a couple hours so the patron could see the ballet.” Now that is service!

GEORGE S. AND DOLORES DORÉ ECCLES FOUNDATION AWARDS $2 MILLION TO FUND NEW NUTCRACKER On the heels of a record-breaking year for its venerable production of The Nutcracker, Ballet West is thrilled to announce that the George S. and Dolores Doré Eccles Foundation has awarded a generous $2 million grant to enrich and enhance the physical production of Willam Christensen’s beloved ballet, The Nutcracker. While the new production will maintain entirely the historic choreography of Ballet West’s founder, Willam Christensen, along with Tchaikovsky’s famous score, the grant will be used to update, redesign, and construct fantastical sets, costumes, and props. According to Ballet West Artistic Director Adam Sklute, “During his lifetime, ‘Mr. C’ frequently updated The Nutcracker to keep it fresh and alive, but he maintained the framework and charm of the story, which kept audiences coming back every year. “Our intention with this generous gift from the Eccles Foundation is to keep the choreography exactly the same while updating the physical production.” Added Sklute, “I’m looking forward to even incorporating some spectacular effects that 'Mr. C' originally imagined, but did not have the technology or funding to accomplish during his lifetime. This gift will help us honor his vision and move it into the future.” Sklute and the Ballet West team will work to produce a dreamlike and dazzling new production for the 21st century. Work on the project has already begun, with the first performances of the re-imagined production to premiere during the 2017 holiday season.

The Nutcracker's current sets and costumes, originally designed by Ariel Ballif and David Heuvel, are now 30 years old, requiring constant, extensive, and expensive refurbishments every season. Ballet West’s 2016 production of The Nutcracker will be the farewell season before the physical production is retired in its hometown of Salt Lake City. Sklute will oversee the new designs, working closely with the Willam Christensen family, Company Archivist Bruce Caldwell, and longtime Ballet West associate and Christensen’s first Ballet Mistress, Bené Arnold. Together, they will ensure that the integrity of Mr. Christensen’s vision and choreography is steadfastly maintained. Said Ballet West Executive Director Scott Altman, “This re-investment into one of our cherished and beloved ballets will not only make it stronger, but also deliver a more vibrant production with which future generations can 'fall in love' all over again!” Added Altman, “The joy and magic of The Nutcracker is destined to be amplified by the refreshed physical components, and in the end, it will very much remain Willam Christensen’s The Nutcracker.” Those interested in information about the development of the reimagined Nutcracker can sign up for regular email blasts at balletwest.org/nutcracker2017.

“We are thrilled to partner with Ballet West to ensure that The Nutcracker remains vibrant and exciting for future audiences,” said Spencer F. Eccles, Chairman & CEO of the George S. and Dolores Doré Eccles Foundation. “With our foundation's legacy of support for Ballet West now spanning more than 30 years, this represents a significant way in which we can help ensure the Company's continued growth in both artistic excellence and economic vitality," said Eccles.

photo by luke isley

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for the love of dance, as well as the dancer One family’s monetary gifts are returned with gifts from the heart. Growing up in Nebraska and Kentucky, Dr. Kent DiFiore and his wife Martha were not always ballet fans. For the time they missed though, they have certainly made up for it. “I guess it was our daughters who propelled us. They’re 28 and 30 now, but as young girls they were taking dance lessons and we wanted to show them the full extent of the art form,” said Kent. “We took them to a Ballet West performance in Deer Valley. While the girls loved it, I walked away with a whole new understanding of the rigors, athleticism, and beauty of ballet.” It was a performance of Giselle that eventually got the DiFiore’s into the Capitol Theatre and cemented what has become a lifelong love. Years later, with his girls growing up and moving out of the house, Kent joined the Board of Directors of Ballet West. “I learned so much on the business side, but I was excited to also learn the artistic side and see the process. I had appreciated what I saw on stage, but when I was able to see a rehearsal and realize just how much work and passion goes into a performance—that is when I fell in love.” His work on the Board was not entirely pleasant, however. “We had some turbulent times. It was during the recession and we were constantly brainstorming about how to raise and find money. Funding could be day-to-day at times.” Ballet West was lucky to have Kent who, along with the full Board, made necessary -- though difficult-decisions to ensure Ballet West weathered the storm. “In the end, the Company is in a much

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better place, almost unrecognizable – from a business perspective—of what it was 5-8 years ago. This renaissance wasn’t just the Board’s work, Adam Sklute’s energy and vision, along with Scott Altman’s ingenuity have transformed Ballet West.” Of course, the art form is about the dancers, “I’m so excited to see the level of talent from both new and tenured dancers continue to rise.” From their front row seats, the DiFiore’s are witnessing this talent from a literal first-hand perspective. “From the front row, you can see their sweat, you can hear the footsteps and their measured breaths. It’s a different experience to be able to see that energy and athleticism up close.” Beyond the stage, Kent and Martha have been able to get to know the dancers personally in a myriad of ways, from on- going Sunday dinners with movies, holiday celebrations, babysitting dancer’s children, and grueling hikes. “There is a mystique or idea that dancers don’t eat. Well, I can tell you they have hearty appetites from all the energy they are burning!” Kent has also been able to share his love of hiking with dancers. Whether

it is the Wasatch Mountains or beyond, he’s made lifelong friendships. “I was able to climb Mount Kilimanjaro in Tanzania with (retired Ballet West Principal) Michael Bearden. He told me he either wanted to play soccer or become a ballet dancer – he choose ballet because it was so much more challenging.” Kent also took a group of dancers to climb Mount Rainier. He was surprised when all three said it was one of the hardest things they had ever done. “We just blamed it on the altitude, though I think they were working muscle groups that perhaps don’t get exercised in a studio.” Through his time with the dancers, Kent said, “I’ve grown to respect them immensely. I feel part of the family at Ballet West, and I’m not sure you could have that experience at another Company.” During some of the darkest days of Kent’s time on the Board of Directors, he wasn’t even sure if the public had interest in ballet anymore. “There is just so much competition in entertainment that I thought ballet might be dying. There were even books and articles being written about the death of this art form. But I don’t think that way anymore. The tide has turned here. I see that as ballet, and especially Ballet West, evolves it grows to be more inclusive and attracts an even larger audience. It is very exciting to experience and play a role in this change.” Kent reminds all patrons that “you don’t have to be a huge donor to make a difference. Anyone can influence the community to make it stronger. That is our goal.”

photo by luke isley

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NEW TRUSTEES

ballet west board Ballet West’s Board of Directors helps with development and governance of the organization. It is made up of a diverse group, from volunteers to business professionals who care deeply about the Company. Recently, the Board elected four new members. Bryan Riggsbee joins the Board with an eagle eye on finance. As Chief Financial Officer of Salt Lake-based Myriad Genetics, Riggsbee is helping to grow the $2.8 billion dollar company, which develops predictive medicines and prognostic medical tests. He’s been a Utahn for just under a year and a half and has fallen in love with the mountains, the outdoor lifestyle, and the golf courses. “In my free time, I love to play golf with my kids, Will (13) and Margaret Ann (11).” Bryan is originally from North Carolina, where he met his wife Erin. They have been married for 17 years. The Riggsbees attended Ballet West’s The Nutcracker this year and they fell in love. “I’ve always been a supporter of the arts and I’m excited to be more involved with Ballet West. My finance background should benefit the Company as it continues to grow and achieve its artistic goals.” “Ballet West is recognized as one of the top ballet companies in the country, and I’m excited to help it maintain its prominent position as part of the thriving Utah arts community,” said Bryan. The organization is excited to have Bryan's insight and guidance.

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Cheryl Huntsman was born into a family of 17 children in Bloomfield Hills, Michigan. Given this, it’s only natural that she and her husband, Paul, have eight children ranging in age from 8 to 21. Family is very important to the Huntsman’s, but it hasn’t slowed Cheryl from her personal goals: she’s completed seven marathons, has a passion for Pilates and her Stott certification, and has a wanderlust that has taken her to Australia, Israel, Japan, and many other countries. Her other passion is, of course, her children, and with that—dance. All six daughters have participated in Ballet West’s The Nutcracker and she says she has probably watched it close to 60 times. The little ballerinas have also been cast in Cinderella, Sleeping Beauty, and Swan Lake, Cheryl’s personal favorite. “I joined Ballet West’s Board of Directors primarily due to my interest in the Academy,” said Cheryl. “I have children at all levels, from elementary to PTD, and I hope to help it continue to grow into a world class training destination.” With the explosive growth of the Academy, the organization is excited to have Cheryl’s unique perspective and passion!

Krista Sorensen has a pretty amazing story. When she was born, doctors weren't sure if she would ever walk normally, having been diagnosed with club feet. For two years she had casts on her legs that were changed-out every two weeks. Once her legs were straightened, doctors told her parents that she should take ballet to ensure continued recovery, and so at age three she started taking class. In Kindergarten, Krista saw Ballet West’s The Nutcracker for the first time and fell in love. She looked up at her Mom that night and said, “I’m going to be Clara in The Nutcracker someday.” So, when Willam Christensen opened the Christensen Ballet Academy right inside her elementary school, she immediately enrolled. “He was warm and funny, but a stickler for perfection,” said Krista remembering Mr. C. Krista auditioned for The Nutcracker and although she got to the final rounds, she was rejected. “I was hysterical! My Mom said, you have to lose in order to know how good it feels to win.” The following year, she was cast as a party girl; and, at 12, it happened, Krista was cast as Clara, and played the role for three years. “It’s not like it is now. There were only a of couple casts, and you had to be at every performance in case you were an understudy. It was quite intense.” Krista had a 20-year career marketing and selling medical devices. Today, she serves on several nonprofit boards and spends her time with her children and grandchildren. What brought her to the Ballet West Board of Directors is what brought her here decades ago as a child. “My heart is still with the Academy. I love what [Academy Director] Peter Merz, is doing and I’m looking forward to continuing to build the brand into one that is able to recruit and retain top talent the world over.”

Angela Martindale — "I have lived all over the world and there is no company like Ballet West,” said Angela Martindale, owner of Meals That Transform, which delivers over 3,400 nutritious sugar-free and gluten-free meals per week. Angela is excited to bring her health and wellness background to the Company, in particular the Ballet West Academy, where she is initiating a customized healthy snack and lunch program for students. “These are foods designed to fuel and heal their bodies for peak performance as they represent the Academy to the world.” You might recognize Angela from her frequent guest spots on local new segments where she promotes wellbeing initiatives. Angela’s interest in Ballet West reaches back to her childhood when she would attend The Nutcracker with her grandmother. “I remember walking into the Capitol Theatre for the first time and feeling so grateful that I had this opportunity. The feeling has never faded.” Angela is also excited to help promote Ballet West's Education and Outreach initiatives. “I would like to help the I Can Do program, which educates 5th graders in the art of dance and the benefits of body movement for general wellbeing.” She has jumped in with all of her resources, and the organization is already benefiting from Angela's knowledge in the areas of health and wellness.

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KAREN HORNE

an artist's artist There are people who love art, and then there is Karen Horne. A graduate of Yale’s Art Department, Karen has refined her skills in her preferred medium of pastels and oils. When you walk into Horne Fine Art in Salt Lake City, you find Karen’s studio gallery filled with sumptuous and beautiful pieces, large and small. Upon further study, you might notice that many of Karen’s works feature ballroom, flamenco, and ballet dancers, and even the spaces and locations where they work, including the Janet Quinney Lawson Capitol Theatre. In this way, Karen has not only immersed herself into her own art, she has also infused her world with the work and inspiration of other artists. During intermission at Giselle last season, Executive Director Scott Altman met Karen, and she mentioned to him that a painting in the lobby that features patrons walking into the Capitol Theatre was a piece she had painted. “From that moment, I knew we wanted to work with Karen. Then, I saw some more of her work, featuring Academy students and professional dancers, and I started noodling on several ideas,” said Altman. “I have always loved capturing artists as they create their artwork, especially in ballet,” said Horne. “There is such refinement with dancers that are highly trained. The subjects lend themselves to art so well. Not only are they beautiful, but they also have an otherworldliness about them.” Karen said she picked up this theme soon after college. “It has turned into a lifelong obsession. I’ve been finetuning my work, and don’t see that will change anytime soon!”

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It was in June of last year that Altman had the idea to engage Karen’s talents for the 60th Anniversary of The Nutcracker. “We knew we wanted unique merchandise and other elements to make the Diamond Anniversary truly sparkle,” he said. Karen remembers being brought in for a meeting with Artistic Director, Adam Sklute and Vice President of Development and Marketing, Tom Michel. “Tom said they wanted an iconic image to be used on the cover of The Nutcracker playbill, which I found a little daunting at first.” But, Karen left the meeting with several ideas and an excitement. “I was delighted because I love the Company so much. I was truly flattered they would ask me.” A photo shoot was arranged where local photographer David Daniels shot Principal Artist Emily Adams. Karen was also at the photo shoot taking close ups of the Snow Queen costume. Working through the fall, Karen selected the right shot to draw the pastel, all the while feeling a responsibility to create an iconic image that would be seen by tens of thousands of people. There were several challenges throughout the process. “It was a delicate balance of creating ‘sparkle’ without making it look like a cartoon. I also had to convey Emily's body as light and delicate, while showing her strength. And finally, it needed to be more evocative of Emily than an actual portrait.” To create a glow on the canvas, Karen experimented with a new set of metallic pastels, which she had never used before. And, to create a ‘light’ and ‘graceful’ pose she used layers

“I have always loved capturing artists as they create their artwork, especially in ballet . . . The subjects lend themselves to art so well. Not only are they beautiful, but they also have an otherworldliness about them.”

of colors with rich strokes. “Working with Emily was the easy part. She’s a goddess on and off stage. She’s regal, and I wanted to communicate that.” When the painting was scanned and sent to print, sparkling metallic embellishments were added. “It added a 3-D effect, and when I first saw it on Opening Night, the image came to life on the cover.” Scott Altman said, “Audiences truly loved the playbill. It was both modern and nostalgic, creating a souvenir which families will keep for years to come.” Karen's original work was displayed in the lobby throughout The Nutcracker. Afterwards, Karen donated it for an auction where all proceeds went toward Ballet West Academy scholarships. To see more of Karen Horne’s ballet series, visit wwww.hornefineart.com

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donors

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.

founderâ&#x20AC;&#x2122;s circle

Alene Bentley

Ballet Master

Larry and Tina Howard

Barbara Barrington Jones

Blank Family Foundation

Bradley Allen

Robert and Dixie Huefner

Peggy Bergmann

Doug Brown

David and Linda Irvine

Difiore Family

Carol Browning

John and Marilyn Alleman

Gordon Irving

Mark Weisbender

Stephanie and Tim Harpst

CĂŠline Browning

Patrica and Steve Anderson

Johann Jacobs and David Heuvel

Bill and Betty Weldon Jacquelyn Wentz

Paul and Cheryl Huntsman

Carol Carter

Brent Johnson

Michelle and Todd Wolfenbarger

Rete and Rikki Browning

Govert Bassett Frances and Jerome Battle

G. Frank and Pamela Joklik

Carol Christ

Clisto and Suzanne Beaty

Cecile and Hal Christiansen

Gary Beers

Howard A. and Lou Ann B. Jorgensen

Sharon Bertelsen

John Karls

William and Melissa Connelly

Mary Bird and Lance Wood

Scott and Allison Kendell Carol and Guy Kroesche

Hu Ding

John Bogart and Carol Mone

Rose Kuo & Larry Gross

Barbara Kipper Peter and Catherine Meldrum

William and Patricia W. Child

John and Marica Price Family Foundation Theodore Schmidt Beano Solomon Jim and Krista Sorenson heritage club Archivist and Director Vilija Avizonis and Greg McComas Judy Brady and Drew W. Browning

Spencer F. Eccles Deborah B. and Edward Felt Ron and Shelley Hansen Scott Huntsman Gordon Irving Tina Jensen

Marie and Kevin Brown

Conrad and Anne Jenson

James and Barbara Clark

Jeanne Kimball

Sue J. Ellis

Catherine Parrish Lake

Erik and Uzo Erlingsson Alan and Jeanne Hall Sheryl and Bruce Lefavi Anthony and Jessica Mirable

Peter Dejonge and Susan Johnson

Sheri P. Morgan Scott and JoAnn Narus

John Eckert

Oren and Liz Nelson

Sissy Eichwald

Scott Nichols

Patti Eylar and Charlie Gardner

Dr. Pamela Parkinson and Joshua Scoby

Michael Fife

Linda S. Pembroke

John H. and Joan B. Firmage

Diana and Joel Peterson

Karen L. Freed

Jeanie Pollack

Pete and Janet Richardson

Teresa Silcox

Todd Smith George H. and Tamie P. Speciale Jennifer Speers Sue and Jack Stahl Cindy and Blake Strong Bill and Stacey SweetTaber Barbara Tanner Rick and Chris Veit Roy Vincent Brad and Linda Walton

Margaret Anderson

Mike and Debra Washburn

Stephen Anderson and Merribeth HabeggerAnderson

Julia S. Watkins

Petras and Liuda Avizonis Bonnie Jean theBeesley front

Lee Quinney

Adam Sklute and Christopher Renstrom

Scott and Lisa Altman

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Rachele McCarthey and Brock Vandecamp

Richard and Lois Peterson

Jerry and Linda Rowley

Ballet Mistress and Choreographer

David and Donna Lyon

Marjorie and Thomas Mclaughlin

Katharine W. Lamb

Carole Wood and Darrell Hensleigh

Amalia Cochran

David E. and Helane B. Leta

Christopher D'Addario

Ellen and Chris Rossi

Sue and Walker Wallace

Rebecca Marriott Champion

Marilyn Neilson

John and Andrea Miller

Stanford and Dixie Stoddard

Kristel Bowman Carter

Tony and Roxanne Christensen Lazzara

Jonathan Crossett and Pascale E. de Rozario

The Rickman Family

Audra Sorenson

Alexis Carr

Katherine Probert Labrum

Willis McCree and John Fromer

Dan Miller

Liz and Jonathan Slager

Brian Burka and Jerry Hussong

James R. Kruse and Mary Jo Smith

Jon and Helle Le Rette

Brian and Janae Powell

Katherine Scott

Ginny Bostrom and Ralph Ashton

Charles and Susan Critchlow

Angela Martindale and Michael Snow

Richard Ross

Marcy Barlow

Marilyn and Chester Johnson

E. Lindsay and Carla Carlisle

Keith and Nancy Rattie

Al and Carol Baer

Marelynn and Edward Zipser

Raili A. Fuller Mary Ann and James Gardner David Keith Garside Marla M. Gault Dee Gauss Anamarie Gold David and Sandylee Griswold John and Ilauna Gurr Kenneth Handley Sandy Haughey Wyatt and Samantha Hepworth Connie Holbrook Mark and Wendi Holland Julie Hopkins

Thomas and Mary McCarthey

Ray Pickup Jeanne Potucek Victoria Jane Ream Gary and Joann Rieben N. Leone Rogers Scott Rosenbush and Cindy Zimmerman Margaret P. Sargent Ben and Lael Selznick Dr. Mark and Linda Scholl Robert Schumacker Laura Scott Aharon Shulimson and Julie Terry John Sklute Katherine Smith Nancy and Robert Sparrer

Amy Wadsworth and David Richardson Susan Warshaw

Anonymous

new and renewed members Fran Morse Melissa Rideout Joshua Bergman Sharon and Michael Bertelsen Lisa Litton Steven Child Mindy Mason Virginia Huber Trisha Young Donald Easton Jayne Kearl Sharon O'Connell Kiera Westwater Carolyn Abravanel William Hodges Eric and Shellie Eide Lisa Bailey

foundations, corporate, and government support $100,000+ George S. and Dolores Doré Eccles Foundation James Lee Sorenson Family Foundation Frederick Q. Lawson Foundation Peter & Catherine Meldrum Foundation S.J. and Jessie E. Quinney Foundation Salt Lake County Zoo, Arts and Parks Program Utah State Legislative Funding through the Utah State Office of Education Professional outreach Program in the Schools.

Bambara Restaurant*

$1,000-$4,999

Richard K. & Shirley S. Hemingway Foundation

3M Health Information Services

Dr. Jeremy Wimmer with Elite Chiropractic Center*

5 Wives Vodka*

Every Blooming Thing*

Blank Family Foundation

Holiday Inn Express* Larry H. & Gail Miller Family Foundation Lawrence T. & Janet T. Dee Foundation

Katherine W. Dumke & Ezekiel R. Dumke Jr. Foundation

Ray and Tye Noorda Foundation Rocky Mountain Power Foundation Simmons Family Foundation

Barbara Horwitz

Emma Eccles Jones Foundation

Trolley Square Ventures*

Janet Q. Lawson Foundation

Webb AV*

Swen Swenson Julie Reno

Huntsman Family Foundation

Brandy Jenkins

Le Croissant Catering*

Belinda Crafts

Marriner S. Eccles Foundation

Sallie Shatz Elizabeth Franks Stephen Proser Joanne Parrish Sonja G. Penttila and Lewis Boynton Ronald M. Aoki John Cogan Ronald Bolander Rebecca Day Sara L. Neill Natalie Grandy Steve Moga Lewis and Nancy Baker Amanda Baer Barbara Ray Lucy Taylor Randy McComas John and Patricia Clay

Culinary Crafts*

Dorsey & Whitney LLP

The New Yorker*

Kyle Finlinson

Cuisine Unlimited*

Print Media

B.W. Bastian Foundation

Jerome Robbins Foundation

Caitland Photography

O.C. Tanner

$25,000–$99,999

Curtis Jay Allen

The Boeing Company

Delta Airlines*

Diane and Michael Leikam

William P. Armstrong

february 12–20

Bistro 222*

Dr. Mina Vaughan Foundation

Taubman/City Creek Center*

Elaine Cohen

ROMEO & JULIET

Utah Digital Newspapers Wells Fargo Bank Foundation Wheeler Foundation

Diamond Rental*

Holland & Hart LLP Industrial Supply Company* J Wongs* Mark Miller Subaru Merrick Bank Mills Publishing Molina Health Care Joe Muscolino* Nicholas & Company* Nordstrom Cares Foundation Overstock.com*

$5,000-$9,999

Panache Park City

Chevron

The Robin's Nest * The Rose Shop*

Nuvestack*

Church of Jesus Christ of Latter-day Saints Foundation

Questar

Epic Brewery *

Salt Lake Regional Medical Center*

Henry & Leslie Eskuche Foundation

Salt Lake Mailing and Printing*

Shubert Foundation

Henriksen-Butler

Sorenson Legacy Foundation

High West Distillery*

Utah Toyota Dealers Utah Arts and Museums with funding from the State of Utah and the National Endowment for the Arts

Salt Lake Brewing Company*

Southern Wine & Spirits* Snow, Christensen & Martineau

Intermountain Health Care

The Summit Group

Joanne L. Shrontz Family Foundation

T-Mobile USA, Inc

R. Harold Burton Foundation

Swire Coca-Cola Tanner, LLC Target

Zions Bank

Reagan Outdoor Advertising

US Bank Bancorp Foundation

$10,000-$24,999

Ruth's Chris Steakhouse*

Whole Foods

Beaver Creek Foundation

Salt Lake City Arts Council

Florence J. Gillmor Foundation

Union Pacific Foundation

C. Comstock Clayton Foundation Cyprus Credit Union Durham, Jones & Pinegar Goldman Sachs Hotel Monaco &

University of Utah Health Sciences* Visit Salt Lake*

*in-kind donation

Workers Compensation Fund

october 10, 2015– january 20, 2016 first soloist sayaka ohtaki principal artist christopher ruud photo by beau pearson

the front row | 15

upcoming events

52 west 200 south salt lake city, utah 84101

Masquerade Party

february 11

An evening with craft beer, appetizers, the first act of Romeo, and a sword fighting demo Romeo and Juliet

february 12–20

The most romantic story of all time Night of Shining Stars A Tribute to Bruce Marks

january s

february

february 27

An evening filled with performances by some of the world’s finest dancers.

Beauty and the Beast

march 31–april 3

An enchanted ballet perfect for the whole family The Nijinksy Revolution

april 15–23

Groundbreaking ballets, reborn Innovations 2016

may 20–28

Experience the thrill of a world premiere

march s

april s

may

tickets donations 801·869·6949 | balletwest.org the801·869·6900 front row | 16