Front Row 2016 Volume 2

2016 volume 2

front row In this issue

THE COMEBACK KID dancer profile: katherine lawrence

THE REVOLUTION IS COMING the triumphant return of the rite of spring

DONOR PROFILE willis mccree & john fromer

front row | 1 principal artist katherine lawrence | photo by luke isley

Treating Dancers at Two Locations Along the Wasatch Front

Specializing in the treatment of a wide array of injuries, including: • Back • Neck

• Shoulder • Knee

• Hip • Ankle

• Foot

Call us for more information or to make an appointment.

Physical Therapy at Salt Lake Regional 801-350-4593 1050 E. South Temple (Ground Floor) Salt Lake City, UT 84102

Physical Therapy at Jordan Commons 801-748-1861 9350 S. 140 E., Suite 460 Sandy, UT 84070

Salt Lake Regional Medical Center is a proud supporter of Ballet West.

866-431-WELL front row | 2

| SaltLakeRegional.com

IN THE NEWS SCOTT ALTMAN, EXECUTIVE DIRECTOR, NAMED CEO OF THE YEAR In March, Executive Director Scott Altman was selected by Utah Business magazine as CEO of the Year, a prestigious award that identifies and honors executives in Utah.

Altman joined Ballet West as Executive Director in 2013, and the Company has experienced phenomenal expansion under his leadership. Ballet West has witnessed a 21 percent growth in ticket sales, a vastly expanded touring schedule, robust growth in donor development, and a renewed and energized Board of Directors.

Altman facilitated a watershed campaign, a 12-month long “Million Dollar Challenge,” which completely eliminated $2.2 million in operational debt, the first time the Company had achieved this impressive standing in 33 years.

“I’m honored to accept this award on behalf of my entire team in recognition of their collective dedication to our organization’s endeavors,” said Altman. “Additionally, our community continues to show their unending support for Ballet West, a crowned jewel that calls Utah its home. At 53 years young, the Company is experiencing a true renaissance, which continues to bring even more national and international attention to our state and the vibrant arts community.” Ballet West congratulates Scott on this momentous acheivement.

table of contents 4

THE COMEBACK KID

6

DONOR PROFILE

8

dancer profile: katherine lawrence

willis mccree & john fromer

THE REVOLUTION IS COMING the triumphant return of the rite of spring

10

health providers spotlight An exceptional team

12

park city academy New campus announced

14 new and renewed donors Welcome to our newest supporters

16 upcoming events Our quarterly calendar

season sponsors

staff Josh Jones Writer & Editor

Whitney Shaw Design

Sara M. K. Neal Associate Director of Marketing

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katherine lawrence the comeback kid In 2011, in a pivotal moment of Katherine Lawrence’s career, Sara Webb, a longtime friend and Principal at Houston Ballet, guested at Ballet West. Katherine and her husband, former Ballet West Dancer, Aaron Orlowski, had begun to consider having a child. Sara was guesting with Ballet West and offered some advice, “If you want to continue dancing after your child is born, set your mind right now that you’ll return to the stage. Keep taking barre, class, and exercising as long as you can—but just as importantly, keep your goal front and center,” Katherine recounts. “It was probably some of the best advice I received; and I knew that if I had any complications that I could walk away from ballet, knowing I had had a fulfilling career.” Luckily for Ballet West, Max is a healthy 18 month old who is already showing a penchant for dance!

Katherine grew up in Fairfield, Connecticut, an idyllic city where she started taking dance lessons at just four years old. “My mom really encouraged it because I was always dancing around the house. I liked the classes, and instantly fell in love with ballet.”

In 11th grade, Katherine left home to complete high school at The Harid Conservatory, a prestigious ballet school in Florida. “It was very strict, very intense, but I loved it.” Days started early with academic classes and then, after a short lunch break, dance lessons. Students received dancespecific classes into the evening on music theory or nutrition. Not everyone could handle the pressure, but for Katherine “it was amazing.”

After graduating, she returned to Connecticut to dance with Hartford Ballet before being hired at Indiana’s now-defunct Ballet Internationale, where she danced for five years. Perhaps more importantly, there she met her future husband, Aaron Orlowski.

When Ballet Internationale started to hit rough financial times, Aaron went to Nevada Ballet

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before being hired at Ballet West by Jonas Kage.

“I was traveling to Utah often to see Aaron. I was taking Company class and started to really enjoy the artistic staff and dancers,” said Katherine, who had never considered dancing for Ballet West because the Company had a reputation for only hiring tall dancers. But in 2004, after a short audition, she was given a contract from Kage and rose through the ranks very quickly. She married Aaron in 2005 and was promoted to soloist by then-interim Artistic Director Pamela RobinsonHarris in 2006.

In 2011, Adam Sklute surprised Katherine by making her a Principal. “I was honestly caught offguard. I just wasn’t expecting it.” She was genuinely surprised since every dancer had received notice of their promotions in their mailboxes. “I didn’t have one, so I went down to the basement of the Capitol Theatre to get ready for a school show of Sleeping Beauty. When I got down there, my dressing room had a huge bouquet of flowers with the envelope.”

“I’ve always admired Katherine’s elegance and purity of technique which is built not only on natural ability, but through hard work and

discipline. I hold her up as an example to the rest of the Company on how to approach your work,” said Artistic Director Adam Sklute. “She is so focused and so disciplined that when she privately told me that she was pregnant, and that she would be returning to the stage after the baby was born, I never doubted it for a moment.”

Katherine announced her pregnancy in the spring of 2014, and she says the whole Company was supportive and rallied around her, even the Costume Department. “We were doing Balanchine’s Divertimento No.15, and the wardrobe shop was literally letting my tutu out before every single performance!” In the same repertory program, she was also dancing in Nicolo Fonte’s Rite of Spring, an allegory about creation, sacrifice, and rebirth. “I loved dancing the piece, the message and tone really struck me personally. It was a stroke of coincidence to be dancing in The Rite of Spring while I was pregnant.”

After the spring show, she asked Adam if he would check to see if any of the choreographers for Innovations would like to have an obviously pregnant woman in their piece. “I just felt awesome, with no morning sickness. And for my own goals, I wanted to keep dancing as long as I could.” Matthew Neenan said “yes” and cast her in his piece, The Sixth Beauty.

Through the summer, she kept a rigorous routine, exercising and guest teaching at Summer Intensives, returning in the fall to help Ballet West II rehearse.

Max was born September 20, 2014, and not long afterwards, he was in the studio. “I’d put him in a carrier and set him near the piano, where I could see him.” She says it was much harder than she expected, but she began power-walking with Max in a stroller, and then started Pilates to strengthen her core. “I want Max someday to understand my passion and motivation; but, I also want to be an example to other dancers: that they can have a family and continue to do whatever they want.” principal katherine lawrence | photo by luke isley

Ballet audiences were astonished and thrilled when Katherine returned to the stage just four months after giving birth in February 2015 to dance one of the most difficult and prized roles of her career – Odette/Odile in Swan Lake. “It was quite a journey and incredibly rewarding to return to the stage in a role I had wanted to reprise… I just thought to myself, it can’t be as difficult as giving birth!”

“Katherine has always been a beautiful dancer and reliable performer.” Says Sklute “ But I must say since she became pregnant and now as a mother, there is a newfound depth, profundity, and freedom to her performances which I find thrilling to watch. When she was dancing The Rite of Spring at five months pregnant, I admit I was concerned for her safety but she is a smart artist who knows her body and I was fascinated by the power and intensity that was pouring out from her.”

Today, Katherine says she does aerobic exercises at least three time a week.

This may include elliptical, biking, or plugging Max into a baby backpack and going for a hike in Little Cottonwood with Aaron, who is now a social worker.

“We truly love the outdoors in Utah.

Our mountains in the north and the canyons of Zions and Bryce in the south are spectacular and amazing.” Of course, Katherine’s most strenuous exercise is the 6-day a week ballet class and rehearsals.

She is currently working on a new and different role in the ballet that holds such professional and personal significance for her: The Rite of Spring.

“It was quite a journey and incredibly rewarding to return to the stage in a role I had wanted to reprise…

I just thought to myself, it can’t be as difficult as giving birth!”

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DONOR SPOTLIGHT

willis mccree & john fromer They’ve traveled the world, and have witnessed some of the best ballet companies, but Willis and John have fallen in love with the talent they’ve seen on the Ballet West stage.

Two years ago, Willis McCree and John Fromer moved back to Utah. After successful and stressful careers in New York City, they both wanted to be closer to family and slow down a bit.

The following 24 months have been anything but “slow,” and in a relatively short amount of time, they have made a lasting impact on not just Ballet West, but many other nonprofit organizations dear to their hearts.

Although they technically consider themselves retired, an outsider may rightfully second-guess that description. Willis is working on publishing a book, while John volunteers several times a week at the Ogden Food Bank. Both have served on several nonprofit boards, and are working to strengthen and promote Ballet West’s brand in the Ogden area. Of the countless hours and causes to which they give their time, John says, “What can I say? It can get addictive to give of yourself and your time. It can almost be a selfish feeling because it feels so good.”

“The boys,” as Development Director Sarah West calls them, “are the type of friends that every nonprofit wants to have. They’re dedicated, and they devote 100% to whatever cause they are passionate about. We’re so happy to have them as part of the Ballet West family.”

While John started to enjoy the arts at a young age, thanks to his mother’s example

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and encouragement, for Willis, his interest in ballet came later. His birthday is right before Christmas, and a friend had given him a ticket to The Nutcracker. “I loved it! That’s all it took. Years later, I was at a conference in Washington D.C. and all my colleagues went to restaurants and bars after our meetings. I purchased tickets to The Royal Ballet at The Kennedy Center. I proceeded to go back every night! I didn’t care where I sat, or that I wasn’t with my colleagues—I was totally entranced. It was wonderful!”

Willis and John met 15 years ago in New York, and their love of dance just strengthened their relationship. They became annual subscribers to The Joyce Theater and American Ballet Theatre. “We were spoiled,” says John. Willis confirmed, “We really had grown accustomed to being surrounded by world-class performing arts.” When they moved to Ogden to be closer to both of their families, they were intrigued by Ballet West’s Sleeping Beauty, but wondered if the art on stage would compare to the ballets they’d enjoyed for years in New York. “We were in awe.

We really were! And, since that first performance, we continue to be delighted. Ballet West never disappoints,” said John, bluntly.

Two years and many performances later, Willis and John are subscribers and Patrons of Ballet West, and even ambassadors. “I have a zest for this Company,” said Willis, “I want to find ways to spread the word about the remarkable talent this

it has.” Compared to the organizations in New York, Willis says he enjoys the intimacy of the Ballet West experience. “The closeness we feel to the staff and dancers is something you’d never find elsewhere. We feel appreciated and part of the conversation, which is important for us.”

“I have a zest for this Company.

I want to find ways to spread the word about the remarkable talent that is has.”

Recently, before an international trip, Willis called Executive Director Scott Altman, and told him that he was meeting with an attorney to add Ballet West to his Planned Giving arrangements.

Willis is somewhat of an expert in Planned Giving, given his years working with the American Red Cross and Habitat for Humanity in New York, as well as consulting with many local nonprofits. “It’s about being honest and smart, and for the organization, a planned gift is about sustainability,” said Willis. “You don’t have to be wealthy to make sensible estate plans.”

“We’re not old, but we’re not young either. So, we have to think about how we’re going to give back.

My advice to those who are thinking about planned giving: Don’t be afraid,” said John. “When you make a planned gift, you’re giving a gift to the future, and the future belongs to the youth. We want the world to be in a better place when we leave it.”

Of course, John and Willis aren’t going anywhere soon. Their active life, including travel and engaging with their community, keeps them very busy. In May, the two will open their doors to several dozen friends when Ballet West’s Beauty and the Beast opens at the Browning Center in Ogden. John said, “We’re so excited to showcase its remarkable talent to our friends and family in the community!” front row | 7

the revolution is coming

By Amy Falls Following its successful premiere in Ballet West’s 2013-14 Season, The Rite of Spring by Resident Choreographer Nicolo Fonte will be restaged for The Nijinsky Revolution this month. Artistic Director Adam Sklute remembers having Fonte on his choreographic radar while Sklute was still Associate Director at The Joffrey Ballet in Chicago.

After Sklute accepted the position of Artistic Director at Ballet West in 2007, Fonte was one of the first choreographers he brought in to create a new work for the Company.

A more permanent partnership evolved following Ballet West’s performance of Fonte’s Bolero in 2011.

Sklute says Fonte’s approach to ballet is one that he admires tremendously, and that his physicality matches the way in which Sklute likes to see dancers move. Fonte was named Ballet West’s Resident Choreographer in the 2012–13 Season, and since then he has created at least one new work for the Company each season.

Ballet West First Soloist Allison DeBona was still an apprentice when Fonte came to set his first work on the Company, Immeasurable Cadences Within, in 2009. She attributes one of her first big opportunities at Ballet West to Fonte, when he cast DeBona in his ballet for the Innovations series. DeBona says she appreciates the challenges presented in Fonte’s choreography - women are encouraged to jump athletically, men are asked to articulate their feet and legs – and also the process the dancers have developed working with Fonte over the years.

Fonte says, “I love working with Ballet West because we have a history together. There is a

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familiarity. They are able to be freer and more vulnerable, and open to new ideas.” DeBona says she has definitely observed a change in how they work together over the years – she identifies the process they are able to find with Fonte now as more “organic,” with the dancers not just being given steps, but shaping the ballet with him.

DeBona says, “He trusts us as artists, but will also tell us when something isn’t working for him.” And Fonte does trust the dancers of Ballet West. He says, “They look incredibly fabulous doing my work… they do the work justice.” He also notes that every time they work together, their relationship goes deeper; and DeBona concurs, observing how The Rite of Spring was a special ballet for the Company because of the relationship they have developed with Fonte over the years. Summarizing their rehearsal dynamic, Fonte says, “We inspire each other.”

Sklute and Fonte developed the idea together to create a new The Rite of Spring for Ballet West.

The original ballet, titled, Le Sacre du Printemps, featured choreography by Vaslav Nijinsky to a score by Igor Stravinsky, and shocked audiences at its Paris premiere in 1913. While Nijinsky was known as a great performer of classical ballet, audiences found his choreography startling--it pushed the envelope of early 20th century viewers’ expectations. In spite of the historic notoriety surrounding the ballet’s premiere, Fonte looked to separate Stravinsky’s score from this context for his new version.

Fonte’s first approach was to listen to the score without imagining the original narrative created

by Nijinsky (depicting a pagan rite in which a

young girl, The Chosen One, is sacrificed at the ballet’s end). A physicality emerged for Fonte that emphasized the rhythmical, primal quality of the score. He recounts that he did not set out with a specific choreographic mission, but rather engaged in a process of discovery. In starting from the abstract and only then moving toward a narrative, Fonte observes that the instinctual, earthbound qualities that emerged seemed truly rooted in the music itself - not just in Nijinsky’s original narrative.

Stravinsky’s score on his own terms, Fonte has found his own revolution inside The Rite of Spring.

Helen Pickett’s Games (2015) and Jerome Robbins’ Afternoon of a Faun (1953) are also contemporary re-imaginings of ballets originally choreographed

by Nijinsky. They will appear alongside The Rite of Spring in The Nijinsky Revolution.

Performances of The Nijinsky Revolution will take place April 15–23 at the Janet Quinney Lawson Capitol Theatre.

Fonte also cites Walt Disney’s 1940 film “Fantasia” as having an impact on his choreographic mindset.

Disney used Stravinsky’s score to illustrate the evolution of life on earth from the time of the dinosaurs. “I found this to be freeing – that Disney could reinterpret the heavy, powerful drama without historical context,” says Fonte, regarding Disney’s use of “highbrow” music for a cartoon.

While his approach in choreographing gave him freedom from the original ballet, Fonte’s The Rite of Spring still presents audiences with imagery and a narrative that harkens back to the original work – but with his own spin. While Nijinsky depicted a singular “Chosen One” who has no control over her fate at the end of the ballet, Fonte has developed a narrative that subverts this original story line. Additionally, his striking use of a natural element onstage evokes sacred and sacrificial imagery.

Sklute, who danced in the 1987 Joffrey Ballet reconstruction of Nijinsky’s original choreography, says this is precisely how The Nijinsky Revolution evolved as program. Sklute identifies Nijinsky as a true revolutionary, though he also notes that his concepts might be identified as more revolutionary than his choreography. By revisiting

first soloist allison debona | photo by luke isley

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health providers

BALLET WEST'S

Ballet West has assembled an expert team of health providers for dancers and Academy students. From nutritionist and acupuncturists to specialized surgeons and dedicated doctors, these individuals are on call at all times for our Artists. Here are just four of the exceptional team.

Allen Tran, MS, RD

Allen Tran is one busy guy. In his role as High Performance Chef and Dietitian for Olympians and potential Olympians, he travels with the US Ski and Snowboard Teams around Europe and Asia to ensure they’re eating properly. In the “offseason” he’s helping athletes recover from injury at the USSA training facility in Park City, UT. Through a strategic partnership with USSA, Allen is working with several Ballet West dancers to help them reach their peak performance abilities.

“Surprisingly, there are a lot of similarities between high-level ballet dancers and our US Ski Team,” said Allen. “Both groups have to juggle a demanding training schedule, nagging injuries, fitting time-in to get proper nutrition, all while maintaining a high level of performance.”

In his consultations, he’s been stressing the importance of staying hydrated and not skipping meals, along with more specialized instruction.

“Although ballet dancers are certainly artists, they are also as much athletes as any other sports person.” His advises all the dancers that, “Nutrition by itself won’t make you elite. However, proper nutrition can make a good athlete great, while poor nutrition can drag a great athlete to be merely good.”

Allen is rewarded by what he is seeing on stage.

“Having a personal connection to the dancers makes the performance more meaningful and moving to me.” And, he is taking pride in being part of the Ballet West family. “As we say in the Olympics, it’s an honor to be part of the team behind the team.”

front row | 10 photo by luke isley

Rebecca Moore, RD PEAK Health & Fitness

When a ballet dancer can burn up to 600 calories an hour, it’s integral they get proper nutrition around the clock. Thanks to a unique relationship with the University of Utah’s College of Health, Becca Moore is lending her expertise in diet and nutrition to the Ballet West dancers to keep them educated and healthy. She’s worked individually with about 20 Company Artists, and has even extended her knowledge to the upper tiers of the Ballet West Academy students.

She’s been excited by the depth of knowledge and questions the dancers have regarding nutrition.

“Working with professional dancers is different in that they are typically more motivated to eat well.

And, they also specific questions: when to eat, how many grams of protein they need, etc.”

The most common issues she’s been addressing with dancers are staying hydrated during class and consuming enough calories before class. Becca said, “My background as a college gymnast has really helped me relate and offer tips on getting enough nutrition and fluids for class without feeling bloated.”

But Becca notes, nutrition can only get you so far.

“It in no way replaces genetics or hard work in class, but nutrition can help dancers be focused and have enough energy to work at a higher level for their entire day of training. It can also play a huge role in injury prevention and recovery.”

Paisley Hardman, DPT

Kevin Semans, ATC Comprehensive Orthopedics and Sports Medicine Few people know the Ballet West dancers as intimately as Kevin Semans. With his office next to their locker rooms, he’s the first line of defense against injury and ailments. And, after 12 years with the organization, he also helps Academy students, and staff maintain good health. His office in the basement of the Jessie Eccles Quinney Ballet Centre is one of the busiest in the building.

“My job is to ensure the small aches and pains that all dancers have don’t turn into really big things,” says Kevin. If those issues don’t go away, he’s assembled an “A-Team” who will see the dancers at any hour. “We now have a collection of experts orthopedic surgeon, ENT and eye doctors, sports medicine specialists; as well as allergists, acupuncturists, and massage therapists. This group of highly-specialized practitioners can diagnose and treat our dancers much differently than a person who walks into a walk-in health clinic.”

After a decade, Kevin has a deep rapport with the dancers. On a recent Tuesday afternoon, dancers come in to his suite and ice themselves, get advice for ongoing aches, and others just come in to chat and eat their lunch. When he goes home at night, he said it’s common to continue treating via text and email. “I’ve had dancers call me at 2 a.m., and I’m happy to take that call. I know their histories and current issues. I’m in the best position to get them the care they need immediately.”

Just like a professional athlete, ballet dancer’s bodies work overtime. “I want dancers to realize that with proper care they can extend their careers by 5 or 10 years.” My goal, Kevin says, “is to allow dancers to retire when they want to, not when they have to.”

principal katherine lawrence | photo by luke isley

When Mickell Smith, Ballet West’s Corporate Partnerships Manager, contacted Salt Lake Regional Medical Center about a strategic partnership between the two organizations, Tammy Clark, Director of Business Development, was very excited. “Our health providers are known for their sports and medicine expertise. We serve as team physicians for REAL Salt Lake, Westminster College, and the US Freeskiing Team. Ballet West’s dancers are on-par with those organization’s athletes, so it felt like a natural fit.”

Among the many health providers from Salt Lake Regional Medical Center are an orthopedic surgeon, primary care providers, and physical therapists, including Paisley Hardman, DPT, who makes weekly visits to the ballet centre. “I love being able to help the dancers do what they love.

I feel like it’s a very reciprocal relationship from everything I’m getting out of it.” That is saying a lot, as Paisley sees approximately 10-20 dancers when she’s at the Jessie Eccles Quinney Ballet Centre.

She also says that all of the dancers are free to contact her when she is not on the ballet campus.

As with many athletes, Paisley is witnessing similar injuries among Ballet West’s dancers: sprains, tight muscles, fatigue, and overuse of tendons. But, she says, there is a big difference in the injuries among dancers and her day-to-day clients she sees in her clinic, “The thing I enjoy about working with the dancers is that they’re highly motivated and determined to improve their health and dance to their best potential. I love the positive attitudes and willingness to jump in and help others.”

One benefit of her job is getting to see the productions. Paisley said she’s enjoyed Iconic Classics, The Nutcracker, and Romeo and Juliet. “It is very rewarding to see the dancers on stage. As a Physical Therapist, it adds to my appreciation of dance to be able—even in a small way—to allow the performance to take place.” front row | 11

ACADEMY LAUNCHES SATELLITE LOCATION IN PARK CITY

peggy bergmann ballet west academy The Frederick Quinney Lawson Ballet West Academy is delighted to announce its expansion into Park City. This, the third satellite for the Academy, will incorporate the Park City Dance Academy of Performing Arts and its administration, as well as its recreational dance programs.

This location of the Ballet West Academy is being made possible in-part by Peggy Bergmann, longtime Ballet West donor. It will officially be known as the Peggy Bergmann Ballet West Academy. “I’m thrilled to be able to support the continued evolution of the Academy. I know first-hand what ballet can do for a child; it builds a physical and emotional core that will be part of a person’s soul their entire lives,” said Bergmann.

The beautiful 6,000 square foot location, conveniently located near Kimball Junction at 6554 Creekside Lane, has four expansive sun-bathed studios. The school opened 18 years ago under the leadership of Sandy Flury and Trish Ryland. “We are so proud that Ballet West looked at both our facility and our training and asked us to umbrella under their prestigious and well-known brand.

We remain committed to providing professional, high quality, performing arts education for all dancers, as we have for more than almost two decades,” said Flury and Ryland. Under the direction of Ballet West Academy Director Peter LeBreton Merz, the location will expand its already abundant ballet curriculum, while continuing to offer creative, jazz, contemporary, tap, and hip hop classes. Open Adult Class, a popular program at other Ballet West Academy locations, will be added for adults in the community with an intermediate understanding of barre class. front row | 12

“Ballet West has a strong Education and Outreach program in Summit County, but we have had a vision of establishing a permanent physical location along the Wasatch-back for years. It is with much gratitude to Peggy Bergmann and other Park City residents that we thank them for making our dream a reality,” said Executive Director Scott Altman and Artistic Director Adam Sklute. “There is an exciting passion for the arts in Summit County, and we’re honored to help it grow by bringing Ballet West training to children and adults alike.”

There are substantial benefits to the students, as the existing studios become part of the Ballet West fold: first and foremost, students will have access to even more world class instruction from in-house and guest teachers. They will also have the opportunity to train alongside professional dancers from the main Company, and they will be associated with a dance organization that is recognized around the globe. Students also have the opportunity to perform at the Janet Quinney Lawson Capitol Theatre in productions like The Nutcracker and other story-length ballets.

Ballet West Academy attracts more than 550 dancers every year. Last year’s students came from 37 states and four foreign countries.

Approximately 25 percent of the students receive some form of scholarship or financial assistance.

The community will be invited to the formal ribbon cutting and open house in July when classes begin under the Ballet West Academy name.

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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.

founder’s circle

Alene Bentley

Roy Vincent

Sandy Haughey

Laura Scott

Barbara Barrington Jones

Blank Family Foundation

Brad and Linda Walton

Wyatt Hepworth

Peggy Bergmann

Carol Browning CĂŠline Browning

Cindy and Howard Hochhauser

Aharon Shulimson and Julie Terry

Judy Brady and Drew W. Browning

Mike and Debra Washburn Marelynn and Edward Zipser

Connie Holbrook

Katherine Smith

Mark and Wendi Holland

Nancy and Robert Sparrer

Rete and Rikki Browning

John Sklute

Difiore Family

Carol Carter

Paul and Cheryl Huntsman

E. Lindsay and Carla Carlisle

Ballet Master

Julie Hopkins

Diana Major Spencer

Karen Horne

Barbara Levy Kipper

William and Patricia W. Child

Bradley Allen John and Marilyn Alleman

Larry and Tina Howard

Amy Wadsworth and David Richardson

Robert and Dixie Huefner

Patrica and Steve Anderson

David and Linda Irvine Gordon Irving

Mark Weisbender

Lucio Assis

Johann Jacobs and David Heuvel

Bill and Betty Weldon

Carol Baer

Jacquelyn Wentz

Marcy Barlow

Brent Johnson

Govert Bassett

Marilyn and Chester Johnson

Michelle and Todd Wolfenbarger

Peter and Catherine Meldrum

Carol Christ

John and Marcia Price Family Foundation

Cecile and Hal Christiansen

Keith and Nancy Rattie

William and Melissa Connelly

Theodore Schmidt Beano Solomon Jim and Krista Sorenson heritage club

Hu Ding Spencer F. and Cleone P. Eccles Family Foundation Erik and Uzo Erlingsson

Archivist and Director

Deborah B. and Edward Felt

Vilija Avizonis and Greg McComas

Ron and Shelley Hansen

Marie and Kevin Brown

Stephanie and Tim Harpst

Frances and Jerome Battle Clisto and Suzanne Beaty Gary Beers Sharon Bertelsen Mary Bird and Lance Wood John Bogart and Carol Mone

James and Barbara Clark

Scott Huntsman

Sue J. Ellis

Gordon Irving

Alan and Jeanne Hall

Tina Jensen

Sheryl and Bruce Lefavi

Conrad and Anne Jenson

Angela Martindale and Michael Snow

Jeanne Kimball

Brian Burka and Jerry Hussong

Catherine Parrish Lake

Alexis Carr

Jon and Helle Le Rette

Kristel B. Carter

Willis McCree and John Fromer

Rebecca Marriott Champion

Marilyn Neilson

Amalia Cochran

Dr. Pamela Parkinson and Joshua Scoby

Charles and Susan Critchlow

Richard and Lois Peterson

Jonathan Crossett and Pascale E. de Rozario

Dan Miller John and Andrea Miller Anthony and Jessica Mirable Katharine W. Lamb Pete and Janet Richardson Bryan and Erin Riggsbee Richard Ross Katherine Scott Liz and Jonathan Slager Audra Sorenson Stanford and Dixie Stoddard

Jason and Anne Marie Portnoy Brian and Janae Powell Lee Quinney The Rickman Family Ellen and Chris Rossi Jerry and Linda Rowley

Sue and Walker Wallace

Teresa Silcox

Julia S. Watkins

Adam Sklute and Christopher Renstrom

Carole Wood and Darrell Hensleigh Ballet Mistress and Choreographer Scott and Lisa Altman Margaret Anderson Stephen Anderson and Merribeth HabeggerAnderson Petras and Liuda Avizonis Bonnie Jean Beesley

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Todd Smith Audra Sorenson 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

Ginny Bostrom and Ralph Ashton

Christopher D'Addario Peter Dejonge and Susan Johnson John Eckert

G. Frank and Pamela Joklik

Cynthia Washington Susan Warshaw

new and renewed members

Howard A. and Lou Ann B. Jorgensen

Alene Harrison

John Karls

Anne and Bill Nelsen

Carol and Guy Kroesche

Anne Tyler

Rose Kuo and Larry Gross James R. Kruse and Mary Jo Smith Katherine Probert Labrum Tony and Roxanne Christensen Lazzara David E. and Helane B. Leta David and Donna Lyon Rachele McCarthey and Brock Vandecamp

Allen Chantry

Annie and Cory Strupp Ashby and Anne Decker Barbara Hamblin and Karen Shores Benita Jackson Bernard Simbari and William Barnett Beverly Campbell Blair Felton and Stuart Asahina Bonne H. Simmons

Thomas and Mary McCarthey

Brett Campbell

Marjorie and Thomas Mclaughlin

Carol M. Oliver

Sheri P. Morgan Nicole and Peter Mouskondis

Carol Anderson Carole Drecksel Carrie Icard Christine Schultz

Leslie Murdock

Claudette Blaes

Scott and JoAnn Narus

Crystal and Lexi Maggelet

Oren and Liz Nelson

Dan Rodriguez

Michael Fife

Scott Nichols

Daniel and Noemi Mattis

John H. and Joan B. Firmage

Linda S. Pembroke

David Tundermann

Diana and Joel Peterson

Debra Nielson

Karen L. Freed

Ray Pickup

Denece Mangone

Mary Ann and James Gardner

Jeanie Pollack

Diane Luke

David Keith Garside

Jeanne Potucek Victoria Jane Ream

Dianne Walker and Peter Yogman

Gary and Joann Rieben

Dixon Household

N. Leone Rogers

Donna Balsan

Margaret P. Sargent

Dr. Howard C and Marjorie Sharp

Sissy Eichwald Patti Eylar and Charlie Gardner

Marla M. Gault Dee Gauss Ann and Rick Gold David and Sandylee Griswold John and Ilauna Gurr

Ben and Lael Selznick Dr. Mark and Linda Scholl Robert Schumacker

Earl B. Jones Elizabeth Tracy

Fran Morse

Michael Paluszek

Frank K. Heath

Michele Jahne

Franklin and Patricia Child

Mr. James Taylor

Frederick and Kristine Olson

Ned and Alene Mangelson

Gene and Richard Klatt Geraldine Hanni Helen and Jack Brown Helen Kennedy Helen Stanhope Hildegard Rayner Irene Fryer Irwin and Gloria Altman J. Allen and Charlene Kimball Jay and Pat Turner Jeffery O. Johnson Joanne and Michael Kaeske John and Marilyn Alleman Jolene and Tai Riser

Nancy Rapoport

Oren Shepherd Paul and Janet Griffin Patricia New Rae Smith Ralph and Gwen Schamel Ralph and Jean Nuismer Rebecca Held Rebecka Meyers and Michael Howard Richard and Judith Cannon Richard and Pamela Dropek Richard Brandt Richard Nelson Robert and Elizabeth Moll

S.J. and Jessie E. Quinney Foundation

Larry H. & Gail Miller Family Foundation

The Boeing Company

Salt Lake County Zoo, Arts and Parks Program

Lawrence T. & Janet T. Dee Foundation

Caitland Photography

Utah State Legislative Funding through the Utah State Office of Education Professional outreach Program in the Schools

O.C. Tanner

$25,000–$99,999

The New Yorker*

Jerome Robbins Foundation

Trolley Square Ventures*

Holland & Hart LLP

Utah Digital Newspapers

Industrial Supply Company*

Huntsman Family Foundation LeCroissant Catering and Events* Marriner S. Eccles Foundation

Questar

Karen Shores

Roger and Shirley Sorenson

Kari and Ashley Wernli

Ron Bolander

Salt Lake Regional Medical Center*

Katherine Liddle

Sandra Swensen

Shubert Foundation

Katherine Lynch

Scott Hansen and Peggy Norton

Sorenson Legacy Foundation

Sharon Walkington and Eva Spooner

Utah Toyota Dealers

L J Dustman Lawrence Wiedmann Leslie Peterson

Steven and Linda Tyler Steven Eyre Terry Whipple

Lewis and Betty Stone

Tom Proffitt

Linda and Lawrence Kelley

Tomi Jean Jean Ossana Troy Piantes

Linda Tueller

Vicki and Bill Bennion

Lisa Nichols

Marie Lloyd

foundations, corporate, and government support

Marilyn Lott

$100,000+

Mark and Wendi Holland Martha Toomes

George S. and Dolores DorĂŠ Eccles Foundation

Maura and Serge Olszanskyj

James Lee Sorenson Family Foundation

Melinda Mitchell

Frederick Q. Lawson Foundation

Lisa Osborne Marian and Dale Rees

Michael and Carol Decaria Michael King

Peter & Catherine Meldrum Foundation

Dr. Mina Vaughan Foundation

Janet Q. Lawson Foundation

Judith Anne Stirrat

Stacy Hamm

Diamond Rental*

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

Nuvestack*

Klancy and Noel Denevers

Delta Airlines*

Taubman/City Creek Center*

Robyn and Brent Brown

Shelley and William Mcclennen

Culinary Crafts*

Emma Eccles Jones Foundation

Robert Lippmann

Kathy Oakley

Rocky Mountain Power Foundation

Cuisine Unlimited*

B.W. Bastian Foundation

Joyce Kinkead and David Lancy

Kathryn Egan and Claire Turner

Ray and Tye Noorda Foundation

Cigna Foundation

Simmons Family Foundation

National Endowment for the Arts

Kathleen Atkinson

Print Media

Buca Di Beppo

Webb AV* Wells Fargo Bank Foundation Wheeler Foundation $5,000-$9,999

Dorsey & Whitney LLP

John and Dora Lang Foundation J Wongs* Little Ceasars Mark Miller Subaru

Chevron

Merrick Bank

Church of Jesus Christ of Latter-day Saints Foundation

Mills Publishing

Discovery Gateway* The Front Climbing Club* Epic Brewery * Henry & Leslie Eskuche Foundation

Molina Health Care Nicholas & Company* Nordstrom Cares Foundation Overstock.com* Panache Park City

High West Distillery*

Promontory Foundation

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

Intermountain Health Care

The Robin's Nest * The Rose Shop*

Joanne L. Shrontz Family Foundation

Salt Lake Brewing Company*

Zions Bank

Jones Waldo Mountain America Credit Union

Salt Lake Mailing and Printing*

$10,000-$24,999 Beaver Creek Foundation Florence J. Gillmor Foundation C. Comstock Clayton Foundation Cyprus Credit Union Durham, Jones & Pinegar Eleve Dancewear Goldman Sachs Hotel Monaco & Bambara Restaurant* Richard K. & Shirley S. Hemingway Foundation Dr. Jeremy Wimmer with Elite Chiropractic Center* Every Blooming Thing* Holiday Inn Express*

Myriad Genetics, Inc. R. Harold Burton Foundation

Southern Wine & Spirits* Snow, Christensen & Martineau The Summit Group

Reagan Outdoor Advertising

Swire Coca-Cola

Ruth's Chris Steakhouse*

Tanner, LLC

Salt Lake City Arts Council Union Pacific Foundation University of Utah Health Sciences* Visit Salt Lake* $1,000-$4,999 3M Health Information Services 5 Wives Vodka*

T-Mobile USA, Inc US Bank Bancorp Foundation Whole Foods Workers Compensation Fund *in-kind donation as of march 8, 2016

Bistro 222* Blank Family Foundation Bohemian Brewery*

front row | 15

upcoming events

52 west 200 south salt lake city, utah 84101

Beer & Ballet

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At the Covey Center The Nijinksy Revolution

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Ballet West Academy Salt Lake Spring Performance

june 2–4

The Nutcracker, 2017 In February, Ballet West received a generous grant from the George S. and Dolores Doré Eccles Foundation to enrich and enhance the physical production of Willam Christensen’s beloved ballet, The Nutcracker. Work on the project is well underway with sketches and diagrams being submitted weekly from both John Wayne Cook, Scenic Designer, and David Heuvel, Costume Production Manager. And, Artistic Director, Adam Sklute is incorporating some spectacular effects that ‘Mr. C’ originally imagined, but did not have the technology or funding to accomplish during his lifetime.

The re-imagined production will premiere during the 2017 holiday season. sign up to stay up-to-date on the progress of the new production: balletwest.org/nutcracker2017

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

june