Front Row 2015 Volume 2

2015 volume 2

front row In this issue

EMILY ADAMS meet the newest principal

PETER CHRISTIE after 33 years, it’s only the beginning

DONOR SPOTLIGHT mark a. weisbender

COSTUME TOUR gallery of glamour

FISCAL YEAR 2014–2015 highlights the front row | 1 photo by luke isley

“

It’s so thrilling to be a 12-year-old performing on the Capitol Theatre stage with professional ballerinas.

There isn’t another Company in the state that can offer me that.

”

—olivia winston

balletwestacademy.org | 801·869 · 6912 the front row | 2

IN THE NEWS Bené Arnold Scholarship On July 18, Ballet West named an Academy scholarship in honor of the legendary Bené Arnold. One of the most respected and distinguished ballet teachers in the United States, Ms. Arnold danced for the San Francisco Ballet and then became their Ballet Mistress. In 1962, she moved to Salt Lake City and helped guide Ballet West through its infancy with Mr. C in the same role. Ms. Arnold still returns to teach at the Ballet West Academy Summer Intensive, and to assist with choreography. Ballet West honors Ms. Arnold for her contributions, not just to Ballet West, but to the art form itself.

Ballet West Academy Summer Intensive This year, hundreds of students from 32 states and as far away as Brazil and Japan received world-class education during the Ballet West Academy Summer Intensive. Students trained at 13 studios at Thanksgiving Point, at The University of Utah and in downtown Salt Lake City for six weeks.

Distinguished staff from across the Country were brought in for this unparalleled training opportunity.

table of contents 4

PETER CHRISTIE

6

DONOR SPOTLIGHT

33 years, and much more to come

mark weisenbender’s memories of mr. c

10 EMILY ADAMS

from pennsylvania to principal

8

zions bank costume tour Finding true artistry in unlikely places

12 fiscal year 2014–2015 Ballet West reports a banner year

14 new and renewed donors Welcome our newest supporters

staff Josh Jones Writer & Editor

sponsors

16 upcoming events Our quarterly calendar

Whitney Shaw Design Sara M. K. Neal Associate Director of Marketing

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for the love of dance Reflecting on 33 years with Ballet West, Peter Christie is just as excited for the future as when he started Peter Christie sits in his second floor office of the Jessie Eccles Quinney Ballet Centre awaiting an

comprehensive in the United States. He’s also

interview. Company dancers come and go, staff

grown Ballet West Academy from one studio to

members ask questions, an Academy parent stops

eight, and driven up the enrollment by 70 percent.

in to say “Hi” and get a hug. Shutting the door

Now, with Point Park University Professor Peter

doesn’t stop the activity, but it does slow a bit,

Merz becoming the Academy Director, Mr. Christie

allowing us the opportunity to ask Peter about 33

comes full circle and will focus solely on the

years of service to Ballet West and his continued

Company’s Education and Outreach efforts.

excitement for the Company.

Even with the latest change, Peter is not slowing

In 1982, Ballet West Artistic Director at the time,

down. In fact, he’s just as excited today as when

Bruce Marks, walked up to Peter at a New York

he started. “There are so many new ways to

City audition and told him, “I want you to come to Utah.” Peter’s career as a dancer was extremely successful, although he’s more humble about

collaborate, connect and build our community.

This is the right time to evolve and stay current and ahead of trends – we must do this to remain a

it: “I wasn’t the best dancer, but I gave everything

leader in arts education.”

I had to it. People told me what I could or could

He adds that Ballet West’s stability allows him to

not do, but it was always up to me to decide what my limits were.” Those limits were tested when he shattered cartilage in his knee while dancing.

take a few risks and expand the reach of education and touch new communities.

During his recovery, incoming Artistic Director,

His eyes light up, “Bussing is so expensive. How

Jonas Kage, offered him the opportunity to build

do we work with school districts to continue to

a position for himself in the Company teaching

deliver our programs and make them flexible

public school students about ballet and dance.

enough to travel to their classrooms?” Peter

In his first year, Peter launched I CAN DO, an

community: homelessness. “How can ballet help

acronym for “Inspiring Children About Not

the homeless situation? I’ll tell you! When you

Dropping Out,” designed to teach movement

dance with someone, you acknowledge their

in elementary schools. Today, the program still

presence, you acknowledge that they have rights

inspires, and last year it recorded an impressive

and then we can equalize our humanity.”

434 instructional school hours. Five other programs now join I CAN DO, and together they reach more than 100,000 Utah students, teachers and community members every year.

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Outreach programming into one of the most

mentally bee-lines to another challenge in the

It’s obvious Mr. Christie’s brain races like a pinball machine as he starts this new adventure. “I’m eager to meet these challenges,” he says. But, the external challenge of how to deliver his programs

In the 17 years since Kage invited Peter to

are also divided by how to fund those same

join the staff, he’s grown the Education and

initiatives.

Many financially-strapped states have liquidated their budgets for the type of education Peter and Ballet West are promoting. Some legislatures have even been pondering, “What’s the benefit of arts education?”

Ask that question to someone who has devoted their life to the arts and you’ll get an earful. “We have so many cultural challenges. We have racial differences, we have political opinions that don’t align, and we come from different economic backgrounds. Dance is how we come together.

Remember, we’ve historically come together through art, dance, and music since the dawn of humanity. I don’t have all the answers, but I know we must build, collaborate, and connect our community through what we share in common, not our differences.”

Peter has worked on these issues for more than a decade, and he still strives to answer the most basic question: How are dance and ballet relevant in people’s lives? “It comes down to this: Our body is a tool we all own. Not everyone will be a prima ballerina, but everyone can dance; and when you do, you share your soul, your inner emotions that hold joy, happiness, sadness, even rage. Dance is a seed that acknowledges your humanity and then enriches your life.”

“My vocabulary has changed from ‘me’ to ‘us’.”

He continues, “I look back and –although I loved dancing—my years performing were quite selfish.

It was about me. Going into education is so rich and satisfying.” The dancer-cum-teacher smiles, “My vocabulary has changed from ‘me’ to ‘us.’”

n y steve p h oto b

caras

Interview done, Peter opens the door to three people who are waiting for him. One has a question, one wants an opinion, and one just needs a hug. the front row | 5

DONOR SPOTLIGHT

mark a. weisbender An unlikely friendship cultivates a lifelong love of Ballet West In the 1980’s, Ballet West donor and Heritage

created is truly remarkable,” says Mark. “In

Club Member, Mark Weisbender moved

a way, he is still perpetuating his ideas and

his small family to Salt Lake City from Cody,

philosophies, and he continues to give life to

Wyoming to finish his degree in Social Work

wonderful artistic endeavors.”

from the University of Utah. To support his family, he found a job working at the posh Salt Lake Country Club. There, he would shake

holder, and has been a subscriber ever since.

cocktails and wait on the elites of Salt Lake City

“What initially amazed me about ballet is the

– sports stars, philanthropists, and politicians.

true athleticism combined with grace. You have

But it was the founder of Ballet West, Willam

to be so precise and talented to get to the level

Christensen, who he found intriguing, and in

of Ballet West’s dancers.”

whom he eventually found friendship.

Through the years, he’s watched many artists

“I was young and didn’t completely understand

and staff members come and go, but he says

his notoriety. Back then, it was hard to

Maestro Terrence Kerns’ passing this year was

comprehend the magnitude of what he had

especially hard. “I’ll miss Terence. He was so

created in his life,” says Mark, who knew little

exuberant and passionate. I found myself

about ballet, but found himself enraptured by

watching him as much as I watched the dancers.

Mr. C’s stories. “I’d just sit there with his wife and

Outside of the pit, he was just as engaging and

be completely captivated. He was so engaging, and he had a story about everything – he was a wonderful story teller.”

As a vaudevillian, and later a founder of the San Francisco Ballet, Mr. C’s legacy and accomplishments cannot be understated. When he passed at the age of 99 in 2001, he’d left a million stories that continue to be told through people – including Mark.

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In the 1990’s, Mark became a season ticket

genuine.”

He says he’ll also miss the beauty and grace of Christiana Bennett, who retired this past season, but that he is looking forward to seeing all the new faces of Ballet West II, as well as the dancers who will rise through the ranks. “I have watched closely how Adam [Sklute] has elevated – not just the art form in Utah – but also the dancers’ talent. He’s an excellent ambassador for

“When you think about our lives on this planet

our Company, and for the arts in Utah. I can tell

and what you want to leave behind, what Mr. C.

the dancers respect him and give it their all.”

Mark’s interest in ballet is one he readily shares with others, “We just have so much to brag about right now, and considering a lot of locals don’t know the incredible talent we have in our own city, I’m happy to do that for the Company.”

At a recent Ballet West event, he was delighted to meet a couple from Nevada who were also season ticket holders. “I’m glad the word of the rich talent of Ballet West is spreading.”

“When you’ve been watching the Company as long as Mark has, you become a family member.

It’s easy for this Company to get ‘in your blood’” says Sarah West, Ballet West’s Director of Development. “Mark is a motorcyclist, he’s a cowboy, a social worker, a music aficionado, and a ballet lover – a renaissance man indeed. When he starts talking about Ballet West, you can’t help but share the joy and enthusiasm he has for this Company.”

As Mr. C’s bartender at the Salt Lake Country Club, not only did Mark hear a lot of great stories, but he also inherited a love of Mr. C’s favorite drink: Jack Daniels on the rocks.

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and ballet west present statewide costume tour

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A gallery of glamour is visiting select Zions Bank financial centers locations through October as Ballet West presents an exclusive touring exhibit of some of its classic costumes. Handcrafted works from Giselle, Swan Lake, Vespri, and The Nutcracker are traveling to a number of Wasatch-front Zions Bank financial centers, showcasing the artistry of Ballet West’s costume department and its very talented staff shop.

“Zions Bank is a wonderful partner to Ballet West. They have a long history and passion for the arts in Utah, and have always been particularly supportive of our Company,” said Scott Altman, Executive Director of Ballet West. “This is a unique and wonderful opportunity that will allow us to reach new audiences, as customers will be able to see first-hand and up-close the artistry of their hometown ballet company.”

What many Utah residents may not know is the international acclaim given to Ballet West’s Costume Production Director, David Heuvel. A long-time member of Ballet West, Heuvel has won many awards, and his work has been featured in film and television, most recently in Taylor Swift’s “Shake it Off” video, watched over a half-billion times online. Heuvel has a team of four who personally make every costume that is worn in a Ballet West production.

In an average year, that literally equates to hundreds of costumes individually stitched and tailored to fit dancers.

“Zions Bank is a proud supporter of Ballet West and the arts in Utah,” said Scott Anderson, President and Chief Executive Officer of Zions Bank.

“The arts and business are not necessarily polar opposites. Both test the envelope of human creativity, intellect, energy and promise. Both seek to motivate, to produce, to achieve excellence, to grow and to unite. We are proud to offer this unique educational opportunity for those coming into our bank branches.”

Don’t miss your chance to see these beautiful Ballet West costumes in person. A schedule of upcoming tour stops is on the right.

upcoming costume tour locations and dates •

August 10–23 Lehi 1432 East 3500 North

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August 24–September 7 Provo 180 North University Avenue

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September 8–21 Provo U—University 1060 North University Avenue

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September 21 –October 4 Cottonwood Heights 7015 South Highland Drive

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October 5–18 Bountiful 5 North Main Street

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October 19–November 1 Ogden 2302 Washington Boulevard

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November 2–14 Salt Lake City Janet Quinney Lawson Capitol Theatre Lobby

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from pennsylvania to principal Emily Adams is having a very good year.

A beautiful wedding to fellow dancer Beau Pearson was followed by an invitation to create her first full-length piece for Innovations 2015. A grueling season was then peppered with positive accolades from national media. And in April, Artistic Director Adam Sklute then promoted

she trained at the prestigious School of American Ballet at Lincoln Center with world-renowned instructors. “It’s funny looking back. We [She and her sister Paige Adams, now a Ballet West Corps Member] were so young, walking around New York City and taking the train by ourselves. It was truly this exciting adventure for the two of us,”

Emily to Principal Dancer. A very good year indeed.

she recalls. In the summers she trained all over

Emily has been working on her newly-purchased

the world, from San Francisco Ballet School to

home this summer while looking forward to

Royal Ballet School in London.

a much-deserved vacation in California. “This

Her big break came at the age of 17, when she

year has just been so chaotic, and the season was one of our most intense since joining Ballet West.” That is certainly true. In addition to the six productions at the Capitol Theatre, she also traveled with the Company to seven states and British Columbia. In total, she and the Company performed in front of almost 83,000 patrons during the 2014-15 Season.

On top of this demanding schedule, Emily was choreographing Homage, a piece she was inspired to create after viewing Salvador Dali’s sculpture, “Homage to Terpsichore.” The sculpture, showcasing two standing figures (a classical nude and a cubist one), helps in Emily’s explanation of the work, “It examines aspects between ourselves:

the front row | 10

Emily grew up in Newtown, Pennsylvania, and

was invited by Peter Martins, Ballet Master in Chief of New York City Ballet, to choreograph for the New York Choreographic Institute’s Spring Session in 2004. The piece received a mention in The New York Times, and the following year she was invited by Jonas Kage to join Ballet West II. Emily then was promoted to the main Company in 2007. Artistic Director, Adam Sklute said, “Emily has steadily risen through the ranks of Ballet West because of her clean, brilliant and elegant technique.” And for audiences, Emily has made quite an impression as the Lilac Fairy in The Sleeping Beauty, and also in last season’s triumphant production of William Forsythe’s In the Middle, Somewhat Elevated.

the trusting, harmonious, creative aspects

During an interview with the Deseret News

alongside the destructive. I saw that it would lend

about her, Sklute said, “Early on, she displayed a

itself well to movement.” While it was Emily’s

shyness which was very appealing and nice, but

fourth piece for the Innovations series, it was

once she became more confident on stage, her

her first full-length creation, and it became an

performances took off. She is now one of our

audience favorite over its seven performances.

most fearless and versatile artists.”

You might not expect a ballerina to say this, The once-reserved dancer is also known for her sense of humor. “Out of the studio and off the stage, the thing I love most about Emily is her wry, witty, and dry sense of humor.” said Sklute.

Instead of the usual practice of a private conversation to announce a promotion to Principal, he allowed the news about Emily to be shared in a press release first, and then on social media.

Remembering that day, Emily said, “I really thought it was an error. Throughout the day, fellow dancers were congratulating me, but Heather [Thackeray, Assistant to the Artistic Director] acted like she didn’t know anything about it. It wasn’t until hours later that Artistic staff surprised me with a bouquet of flowers when I realized it was official.”

but Emily’s one routine before a performance is to eat a giant burrito a few hours before she goes on stage.

“I just hate to perform on an empty stomach,” she says.

She also doesn’t mind a quick nap!

Not only is it official, but it is exciting. “I’m delighted to be a leader for younger dancers.

Sometimes being a ‘Principal’ can also mean being intimidating. I just want to be approachable. To be honest, I’m excited, I’m nervous, and I have a lot of emotions about this promotion. Most of all, I’m looking forward to getting back into the studio and onto the stage for the [15-16] Season.”

It looks like it’s going to be another good year for Emily Adams.

photo by luke isley

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82,929 total tickets sold

716,082 touring miles traveled

445 academy students

77m annual marketing impressions

380 schools

served by outreach programs

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ballet west reports banner year Record-breaking ticket sales, robust institutional

March, the Company took New York City by storm,

and private giving, expansion and phenomenal

doing robust business at the historic Joyce Theater.

growth of the Ballet West Academy, along with a

Tours to Aspen, CO, Victoria B.C., and Dallas, TX were

successful matching campaign that resulted in the

also well-received and well-attended.

complete elimination of operational debt, made Ballet West’s 2015 Fiscal Year (ended June 30) one of the most successful in the organization’s history.

“I am so pleased that audiences are coming out in record numbers to experience the great artistry of Ballet West,” said Artistic Director Adam Sklute.

“The artistry sells itself,” said Scott Altman, Executive

“Our dancers are performing brilliantly at every

Director, “But our marketing and development

level of the roster, and we are producing a wide and

teams also instituted a cadre of new initiatives that

artistically diverse repertoire. It is thrilling to see an

led to an extraordinary year. Ballet West’s 2014–15

infrastructure being built to move the vision of our

Season proved that the people of Utah have a

Founder Willam Christensen into the 21st Century

one-of-a-kind passion for dance and a hunger for

and beyond.”

internationally-renowned artistry, as they came out in huge numbers to support what we do.”

The season’s ticket sales shattered long-held

Dramatic gains were also achieved by the Ballet West Academy, one of the premier dance-education institutions in the country. The addition of the

records, including The Nutcracker which was

spectacular new Barbara Barrington Jones Family

the highest-grossing production of this holiday

Foundation Ballet West Academy at Thanksgiving

institution in the Company’s 51-year history. Season

Point in Lehi, as well as the addition of three

opener, Giselle was the second-highest grossing

dedicated studios at the new Jessie Eccles Quinney

fall production ever, and Swan Lake was the highest

Ballet Centre, and two studios at Trolley Square, led

grossing non-Nutcracker production in the history

to a 70 percent growth in revenue from the Academy,

of the organization. Innovations, which introduces

which currently has a roster of almost 550 students.

audiences to cutting-edge choreographers, also had

“The Academy is a compelling story, as the greater

its highest-grossing run since its inception eight

dance community is recognizing the incredible

years ago. Overall, ticket sales were up 16 percent

talent the facility is producing. Additionally, parents

over the previous year.

and students are noticing and enrolling in record

In addition to robust sales at home, the Company also had one of the most extensive and successful

numbers,” said Altman.

Perhaps most notable during the 2014-15 Season

touring seasons in its history. Dancers performed

was the elimination of the Company’s $2.2 million

The Nutcracker to sold-out houses in December for

operational debt after a 12-month campaign. Many

a week at The Kennedy Center in Washington D.C. In

prominent and passionate donors stepped-up to

contribute to - and complete - a “Million-Dollar Match,” marking the first time in 33 years the company will be operationally debt-free. With the fiscal priorities no longer focused on retiring operational debt and debt servicing, the Company may place even more emphasis on artistic programming, along with Education and Outreach initiatives and the Academy.

Last month, reflecting on the improved outlook for the Company, Ballet West’s Board of Trustees approved an overall budget increase of 11 percent for fiscal year 2016, putting its annual budget over $11 million for the first time in its history. Victor Rickman, outgoing Chairman of the Board, said, “I couldn’t be more proud of having served as Board Chair during one of the most successful and exciting periods in Ballet West’s history. Scott Altman and his team have worked hard to place the company in excellent financial health -- the best in years -- and Adam Sklute and our artists are receiving well-deserved accolades, both nationally and internationally.”

“Ballet West’s cultural significance within Utah is unmistakable,” said Altman. “Continued touring nationally and internationally will leverage our brand to help the economic development of the entire region. And, with our overall momentum, the potential growth of Ballet West is boundless.

This watershed moment is made possible by the many who have come before and helped align the building blocks for the future. For a Company that’s already 51 years old, the future is bright with new possibilities.”

the front row | 13 photo by dana sohm

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

Céline Browning

Peggy Bergmann

Rete and Tikki Browning

DiFiore Family

Brian Burka

Stephanie and Tim Harpst

E. Lindsay and Carla Carlisle

The Kipper Family Foundation

Alexis Carr

John and Marcia Price Family Foundation Keith and Nancy Rattie Theodore Schmidt Beano Solomon Sorenson Family Foundation heritage club John and Marilyn Alleman Scott and Lisa Altman Delonne Anderson Family Foundation Petras and Liuda Avizonis Vilija Avizonis and Greg McComas Carol Baer Marcy Barlow Barbara Barrington Jones Family Foundation Frances and Jerome Battle Clisto and Suzanne Beaty Gary Beers The Brent and Bonnie Jean Beesley Foundation Alene Bentley Sharon and Michael Bertelsen J.H. Bogart Ginny Bostrom Estate of Bernice J. Bradshaw Marie Brown Judy Brady and Drew W. Browning The Brown Family Foundation Carol Browning

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Carol Carter Nola Chase Carol Christ Cecile and Hal Christiansen

David and Sandylee Griswold John and Ilauna Gurr Alan and Jeanne Hall Foundation

David and Donna Lyon

Sandy Haughey

Diana Major Spencer

Estate of Melissa Herbst

Rebecca Marriott Champion

Connie Holbrook Mark and Wendi Holland Daniel Horns and Renee Zollinger Larry and Tina Howard

William and Melissa Connelly

Robert and Dixie Huefner

Charles and Susan Critchlow

Scott Huntsman

Hu Ding Nile Eatmon and Kimberly Hornak

David and Linda Irvine Gordon Irving Wendy Jackson Johann Jacobs and David Heuvel Tina Jensen Conrad and Anne Jenson

Spencer F. and Cleone P. Eccles Family Foundation

Christina Jepson and Erik Christiansen

John Eckert

Brent Johnson

Sissy Eichwald

Marilyn and Chester Johnson

Sue J. Ellis Erik and Uzo Erlingsson Deborah B. and Edward Felt Alex Fenech Michael Fife John H. and Joan B. Firmage Karen L. Freed Raili and George Fuller Patti Eylar and Charlie Gardner David Keith Garside Marla M. Gault Dee Gauss Ann and Rick Gold

David E. and Helane B. Leta

Tami Hansen

Amalia Cochran

Jonathan Crossett and Pascale E. de Rozario

Dr. Clifford S. Reusch, M.D.

Ron and Shelley Hansen

Julie Hopkins

Michael Andrew Currey and Calvin W. Kitten

Victoria Jane Ream

Bruce and Sheryl Lefavi

Herbert and Wilma Livsey

Jim and Barbara Clark Estate of Mary Elizabeth Colton

Jon and Helle Le Rette

G. Frank and Pamela Joklik Tim H. Jones Howard A. and Lou Ann B. Jorgensen John Karls

Lois Martino Rachele McCarthey and Brock VandeKamp Thomas and Mary McCarthey Willis McCree and John Fromer Marjorie and Thomas Mclaughlin Peter and Catherine Meldrum Dan P. Miller John and Andrea Miller Anthony and Jessica Mirabile Sheri P. Morgan Michael Morris Nicole and Peter Mouskondis Scott and JoAnn Narus Marilyn Neilson Oren and Liz Nelson Scott Nichols Dr. Pamela Parkinson and Joshua Scoby Linda S. Pembroke

Scott and Allison Kendell

Richard and Lois Peterson

Jeanne M. Kimball

David C. Pickett

Carol and Guy Kroesche

Ray Pickup

Rose Kuo & Larry Gross

Jeanie Pollack

Katherine Probert Labrum

Jeanne Potucek

Catherine and Matthew Lake Frederick Q. Lawson Tony and Roxanne Christensen Lazzara

Brian and Janae Powell Lee Quinney Shari and David Quinney David and Suzanne Razor

Mitch and Shannon Rice The Rickman Family Gary and Joann Rieben Jerry and Linda Rowley Tina and Jonathan Ruga Shahab and Jan Saeed Margaret P. Sargent Dr. Mark and Linda Scholl Pat and Bill Schulze Robert Schumacker Estate of Margot L. Shott Aharon Shulimson and Julie Terry Teresa Silcox Adam Sklute and Christopher Renstrom John Sklute Liz and Jonathan Slager Sean Slatter Steven Smart Katherine Smith James R. Kruse and Mary Jo Smith Todd Smith Audra Sorenson Nancy and Robert Sparrer George H. and Tamie P. Speciale Jennifer Speers Sue and Jack Stahl Stanford and Dixie Stoddard Cindy and Blake Strong Barbara L. Tanner Eric Thompson Rick and Chris Veit Roy Vincent Kevin Voyles Amy Wadsworth and David Richardson

april 1, 2015 – august 10, 2015

Bradley and Mary Ann Cassell

Sue and Walker Wallace

Barbara B. Christensen

Brad and Linda Walton

Ronny and Lindsay Cutshall

Susan Warshaw Mike and Debra Washburn W. Mack and Julia S. Watkins Foundation Mark Weisbender Bill and Betty Weldon Jacquelyn Wentz Michelle and Todd Wolfenbarger Carole Wood and Darrell Hensleigh

Lana Clark Foley Dr. Martin I. and Sheila G. Gelman Cynthia Hamman David A. and Sheila Hayes Moore Chuck and Kathie Horman Blake Keithley

Marelynn and Edward Zipser

Nancy Melich and Lex Hemphill

Brian Valentine

David and Colleen Merrill

Mandi Lew

JoAnn G. Robertson

Katie Pollard

Chris Opdyke

Mercedes Smith

Tim Payne

Edward and Kathy Bates

Elodie Payne

JaNae Blonquist

Troy and Helena Piantes

Lee Dever

Steven Rouzer

Paul Dougan

Meredith Simmons

Robin Hall

Patricia Smith

James Halliday

David Squire

Lisa Lindberg

Nancy Staggers

Ronald and Camille Parker

Shayneh Starks

Lucio Assis Marilyn Banks

november 6–14

Anonymous

THE NUTCRACKER december 10–27

ROMEO AND JULIET february 12–20

Carolyn Nebeker Mary Anne and Kevin Oconnell

Marsha and Richard Workman

The Kohlburn/Lecointre Family

Constance Metherell

Gina Lewis

Kari Wernli

Elise and Paul Hutchings

Marvin and Lois Kimball Gideon and Jennifer Malherbe

new and renewed members

Rodolphe and Paula Ruffy

fancy free overgrown path symphony in c

Timotha Ann Kent

Mary Bird and Lance Wood

Anonymous

Karen Nichols

Lou Ann Stevens James and Sharlene Sweeney Sarah and Rich West

BEAUTY AND THE BEAST march 31–april 3

THE NIJINSKY REVOLUTION afternoon of a faun games the rite of spring

april 15–23

Christine Wilkerson

Vicki and Bill Bennion

Stephen and Marcy Barlow

Steve and Melanie Berthold

James M. and Sherise G. Clayton

Paul and Kristin Beyer

Katherine Lynch

INNOVATIONS 2016 may 20–28 the front row | 15

!

Arthur and Diane Walden

e ts ib ea cr t s bs es su or b f w

no

ICONIC CLASSICS

upcoming events

52 west 200 south salt lake city, utah 84101

Nutcracker Auditions

september 12

Auditions for The Nutcracker’s children’s cast Ballet West on Tour

october 3

Northrop­—University of Minnesota Beer and Ballet

october 10

Craft beer, light appetizers, and a special sneak peek of Innovations Workshop pieces.

Opening Night Gala

november 6

A Gala unlike any other, this year held at the Jessie Eccles Quinney Ballet Centre!

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The Nutcracker

december 10–27 No holiday season is complete without the festive cheer of The Nutcracker

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

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