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:
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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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Iconic Classics
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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