2015 volume 1
front row In this issue
CHRISTIANA BENNETT ON 16 YEARS the exclusive interview
BECKANNE SISK q&a with the new principal artist
DONOR SPOTLIGHT ted schmidt
photo by luke isley
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Performance. Audi Performer: 2015 RS7
Performers: Principal Artist Christiana Bennett and Soloist Beckanne Sisk
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Strong Auto Group Utah’s First Family of Performance Automobiles
IN THE NEWS Reflecting on a Maestro, Remembering the Man Condolences were sent from around the globe upon hearing of Terence Kern’s passing. Mr. Kern was a dear member of Ballet West as the Company’s Music Director and Principal Conductor from 1988 to 2012. His contributions to Ballet West cannot be overstated. He was well-known in the ballet world, having enjoyed a great international career. From staff conductor of the Sadler’s Wells Opera to Music Director of the London Festival Ballet, The Scottish Ballet, The Joffrey Ballet and finally Ballet West, he touched countless artists and patrons over many decades and thousands of performances.
New Building Receives LEED Certification The Jessie Eccles Quinney Ballet Centre has received LEED Gold Certification from the U.S. Green Building Council. LEED stands for Leadership in Energy and Environmental Design and is the most widely used green building rating system in the world. The certification provides independent verification of a building’s green features. Earlier this year, the Jessie Eccles Quinney Ballet Centre also received the Utah Construction and Design Award for Most Outstanding Entertainment Project. staff Josh Jones Writer & Editor
sponsors
table of contents 4
PRINCIPAL CHRISTIANA BENNETT ON RETIRING the exclusive interview
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DONOR SPOTLIGHT
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SPRIGHTLY SISK
ted schmidt: a fortunate friendship
a q&a with beckanne sisk
10 INNOVATIONS AT 8
adam sklute on this year’s line-up
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new and renewed donors Welcome our newest supporters
12 upcoming events Quarterly Calendar
Whitney Shaw Design Sara M. K. Neal Associate Director of Marketing
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principal artist christiana bennett on retiring Reflections on a life lived en-pointe and how Swan Lake motivated her decision to retire. “I’m looking forward to wearing high heels!” Of all the things Christiana Bennett could be excited for as she leaves the world of professional dance, trading in her pointe shoes for another pair of non-sensible footwear is at the top of her to-do list. “I’ve lived in sneakers for 16 years because I’ve done everything I can to accommodate my legs and feet. While I do love my sneakers, there is something about putting on high heels, and I’ve rarely been able to do it.” Christiana started dancing when she was six years old, and it’s been a magical voyage ever since. At 18, she met Jonas Kåge on Halloween while dressed as a cat in a dance studio. Imagine her surprise when he returned a few months later and presented her with a contract to join Ballet West as a member of the Corps. “The rest is like a flip-book,” millions of memories twirl through her head as she recounts her career. Significant occasions surface, such as traveling to Scotland’s Edinburgh International Festival and dancing alongside her mentors and idols, thoughts of performing in Washington D.C. at the prestigious Kennedy Center, and the thrill of being in the beautiful Pritzker Pavillion in Chicago. She’s traveled the world many times over with the Company, but it was the tour to China in 2000
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that really filled her with awe. “It wasn’t the most glamorous thing I’ve ever done with Ballet West. But what I learned was how much dance is a universal language. It opened my eyes to see how easily dance translates through the world.” Christiana says the life lessons through the tours and over the arc of her career are endless. “When I started, I was the baby of the company. I had no idea what it meant to be a professional dancer, let alone to be part of Ballet West. When you are a ballet dancer you represent the company, the industry and the community.” Representing Ballet West during a recession, then through a period of incredible growth, and the reality television program, “Breaking Pointe” has imparted some wisdom that sometimes doesn’t often come to people twice her age. “Ballet has instilled so much discipline and drive that will help carry me into any new situations. I’ve learned to feel comfortable being vulnerable on-stage, which allows me to be open to new opportunities.” Much to the chagrin of her fans, after 16 glorious years, she’s turning in her pointe shoes. After an incredible season where she’s been phenomenal, many wonder, why now? “I believe everything happens for a reason. The first time I ever danced the White Swan pas de deux I was 16. I did it again when Jonas first saw me at Pacific Northwest Ballet School. And now, many years
“It’s my most favorite ballet ever. I identify with the characters; and I thought it would be quite romantic to leave the way I came in.” photo by luke isley
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“ I’m truly blessed to have the career I’ve had. I can’t thank everyone enough.” photo by luke isley
later I get to retire being Odette/Odile.” She pauses and smiles. “It’s my most favorite ballet ever. I identify with the characters; and I thought it would be quite romantic to leave the way I came in.” At just 34, Christiana says she’s looking forward to launching her second career at Utah’s Culinary Crafts, a full-service event planning firm where she interned last summer. “I’ve found passion outside of dance, in event planning. I realized I can use a lot of my ballet training in this industry – it requires poise and agility.” Christiana plans to build upon her passion and expand her talents in non-profit social events and destination wedding planning.
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The girl can leave the theatre, but will theatre leave the girl? Doubtful, she says, “I’m really loving teaching and coaching children. I see a lot of myself in them. I want to impart every little tidbit I can, and it’s amazing how much they retain – they’re thirsty to learn. It’s really the most rewarding thing I can do.” To all the fans, Christiana has just one thing to say: “Thank you. I want to thank everyone who has stood by my side through thick and thin. The community, the patrons, and fellow dancers have been overwhelmingly supportive. I’m truly blessed to have the career I’ve had. I can’t thank everyone enough.”
See Christiana Bennett during Innovations, May 15–23 at the Rose Wagner Performing Arts Center
DONOR SPOTLIGHT
ted schmidt
A fortunate friendship There are many kinds of love in this world. Ted Schmidt has experienced all of them. In his 80’s, Ted has married, had children, and lived in many states and several countries. Wherever his family went, Ted consistently loved to get involved with local art organizations. In Northern California it was Diablo Ballet, and before that there were many operas, symphonies, and ballet companies which benefited from his love of the arts. Eight years ago, Ted moved to Salt Lake City with his wife and fell in love with Ballet West’s The Nutcracker. He’s been a loyal patron and donor ever since, becoming a member of the Founder’s Circle and sponsoring Demi-Soloist Alexander MacFarlan this year. “Alex started with Ballet West about the same time we moved back to Utah,” said Ted. “As we became more dedicated to Ballet West, I noticed his own professionalism and dedication to his career.” Since sponsoring Alex, they’ve been to lunch and exchange frequent emails. “Despite our 62-year age difference we’ve become great friends. He’s given me insight into his passion for the art form.” “He is a great friend, and I am better for knowing him,” said Alexander, who also appreciates that Ted has shared his interest in the arts with his friends and family. “It’s a beautiful act of generational appreciation of the arts. I am so fortunate to know him and have such a good relationship with him.” Ballet West Development Director, Sarah West, a long-time friend of Ted, recently viewed a rehearsal, “We were watching Almost Tango and you could feel his excitement as he watched the dancers fine-tune their performance. I thought at any moment he was going to get up and dance himself!” Said Sarah, “I know Ted has loved being a member of the Founder’s Circle and connecting with Alex and the other dancers… then again, I think that is just Ted, he has a lot of love to give.”
photo by luke isley
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sprightly sisk Just two days after Artistic Director, Adam Sklute informed Beckanne Sisk that she would be moving from Soloist to Principal Dancer, she sat down for a one-on-one interview to discuss her meteoric rise at Ballet West.
For those who aren’t familiar, can you tell us about how you came to Utah? I suppose my journey here really started at age 5 with my first dance class. I haven’t stopped dancing since! My older sister, Jessica, was my inspiration. Even when I couldn’t reach the barre, I was still mimicking her moves and following her to class. At age 14, I left Longview, Texas and all my family and friends for The Rock School in Philadelphia where I had a full scholarship. It was so hard leaving home, because I am very close to my family. But, after a while, I made a new family at the Rock School. The directors, Bo and Stephanie Spassoff, became surrogate parents who I still look to for mentorship. I first met Adam [Sklute] when I was 15 during the Youth American Grand Prix and again at age 17. This time, he talked to me after class and offered me a position in Ballet West II. Several Companies had their eye on you. What made you select Ballet West? It was the way Adam approached me. I could tell that he really believed in me and would be a good mentor. He’s continually supported me through the ups and downs. Also, he’s always accessible,
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which might not happen at a larger company. I have a huge amount of respect for Adam, and still give 100 percent to ensure that I’m not letting him down. What are your emotions as you get this heavy – and deserved – title of Principal Dancer? I still can’t believe it! I’m not sure it will really hit me until I get on stage next season. It does feel like I’ve been working toward this goal my whole life, so the title comes with a lot of emotions. Being a Principal is a huge responsibility. Having that title means you’ve got to not only live up to it in your dancing, but in every other aspect in your life, as well. It carries over on to how you work in class and how you act outside of the studio. In short, I do feel the magnitude of the responsibility that comes with this promotion. You’ve been in Utah now for almost five years. What do you think of the Beehive State? I’ll admit that at first it was a bit of culture shock coming from Philadelphia where I had started to feel comfortable. I didn’t have a car, and it was hard to get around. I pretty much only saw the inside of the Capitol Theatre or a studio. But after two years, I’m in love with Salt Lake. I love the vibrancy of downtown, and the growth and
energy is really infectious. Now that I have a car, I love to explore the canyons and hike. Utah has amazing diversity and there is so much to do! I feel comfortable calling Utah home now. Outside of the ballet world, a lot of people know you through Breaking Pointe. What was your take-away from doing that television program? Breaking Pointe was an incredible experience. It’s catapulted Ballet West onto a national stage and made critics from around the world take notice of our Company. But I think it did a lot of good for ballet itself, too, because it exposed our art form to many people who had never had access. That is the reason I loved doing the show. Personally, I had the time of my life filming the first season. Then, season two was more difficult and personal. But overall I’m happy we did it. The experience made us grow up, and grow together.
photo by luke isley
1998 Age 5: Starts training at the Studio of Creative Arts in Longview, TX. 2006 Age 13: receives a full scholarship to The Rock School for Dance Education in Philadelphia 2007 Receives the Jerome Robbins Scholarship Award 2010 Joins Ballet West II 2012 Receives a Princess Grace Dance Fellowship, Chris Hellman Dance Award 2013 Promoted to Demi-Soloist 2015
Promoted to Principal Dancer
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innovations at Artistic Director Adam Sklute reflects on this year’s program
I established Ballet West’s annual Innovations series in 2008 and it is amazing to see how this program has developed over eight years.
of musicality that I find so intriguing, Homage is Emily’s first full-act commission.
Innovations is a platform for new and experimental creations for ballet. It is a testing ground for untried, emerging, and established choreographers, in particular our Ballet West dancers, giving them an opportunity to take chances and experiment. This is a luxury we do not often have. But by making the program all about risk taking and exploring new territory, our choreographers and our audiences alike can immerse themselves in the creative process and hopefully enjoy the journey as much as the destination.
The program also includes First Soloist Adrian Fry’s new Pulse. Dealing with the workings of the human heart Pulse will explore both the physical mechanics and the emotions that come out of our hearts. In 2013 I had Nicolo Fonte create his dynamic Presto for our 50th Anniversary Gala and it has met with great acclaim on tour but this will be its formal Utah premiere for the general public. Also Demi-Soloist Katlyn Addison will present her first commission for Ballet West – The Hunt. With a live drummer on stage audiences will experience the animalistic “heartbeat” pounding of drums and how it drives us to move.
Over the years, Innovations has presented works by a handful of established choreographers including giving Utah audiences their first glimpse of the work of Ballet West’s Resident Choreographer Nicolo Fonte with his 2009 The Immeasurable Cadences Within. We have
The program closes with Garrett Smith’s Facades to an arrangement of baroque and contemporary music. Originally from Salt Lake City, Utah, Garrett currently dances with the Norwegian National Ballet and has just been named Resident Choreographer of the Milwaukee Ballet. Facades
created a launching point for several emerging choreographers and this year I am proud to produce a work by Utah native Garrett Smith. The program has promoted the work of female choreographers by presenting pieces by nine different women. And we have presented 25 new creations by thirteen different Ballet West Artists.
is a study of people from the Baroque era, their mores, intrigues and loves.
This year we open with newly named Principal Artist Emily Adams’ Homage inspired by Salvador Dali’s Sculpture ‘Homage to Terpsichore.’ Emily has a unique way of moving dancers through space and a delicate, sometimes quirky sense
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Innovations is necessary in my opinion. For our dancers having the opportunity to create expands their horizons as artists. Equally important is the opportunity to be created on and by exposing Ballet West artists to outside voices it helps illuminate their own visions and expands the boundaries of possibility and expectation for them and for you our audience. As always I am grateful for your patronage and hope you enjoy Innovations 2015.
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upcoming events
52 west 200 south salt lake city, utah 84101
On Pointe at the Point
may 9
A free evening for all of the Academy’s parents and kids at Thanksgiving Point Innovations
may 15–23
An evening of world premiere choreography Closing Night Party
may 23
Celebrate Closing Night with a preperformance salute, a post-performance rooftop party, or both! Ballet West on Tour
may 27
Letourneau University—Longview, TX Ballet West on Tour
may 29–30
AT&T Performing Arts Center—Dallas TX
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EMILY ADAMS from pennsylvania to principal PETER LEBRETON MERZ joins ballet west as academy director MEET THE ADMINS the people behind the scenes tickets the801·869·6900 front row || donations 12 801·869·6949 | balletwest.org
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