Front Row Fall 2018

front row

Bruce Ballet According to

celebrating 50 years

2018 FALL FRONT ROW |1

R E S TA U R A N T / D O W N T O W N

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CONTENTS

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BRUCE CALDWELL DANCES DOWN MEMORY LANE

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SEASON PREVIEW

11

BALLET IN THE CITY

season sponsors

staff Josh Jones Writer & Editor

Alex Moya Art Direction and Graphic Design

Sara M. K. Neal Chief Marketing Officer

fall 2018

Ballet West Academy Opens New Location

The Frederick Quinney Lawson Ballet West Academy is excited to announce a new location and expansion of its beginning and elementary school to Trolley Corners, 515 South 700 East. Ballet West Academy’s cherished adult classes will also be taught at this new facility.

This state-of-the-art facility will offer convenient amenities including ample covered parking, and the ability for guardians to watch as children exit their vehicle and walk into the portico where they will be greeted by an Academy receptionist. Inside, the location will have four spacious and sun-drenched studios across 7,100 square feet. Each studio will be equipped with sprung marley floors, advanced sound systems, floor to ceiling mirrors, and pianos for live accompaniment. Individual changing rooms, a costume shop, and retail space will add an even higher level of service for clientele.

“We are delighted to be opening the Trolley Corners location this fall. It will offer exceptional safety for our youngest dancers, and greater ease and convenience for our parents,” said Peter LeBreton Merz, Director of the Academy.

“The location will be directed by Academy Principal Heather Fryxell and her skilled, dedicated, and nurturing teachers.”

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Ballet Bru ACCORDING TO

by josh jones

A few months ago, Ballet Master and Ballet West Archivist Bruce Caldwell was asked by a group of young dancers what advice he would give them. “Always be hungry. Do everything you can to get ahead, train longer, work harder,” he counseled. “You’ll still never reach perfection, but at least you’ll know you did your best.”

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T

HE ADVICE WAS EERILY SIMILAR—ALBEIT, much softer—to what his own mentor had instilled in him. “Willam Christensen would say, ‘you have to take it to the woodshed.’ Meaning you, and only you, could improve yourself,” recalls Bruce. “Doing a double tour in class doesn’t get you very far. You must repeat it over and over again.”

uce

For most outsiders, the ballet world is shrouded in the mystery of tradition and history. Movies and books just add to the clichés and stereotypes. But,

when you talk to Bruce, who has been doing this his whole life, he peels the layers of the onion back and, for him, it’s really about just two things. Hard work and the beauty that can come from that hard work.

In 2018, the average American changes jobs every 4.6 years. (It is only 3.2 years if you are 25.) Which makes 2018 that much more special as Ballet West marks Bruce Caldwell’s 50th anniversary. In 1968, just three days after his high school graduation, Mr. C offered Bruce an apprenticeship. “It paid $25…a month.” The irony is Bruce had actually started dancing for the company years earlier, at just ten years old, and had even been on a tour through Arizona during his final semester in high school.

left: photo by robert clayton

“At ten, my sister was dancing and I was playing Little League. But I was watching her get stronger and wondered if it could improve my performance and give me an edge if I took a class.” His parents had no objection to him taking a class, and after a few times in the class, “my muscles started to get stiff and then sore.” He felt stronger, but what he also enjoyed was the discipline, structure, and music. “All the factors came together and it really appealed to me.”

There was no way for that little ten-year-old boy to know that those early classes would shape the rest of his life, become his career, and become his passion. It was thanks to one legendary teacher who has trained thousands and ushered of hundreds of dancer into this career: Bené Arnold, Mr. C’s iconic

ballet mistress. Bruce’s very first year, she asked him to be in The Nutcracker. Bené invited him to be a party boy, but Mr. C had other intentions. He changed his choreography and added a brand new role, just for Bruce: the Nephew. “It was great, I felt like a star,” he says with laughter. “The moment the curtain opened that first performance—that is when I fell in love with ballet. The spotlight and all eyes were on me, it was just a very special feeling.” That was 55 Nutcrackers ago, and he has been involved in every single year since.

“Mr. C was very nurturing. He created other roles just for me, to keep us involved in performing, including a hunter in Swan Lake where I carried a crossbow.” At 14, Bruce snuck into company class on the campus of the University of Utah. Mr. C seemed to turn a blind eye and allow it. “But, he was very careful to make sure I was physically mature enough, for instance he didn’t let me lift in the pas de deux classes until I was older and stronger.”

After becoming an apprentice in 1968, Bruce moved up the ranks quickly, and became a principal dancer in 1971. “We were doing a lot of touring back then, all across the country. You’d wake up at 6am, get onto a bus, travel till 3 or 4 when you got to the next city and then check into the hotel, go to company class, usually on stage, and then rehearsal and a performance.” The next day they would do it all over again. “It was packed days, but we had a lot of fun. The only rule was there was no laughter or loud talking on the bus until after 10 or 11am, we had to fit sleep in somewhere.”

On July 24, 1971, 45 dancers boarded a plane for a six-week European tour. It was a first for the young company; and it was brazen, ambitious, and a test of Ballet West’s dynamism and strength. European

BEST & WORST “MY FAVORITE ROLE was whatever we were doing at the moment. However, in hindsight, it was very exciting to be a part Bruce Marks’ Swan Lake, the first complete four-act performance for Ballet West. It was an expensive brand new production with new sets and costumes and it was a milestone for me to play Siegfried on opening night— I really felt the weight of the character and responsibility.”

“THE MOST UNPLEASANT role was doing a production of Petrushka with rented costumes that were 60 years old!

They may have been from the original Ballet Russes and they stunk to high heaven. As The Sorcerer, I had to put on a gnarly wig, beard, and cape and it was one of the worst things you’ve ever smelled. We took very long showers after each performance.”

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audiences were more sophisticated and the critics could be harsh. The expensive trip was made more dramatic by Mr. C’s absence. His wife Mignon had died after a long illness, and he was forced to send his brother, and Artistic Director of San Francisco Ballet, Lew Christensen in his place for the first week.

“It was…intense,” emphasizes the always-cool Bruce. “We took three programs that included Balanchine’s Symphony in C, Mr. C’s Coppelia, Tom Ruud’s Mobile, Lew Christensen’s Con Amore and Swan Lake, Act II.” The troupe started in Athens, Greece, and traveled at a grueling pace through Yugoslavia, Switzerland, Italy, Spain, and France. “We generally traveled by train through the night and would have a few hours of sleep in a hostel, not hotels. In six weeks, we had two days off. It was completely exhausting,” recounts Bruce.

In the end, the trip was a resounding success, launching a little Utah ballet company from obscurity to international renown.

The Associated Press wire service reported, “Previously, Europeans thought of American ballet in terms of what they saw in the richly

Tauna Hunter

Retired Ballet West Dancer “I watched him grow through all of his positions with the company. As a soloist and principal dancer he was very well respected and acted as a role model for everyone. Since I was smaller, I rarely had the opportunity to be partnered by him, but I do remember dancing the Coppelia pas de deux and Flower Festival pas de deux with him in a concert called Love in the Ballet as well as a few performances of Giselle in Aspen. I thoroughly enjoyed these performances. He was always an attentive partner and the ultimate professional.”

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endowed and long-prestigious New York companies—until this year.” Critic after critic, in every country, praised the style and technique.

Mr. C eventually caught up to his company in Verona, Italy, just in time for a performance that Bruce remembers vividly. “We performed there for a week. After Symphony in C, the audience rushed the stage, they stood there, clapping, clapping in unison, for a long time.

There were tears in their eyes. It was like we were rock stars.” The AP wire reported, “Long and thunderous applause for their outstanding performance.” The Salt Lake Tribune wrote home saying, “It was the most zealous response to date.” Bruce also received accolades from Oleg Kerensky, one of Europe’s most well-known dance critics, who remarked in the International Herald Tribune, “Bruce Caldwell has excellent classical technique,” and said Ballet West was a company of, “style, elegance, and professionalism.”

Mr. C’s aspirations, all his work spent nurturing his dancers, was proven that night in fair Verona.

“The final performance of the tour was on the north coast of France and afterward we had a party,” remembers Bruce. “At 21 years old, I had a lot of emotions and I walked to the Atlantic

Victoria Morgan

Artistic Director of Cincinnati Ballet and former Ballet West dancer “Wow—50 years is a long time to do anything!

What an association! My early memories are of him being Fritz and me being Clara. We partnered together in multiple more grown-up-type productions choreographed by Mr. C. Bruce was, in my memory, always kind, dependable and generous about corrections and ideas for improvement.

The ultimate gentleman, a true cavalier! My huge congratulations on 50 years—a beautiful story!”

Ocean and I threw up in it. I was just completely exhausted.” The following day, September 7th, he flew to New York City, checked into a hotel for three days, and did not leave the bed once.

He may have felt like a rock star, but Mr. C was good at humbling his dancers. Bruce laughs, “He didn’t let it go to our heads, the next year we were touring, but to the far-less exotic locations of Delta, Vernal, and Winnemucca.”

Christopher Sellars

Adam Sklute

“Bruce is one of the most amazing human beings I know. He was mentored by Mr. Christensen and passes on that legacy to every generation of dancers.

Bruce expects high levels of technique, but puts the emphasis on the character and performance of any role he coaches. I am honored to call him a friend and mentor.”

“When I began at Ballet West, I, of course, knew the name Bruce Caldwell.

Early on in my tenure as Artistic Director I called Bruce “the Institutional Knowledge of the company” but having worked with him for over ten years now I have come to know and admire him for much, much more.

Bruce is a deep artist who brings the sum total of his expansive knowledge and experiences to the Ballet West stage. It is my honor to work with him.”

Ballet West First Soloist

Ballet West Artistic Director

Jane V. Wood

Ballet Mistress and Former Principal Dancer with Ballet West “When I first joined Ballet West in 1979, I was already in awe of Bruce Caldwell and his legacy with the company. His athleticism and artistry were undeniable. Known to be a supportive and caring partner, I was honored to dance with him in his last stage performance of Rosalinda.

His undying passion for Ballet West and all dancers he works with will never be rivaled. He is and always will be an extraordinary human being.”

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Last year, longtime KSL anchor, now arts and religion specialist, Carole Mikita ran into Bruce at the season premiere of The Nutcracker. “I will never forget seeing you at The Kennedy Center,” she recalled. “That first leap onto the stage, you could hear the entire audience gasp, it was like watching a bird!” Bruce lights up, remembering the exact moment like it was yesterday. “That must have been Le Corsaire. It’s a bravura piece, meaning you get to do all the tricks. There were many times, spotlight pointed at me, right at the peak of the tour jeté that I could hear that gasp, and the audience would burst into applause seconds later. That’s what kept me going.”

Indeed, he still receives accolades for performances decades ago. And, as he trains the next generation, gently giving advice and mentorship only a person with his years of experience can bestow, he says the greatest thrill is passing along his own accolades.

tright: op right: lee provancha day & bruce caldwell. bottom left: victoria morgan & bruce caldwell, photo by robert clayton

“My interaction with the dancers, Ballet West’s future, is the most rewarding part of my job. Being able to coach them, to help them grow, to widen their careers, and to be a cheerleader. It is very rewarding at the end of the day to see them onstage.” When asked what advice he would give them, he looks down and says, “I tell them to enjoy their careers, because it goes by so fast.”

From Lee with Love WHERE DO I BEGIN… It is pretty challenging to put a 42 year friendship and 10 year dancing partnership into a few short paragraphs but I will try my best.

Bruce and I were matched up as partners fairly early on after I joined Ballet West. It did not take long to know that it was going to be a very special partnership. It just seemed to work right from the beginning with very little effort. That is when you know you are at the start of something great. I have to backtrack a bit and say the support and friendship we developed outside of the studio only made our work together in the studio all that much better.

In 1977, Bruce Marks choreographed his full length Don Quixote and he chose Bruce and me to choreograph the lead roles on. It was the first time in my career that I had a ballet choreographed on me.

Bruce Marks was able to highlight our strengths and our growing partnership. It was such an awesome experience to go through with “both Bruce’s” and one I will always cherish.

As I think back over the many roles Bruce and I performed during the 10 years I danced with Ballet West, so many wonderful memories come flooding into my mind and heart. If I had to pick one ballet that meant the most to our partnership it would have to be Giselle.

It was always my favorite role to dance but also I think it suited our styles and the strength of our partnership so perfectly. I get emotional just thinking about the beautiful moments we shared each time Albrecht supported his Giselle as she floated across the stage.

It was Bruce that made those moments possible for me.

Through the years Bruce has always been there to support me and my family. Interesting fact…. Bruce and I danced Giselle on tour when I was four and half months pregnant with my first child. I didn’t worry for a second because I knew Bruce was taking extra special care of “us.” Our friendship has stayed strong even though we have lived far apart for over 30 years. Whenever we visit Salt Lake, he always opens his beautiful home to us and within minutes those connections are deeply felt once more.

I am so proud of Bruce and grateful to him on so many levels. His 50 years with Ballet West is an amazing accomplishment. From Fritz in The Nutcracker, to his long performing career, to his years of mentoring, teaching and passing on his knowledge and passion for dance, he has always given 110%.

Now as he spends more of his time documenting Ballet West’s presence and cataloging the past we can all be assured this very important job is in the best of hands. The beautiful photos, programs, videos and so much more will be given the attention to detail he has always given to this company he loves. His heart and soul is so much a part of the past 50 years and we will never be able to thank him enough.

Love you my dear friend, Lee Provancha Day Ballet West Principal Artist, from 1975–1985

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Ballet West’s 55th Season Brims With Energy, Magic, & Drama Ambitious new season will include the return of classic favorites and the Ballet West premiere of a grand modern masterpiece.

Ballet West promises a dramatic and breathtaking season for its 55th anniversary this year, bringing back Utah favorites and introducing new grand scale works to the stage.

jewels nov 2–10

The season opens in November with George Balanchine’s Jewels, a sparkling treasure that is a journey in three acts. From the elegant, French court mystery of Emeralds, and delicate music of Fauré, to the highflying, flapper-style Rubies, set to the jazzy strains of Stravinsky, and finally the grandeur of Imperial Russia in Diamonds, and the grandeur of Tchaikovsky— Jewels is an iconic modern masterpiece.

“While Jewels has no formal plot, it is full of multilayered stories, each of the three sections evoke a mood, a place, and an era,” said Artistic Director Adam Sklute.

Production sponsor: O.C. Tanner.

choreographic festival may 9–11

The annual Choreographic Festival closes the season in May, with exciting creations by Ballet West artists and a world premiere from noted choreographer and Artistic Director of BalletMet, Edwaard Liang. Liang’s work is sought-after worldwide and this will be his first for Ballet West.

Festival sponsors: Meldrum Foundation, Frederick Quinney Lawson Foundation, Dominion Energy.

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season preview

the nutcracker dec 14–29

Last year, Ballet West unveiled new sets and costumes for Willam Christensen’s The Nutcracker, presented by The George S. and Dolores Doré Eccles Foundation. It was a phenomenal success in both critical reviews and record-breaking ticket sales. Originally created in 1944 for the San Francisco Ballet, Christensen’s The Nutcracker has had an unbroken run in Utah for 63 years. It is considered America’s first Nutcracker and is the longest running in the United States, possibly the world, and remains a favorite Utah holiday tradition. This season, Ballet West takes the production back to The John F. Kennedy Center for the Performing Arts in Washington, D.C., featuring the new sets and costumes.

Production sponsor: George S. and Dolores Doré Eccles Foundation.

swan lake feb 8–23

In February, Ballet West returns with Adam Sklute’s critically acclaimed production of Swan Lake. Glorious and heart-melting music by Tchaikovsky and a timeless story make this one of the most beloved ballets in the world. Ballet West’s Swan Lake broke attendance records when the company produced it in 2014, and the Deseret News exclaimed, “the execution of artistry is some of the best in the ballet world.”

Production sponsor: Barbara Barrington Jones Family Foundation

“ beauty and the beast oct 26–27, 2018

onegin apr 5–13

A major Utah premiere will highlight the spring production, with the staging of John Cranko’s internationally renowned telling of the great Russian poet Alexander Pushkin’s Onegin in April. “For many years I have dreamed of bringing Onegin to Utah,” said Sklute. “I consider this one of the great ballets of the 20th century. Cranko’s genius storytelling and his brilliant pas de deux work shine in his deft handling of Pushkin’s heartbreaking verse-novel Eugene Onegin. This piece of dancetheater will have you on the edge of your seat.”

Onegin first premiered at the Stuttgart Ballet in 1965, and the choreography includes a wide range of styles, including folk, modern, and ballroom. Due to construction at the Capitol Theatre, Onegin will be staged the new Eccles Theater on Main Street.

When I arrived in Salt Lake City 10 years ago I was honored to become part of a company already known for a broad repertoire,” said Sklute. “My vision was to weave the great and storied history of Ballet West with a new, dynamic, and 21st century outlook.”

Sklute’s dream of molding Ballet West into one of the world’s most versatile ballet companies is on full

Ballet West II dancers and students from the Frederick Quinney Lawson Ballet West Academy bring back Beauty and the Beast, full of comedy, romance, and adventure. After the world premiere two years ago, this production has traveled the United States receiving high praise. Beauty and the Beast is part of the Family Classics, which has guided narration and a shortened presentation, perfect for the youngest balletomanes.

display in the range of productions he will bring to the stage in the upcoming season.

jewels: principal artists emily adams & adrian fry. the nutcracker: demi soloist joshua whitehead. swan lake: artists of ballet west. onegin: principal artists arolyn williams & rex tilton. choreographic festival: artists of ballet west. beauty and the beast: artists of ballet west ii photos by beau pearson

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backstage access

“

Like Michelangelo’s David, Rodin’s The Thinker, or Frank Gehry’s Guggenheim in Bilbao, George Balanchine’s Jewels sits next to these masterpieces of history.”

I

n 2016, one of george balanchine’s most iconic works, Jewels, turned 50. It is considered the first full-length abstract ballet and is still regarded as one of the greatest works of art in the 20th century.

After the premiere on April 13, 1967, famed dance critic for The New York Times Clive Barnes went back to his office after the performance and wrote, “Has George Balanchine ever created a work in which the inspiration was so sustained, the invention so imaginative, or the concept so magnificent as in the three-act ballet that had its world premiere at the New York State Theater?”

The Timeless & Priceless Qualities of

Jewels nov 2–10, capitol theatre

The ballet consists of three acts, all plotless, but each with exacting themes. Emeralds glows with the subtle, elegant music of Fauré and the mystery and romance of the French courts of Versaille. Rubies takes the audience on a high-energy 1920’s era flapper-style romp to the dynamic and quirky strains of Stravinsky, and the wintrywhite landscape in Diamonds is imbued with grandeur of imperial Russia using the music of Tchaikovsky.

Alastair Macaulay, the chief dance critic for The New York Times, called Jewels, “The perfect introduction to ballet.”

Indeed, the diversity, symmetry, and technique in all three acts are simply astounding and groundbreaking— perfect for both the novice and professional viewer. Like Michelangelo’s David, Rodin’s The Thinker, or Frank Gehry’s Guggenheim in Bilbao, George Balanchine’s Jewels sits next to these masterpieces of history.

A FEW MORE INTERESTING FACTS ABOUT THIS GORGEOUS BALLET:

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REFRACTIONS In all three ballets, women stretch one leg and both arms upwards in lines that are meant to suggest the refraction of light from a jewel. However, Balanchine is quoted as saying, “The ballet had nothing to do with jewels.

The dancers are just dressed like jewels.”

THE COSTUMES Costumes, created by long-time Balanchine collaborator Barbara Karinska, were so finely crafted that they are often exhibited in mu-

seums around the world.

She is quoted as saying, “I sew for boys and girls who make my costumes dance, their bodies deserve my clothes.”

REAL JEWELS There was an idea to make the costumes with the actual jewels from each piece; however the concept was abandoned when New York City Ballet weighed the cost, and the actual weight of the gems.

THE TITLE The title Jewels did not appear on the original playbill, it was merely a triple bill when first presented. It was added soon after in order to unify the works.

ABOUT 20 MINUTES Balanchine was loath to offer a connection between Emeralds, Rubies, and Diamonds. When asked what Rubies was about he responded, “It is about 20 minutes.”

However, most point to the fact Balanchine spent significant time in Russia,

France, and America, and that nationalism is the unifying theme.

LAURENCE OLIVIER AWARDS In 2008, the Royal Ballet received two Laurence Olivier Awards (equivalent to the Tony Awards) for its production of Jewels, proving that this work is just as relevant and groundbreaking as it was in 1967.

principal artist beckanne sisk | photo by luke isley

RUBIES IN CUBA In 2016, Ballet West was the first company to perform Rubies in Cuba.

Principal Artists Beckanne Sisk and Christopher Ruud danced the central pas de deux at the International Ballet Festival of Havana, and the audience rewarded them with an enthusiastic and sustained ovation. Afterward, POINTE magazine said Sisk and Ruud made “dance history in Cuba for their saucy and showy pas de deux.”

Ballet City in the

STAY. The Grand America is just three blocks away, perfect for an evening stroll with your special someone.

DATE NIGHT Jewels

EAT. Newly-opened London Belle is dark, moody, and delicious. Enjoy the hand crafted cocktails designed by First Soloist Christopher Sellars.

STAY. The newly-refurbished Hilton City Center is a stone’s throw from The Capitol Theatre.

Park and stroll downtown to avoid holiday traffic.

FAMILY AFFAIR The Nutcracker

EAT. Around the corner is award-winning wood-fired pizza at Settebello. The whole family will love the Diavola pizza, and it will be easy on the wallet.

AND THEN. Stop at Eva’s Bakery for cocoa and stroll up to the majestic lights at Temple Square.

STAY. The brand new and very chic AC Hotel offers a ground floor living room where you’ll meet new friends the minute you walk in.

GOING SOLO Swan Lake

EAT. Enjoy the beautiful granite bar at Ruth’s Chris and strike up a conversation with the friendly bartenders over apps!

STAY. For free bikes, killer room service, and a pet fish, stay at the Hotel Monaco.

GIRLS’ GET TOGETHER Onegin

Choreographic Festival

AND THEN. See the cuttingedge and ever-changing contemporary art at UMOCA, one of the oldest museums in Utah.

EAT. No reason to leave, dress up and enjoy a cocktail at The Vault in the lobby, followed by Maine scallops at Bambara.

AND THEN. Sanctuary Day Spa at The Gateway is full service, with room for everyone to have a pedicure at the same time.

STAY. Save some money by checking out Airbnb for roomy luxury lofts downtown.

GUYS’ NIGHT

AND THEN. Enjoy the Grand America’s expanded spa area and indulge in a couple’s massage!

EAT. Order the Porterhouse at New Yorker steakhouse and enjoy the inthe-know, underground atmosphere that whispers, “You’ve made it.”

AND THEN. Hop down to Whiskey Street, sit at the 72-foot long cherry wood bar, and gaze at the dozens of bourbons, more than any other establishment in Utah.

jewels, the nutcracker & swan lake: artists of ballet west. photos by luke isley | onegin: principal artists arolyn williams & rex tilton. choreographic festival: artists of ballet west. photos by beau pearson business photos courtesy of london belle, umoca, sancturary spa & whiskey street. temple square lights photo by andrey zarkikh (wikimedia commons)

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upcoming opportunities

Balletravel

artists of ballet west | photo by beau pearson

photo: tourism victoria

The John F. Kennedy Center for the Performing Arts WASHINGTON, D.C. | DECEMBER 5–9, 2018

The George S. and Dolores Doré Eccles Foundation presents Willam Christensen’s The Nutcracker DONOR TOUR PACKAGE*: December 6: Pre-performance welcome reception and post-performance discussion with Jared Oaks, Music Director December 7: Breakfast with the dancers December 9: Closing Night Cast Party at Bourbon Steak, Four Seasons Hotel Invitation to attend company class at The Kennedy Center (date and time will be confirmed on trip agenda) Tour of The Kennedy Center (date and time will be confirmed on trip agenda) Events are exclusive to those who participate in the Donor Tour Package. The package is $575 per person ($350 may not be tax deductible) and includes admission to five Ballet West events. A portion of your donation will support Ballet West’s tour to The Kennedy Center and help underwrite the expenses for dancers to participate in donor events.

Purchases must be made by October 27.

Performance tickets are not included and may be purchased directly through The Kennedy Center.

PERFORMANCE SCHEDULE: December 5 December 6 December 7

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7:30pm 7:30pm 7:30pm

December 8 December 9

1:30pm, 7:30pm 1:30pm, 7:30pm

The Royal Theatre VICTORIA, BRITISH COLUMBIA | FEBRUARY 1–2, 2019

Mixed repertory program including Val Caniparoli’s Dances for Lou, Nicolo Fonte’s Fox on the Doorstep, and Swan Lake black swan, white swan.

DONOR TOUR PACKAGE*: February 1: Opening night performance and party February 2: Evening performance February 2: Closing night cast party February 3: Brunch with the dancers Join us in one of North America’s most beautiful places for a weekend of powerful dance with your Ballet West family. Events are exclusive to those who participate in the Donor Tour Package.

The package is $895 per person ($640 may not be tax deductible) and includes admission to the three Ballet West events and a ticket to the evening performances on February 1 and 2. A portion of your donation will support Ballet West’s tour to the Royal Theatre and help underwrite the expenses for dancers to participate in the donor events.

Purchases must be made by January 4.

P lease call Tracy Waters at 801-869-6917 or email twaters@balletwest.org to make your reservation.

A deposit of $100 is requested per tour and the balance of the tour costs will be due one month prior to departure.

*Itinerary details may change.

social highlights

In The Spotlight I CAN DO Lunch

Ballet West’s groundbreaking outreach program, I CAN DO, turned 20 this year. The program has taught tens of thousands of 5th graders the joy of dance, and the ancillary life skills of participating in a group activity. Heather Kahlert of The Kahlert Foundation celebrated the two-decade anniversary by by donating a major gift at the I CAN DO at the Hilton Salt Lake City Center. Chris DelPorto, who participated in the program 20 years ago, spoke on how the it motivated him to pursue a career with the dance company Pilobolus and to later join the Utah Army National Guard.

ican do lunch and o.c. tanner cocktail party photos by beau pearson. academy fundraiser photos by scott freeman

Shine Bright Like a Diamond

O.C. Tanner Jewelers graciously hosted a cocktail party at their gorgeous flagship store to celebrate the opening of the 55th season. Dancers and artistic staff mingled with friends of the ballet while surrounded by the radiance of emeralds, rubies, and diamonds… the perfect ambiance to anticipate George Balanchine’s Jewels, the season opener.

Academy Scholarship Fundraiser

Braden and Heather Shupe hosted a fabulous fall fundraiser at the home of Willis McCree, Ballet West Board member, and John Fromer in support of Academy scholarships. Ballet West Academy scholarships are given to students based on a combination of talent and need. With nearly 1,000 students in the Academy at four campuses, this resource has become more important than ever. The funds raised at this festive evening will allow even more students to develop their talents.

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Donors

Each issue of the Front Row features 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 We thank our Founder’s Circle donors, each of whom have given significantly to the Company throughout its history, either through collective annual giving or onetime gifts.

B.W. Bastian Foundation Peggy Bergmann Val A. Browning Foundation George S. and Dolores Doré Eccles Foundation Marriner S. Eccles Foundation The Huntsman Foundation Barbara Barrington Jones Emma Eccles Jones Foundation Frederick Q. Lawson Foundation Janet Quinney Lawson Foundation Meldrum Foundation John and Marcia Price Family Foundation Shari and David Quinney S.J. and Jessie E. Quinney Foundation Rocky Mountain Power Beano Solomon James Lee Sorenson Family Foundation Wells Fargo HERITAGE CLUB Mr. C & Mrs. Wallace $25,000+ Peggy Bergmann Judy Brady and Drew W. Browning John and Kristi Cumming Paul and Cheryl Huntsman Barbara Barrington Jones Barbara Levy Kipper Peter and Cathie Meldrum John and Marcia Price Family Foundation Shari and David Quinney Beano Solomon Krista and Jim Sorenson

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Principal and First Soloist $10,000+ Vilija Avizonis and Gregory McComas Judy and Larry Brownstein Convergence Planning DiFiore Family Sue J. Ellis Alan and Jeanne Hall Foundation Stephanie and Tim Harpst Katharine W. Lamb Jennifer and Gideon Malherbe Santiago and Valeria Marti Dan P. Miller John and Andrea Miller Jeanne Potucek Keith and Nancy Rattie Erin and Bryan Riggsbee Theodore Schmidt Jonathan and Liz Slager The Varvel Family Charitable Fund Brad and Linda Walton Julia S. Watkins Carole Wood and Darrell Hensleigh Anonymous Soloist and Demi-Soloist $2,500+ Stephany Alexander Margaret Anderson Kim Strand and Mike Black Brown Family Foundation Carol Browning, Céline Browning, and Rete and Rikki Browning Alexis Carr Carol Christ Kay Christiansen Jim and Barbara Clark Spencer F. and Cleone P. Eccles Family Foundation Erik and Uzo Erlingsson John and Ilauna Gurr Marc and Mary Carole Harrison Cindy and Howard Hochhauser

Jennifer S. Horne Scott Huntsman Jeanne M. Kimball James R. Kruse and Mary Jo Smith Cynthia Lampropoulos and Dr. George Gourley David and Naja Lockwood Hank and Diane Louis Paul and Melanie Lyon Angela Martindale and Michael Snow Rachèle McCarthey and Brock VandeKamp Thomas and Mary McCarthey Willis McCree and John Fromer Anthony and Jessica Mirabile Richard and Lois Peterson Madeleine and Harvey Plonsker Jeanie Pollack Brian and Janae Powell Barbara Snarr Reid Mark and Melanie Robbins Ellen and Chris Rossi Margaret P. Sargent Jonathan and Amanda Schmieder Shiebler Family Foundation Teresa Silcox Adam Sklute and Christopher Renstrom John Sklute George H. Speciale Sue and Jack Stahl Barbara L. Tanner Rick and Chris Veit Roy Vincent Sue and Walker Wallace Susan Warshaw Beatryx Washington Jacquelyn Wentz Marelynn and Edward Zipser Corps de Ballet $1,000+ Eric Ahlstrom John and Marilyn Alleman Jeffrey Bronson Anderson

Stephen Anderson Ronald and Kathy Aoki Bené Arnold Carol Baer Stephen and Marcy Barlow Frances and Jerome Battle Clisto and Suzanne Beaty Gary Beers Trina and Jerome Bellendir Alene Bentley Sharon and Michael Bertelsen Ginny Bostrom Rich Broggi Marie and Kevin Brown Meredith Cameron Robert Chamberlain Rebecca Marriott Champion Cecile and Harold Christiansen Drs. Joan L. and William J. Coles William and Melissa Connelly DeGauss Pascale De Rozario and Jonathan Crossett Willard and Julie Dere Meredith and Stephen Drechsel John Eckert Sissy Eichwald Patti Eylar and Charlie Gardner Deborah B. and Edward Felt John and Joan Firmage Tracy Frankel Karen L. Freed David Keith Garside and Audrey Miner Marla M. Gault Global Travel Network Ann and Rick Gold David and Sandylee Griswold Jon and Tami Hansen Sandy Haughey David P. Heuvel and Johann Jacobs Connie C. Holbrook Julie Hopkins Daniel Horns and Renee Zollinger Larry and Tina Howard

Robert and Dixie Huefner David and Linda Irvine Gordon Irving Anne and Conrad Jenson Marilyn and Chester Johnson G. Frank and Pamela Joklik Howard A. and Lou Ann B. Jorgensen Adriane Herrick Juarez John S. Karls The Keefers Brenda Kees The Kohlburn/Lecointre Family Carol and Guy Kroesche Katherine Probert Labrum Roxanne Christensen and Tony Lazzara Bruce and Sheryl Lefavi David E. and Helane B. Leta Dustin Lipson Kathy Lynch Carrie and Doug Madsen Richard Mandahl and Franci Leary Dr. John and Colleen McCarter Nancy Melich and Lex Hemphill David and Colleen Merrill Jennifer Moldre Edward B. and Barbara C. Moreton Sheri P. and Ted Morgan Scott and JoAnn Narus Anne Neeley Oren and Liz Nelson Karen Nichols ONTOUR Pictures LLC Linda S. Pembroke Andrea Peterson Troy and Helena Piantes Kyle and Brenda Powell Lee Quinney Nancy Rapoport and Jeff Van Niel Suzanne and David Razor Victor and Susan Rickman Mark and Linda Scholl Robert and Nancy Schumacker

artists of ballet west | photo by beau pearson

donor recognition Katherine Scott Laura Scott and Rodney Mena Ben and Lael Selznick Aharon Shulimson and Julie Terry Braden and Heather Shupe Beth and Randy Siebert Lou Ann Stevens Cyndie Taylor Maarten and Annette Terry Jennifer Vanderwilt Raymond Vismantas Amy Wadsworth and David Richardson Bill and Betty Weldon Sue Wilkerson Mr. & Mrs. Jay Edward Wilson Mary Bird and Lance Wood Anonymous (2) NEW AND RENEWED MEMBERS FEB. 14–MAR. 26, 2018 $75+ Jennifer Abouzelof Charlene Anderson and Ron Davidson Susan Ashley and Gary Taylor Jordan Atkin Ann Atkisson Almina Barksdale Chris and Robin Bateman Ruth Benefiel Michael and Claudette D. Blaes Janae Blonquist Ronald and Tracy Bolander Anneli Bowen Richard Brandt Diane and Mark Bromberg Charles Brown Helen W. Brown Robyn Brown Marianne Harding Burgoyne Brett Campbell Richard and Judith Cannon E. Lindsey and Carla Carlisle Corey Carroll Will Chamberlain James M. and Sherise G. Clayton Richard Clegg Karen Coleman Peter and Heather Cooke Sandra Covey Jim and Julie Crittenden Ronny L. Cutshall Ms. and Mr. Eydie Debry Dr. Michael and Carol DeCaria Klancy and Noel Denevers Eric Despain Carleton DeTar Paul and Terrell Dougan Elizabeth Drinkaus

Richard and Pamela Dropek Michelle and Fred Dunbar Alan and Vickie Eastman Robert Feldott Leah Felt Barbara W. Frazier Mark and Wenda Fry Dr. Nancy Futrell, M.D. and Dr. Clark Millikan, M.D. Bryson Garbett Alison Garner Dan and Amy Geroso Jeanette Glover Gary and Vickie Greaves Abbie and Ken Griffin Paul and Janet Griffin Kaye Grimmett Ms. Mardee Hagen James Halliday John and Stacy Hamm Paul and Patricia Hansen Scott Hansen and Peggy Norton Tracey Harrach David and Sheila Hayes Moore Laurie Hofmann Kathie and Charles Horman Karen P. Hyde Beth and Carrie Icard Vienna Foundation Michelle and Brian Jahne Judy Jones Patricia New Lawrence and Linda Kelley Scott and Allison Kendell Helen A. Kennedy Marvin Kimball Gene and Richard Klatt Alyssa Kontuly Steve Kornet Helle and Jon Le Rette James and Evelyn Lee Katherine and Harold Liddle John and Georgia Loutensock Susan Loving Diane Luke Kathy Lynch David and Donna Lyon Heidrun Mandy Dr. and Mrs. Ned L. Mangelson Betty and Ronald Marianetti Gamaliel Martinez Marjorie and Thomas Mclaughlin Heather McMaster Patricia and John McNamara Elia Miller Dr. Michaela Mohr Bonnie Mooney Matthias and Susan Mueller Anne M. Nelsen Dr. Richard Nelson

Linda Nielson Ralph and Jean Nuismer Kathy G. Oakley Carol and Alfred Oestreich Helen Olpin Maura and Serge Olszanskyj Lisa Osborne Amy Oxman Christina Pelo Laree Prisbrey Tomi Jean Ossana and Chris Proctor Anne Rasmussen Gary and Joann Rieben Tai and Jolene Riser Joy Rocklin Rob and Susan Rodgers Nannette and Daniel Sageser Kristine Saunders Cynthia and Ted Schofield Brylan Schultz Oren Shepherd Paul and Carol Sonntag Robert and Arita Sparks Helen Stanhope Judith Stirrat Annie and Cory Strupp Summerhays Music Sandra and Paul Swensen Jeffrey Taylor Linda Tueller Dr. Marilyn Valentine Kevin Voyles Donald and Barbara Walker Janene Wallace Bruce and Leigh Washburn Bryan and Diana Watabe Susan and Brent Westergard Terry R. Whipple Reatha Whiting Lawrence Wiedmann James Wilson Mary Wimmer Dave and Jerre Winder Barbara Wolin Catherine Wong Richard and Marsha Workman Marjorie C. Young Anonymous (9) FOUNDATIONS, CORPORATE, AND GOVERNMENT SUPPORT $100,000 and above George S. and Dolores Doré Eccles Foundation Janet Quinney Lawson Foundation Meldrum Foundation

Salt Lake County Zoo, Arts & Parks Utah State Board of Education —Professional Outreach Programs in the Schools $25,000–99,999+ Ballard Spahr LLP*◊ B. W. Bastian Foundation BMW of Murray ◊ Dominion Energy ◊ Marriner S. Eccles Foundation Florence J. Gillmor Foundation Holland & Hart LLP* ◊ The Huntsman Foundation IOXO* ◊ David Kelby Johnson Memorial Foundation Emma Eccles Jones Foundation The Kahlert Foundation Frederick Q. Lawson Foundation O.C. Tanner Company ◊ OOCL* The Rea Charitable Trust Salt Lake Regional Medical Center* ◊ The Shubert Foundation Sorenson Legacy Foundation Virginia B. Toulmin Foundation Utah Division of Arts and Museums $10,000–24,999 Artisan Bloom* Bank of American Fork ◊ Beaver Creek Foundation The Church of Jesus Christ of Latter-day Saints Foundation C. Comstock Clayton Foundation Lawrence T. and Janet T. Dee Foundation Eleve Dancewear* Richard K. and Shirley S. Hemingway Foundation Jones Waldo* ◊ National Endowment for the Arts New Yorker* ◊ S. J. and Jessie E. Quinney Foundation Rocky Mountain Power Foundation Salt Lake Power Yoga* Simmons Family Foundation Summit County Cultural RAP Tax U.S. Bank Foundation ◊ Visit Salt Lake ◊ Wells Fargo ◊ Dr. Jeremy Wimmer with Elite Chiropractic Center* Anonymous

$5,000–9,999 America First Credit Union◊ Bambara Restaurant* ◊ R. Harold Burton Foundation JP Morgan Chase◊ Henry W. and Leslie M. Eskuche Charitable Foundation Goldman Sachs◊ In The Event* Gaye Marrash Arts Foundation Myriad Genetics, Inc.◊ Nordstrom Promontory Foundation Ruth’s Chris Steak House* ◊ $1,000–4,999 3M Health Information Systems A&Z Produce Company* Mallory Berge, L.Ac.* Blue Iguana* City Center Psychology* Katherine W. & Ezekiel R. Dumke, Jr. Foundation Industrial Supply* Merrick Bank Nicholas and Company* Residence Inn* Salt Lake City Arts Council Silver Summit Event Design* Snow, Christensen & Martineau Foundation Allen Tran, U.S. Ski & Snowboard Team* The Williams Companies Foundation Workers Compensation Fund ◊ SCHOLARSHIP DONORS Bud and Janet Blackmore Marie and Kevin Brown Carol Carter John and Kristi Cumming Barbara Barrington Jones Susan and Chris Lockwood Jenny and Joe Maffuccio Jan Mitchell Scott Kirk Patrick Braden and Heather Shupe Park City Community Foundation: The Solomon Fund Promontory Foundation Nancy and Robert Sparrer Summit Sotheby’s International Realty ◊

As of September 20, 2018 *Indicates donation made in-kind ◊Indicates Corporate Council member

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52 west 200 south salt lake city, utah 84101

EVENTS:

11

thu oct Salon Event

jewels nov 2–10

Peter and the Wolf, Ballet West Costume Shop*, 6 pm

25

thu oct In-studio rehearsal 4:45 pm*

dec

6–9

Donor Tour

In support of The Nutcracker at The John F. Kennedy Center for the Performing Arts.

Please call Development at 801-869-6917 to register by October 27

dec principal artist arolyn williams photo by luke isle

21–22

Nutcracker Teas

12pm. Please call Patron Services at 801-869-6901 to purchase tickets

GET YOUR TICKETS NOW balletwest.org | 801-869-6900

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*These events are for Heritage Club donors.