Front Row Fall 2019: Katie Critchlow & Trevor Nauman

FRONT ROW 2019 FALL

FROM COAST TO COAST, ONE IN THE MIDDLE A PROFILE OF KATIE CRITCHLOW & TREVOR NAUMANN

SOLOIST KATIE CRITCHLOW & DEMI-SOLOIST TREVOR NAUMANN | PHOTO BY BEAU PEARSON

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CONTENTS

FALL 2019

BYUtv to Broadcast Ballet West’s The Nutcracker NATIONAL BROADCAST TO CELEBRATE PRODUCTION’S 75TH ANNIVERSARY MADE POSSIBLE

BY LEAD GIFT FROM THE GEORGE S. AND DOLORES DORÉ ECCLES FOUNDATION

LEFT: SOLOIST KATIE CRITCHLOW & DEMI-SOLOIST TREVOR NAUMANN, RIGHT: ARTISTS OF BALLET EST IN THE NUTCRACKER PHOTOS BY BEAU PEARSON

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FRONT ROW PROFILE: KATIE CRITCHLOW & TREVOR NAUMANN SCHOLARSHIP RECIPIENTS 5 NEW BALLET WEST DANCERS

“Our focus at BYUtv is to cultivate coviewing experiences for kids and parents to enjoy together,” said BYUtv Managing Director Michael Dunn. “Every holiday season, The Nutcracker has been just that for generations of families in Utah and around the world, and we’re honored that our network will now be able to share Ballet West’s iconic production with millions of people all across America, right in their own homes.” BYUtv is a family entertainment television network reaching 50 million households across the country via cable, satellite, and streaming.

“Attending The Nutcracker has been a special part of our family’s holiday tradition for decades, just as it has for so many others,” said Lisa Eccles, Eccles Foundation President and COO. “We see this as a milestone moment, and we’re proud to be able to help Ballet West’s Nutcracker spread its wings and present this extraordinary Utah production to a global audience. We’re honored to bring this story to life in ways that Mr. Christensen only dreamed might be possible.”

SEASON SPONSORS

STAFF Joshua Jones Writer & Editor

Last February, during the run of Swan Lake, The Nutcracker was loaded back into the Capitol Theatre for five days to film the Willam Christensen production. This December, after a year-long effort, BYUtv will air The Nutcracker in a 90-minute program, and an abridged 60-minute historical look at the impact of America’s first Nutcracker. Filming was made possible, in part, through the generosity of the George S. and Dolores Doré Eccles Foundation, which awarded $100,000 to the project.

Alex Moya Art Direction and Graphic Design

Sara M. K. Neal Chief Marketing Officer

Watch an abridged look at The Nutcracker on BYUtv on December 8 at 4 pm Mountain Time, and then watch the entire production on December 24 at 2 pm.

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FROM COAST TO COAST, ONE IN THE MIDDLE WORDS BY JOSHUA JONES | PHOTOGRAPHY BY BEAU PEARSON

It is Friday, February 12, 2016, 6:30 pm. It has been a long day. DemiSoloist Katie Critchlow is in Studio A for a final studio rehearsal of John Cranko’s Romeo and Juliet. She has dreamed of dancing this role since she was young. She has read the play and memorized the lines, even matching Juliet’s words to exact steps in the choreography.

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HAT IS NORMALLY AMPLE SPACE on the fourth floor of the Jessie Eccles Quinney Ballet Centre feels cramped and very warm. Nerves are charged, emotions high—as they are with any production at this stage. Artistic Director Adam Sklute and half a dozen other artistic staff members are behind a desk watching every movement. Stager Jane Bourne, from the John Cranko estate, watches to catch and correct even the most minor flaws. Nestled into the sides of the studio are musicians, administrators, dancers, and production crew.

The Prokofiev score booms from the speaker system.

Juliet takes her life and falls gracefully next to Romeo. A slight gasp, a sniffle, and then silence. Normally, a polite clap would follow, but now all one can hear are heartbeats.

The studio is raw as Katie pushes her body up like one who has just collapsed after a marathon. She wipes a tear away, and then another. And people breathe again. A clap is followed by a roar. What we watched was authentic; it was real… as real as you could dare want.

After the dancers receive notes, Corps Artist and boyfriend Trevor Naumann walks Katie to a quiet stairwell. They collapse together. She begins to cry, and then sobs, “I just died, I just died!”

All eyes are on Juliet and her Romeo.

As the third act winds to its inevitable conclusion, there is an electricity in the studio. The gathered audience is spellbound and every person knows they are witnessing something… remarkable. There is no Katie Critchlow in the studio; there is only Juliet.

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She would take the stage one week later and receive a sustained standing ovation, and glowing reviews. Later that month, Adam extended promotions to both of them; Katie to Soloist and Trevor to Demi-Soloist.

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FEAR & LOATHING in NEW PALTZ

Trevor’s journey to this moment was a bit more meandering than Katie’s. Raised by two New York City Ballet dancers, he had grown up in the shadows of ballet since birth and never pursued it. Trevor’s parents had enshrined him in both an artistic and decadent New York lifestyle.

Casual memories of Andy Warhol, Hunter S. Thompson, or Lou Reed were often bandied around the dinner table.

As Trevor grew into his teens, his parents became worried about his behavior. He had few interests, worked at receiving failed grades, had handwringing anxiety, and was colossally introverted. They eventually tested him for depression, mononucleosis, and other mental health problems.

Their fears started to fade after a life altering evening, not long after he Trevor turned 15. “Thenartistic director of New York City Ballet Peter Martins and his wife Darci were at the house,” recalls Trevor. “We were having dinner and the conversation was about more than just dance or ballet, it was about the culture of ballet.

They were talking about personalities, about traveling to France and Russia, and a community filled with artists, and egos, and eccentrics.” For perhaps the first time, Trevor had been invited to the grown-ups’ table and his eyes lit up like a kid on Christmas morning. After dinner, Peter asked Trevor if he wanted a ride in his Bentley Continental. “He drove fast, and told me about a ballet world I had never heard of. It just clicked… I saw a path that I’m still on to this day.”

“THERE WASN’T REALLY A COURTSHIP, THERE WAS A DAY MY LIFE BECAME SIMPLER. KATIE MADE ME CARE ABOUT MY LIFE, SHE MADE ME CARE ABOUT A FUTURE, AND SHE GAVE ME A REASON TO LIVE.”

The very next day, Trevor entered his parents’ dance studio in New Paltz, New York, and trained for six hours. To catch him up, his mom gave him private lessons on Sundays. “She gave me honesty. They didn’t sugarcoat anything.”

He eventually began studying at the School of American Ballet, where he would complete high school. Afterward, he

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auditioned “an outrageous number of times, even applying for Broadway musicals. I got several offers, but Ballet West II paid the best, had the best benefits, and a good contract.”

Trevor says the narrative he overheard, of a glamorous, wellheeled lifestyle, which had seduced him into ballet, never developed. “The culture has not lived up to the story that I heard that night at 15 years old. This is a much healthier environment. I also think we are just better athletes now. You can’t do what we do in the studio, and then have an exciting nightlife. We’re too busy icing our wounds, going to physical therapy, doing cross training, and controlling our diet.”

I CAME FROM THE OCEAN

Almost 3,000 miles away, Katie was raised in the warm waters of the Pacific Ocean. “I came from the ocean and am still a beach girl.” Katie’s father had been one of the top surfers in the world. “He wanted us to follow in his footsteps, but I loved dance. And, I probably wouldn’t be a dancer without his help. He taught himself to surf, how to self-correct, he worked through the mental aspects of professional sports. He passed all of that wisdom to me. He helped me focus on what I can change, to focus on how I can improve.”

She grew up being called Tigger, because of her boundless energy. That kind of stamina obviously translated well to the ballet studio, one owned by retired Pacific Northwest Ballet dancers Benjamin and Lauri-Michelle Houk, which has also produced the Tilton family of dancers, Ballet West II dancer Noel Jensen, and New York City Ballet resident choreographer and soloist Justin Peck, among many other professional dancers. “We all wanted to dance, and we pushed each other hard.” Not to be outdone by anyone, Katie famously also took men’s class.

In her teens, she moved to Seattle to join the Pacific Northwest Ballet’s professional training division. Katie was challenged and again relied on her father for mentorship.

“What do you want to get out of this?” he asked Katie. “Are you seeking approval? I know you love it, and I don’t want you to give up on it because it is hard.” Katie had been a big fish in a small pond throughout childhood, and was now in the opposite position. “What I didn’t realize was how much that would challenge me to ‘up’ my technique and skills.”

In 2006, while Pamela Robinson Harris was Interim Artistic Director, Katie was hired by Ballet West (today Pamela is principal ballet master). After a turbulent first year, fighting

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bouts of debilitating anxiety, Katie said she found her groove and made friends. Then, in 2009, Trevor Naumann was hired and walked into the studio.

look like for me? Mark had given me hours of private coaching and training, we talked about philosophy and subjects outside of dance. It made me question where my life was going.”

“I think we took turns staring at each other. I remember thinking he was very beautiful, but I was also pretty committed to not dating someone in the company because I had seen many relationships not end well.” So, for a couple years they just stared at each other from across a studio.

Their pain, eight years later, is palpable.

Through tears, Katie says she believes “in that moment in the waiting room, where we clung to each other and felt completely vulnerable… it probably allowed both of us to see a side of each other that we would not have seen otherwise.”

ON LOSS AND LONGING

Those of you who read Front Row will know that in almost every profile, there is a paragraph or two about late ballet master Mark Goldweber, who died suddenly and tragically in 2011 of leukemia. Adam had brought him to the company to run Ballet West II, and in almost every feature on an artist, the subject will inevitably bring up what Mark did for them, how he affected their career, and how his early death at 55 years old changed their perspective.

“Trevor was one of his kids,” said Katie. Trevor looks down. “Mark was a big fan of mine.

He pushed me and believed in me.” A few days before Mark died, Adam encouraged Katie and Trevor to visit him in the hospital.

“Seeing this incredibly strong artist wasting away—someone who cared for us like we were his own children—was heartbreaking,” recalls Katie. “We didn’t know if he could hear us, if he was aware. The nurse came in and told us that he was happy and knew we were there. I left the room and started bawling.”

The two stopped staring at each other in class, and started dating. Looking back, Trevor says that there was a time before Katie, and now, one with Katie; a day came where they just... began. “There wasn’t really a courtship, there was just a day that my life became simpler.

Katie made me care about my life, she made me care about a future, and she gave me a reason to live.”

Trevor’s battle with depression, Katie’s extreme anxiety, and other lifelong insecurities started to fade as they grew together. “We found that a lot of the things we thought were barriers to having a relationship together just didn’t matter,” said Katie. “We love our families, we want to be close to them, we have ambitions and strong work ethics—these are the things that matter.”

The ocean girl was married to the city boy on July 7, 2018, under a canopy of oak and palm trees, just a few miles from the beach in Oceanside, California. Today, the two cook gourmet dinners (think smoked duck with orange glaze), are working on a series of books together, and are looking at real estate investments. Trevor is diving into his choreography, to expand upon what he has done in the Innovations series.

“I love these two dancers, they are unique, complex, and profound human beings both on stage and off,” said Artistic Director Adam Sklute. “They both have deep, probing intellects which make them fascinating artists. They are also both a lot of fun. I’m honored to have them in the ranks of the Ballet West family.”

“I THINK WE TOOK TURNS STARING AT EACH OTHER. I REMEMBER THINKING HE WAS VERY BEAUTIFUL.”

Trevor walked out with Katie and comforted her. However, the tragedy of seeing his mentor so frail had also left him in sorrow and with reservations about this career. “I honestly didn’t know if I could come back to Ballet West, I was devastated,” whispered Trevor.

“If he wasn’t there, what did the company

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our c ommuni ty

To Your Health!

Ballet West has assembled an expert team of more than a dozen health providers for dancers and Academy students. From nutritionists and acupuncturists to specialized surgeons and dedicated doctors, these individuals are on call at all times for our artists.

We spotlight a few of them here:

KEVIN SEMANS, ATC SALT LAKE REGIONAL MEDICAL CENTER

Allen Tran is one busy guy.

In his role as head dietitian and chef for the U.S. Ski and Snowboard Team, he travels around Europe and Asia to ensure the athletes are eating properly. In the “off-season,” he’s helping athletes recover from injury at the USSA training facility in Park City.

For the past three years, Allen has worked with several Ballet West dancers to help them reach their peak performance. “There are a lot of similarities between high-level ballet dancers and winter athletes,” said Allen. “Both groups have to juggle a demanding training schedule, nagging injuries, and fitting in time to get proper nutrition, all while maintaining a high level of performance.”

In his consultations, Allen stresses the importance of staying hydrated and not skipping meals, along with more specialized instruction.

“Although ballet dancers are certainly artists, they are also as much athletes as any other sports person.”

He said, “Nutrition by itself won’t make you elite,” then he advises the dancers.

“However, proper nutrition can make a good athlete great, while poor nutrition can drag a great athlete down to be merely good.”

Allen is rewarded by what he is seeing on stage. “Having a personal connection to the dancers makes the performance more meaningful and moving to me.”

After 15 seasons with Ballet West, Kevin Semans knows the dancers pretty well. With his office next to their locker rooms, he is the first line of defense against injury and ailments.

“My job is to ensure that the small aches and pains, which all dancers have, don’t turn into really big things,” said Kevin.

After a decade, Kevin has a deep rapport with the dancers. On a recent Tuesday afternoon, dancers come in to his suite and ice themselves, get advice for ongoing aches, and others just come in to chat and eat their lunch. When he goes home at night, he said it is common to continue treating via text and email.

“I’ve had dancers call me at 2 am, and I’m happy to take that call. I know their histories and current issues; I’m in the best position to get them the care they need immediately.”

Like other professional athletes, ballet dancers’ bodies work overtime. “I want dancers to realize that with proper care they can extend their careers by 5 or 10 years. My goal,” Kevin said, “is to allow dancers to retire when they want to, not when they have to.”

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DR. JEREMY WIMMER ELITE CHIROPRACTIC ADN PERFORMANCE CENTER For years, First Soloist Christopher Sellars had extreme back spasms that would last for up to three weeks. His pain would nearly make him miss performances until he met Dr. Jeremy Wimmer, with Elite Chiropractic and Performance Center.

Now, 10 years later, and with a regular standing appointment, Christopher is pain free.

A third generation chiropractor, Dr. Wimmer has seen most types of injuries, especially since he has also treated members of Real Salt Lake, Utah Blaze, and the PGA, along with a few Olympians.

“Ballet West dancers are just as strong as any one of those other athletes. They are very disciplined and great to work with because they take their health so seriously,” he said.

For a decade, Dr. Wimmer has been pulling up to his office in Midvale early to treat dancers before they take class in the morning— we hope to continue that relationship for another decade!

DR. JOHN BENNETT ENT CENTER OF UTAH “People might be surprised that I’ve seen more broken noses from Ballet West dancers than from Real Salt Lake soccer players,” said Dr. John Bennett of The Ear, Nose, and Throat Center of Utah.

For over 50 years, the ENT Center has provided excellence in compassionate, comprehensive care for Utah residents. Their expert physicians and staff operate Utah’s only outpatient ENT surgical and imaging centers devoted, exclusively, to the diagnosis and treatment of ear, nose, and throat conditions. This unique facility gives dancers the reassurance that their care is in the hands of a highly skilled medical team whose competence in treating their medical problem is unmatched.

SALT LAKE POWER YOGA “Ballet West is so fortunate to have Salt Lake Power Yoga here in the community!” says Soloist Jenna Rae Herrera. “Yoga offers not only physical benefits but also peace of mind. I find myself taking deep, meaningful breaths before I take the stage and that is thanks to SLPY. It is truly a special place with the most beautiful and amazing people. I can’t thank them enough for all that they do!”

FIRST SOLOIST CHRISTOPHER SELLARS | PHOTO BY BEAU PEARSON

ALLEN TRAN, MS, RD, CSSD, HIGH PERFORMANCE DIETITIAN

ba llet w est aca demy

Ballet West Academy Scholarships

2019 SCHOLARSHIP RECIPIENTS MR. C SCHOLARSHIP Kai Casperson

KRISTA POULSON SORENSON SCHOLARSHIP Kaiya Mortensen

SHARI H. QUINNEY SCHOLARSHIP Victor Galeana

MARK GOLDWEBER SCHOLARSHIP Grayson Jenkins

FREDERICK QUINNEY LAWSON SCHOLARSHIP McKibben Needham

BENÉ ARNOLD SCHOLARSHIP Sasha Lowell

BRUCE MARKS SCHOLARSHIP Mia Tureson The Ballet West Academy continues to grow in number of students, as well as in prestige. Any day of the week, and from dawn until well past sunset, you’ll find children in the studios at any one of our campuses who are learning, rehearsing, and dreaming of becoming great dancers.

There are plenty of rewards for these dedicated dancers, some of which they won’t realize until long after their ballet experience is over, such as learning respect, diligence, and collaboration. Other rewards will be immediate: meeting new friends, building self-esteem, and becoming physically stronger. One reward that comes with all that commitment is the opportunity to receive a student scholarship during the year-end Academy performances, which take place in June.

Ballet West scholarships are given to students based on their talent and their need, and sometimes both. Many of the scholarships are named after donors who have specifically requested their gifts go to the Ballet West Academy scholarship fund.

In turn, these donors are able to take part in the selection process with Academy Director Peter LeBreton Merz.

TOP: BALLET WEST ACADEMY STUDENTS | PHOTO BY BEAU PEARSON

Please help us congratulate these students for their focus and dedication. We look forward to seeing them on the stage someday soon.

Aria Smith received the newly minted ‘‘Movement Mentor Scholarship,” which is awarded to a student who has been an exemplary mentor and leader in the program, which was started by Ballet West Academy Principal Heather Fryxell. The program teaches dance and movement to young people with special needs.

ADAM SKLUTE SCHOLARSHIP Maren Florence

MERRIBETH HABEGGERANDERSON SCHOLARSHIP Devan Dowling Quinn Fitzgerald Mariah Frisby Cannon Fox

PEGGY BERGMANN SCHOLARSHIP Hannah Peers

MEGAN BROWN SCHOLARSHIP Ella Hansen

BARBARA BARRINGTON JONES SCHOLARSHIP Maile Berg Erin Hansen Madeline Kidd Karina Olson Isabella Pullen Sicily Redd Sahaja Rutledge

MOVEMENT MENTOR SCHOLARSHIP FOR MORE INFORMATION ON HOW TO SUPPORT THE BALLET WEST ACADEMY SCHOLARSHIP FUND, PLEASE CALL 801-869-6963, OR DONATE ONLINE AT BALLETWEST.ORG

Aria Smith

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“ My parents love the arts and are very supportive— they drive down from Vancouver for every rep!”

—Jake Preece

“ I’m a pretty chill person.

You can talk to me, I don’t ever want to act cold toward someone!”

—Victoria Vassos

The

“ I’m a nerd at heart. I really enjoy school, I love reading and learning about anything and everything.”

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—Jordan DePina

Freshmen Ballet West is noted for two traits: being a tall company, and being a friendly company, the latter being more important to Artistic Director Adam Sklute. Joining the main company is hard work, and stressful, but the rest of the dancers try to extend the family feelings down the ranks. Here, we get to know some of our youngest dancers entering the Corps.

“ Utah is absolutely beautiful and I love it. It is refreshing to see a mountain from your bedroom window, instead of another building.

Everyone is so nice, and the town is clean!”

—Grace Anne Pierce

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“ I’m lucky to have a car and be able to get around easily. I’ve taken advantage of Utah’s outdoors and done a lot of national parks and hiked miles of trails.”

—Joseph Lynch

bac kstag e pa s s

Jordan DePina

Seal Beach, California (“Jo Jo”) Hobbies: Reading and watching movies.

Favorite Restaurant: Spitz.

SLC Surprises: I came here when I was young but only remembered it being cold, snowy, and the temple.

Now I know it has a lot more to offer!

Goals: She is in her final semester at Salt Lake Community College, and wants to transfer to a 4-year school to earn a degree in psychology and kinesiology.

Random Facts: Started with tap and gymnastics.

Jake Preece Vancouver, B.C. (Proud Canadian)

Hobbies: Watching television and hiking (recently trekked to Donut Falls).

Favorite Restaurants: Copper Onion and Café Molise.

Excited for: Prodigal Son. “I love love Balanchine and his movement.”

SLC Surprises: The air is so thin, I could hardly breathe when I first moved here.

Random Facts: “I only knew there were mountains and Mormons—I was so excited to come here.”

His grandmother was a ballet dancer in London.

Joseph Lynch

Cumberland, Rhode Island (“Left-handed Lynch”) Hobbies: Hiking and hanging out with friends.

Favorite Restaurant: Mazza.

Excited for: George Balanchine’s Jewels on tour in Minnesota.

Random Facts: Played High School Sports.

Auditioned in New York City in 2015.

“People told me to check out Ballet West, ’It’s a tall a company,’ they said.”

“My mom was a cheerleader and my father was the captain of the basketball team. It has been a crazy journey, but they’ve been super supportive of me.

They are eager to learn about what I am doing in the studio and are impressed

by Salt Lake, Ballet West, and the family feeling here.”

Grace Anne Pierce

New York, New York (But you can call her “Gracie”) Restaurant: She cooks in (a lot) Pets: Two cats, one dog.

SLC Surprises: Public transportation isn’t easy here!

Excited for: Giselle and The Dream.

When She’s Not Dancing: “I’m sewing pointe shoes.”

Random Facts: Parents and sister are professional ballroom dancers.

“I went to an open audition in New York and then the next day went to Milan, Italy, for another audition. When I returned on Sunday, I got an invitation to join Ballet West. I was so excited and I’m really glad I came here.”

Victoria Vassos

Arbedo, Switzerland (Friends call her “Vicky”) Hobbies: Drawing and watercolors.

Favorite Restaurant: Rodizio Grill.

Languages: 5 (French, German, Italian, Swiss, English).

Favorite ballet: La Bayadère.

Raised in Switzerland, Victoria went to school in Berlin, and then New York, before Adam Sklute found her in an audition and invited Victoria to join the Ballet West Academy, and then Ballet West II. This year, Victoria is excited to excel in the roles she gets.

“The corps can be hard, because you dance a lot—which I like!”

WE WISH THEM THE BEST THIS SEASON!

PHOTOS BY BEAU PEARSON

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A Song for Today: Reviving Balanchine’s Le Chant du Rossignol

BY PHIL CHAN, CO-FOUNDER OF FINAL BOW FOR YELLOWFACE

At 21, George Balanchine had just joined Diaghilev’s Ballets Russes, when he was given an exciting challenge: to pick up a previously unrealized choreographic project by one of his musical idols, Igor Stravinsky. Based on a fairy tale by Hans Christian Andersen, Stravinsky’s score for Le Chant du Rossignol, or The Song of the Nightingale, tells the story of an ailing Chinese Emperor and the healing song of a magical bird. Distracted by the gift of a sparkling and colorful robotic bird, the Emperor falls to his deathbed, only to have Death herself banished by the power of the humble real nightingale, whose song saves the Emperor. A cautionary tale against adopting technology over authentic connections, the core lessons from Le Chant du Rossignol could not come at a more relevant time.

Parallel to the history of the ballet itself, Chinese people in America had been creating their own story as well. As with any immigrant group in American history, the Chinese faced their own share of xenophobic discrimination. With the first wave of immigrants who came during the Gold Rush in the early 1800’s, Chinese people have been caricatured and demonized in political cartoons, theater, and vaudeville, and later in film and television, a phenomenon known as “Yellow Peril.” Most often this manifested in the performing arts as “Yellowface,” the practice of white performers exaggerating mannerisms, racial features, and accents of Asians. As a result of migration and other international geopolitical events, Yellowface reinforced old ugly stereotypes and brought out new ones; from the Chinese Exclusion Act, to Japanese Internment, to the Vietnam War, we see negative images of Asians used to justify mistreatment of them as a group.

Just as “Blackface,” which portrays Blacks as simple-minded, primitive, silly, or violent, Yellowface is based on a similar distortion of Asian racial features and mannerisms. The Chinese tradition of bound feet, when translated to the stage, became small shuffling

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steps, the humble bow gesture became head bobbing, and the early image of the railroad worker with his rice paddy hat and queue became the stand-in for “Chinese” in America. To this day, Chinese Americans are still challenged with breaking free of these iconic tropes. A recent exposé on Harvard admissions practices revealed that Asians consistently ranked lowest in “personality.” Hollywood and television are only just starting to represent Asians with nuanced portrayals beyond characters like super villain Fu Manchu, Mickey Rooney’s Mr. Yonioshi in “Breakfast at Tiffany’s,” or exchange student Long Duck Dong in “Sixteen Candles.” Some comedians still think racial slurs against Asians are fair game.

While Le Chant du Rossignol itself does not attempt any overt caricature, there were gestures and movements in the work that over time have taken on mean-spirited or negative connotations.

Despite the innocent intentions of the creators, Ballet West needed to make sure that the impact of these negative tropes, like bobbing and shuffling, didn’t distract from the beauty and significance of the work itself. Guided by its commitment to diversity and inclusion, Ballet West leaned into the conversation.

During the rehearsal period, Ballet West proactively invited leaders from the Asian American community to join a rehearsal and begin a dialogue about what changes were needed in order to ensure that everyone could enjoy the work without the distraction of caricature. Leading up to the performance, the company hosted a series of conversations around this topic with students from local schools as well as with the general public before the opening weekend performances.

In tandem, Ballet West has also taken proactive steps to ensure that the historical integrity of the work remains intact. As part of the performance, the company will present a display in the lobby that highlights the dancers in the adapted make-up designs for the 2019 production. Audience members can not only appreciate the history and context of the original work but also engage more deeply about what it means to represent each other respectfully in the diverse society we live in today.

The longevity and relevance of the great works from the Western canon depend on their ability to reach audiences around basic human truths. I believe Le Chant du Rossignol and the themes it presents make it a work with that potential. However, performing it with outdated or discolored representations does a disservice to the work; like all dance, it is only through change that the work remains alive and relevant for people today. While this ballet might be slightly different than it was in 1925, its song is no less powerful for audiences in 2019.

LEFT: COURT LAIDES PHOTO BY JOSEPH ENRIEHI

I

was blown away the first time I saw George Balanchine’s Le Chant du Rossignol in rehearsal. Lovingly revived by scholars Millicent Hodson and Kenneth Archer, the ballet represents a stylistic bridge between the Imperial ballet of the 19th century, the Orientalism of the Ballets Russes, and the beginnings of Balanchine’s later neoclassical style most associated with the New York City Ballet. With sets and costumes by Henri Matisse, Le Chant du Rossignol has all of the components to be a true classic dance work spectacle. However, as a historic work from 1925, what was then thought of as an “exotic” and stylized portrayal of Chinese people, now, in 2019, had the potential to look racially dated or caricatured. The question for Ballet West was—how to revive the work with historical integrity without perpetuating offensive stereotypes of Chinese people?

events

SOCIAL HIGHLIGHTS

Seventy-five days before the 75th anniversary of The Nutcracker, Ballet West returned to Brigham City where founder Willam Christensen learned to dance as a child. Christensen later went on to revolutionize dance in America by starting the first U.S. ballet company, the San Francisco Ballet, as well as by beginning the first accredited ballet program at an American university. But before all that, young Willam and his two brothers were taught to dance in a gorgeous studio in northern Utah. On September 21, Ballet West had the honor of presenting excerpts from The Nutcracker to Box Elder County residents, in what is considered “hallowed” ground both for Ballet West and for dancers across the country.

MEANWHILE IN CALIFORNIA

Showcasing the versatility of the company, Ballet West presented in New York and California during the same weekend last month. At the Laguna Dance Festival, Principal Beckanne Sisk and Soloist Hadriel Diniz expertly presented the duet from George Balanchine’s Rubies.

The company also performed Africa Guzmán’s Sweet and Bitter. The Los Angeles Times called the performance one of the top 10 in southern California that weekend.

BALLET WEST’S INAUGURAL

SPRING SOIRÉE SAVE THE DATE

APRIL 24, 2020 • 6–9 PM JANET QUINNEY LAWSON CAPITOL THEATRE

INAUGURAL SPRING SOIRÉE APRIL 24, 2020 • 6–9 PM

On April 24, 2020, Ballet West will host its inaugural Spring Soirée, an exclusive dinner and performance held in the round on stage in the Janet Quinney Lawson Capitol Theatre. The evening will also include a performance by Ballet West main company artists.

SCHOLARSHIPS

BACK TO THE BIG APPLE

New York City’s Guggenheim Museum invited Ballet West to present portions of George Balanchine’s Le Chant du Rossignol ahead of the United States premiere in Salt Lake City. The program was part of their Works & Process series, which explores artistic creation and champions new works by offering unprecedented access to some of the world’s leading creators and performers. The New Yorker and The New York Times both called the program a “must-see.”

Scott Kirkpatrick and Lydia Biegert kindly opened their home in North Ogden last month for an evening under the stars to fundraise money for the Ballet West Academy Scholarship Fund. Organizers Willis McCree and John Fromer have long championed scholarships to elevate the next generation of dancers.

Ballet West Academy students spoke of their passion for dance and the impact the Scholarship Fund has had on their education. It was a beautiful and generous fall evening. If you’d like to organize a scholarship fundraiser to impact a young artist’s growth, call Sarah West at 801-869-6936.

Spring Soirée sponsorships are available beginning at $5,000.

TOP: FIRST SOLOIST ALLISON DEBONA & PRINCIPAL ARTIST CHASE O’CONNELL | PHOTO BY BEAU PEARSON

BOTTOM LEFT: BALLET WEST IN GEORGE BALANCHINE’S LE CHANT DU ROSSIGNOL © THE GEORGE BALANCHINE TRUST | PHOTO BY ROBERT ALTMAN/WORKS & PROCESS AT THE GUGGENHEIM, SEPTEMBER 2019.

JEWELS PHOTO: PRINCIPAL ARTIST BECKANNE SISK & SOLOIST HADRIEL DINIZ IN RUBIES, CHOREGRAPHY BY GEROGE BALANCHINE© THE GEORGE BALANCHINE TRUST | PHOTO BY BEAU PEARSON

RETURNING TO OUR ROOTS

SPRING SOIRÉE: LATE NIGHT APRIL 24, 2020 • 9–11 PM

Following the Spring Soirée, Ballet West will host Late Night, starting at 9 pm in the lobby of the Janet Quinney Lawson Capitol Theatre. Enjoy after-hours dancing as well as designer cocktails and desserts curated by Ballet West artists.

Spring Soirée: Late Night tickets are available for $100 per person.

FOR MORE INFORMATION, PLEASE VISIT BALLETWEST.ORG/SPRINGSOIREE OR CALL (801) 869-6917.

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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 members at the producer ($500+) level.

For a full listing of all our generous donors, please visit: balletwest.org/donor-acknowledgments.

FOUNDER’S CIRCLE We thank our Founder’s Circle donors, each of whom has given significantly to the company throughout its history, either through collective annual giving or extraordinary, one-time gifts.

B. W. Bastian Foundation Peggy Bergmann Val A. Browning Foundation George S. and Dolores Doré Eccles Foundation Marriner S. Eccles Foundation Huntsman Foundation Barbara Barrington Jones Emma Eccles Jones Foundation Frederick Q. Lawson Foundation Janet Quinney Lawson Foundation The Meldrum Foundation John and Marcia Price Family Foundation Shari and David Quinney S. J. and Jessie E. Quinney Foundation Rocky Mountain Power Foundation 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 Kathie and Charles Horman Paul and Cheryl Huntsman Barbara Barrington Jones Peter and Catherine Meldrum John and Andrea Miller John and Marcia Price Family Foundation

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Shari and David Quinney Theodore Schmidt Beano Solomon Krista and Jim Sorenson Principal and First Soloist $10,000+ Vilija Avizonis and Gregory McComas Michael Black and Kimberly Strand Judy and Larry Brownstein DiFiore Family W. Hague & Sue J. Ellis Foundation Alan and Jeanne Hall Foundation Stephanie and Tim Harpst Cindy and Howard Hochhauser Jennifer Horne-Huntsman and Scott Huntsman Katharine W. Lamb Jennifer and Gideon Malherbe Rachèle McCarthey and Brock Van de Kamp Dan P. Miller David Parkinson and Leonardo Arantes Silveira The Paterson Center Madeleine and Harvey Plonsker Jeanne Potucek Erin and Bryan Riggsbee Mark and Melanie Robbins Jonathan and Liz Slager Barbara L. Tanner Sarah Eccles Taylor and Gary Taylor Roy and Lisa Vincent Brad and Linda Walton Julia S. Watkins Carole Wood and Darrell Hensleigh Soloist and Demi-Soloist $2,500+ Stephany Alexander Margaret Anderson

Bonnie Jean Beesley Kathleen and Andy Blank The Brown Family Foundation Carol Browning, Céline & Nathan Browning, and Rete & Rikki Browning Carol Carter Roger and Kathryn Carter Carol T. Christ Cecile and Harold Christiansen Willard and Julie Dere Spencer F. and Cleone P. Eccles Family Foundation David and SandyLee Griswold John and Ilauna Gurr Marc and Mary Carole Harrison Gordon Irving James R. Kruse and Mary Jo Smith Attila Lenkey David and Naja Lockwood Paul and Melanie Lyon Santiago and Valeria Marti Angela Martindale and Michael Snow Thomas and Mary McCarthey Willis McCree and John Fromer Anthony and Jessica Mirabile In Memory of Barbara C. Moreton Scott and JoAnn Narus Anne and Ila Neeley Jill E. Perelson Richard and Lois Peterson Jeanie Pollack Richard and Nancy Potashner Brian and Janae Powell Chris and Ellen Rossi Margaret P. Sargent Jonathan and Amanda Schmieder Benjamin and Lael Selznick Adam Sklute and Christopher Renstrom John Sklute

Sue and Jack Stahl Kristin and Tom Stockham Rick and Chris Veit Sue and Walker Wallace Susan Warshaw Beatryx Washington Marelynn and Edward Zipser Corps de Ballet $1,000+ Alta’s Rustler Lodge Patricia Andersen Stephen Anderson Bené Arnold Jordan Atkin Carol Baer Frances and Jerome Battle Clisto and Suzanne Beaty Gary Beers Vicki and Bill Bennion Ginny Bostrom J. I. Burkemper Rebecca Marriott Champion Carmen Chirinos Circle of Life Women’s Center Jim and Barbara Clark James M. and Sherise G. Clayton Drs. Joan L. and William J. Coles William and Melissa Connelly Meri Crandall - Realtor, Summit Sotheby’s International Realty Pascale De Rozario and Jonathan Crossett Diggity Dog Resort Earthology Landscape John Eckert Sissy Eichwald Deborah B. and Edward Felt John and Joan Firmage Tracy Frankel Karen L. Freed Patti Eylar and Charlie Gardner

David Keith Garside and Audrey Miner Marla M. Gault DeGauss Jon and Tami Hansen Sandra and David Haughey Julie Hopkins Hot Shot Sprinkler Repair & Landscape Larry and Tina Howard Robert and Dixie Huefner Scott and Heidi Ingham David and Linda Irvine David P. Heuvel and Johann Jacobs Marilyn and Chester Johnson G. Frank and Pamela Joklik John S. Karls Cynthia and Tom keefer Scott and Allison Kendell Jeanne M. Kimball Scott Kirkpatrick and Lydia Biegert Carole Klein and Brad Chesivoir The Kohlburn/Lecointre Family Carol and Guy Kroesche Katherine Probert Labrum Cynthia Lampropoulos and Dr. George Gourley Roxanne Christensen and Tony Lazzara Helle and Jon Le Rette Mary and Lindon Leader David E. and Helane B. Leta Kathy Lynch Dr. John and Colleen McCarter Nancy Melich and Lex Hemphill David and Colleen Merrill Jan Mitchell Carolyn Nebeker Oren and Liz Nelson Karen Nichols Kirsten Novak and Mark Martinez Joanne Parrish

PRINCIPAL ARTIST ADRIAN FRY IN APOLLO. CHOREOGRAPHY BY GEORGE BALANCHINE ©THE GEORGE BALANCHINE TRUST | PHOTO BY BEAU PEARSON

Linda S. Pembroke Andrea and Don Peterson Katie Marie Pollard Lee Quinney Nancy Rapoport and Jeff Van Niel Suzanne and David Razor Barbara Snarr Reid Victor and Susan Rickman Mark and Linda Scholl Robert and Nancy Schumacker Katherine Scott Laura Scott and Rodney Mena Aharon Shulimson and Julie Terry Beth and Randy Siebert Teresa Silcox Jeffrey and Andrea Silver Lou Ann Stevens Jennifer Strachan and Tom Biersbach Cyndie Taylor Raymond Vismantas Amy Wadsworth and David Richardson Mark Weisbender Sue Wilkerson Jay and Alicia Wilson Harvey Woodyatt Kathryn Zwack and Brian Allison Anonymous (2) The above list includes Heritage Club donations received between October 1, 2018, and October 13, 2019.

PRODUCER MEMBERS $500+ Michael M. Bettin Ronald and Tracy Bolander Will Chamberlain Karen Chantry Susan Chilton Wilma Corkery and John Ripley Sandra Covey Charles and Susan Critchlow Ronny L. Cutshall John Bohnsack and Rebecca Day Dr. Michael and Carol DeCaria Paul and Terrell Dougan Eric and Shellie Eide William Etnyre Barbara W. Frazier Mark and Wenda Fry Dr. Nancy Futrell, M.D. and Dr. Clark Millikan, M.D. James Halliday Cynthia Hamman and Robert Robbins

Kenneth and Kate Handley Joel and Frances Harris David and Sheila Hayes Moore Laurie Hofmann Mark and Wendi Holland Barbara Horwitz Elise Hutchings Merlin Jacobsen Marvin Kimball Brooke Love David and Donna Lyon Dr. and Mrs. Ned L. Mangelson Howard Mann Joshua Martin Drs. Daniel and Noémi Mattis Amanda Maughan Tracy NcNally Keith and Donna Mercer Elia Miller Pat and Jim Morgan Marilyn Neilson Carol M. Oliver Maura and Serge Olszanskyj Tomi Jean Ossana and Chris Proctor Ronald and Camille Parker Taylor and Holly Parkin Tim Payne Leslie Peterson and Kevin Higgins Vantage Point Advisors Hildegard Rayner Joy Rocklin Genevieve Maire Rosol Steven Schamel Sallie Shatz Diana Major Spencer Kevin and Alice Steiner Mr. and Mrs. William L. Townsend Michael and Melinda Welling Dave and Jerre Winder Mary Bird and Lance Wood Richard and Marsha Workman Anonymous (6) The above list includes Producer donations received between October 1, 2018, and October 16, 2019.

FOUNDATION, CORPORATE, AND GOVERNMENT SUPPORT $100,000+ The Church of Jesus Christ of Latter-day Saints Foundation George S. and Dolores Doré Eccles Foundation The William Randolph Hearst Foundation Huntsman Foundation

The Meldrum Foundation Salt Lake County Zoo, Arts & Parks (ZAP) Utah Department of Heritage & Arts $25,000+ B. W. Bastian Foundation BMW of Murray◊ Dominion Energy Marriner S. Eccles Foundation Florence J. Gillmor Foundation Holland & Hart LLP*◊ InterWest Moving & Storage*◊ David Kelby Johnson Memorial Foundation Emma Eccles Jones Foundation Jones Waldo*◊ The Kahlert Foundation Frederick W. Lawson Foundation McCarthey Family Foundation O.C. Tanner Company◊ The Rea Charitable Trust Salt Lake County Community Services - Tourism, Recreation, Culture & Convention Salt Lake Regional Medical Center*◊ SEARCH Group Partners* The Shubert Foundation Simmons Family Foundation Sorenson Legacy Foundation Summit County Cultural RAP Tax Summit Sotheby’s International Realty◊ Utah Division of Arts & Museums Utah Office of Tourism Utah State Board of Education Professional Outreach Programs in the Schools Anonymous $10,000+ Altabank◊ Ancestry◊ Beaver Creek Foundation C. Comstock Clayton Foundation CompuNet, Inc.◊ Lawrence T. and Janet T. Dee Foundation Willard L. Eccles Foundation Eleve Dancewear* Goldman Sachs◊ Richard K. and Shirley S. Hemingway Foundation Hotel Monaco*◊ Intermountain Healthcare◊ JP Morgan and Chase Janet Quinney Lawson Foundation

Merit Medical Systems, Inc.◊ National Endowment for the Arts S. J. and Jessie E. Quinney Foundation The Jerome Robbins Foundation Rocky Mountain Power Foundation Salt Lake Power Yoga* Stephen G. & Susan E. Denkers Family Foundation Virginia B. Toulmin Foundation U.S. Bank Foundation Visit Salt Lake◊ Wells Fargo Dr. Jeremy Wimmer with Elite Chiropractic Center* $5,000+ AC Hotel Salt Lake City/Downtown*◊ Bambara Restaurant*◊ Blue Iguana*◊ R. Harold Burton Foundation Every Blooming Thing*◊ Freed of London Choo-San Goh & H. Robert Magee Foundation The William H. & Mattie Wattis Harris Foundation Lifetime Products Inc.◊ Myriad Genetics, Inc.◊ PrincePerelson and Associates◊ Promontory Foundation Ruth’s Chris Steak House*◊ Salt Lake City Arts Council Workers Compensation Fund◊ $1,000+ 3M Health Information Systems Dr. John R. Bennett/ENT Center of Utah* Mallory Berge, L.Ac.* City Center Psychology* Coldwell Banker Residential Brokerage Community Foundation Katherine W. & Ezekiel R. Dumke, Jr. Foundation Durham Jones & Pinegar EDCUtah* Henry W. and Leslie M. Eskuche Charitable Foundation Holland & Hart LLP◊ InterWest Moving & Storage◊ London Belle Supper Club*◊ Merrick Bank Parr Brown Gee & Loveless Pat’s Dancewear Snell & Wilmer

Snow, Christensen & Martineau Foundation Allen Tran, MS, RD, CSSD, High Performance Dietitian* YMCA of Northern Utah The above list includes corporate, foundation, and government support received between October 1, 2018, and October 13, 2019. * Indicates donation made in-kind ◊ Indicates Corporate Council member

ARTISTIC IMPACT FUND DONORS We thank the below donors for their generous gifts made in support of one of three company initiatives: Commissioning New Works, Commissioning New Productions, or Sponsoring National and International Touring.

Kathie and Charles Horman Barbara Barrington Jones Barbara Levy Kipper ACADEMY SCHOLARSHIP FUND DONORS Marie and Kevin Brown Barbara Barrington Jones Scott Kirkpatrick and Lydia Biegert Rod Livingston and Roger Livingston, Founders of R&R BBQ Susan and Chris Lockwood Jennifer and Gideon Malherbe Willis McCree and John Fromer Park City Community Foundation: The Solomon Fund Shari and David Quinney Braden and Heather Shupe Summit Sotheby’s International Realty The above list includes scholarship donations received between October 1, 2018, and October 13, 2019.

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52 WEST 200 SOUTH SALT LAKE CITY, UTAH 84101

UPCOMING EVENTS

UPCOMING PERFORMANCES

Nutcracker Teas

Snow White

Enter a world of whimsy in Hotel Monaco’s Paris Ballroom where characters from The Nutcracker create a fanciful environment for a tea party and light lunch. While you’re there, learn about pointe shoes and costumes then meet and have your picture taken with the Artists of Ballet West, Ballet West II, and Ballet West Trainees.

JANET QUINNEY LAWSON CAPITOL THEATRE Ballet West will unveil a world premiere of Snow White, with original sets, costumes, and choreography. The narrated production is one hour and fifteen minutes long, including an intermission, making it a perfect production for families and children ages 3–12. Snow White will be performed by Ballet West II, and Ballet West Academy trainees and students.

DECEMBER 14, 20, 21, 22, & 23

$50 per person which includes all activities, light lunch, and a photo (available digitally on Facebook by December 24) Purchase tickets by calling Ballet West Patron Services at 801-869-6900 Tea Party does not include performance tickets. You do not have to attend the performance to attend the party.

NOVEMBER 8-9, 2019

BALLET WEST ON TOUR The Nutcracker

Have You Performed in Ballet West’s The Nutcracker?

DECEMBER 13-15, 2019

Calling all past cast members, from Snowflakes to Cookies, we invite you to join us for a weekend of Nutcracker alumni festivities.

NOVEMBER 29–DECEMBER 1, 2019

ATWOOD CONCERT HALL, ANCHORAGE, ALASKA The George S. and Dolores Doré Eccles Foundation presents Willam Christensen’s America’s first and possibly longest running production of The Nutcracker returns to Alaska for the first time in more than twenty-five years.

Opening Night “Land of The Sweets” After-Party SATURDAY, DECEMBER 7, 2019

No holiday season is complete without the festive cheer of The Nutcracker. During this momentous year, Ballet West is thrilled to invite you to celebrate on opening night at a “Land of the Sweets” after-party, where themed desserts and beverages will be served, and guests will have the opportunity to mingle with Ballet West company dancers. Open to the public. Limited tickets are available for $75 per person.*

balletwest.org

*Performance tickets sold separately

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PHOTOGRAPHY, CLOCKWISE FROM TOP LET: NUTCRACKER TEAS, DEMI-SOLOIST LINDSAY BOND & BALLET WEST ARTIST | PHOTOS BY LUKE ISLEY. SNOW WHITE, BALLET WEST II ARTIST SEVERINA WONG | PHOTO BY BEAU PEARSON. THE NUTCRACKER & LAND OF THE SWEETS, ARTISTS OF BALLET WEST | PHOTOS BY BEAU PEARSON.