Front Row 2017 Special Edition

2017 SPECIAL EDITION

front row Joshua, the Warrior The Front Row profile

The New Nutcracker

A Back-Stage Tour of the New Production

A Gracious Gift

The Genesis of The Nutcracker

A Keefer Christmas

The 12 Roles of Demi Soloist Chelsea Keefer in The Nutcracker

demi soloist joshua whithead. photo by beau pearson.

FRONT ROW | 1

photos by kelli bramble

An Evening of Celebrations October 28, 2017

Ballet West thanks Artisan Bloom, In The Event, Silver Summit Event Design, and The Blended Table for a lovely 2017 Ballet West Gala: it was an evening to remember.

2 | FRONT ROW

CONTENTS

2017 SPECIAL EDITION

BALLET WEST ACCOMPLISHES FUNDRAISING CAMPAIGN

Barbara Kipper stands beside the costume she sponsored, the Mouse King

demi soloist joshua whitehead in tarantella | photo by beau pearson

Ballet West is proud to announce the successful completion of the 2-year, $3 million dollar Nutcracker campaign. “It has been incredibly exciting to see our community support this campaign and rally around this beloved and iconic production,” said Vice President of Development, Sarah West.

4 Joshua Whitehead by 8 Nutcracker the Numbers featured story

12

a gracious gift How the New Nutcracker Became Possible

adam sklute’s 10th anniversary sponsors JANET QUINNEY LAWSON FOUNDATION MELDRUM FOUNDATION

GEORGE S. AND DOLORES DORÉ ECCLES FOUNDATION

BEANO SOLOMON

EMMA ECCLES JONES FOUNDATION

BARBARA LEVY KIPPER AND THE KIPPER FAMILY FOUNDATION

PEGGY BERGMANN

season sponsors

staff Josh Jones Writer & Editor

Alex Moya Art Direction and Graphic Design

Sara M. K. Neal Interim Director of Marketing

The campaign formally began in late 2015, after the George S. and Dolores Doré Eccles Foundation generously gave $2 million to renovate the production. “Our production team had estimated the update would cost in the neighborhood of $3 million,” said Sarah.

“Which meant we would be asking our family for a final $1 million to fulfill the needs and dreams of the Artistic department.”

To accomplish this goal, the development team introduced the ‘sponsor a costume’ initiative. The result is nearly 200 costumes will have a name of a person or business sewn into the fabric, memorializing their gift for the length of the costume’s life. “We wanted something that would engage our community and allow funders to feel responsibility and pride for the product we present on stage this month,” said Sarah.

With just a few costumes still available, Sarah said, “This has been a remarkable success. We are so thankful to the more than 300 donors who contributed, each of whom gave because the production is personally meaningful to them.” Lead gifts include the George S. and Dolores Doré Foundation, the McCarthey Family Foundation, The Church of Jesus Christ of LatterDay Saints, Dominion Energy, the Huntsman Foundation, and John and Andrea Miller.

[On page 12 read about the personal tour Ballet West executives gave to Spencer and Lisa Eccles which convinced them to fund a full renovation of The Nutcracker.]

FRONT ROW | 3

Joshua,

The Warrior FRONT ROW PROFILE BY JOSH JONES

this page: demi soloist joshua whitehead, photo by beau pearson opposite page: photo by kelli bramble

“Be strong and courageous.

Do not be afraid; do not be discouraged, for the Lord your God will be with you wherever you go.”

—Joshua 1:9

featured story

I

T IS TOWARD THE END of The Nutcracker’s 2011 Season and Joshua Whitehead is in agony. Since childhood, he has had stomach ulcers, and they’re currently flaring. Upstairs, the Stage Manager has called the Russian cast to the stage.

A few days prior, he was rushed to the hospital, throwing up blood and bile because his body and mind couldn’t take anymore, and he passed out. Afterward, the doctors said if he couldn’t control the stress, he’d be dead by 35.

At this performance in 2011, he is just moments from leaping onto The Nutcracker stage.

If he can get his adrenaline high enough for long enough, he’ll find the energy to mask the pain and complete the performance.

He runs to the stage door and moments before his cue, he runs as fast as possible and leaps on stage. The energy is tremendous, but unsustainable; he slips, falls, and hits his head. It startles the audience more than it does Josh, and—like an explosion from the sun—he springs to his feet. His smile emerges, lighting up the stage; his eyes radiantly sparkle. How proud, how happy he is to be there.

He will have enough adrenaline to lower the pain and do his job. But he wonders how he’ll get through a career—or a lifetime—fighting his body. *

*

*

after class and mow the lawn on weekends. “I was homeschooled, so the studio was where all my friends were. It was my whole life.”

Nearing the end of high school, Joshua made a conscious decision that he would pursue dance as a career. “Ballet is unlike anything else I have experienced. It’s like a video game that you can’t beat,” he said, “If a game is easy, you don’t play it very long, but if it’s challenging

have to let you go,” she said. The words were so unexpected that he laughed. “This is a serious issue, Joshua. You’re being kicked out. Someone said they heard you call a girl a [redacted].”

Joshua slumped down in his chair as if he was hearing the news for the first time. “I didn’t even know what the word meant. I did not sleep that night. I was in shock. I never drank, smoked or swore in my life. I earned money to support my family. I had donated time to build that school. What had I done wrong? These people and this studio meant everything, and it was taken away from me in minutes.”

The next day, his friends told him to return and talk to the studio owner. “Her story changed.

She said someone overheard me say a bad word in the locker room.”

He went home and wept. The ache was like losing his best friend. In some ways, he had.

He returned a third time, this time at the demand of his mother. “The studio owner’s story changed again, and I got the truth.” She did not want to upset a large family who felt uncomfortable with Joshua at the school, and they kicked him out to abate their worries.

“I pray… I pray a lot,” said Joshua Whitehead on his one ritual he does before every performance.

Joshua grew up in Portsmouth, Virginia, best known for its naval shipyard. His father was a strict Youth Pastor in a Southern Baptist congregation. At 12, his older brothers introduced him and his twin sister to a Christian dance studio.

From the beginning, the owner, instructors, and even fellow dancers thought Joshua had a future in dance. “There was a joke that I would own that place someday,” said Joshua. He loved the studio so much that he helped clean it

you stick to it. It gets in your brain and you become consumed. That is what ballet is to me.”

At 17, before the final recital of the season, the studio owner asked Josh to meet in her office.

“We were completing a great production and my friends were saying, ‘Oh, this is it, she’s going to give you the keys!’”

It was late and, as Joshua entered her office, the mood had darkened. “Joshua, we’re going to

Of approximately 60 enrolled students, Joshua was the only black dancer. “Without saying it, I knew this was about the color of my skin.”

“I’m a godly person, I’m a godly man...

I thought this must be a sign that I’m not supposed to dance.” For a moment, he explained it away as divinely inspired and accepted the decision. He graduated high school, enrolled in community college, and got a job at TGI Fridays.

Of course, you can take the boy out of the studio, but you will never take dance away from the boy. After a late shift at the restaurant, he walked to the studio. It had been several weeks since he had danced. “I just started bawling.”

FRONT ROW | 5

featured story

“It’s impossible to shake dance, especially at that age,” he said. “From that precise moment, I knew my future and told myself, nothing is going to stop me.”

He returned to that parking lot for more than three months. “I got to know homeless people.

Cops would stop and shine a light at me. I went back every night.”

Joshua would eventually find himself at Todd Rosenlieb Dance where Jane Victorine Wood, Ballet West’s Ballet Mistress, noticed his potential while guesting for a summer intensive.

“He had a curiosity that was intriguing. He wanted to see full length videos of The Sleeping Beauty and Cinderella,” recalls Jane. “I realized that he was a young man with a lot of potential, and I felt like he might not have a whole lot of opportunities to pursue it.” Given this, Jane offered him a Summer Intensive Scholarship to Ballet West.

“To be honest, I didn’t know what Ballet West was,” Joshua laughs. “But, it felt good to have someone believe in me. I was going to say yes to any opportunity that advanced me, that moved me to a better place.” He saved money and found himself in Utah, in a studio full of dancers who had been taking ballet courses since they started walking.

“When I first met him, he was a mess, and he knew it,” Jeff Rogers, Academy Principal Faculty, said bluntly. “He didn’t know how to dress

6 | FRONT ROW

for ballet; he had lots of bad habits; and he had been doing lots of modern and hip hop and lacked refinement and awareness.”

“But,” said Jeff, “he was a sponge. He had an eagerness to learn, to practice. When I was teaching and giving explanations, he slowly walked toward me with his head cocked.

His eyes would be wide open and laser-focused. I asked him after class what he was doing, and he said, “I’m so far behind, I want to absorb everything I can.” Jeff gets reflective, “You know, even though he’s now a remarkable, professional dancer, he still has that same eagerness to learn.”

Demi Soloist Joshua Whitehad and Artist Elizabeth Weldon

After that summer, Joshua was invited to be a trainee. He was then promoted into Ballet West II. Ballet West’s late Ballet Master, Mark Goldweber, had immense belief in Joshua’s potential. He also kept him humble. “You’re not there at all, he’d say to me.” Mark would call him: “Catch up, and I know he meant it in the best way possible. I know he wanted me to rise up, to fulfill my potential. That is what I continue to strive for.”

“I’m always pushing myself to be better; it’s basically the duty of a ballet dancer.” Joshua’s voice cracks, he wipes away a tear and continues, “When I’m on stage or in studio, the thing that keeps me going is the thought that one day, my mom and dad will be there, in the front row. They’ve never traveled out here to see me.” His soul is laid bare while he composes himself and continues, “I love performing The Nutcracker. There is so much love coming from the audience, and you get to see all those families watching their kids on stage. I imagine my own parents out there...

Every performance, I dance for them.”

“Joshua has the soul of a dancer and deep passion for his work. He is an artist through and through.” Said Ballet West Artistic Director Adam Sklute. “I remember when he first started as a student at the Ballet West Academy,

my staff kept telling me about this young man who, while still rough and unrefined, had such passion and natural ability. When I first got to work with him I felt his drive and commitment, but most of all I felt his love for dance. It has been such a joy to watch Joshua grow and develop into a mature artist. His joy just pours off of him when he is on the stage. It is that passion that audiences immediately connect with, he draws one in. Joshua is also a multi talented artist and through his tenacity I know he will succeed at everything he does.”

Joshua has built a home in Utah. He has a girlfriend, and in the last two years, has learned photography and videography. He’s built a small business out of this new passion.

“I’ve found my family here at Ballet West. I’ve found a place where it is fun to come to work, and to work hard. I’ve found a home, and I have found peace.”

And those stomach ulcers? “I’ve surrounded myself with good people and they’re under control.”

Joshua Whitehead we are grateful for you on this earth and grateful to have you in Ballet West.

photo by beau pearson

He put his hand on a commercial dumpster to support himself. Behind him, a street light cast his shadow on the pavement and he stared down. It was 1:30 am and humid.

He slowly saw himself more clearly on the ground. He did port de bras. He did a plié. “I went through the entire barre class that night.

I was in my TGI Fridays uniform, smelling like grease, standing next to a dumpster. I was guided by a light and my shadow.” As he finished, rain sprinkled the parking lot and he slipped on an oil slick. “I realized then that I could use it to practice turns, and I could practice jumps on the grass. All of a sudden, I had ‘built’ my OWN studio!”

nutcracker stories

A Keefer Christmas Demi Soloist Chelsea Keefer LOVES The Nutcracker. From nine-years-old to today, she has danced 12 roles in the production, making her an expert on both the choreography, and the backstage antics of dancers and crew. Take a stroll down memory lane with Chelsea as she relives her nostalgia.

9 BUFFOON

10 PARTY GIRL

11 SOLDIER

12 CLARA

I remember Children’s Ballet Mistress Bené Arnold lining us up to duck into the Mother Buffoon costume. She would spray us with a bit of her perfume every single time. She said it was good luck.

She had to do it in secret because Prop Master Cory Thorell was allergic to the perfume!

I was carpooling from our home in Huntsville, Utah [a one-hour drive without traffic], to The Sleeping Beauty AND The Nutcracker rehearsal, after that I would go to tumbling classes in North Ogden! I was at a private Catholic school, so I’d do homework on those drives.

I was so nervous to do this role because it’s so strict, tight, and regimented. When we would rehearse, the boys would be getting into their mice costumes and they’d try to make us laugh… and then Bené would run over and yell at us! I also got close to Ballet Mistress Jane Victorine Wood who would drive me home sometimes.

After the audition, the judges called me into a corner and I thought I wasn’t chosen, but when my name was called for Clara, I started crying.

I was the tumbling buffoon, which makes you feel like the most important person in the cast because people cheer so loudly at that part. I did four back handsprings and a back tuck.

I was on the marketing material and my face was all over buses and commercials. People would come right up to me and ask for a picture—I was famous!

Current Artist Lucas Horns was my Fritz this year. I would tease him endlessly!

I was still doing gymnastics and ballet and Bené told me that I should choose ballet, “It won’t stunt your growth, and you’ll have nicer hips,” she said in her unique way.

“

Clara is sitting quietly on stage through all of Act II, so you get to watch these beautiful dancers do the grand pas de deux, and the Snow Queen. It’s inspiring, and I just wanted to be one of those dancers.

Now I’ve done it nine additional years as a professional.

I’ve done Maid, Snow, Flowers, Doll, Mirliton, Mirliton Lead, and Spanish. And I still get excited every time.

When the music for Snow starts, I get a huge smile on my face.

”

FRONT ROW | 7

ROBERT ALLSOPP & ASSOCIATES has created some of the most recognizable costumes and masks for the film and television industry. From the helmet used by X-Men’s Magneto, to the armor that Russell Crowe wears in Gladiator, their work is iconic. The London-based company has created costumes for Ballet West in the past and they were excited to lend their expertise once again. In early November, Mr. Allsopp hand-delivered the masks for six monkeys, the bear, ten mice, mouse king, mouse prince, and two baby mice. The biggest change for observant Nutcracker watchers will be the adorable monkeys who serve as servants in Act II. Each Chinese Hat takes up to 10 hours to mold and build.

The costume shop has worked overtime for months to create more than 200 costumes for the new production.

8 | FRONT ROW

the new nutcracker

Each Sugar Plum Fairy tutu is worth $8,000 and is decorated with 806 heat-set and hand sewn jewels. It takes 40 hours to make each tutu.

DAVID HEUVEL’S COSTUME SHOP deserves special recognition for the labor of love over the past two years. In the spring of 2016, after months of approving sketches with Adam Sklute, David went on purchasing trips to New York and Los Angeles to find the fabric and tulle that would construct the new costumes. He was also on a treasure hunt for jewels to adorn the tutus and actual gold lace that embellishes the soldiers’ costumes.

Bolts of fabric arrived almost daily from all parts of the world for months, carefully delivered to the basement of the Jessie Eccles Quinney Ballet Center where Cindy Farrimond, Costume Shop Manager, and a 35year veteran of Ballet West, then took those sketches and sewed them into reality. Her team of three full time stitchers has worked overtime for months to create more than 200 costumes that will dazzle audiences during the new production.

All of the net in The Nutcracker’s tutus would stretch the length of 6 football fields

FRONT ROW | 9

Nutcrackers have been carved in Germany since the 15th century.

However, it wasn’t until the first production of The Nutcracker ballet that the eponymous doll became popular in the United States.

So, it is reasonable to say that The Nutcracker’s popularity and prominence in the United States can be traced to Ballet West’s Founder, Mr. Willam Christensen. As any good Utahn knows, Mr. C was the first to produce the ballet while at San Francisco Ballet on the night of December 24, 1944. He knew he had found something special in the ballet, but he probably had no idea (at the time) that he gave birth to a cottage industry of little wooden nutcrackers.

Property Master Cory Thorell. Photo by Beau Pearson

A New Old Friend You can probably guess the most important prop in The Nutcracker. What you’d never guess is the amount of time that went into designing, scrutinizing, even agonizing over this iconic doll. A team of designers started working on the look and feel almost two years ago in order to get this central cast member perfect.

Property Master Cory Thorell was integral to this process; here, he recalls the journey.

10 | FRONT ROW

Q: Take us back to the beginning. What were the first steps to bringing The Nutcracker to life?

A: You really have to go back to February of 2015. That is when the George S. and Dolores Doré Eccles Foundation gave Ballet West $2 million to re-conceive the costumes, sets, and special effects for The Nutcracker.

Spencer and Lisa Eccles, Trustees of the Foundation, toured the 30-year old sets and saw first-hand the gaff-taped scenery and faded tutus. Their generosity started this remarkable process.

From there, every decision was based on Adam’s edict that we would remain true to Mr. C’s choreography. We looked at the current nutcracker and asked what is choreographically valuable. We came up with a list: the height, weight, impact resistance, the open mouth mechanism, and the detachable hat were all values of the doll. It would not cross most people’s minds, but changing any of these small details would end up changing the choreography. For instance, the legs have to be thin enough for a child to wrap their hands around, and light enough to raise above their heads. Any small changes would mean deviating from time-tested and beloved choreography.

Q: How will the new Nutcracker be different?

A: While the choreography does not change, Adam did want to take the production to a more authentic period, to the early 19th century. That is when E.T.A. Hoffmann actually wrote The Nutcracker and the Mouse King.

“

backstage pass

We looked at the current nutcracker and asked what is choreographically valuable. We came up with a list: the height, weight, impact resistance, the open mouth mechanism, and the detachable hat were all values of the doll. It would not cross most people’s minds, but changing any of these small details would end up changing the choreography.

David Heuvel contracted Logan Long Creative Works, a local company specializing in special effects, make-up, and masks to build the Nutcracker Prince’s head. Keep in mind that this will be iconic, used in marketing and advertising. It will be the face of this mammoth production, so the stakes are high. From Logan’s concepts for the head, we had him build a model for the doll. The doll needed to resemble the headpiece he had built and we knew it needed to be 23" tall, just like the current doll. Adam also liked the idea of making its legs resemble a furniture leg, which is more period correct. Out of oil-based artistic clay, he started to shape and refine it; he would send pictures several times a day which we’d review and give feedback.

Q: Redesigning the The Nutcracker doll is a huge responsibility, how does it make you feel to be a part of this project?

A: It is a point of huge personal pride. Growing up, my family had a Nutcracker tradition, every year on Christmas Eve we’d watch it

”

together. I have not missed a year. Now, I get to be a part of that tradition: I’ve fixed, built, and replaced the entire old production. Now the only props moving to the new show are items I have made. For me, this is a role of a lifetime.

Q: So how do you go from a clay model to the finished product?

A: Technology and time. Initially we were going to have the Utah Opera Studios, who is painting all of our sets, build the nutcracker doll as well. It would have been carved in wood by a computer-controlled router. Then, Logan had an innovative idea: 3-D printing. He introduced us to another local company, MK1 Studios. They were able to quickly scan the clay doll using 3-D technology. Then, using computer models, they had to engineer several pieces: the moving mouth, placement of magnets so the head could detach, and weights in the bottom so that it stood upright. This process took more than 60 hours. The actual printing took about four hours.

Finally, the prototype and three new dolls came back to their new home, the Ballet West warehouse on 600 South. There, Lilly Smith, a scenic painter for Salt Lake Acting Company, began the arduous task of painting the dolls. It took her two weeks.

Cory has meticulously researched, designed, and built hundreds of shiny new props in the last two years for the new Nutcracker production. However, a few of his (and audiences’) favorites will be restored with the same painstaking attention to detail.

The cannon and wheeled chestnut cart are two items that will be slightly altered to fit the change in time period. The horns that the Party Boys play with will be polished. The grandfather clock, the only remaining piece from Mr. C’s original production, will be painted to match the new color scheme. Originally built

by Dr. Merrill Lessley (whose name is painted on it), it was onedimensional until Cory carved and painted sides early in his career at Ballet West, going to show that while the production has been updated and modernized, it still reflects and honors Mr. C’s concepts and choreography.

FRONT ROW | 11

donor profile

A Gracious Gift

On December 5, 2015, Ballet West’s executive team received a call that the Board of Directors of the George S. and Dolores Doré Eccles Foundation would like to visit with them later that day. It also happened to be opening night of The Nutcracker, so the Company was anxious and excited for the curtain to rise that evening.

W

HEN ARTISTIC DIREC TOR Adam Sklute and Vice President of Development Sarah West arrived in the Foundation’s offices, just a block from the Janet Quinney Lawson Capitol Theatre, there was a “lightness,” said Sarah. That is when the Foundation’s directors—Chairman & CEO Spencer F. “Spence” Eccles, President & COO Lisa Eccles, and Vice President, Treasurer & General Counsel Robert M. Graham— announced they were awarding Ballet West a $2 million grant to fulfill a longstanding dream and need of the Company: rebuild the sets, costumes, props, and special effects for The Nutcracker. “I don’t think there was a dry eye,” said Sarah, “especially when they presented us with a giant nutcracker soldier to celebrate the moment. It was like Christmas morning came a few weeks early!”

Spence Eccles and Lisa Eccles sat down in the theatre recently to discuss with Ballet West executives what they call “one of the most transformational projects the Foundation has funded in the arts.”

12 | FRONT ROW

Share with readers some memories of “Mr. C” and The Nutcracker: LISA ECCLES: Well, when I think about Mr. C and The Nutcracker, it’s a pretty amazing story. While most people know that this ballet is one of the most iconic holiday productions enjoyed all around the world, what many people don’t always realize is that it was Mr. C who choreographed the very first full-length production of The Nutcracker for the San Francisco Ballet!

Just a few years after that, in 1955, he brought that choreography to Utah. And the rest is history! It’s become Ballet West’s most popular annual production, attracting generations of families just like ours who wouldn’t miss the chance to experience this truly wonderful tradition each and every Christmas season.

Why was it important to you and the Foundation to preserve and enhance this production?

SPENCE ECCLES: The tradition of the ballet is important, but so is keeping it fresh and exciting for new audiences. Even Mr. C himself updated the sets and costumes back in the 1990’s, but that was 25 years ago. When we toured the production backstage two and half years ago, we saw close-up how tattered it was getting. Costumes were fading and the scenery was held together with miles of duct tape! It still looked beautiful from the audience’s perspective, thanks to Ballet West’s crew, but we could tell it was time to invest and bring new life to Clara, the Mouse King, the Sugar Plum Fairy and more to continue to excite and inspire new generations to love The Nutcracker as much as we all have.

Robert M. Graham and Spence and Lisa Eccles LISA: It’s such a thrill for our Foundation to be able to make this beautiful new production of The Nutcracker possible. And even with its incredible new sets, costumes and some special, unexpected magic, it’s still Mr. C’s production that will remain very true to its roots and original choreography.

The Eccles family has a long tradition of supporting the arts. Why is that so important?

LISA: It’s a privilege to carry on the Foundation’s 30-plus year tradition of supporting Ballet West that began with personal gifts from Uncle George and Aunt Lolie Eccles. We continue to build on the strong interest in the arts that has remained important in our Foundation’s grant-making for decades. It’s vitally important to our state and communities.

SPENCE: It’s always our hope that our support helps raise up the excellence of the arts and culture in Utah. The artistic talent in our state—of all kinds—is truly remarkable. And, that’s recognized not only here at home, but also around this nation and the world. Ballet West’s touring performances in places like New York and Washington, D.C. attract large and enthusiastic audiences… and they are blown away by the talent and professionalism of this truly world-class ballet company! We are so fortunate to live in a state where our citizens love and appreciate the arts more than in many other places around this country.

I’m happy to say that most Utahns recognize the importance of the arts in our state: in education, creativity, innovation, business, the economy… you name it!

What are you each looking forward to the most with this “new” Nutcracker?

LISA: We’re anxious to see the long-term, overall positive impact this amazing new production is going to have on Ballet West as a company. It has the potential to make a real difference in Ballet West’s growing reputation for excellence. There will also be expanded opportunities, like the possibility of touring to places like The Kennedy Center in Washington, D.C. It will also grow the audiences right here at home who will be amazed by some of the innovative new things they’re going to experience.

SPENCE: And, of course—speaking as the banker I am—we see our support for this new production as a major investment that’s going to pay tremendous future dividends for Ballet West.

What do you hope audience reaction will be?

SPENCE: I not only hope—but also predict— that audiences will be jumping out of their seats with excitement, amazement, surprise, and enthusiasm! This is really going to be something extraordinary that should not be missed!

Ballet West will soon premiere a brand new physical production of Willam Christensen’s beloved classic, The Nutcracker, thanks to a very generous gift from the George S. and Dolores Doré Eccles Foundation.

Be a part of this holiday tradition by playing a role in the Nutcracker Campaign. Join this campaign for as little as $25 and have the opportunity to purchase a commemorative charm. Sponsor a costume and see your name dance on stage for the next 25 years.

Call our campaign and benefits coordinator at 801·869·6963

LISA: I think audiences will feel a warm and wonderful sense of pride and admiration for the talents and dedication of everyone at Ballet West, especially its artistic staff and remarkable dancers. The Nutcracker is often the first ballet that young people see, and I really hope that after experiencing what’s in store for them in this new production, they will be hooked on ballet for life! That will be wonderful!

FRONT ROW | 13

Donors 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 one-time 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 Q. 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 heritage club Mr. C & Mrs. Wallace Peggy Bergmann John and Kristi Cumming Paul and Cheryl Huntsman Barbara Barrington Jones Barbara Levy Kipper Shari and David Quinney Beano Solomon Krista and Jim Sorenson Archivist and Director Vilija Avizonis and Greg McComas Judy Brady and Drew W. Browning Convergence Planning DiFiore Family Sue J. Ellis Alan and Jeanne Hall Foundation Stephanie and Tim Harpst Cindy and Howard Hochhauser Katharine W. Lamb Dan P. Miller John and Andrea Miller John and Marcia Price Erin and Bryan Riggsbee

14 | FRONT ROW

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.

Theodore Schmidt Jonathan and Liz Slager Barbara L. Tanner Brad and Linda Walton Julia S. Watkins Choreographer and Ballet Mistress Stephany Alexander and David West Margaret Anderson Kim Strand and Mike Black Kathleen and Andy Blank Carol Browning, Céline Browning, and Rete and Rikki Browning Judy and Larry Brownstein Alexis Carr Carol Carter Carol Christ Jim and Barbara Clark Meredith and Stephen Dechsel Spencer F. and Cleone P. Eccles Family Foundation John and Joan Firmage Jeff and Donna Gordon John and Ilauna Gurr Ron and Shelley Hansen Marc and Mary Carole Harrison Jennifer S. Horne Scott Huntsman Tina Jensen—Moreton and Company Conrad and Anne Jenson Jeanne M. Kimball Cynthia Lampropoulos David and Naja Lockwood Hank and Diane Louis Paul and Melanie Lyon Jennifer and Gideon Malherbe Angela Martindale and Michael Snow Rachèle McCarthey and Brock VandeKamp Thomas and Mary McCarthey Willis McCree and John Fromer Anthony and Jessica Mirabile Dr. Pamela Dee Parkinson Patterson Family Memorial Foundation Richard and Lois Peterson Madeleine and Harvey Plonsker Brian and Janae Powell Mark Robbins Ellen and Chriss Rossi Teresa Silcox

Adam Sklute and Christopher Renstrom John Sklute George H. Speciale Sue and Jack Stahl Stanford and Dixie Stoddard Jennifer Strachan and Tom Biersbach Rick and Chris Veit Roy Vincent Sue and Walker Wallace Marelynn and Edward Zipser Anonymous Ballet Master John and Marilyn Alleman Stephen Anderson Jeffrey Bronson Anderson Bené Arnold Petras and Liuda Avizonis Carol Baer Zlate Balulovski Govert Bassett 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 Cecile and Harold Christiansen Amalia Cochran William and Joan Coles William and Melissa Connelly DeGauss Pascale De Rozario and Jonathan Crossett Sissy Eichwald Patti Eylar and Charlie Gardner Karen L. Freed Cammy Fuller David Keith Garside and Audrey Miner Marla M. Gault Global Travel Network Ann and Rick Gold David and Sandylee Griswold Kenneth and Kate Handley Sandy Haughey David P. Heuvel and Johann Jacobs Connie C. Holbrook

Mark and Wendi Holland Julie Hopkins Daniel Horns and Renee Zollinger Larry and Tina Howard Robert and Dixie Huefner David and Linda Irvine Gordon Irving G. Frank and Pamela Joklik Howard A. and Lou Ann B. Jorgensen Adriane Herrick Juarez John Karls Brenda Kees The Kohlburn/Lecointre Family Carol and Guy Kroesche James R. Kruse and Mary Jo Smith Katherine Probert Labrum Katherine Lauer David E. and Helane B. Leta Dustin Lipson Rebecca Marriott Champion Nancy Melich and Lex Hemphill David and Colleen Merrill Jennifer Moldre Sheri P. and Ted Morgan Scott and JoAnn Narus Oren and Liz Nelson Peggy A. Norton and Scott W. Hansen Chris and Courtney Opdyke Linda S. Pembroke Andrea Peterson Jeanie Pollack Jeanne Potucek Lee Quinney Suzanne and David Razor The Rickman Family Gary and Joann Rieben Benjamin and Jade Romney Mark and Linda Scholl Aharon Shulimson and Julie Terry Robert and Nancy Schumacker Katherine Scott Laura Scott and Rodney Mena Nancy and Robert Sparrer Lou Ann Steven Maarten and Annette Terry Stephen and Vanice Thomson Jennifer Vanderwilt Jeff Van Niel and Nancy Rapoport

Amy Wadsworth and David Richardson Susan Warshaw Mark Weisbender Bill and Betty Weldon Sue Wilkerson Elaine Wolbrom Carole Wood and Darrell Hensleigh Mary Bird and Lance Wood Anonymous new and renewed members Valerie Gardner Anthony Petersen Keith Smart Catherine Wong Tracy Bendixen Tracey Collier John Henderson Martin and Sheila Gelman Michael and Shawna Cragun Nancy Watkins Thomas Wheeler Donald Cursoe Barbara Horwitz Joy Rocklin Carol Bills Andrew Kirol Dawn Farrell Helene and David Minz Jeff and Judy Fillmore Jenna Rae Herrera and Alex MacFarlan Christine Allred Rina Beder and Irving Cohen John Taylor Christine Gailey Terri Smith Patrick Poce Dana and Susan Sohm Destiny and Aaron Gill foundations, corporate, and government support $100,000+ Ancestry The Church of Jesus Christ of Latter-Day Saints Foundation Dominion Energy George S. and Dolores Doré Eccles Foundation The Huntsman Foundation Janet Q. Lawson Foundation McCarthey Family Foundation

photos by beau pearson and guests

Ballet West Reception at The Joyce, New York City

Salt Lake County Zoo, Arts & Parks (ZAP) Utah State Legislature/Utah State Board of Education $25,000–99,999 B.W. Bastian Foundation Marriner S. Eccles Foundation Eleve Dancewear* David Kelby Johnson Memorial Foundation Emma Eccles Jones Foundation Nuvestack* Rea Charitable Trust The Shubert Foundation Sorenson Legacy Foundation Utah Division of Arts and Museums

$10,000–24,999 Artisan Bloom* Bank of American Fork Beaver Creek Foundation R. Harold Burton Foundation C. Comstock Clayton Foundation Lawrence T. and Janet T. Dee Foundation Florence J. Gillmor Foundation The Richard K. and Shirley S. Hemingway Foundation Jones, Waldo, Holbrook & McDonough, PC* Le Croissant Catering* National Endowment for the Arts The New Yorker* O.C. Tanner Park City Community Foundation—The Solomon Fund

S.J. and Jessie E. Quinney Foundation Rocky Mountain Power Foundation Salt Lake Power Yoga* Simmons Family Foundation Summit County Cultural RAP Tax Wells Fargo Wheeler Foundation Dr. Jeremy Wimmer with Elite Chiropractic Center* $5,000–9,999 America First Credit Union Bambara Restaurant* Blue Iguana* Deluxe Corporation Foundation Discovery Gateway* Henry W. and Leslie M. Eskuche Foundation

In The Event* Gaye Marrash Arts Foundation— a Donor Advised Fund of The U.S. Charitable Gift Trust Ruth’s Chris Steak House* Union Pacific Foundation Workers Compensation Fund $1,000–4,999 A&Z Produce* Beesley Family Foundation Mallory Berge* Caitland Photography Nicole Detling* Industrial Supply Company* J. Wong’s Bistro* Merrick Bank Nebeker Family Foundation Nicholas and Company* P.F. Chang’s*

Residence Inn* Salt Lake City Arts Council Semnani Family Foundation Silver Summit Event Design* Snow, Christensen & Martineau Allen Tran, U.S. Ski Team* U.S. Bank Foundation Utah Hispanic Chamber of Commerce* Kawika Ventura-Smith* The Williams Companies Foundation

As of November 8, 2017 *In-kind donations

FRONT ROW | 15

52 west 200 south salt lake city, utah 84101

2017/18 Season Events 11/29: The Nutcracker Sneak Peak For costume sponsors (for donors of $500 and above) 12/2: Opening Night of The Nutcracker 12/2–12/30: The Nutcracker 1/16: Reception to celebrate The Nutcracker campaign (for donors of $500 and above)

4/12: Beer & Ballet at the Janet Quinney Lawson Capitol Theatre 4/13–4/21:The Shakespeare Suite with Return to a Strange Land and Summerspace 5/18–5/26: National Choreographic Festival

2/9–2/25: Cinderella

EVENTS FOR HERITAGE CLUB MEMBERS. To become a member, call 801·869·6963 2/1: In Studio with Malin Thores and guest

4/5: In Studio with David Bintley and guests

March 2017: Mr. C’s Dinner Date to be announced

5/10: In Studio with Natalie Wier

3/22: In Studio with Africa Guzman

16 | FRONT ROW

tickets 801·869·6900 donations 801·869·6963

principal artists beckanne sisk and chase o’connell | photo by beau pearson