Front Row 2017 Volume 2

2017 vol ume 2

front row Adrian Fry The Making of a Principal

Adam’s Tenth Anniversary A Glimpse of the 2017–18 Season

National Choreographic Festival The Evolution of World Premiere Ballets

first soloist adrian fry. photo by luke isley.

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contents

2017 vol ume 2 news Ballet West Academy Triumphs at Youth American Grand Prix

Academy Faculty: Heather Fryxell, Jennie Creer-King, Cati Snarr, Peter LeBreton Merz, Cynthia Merz, Nadia Pavlenko.

artists of ballet west | photo by beau pearson

Last month, Ballet West hosted the Youth America Grand Prix for a second year at the Capitol Theatre, resulting in numerous Academy students receiving prestigious awards and scholarships. YAGP is known around the world for launching the careers of some of the biggest talent in dance. Along with this competition, Ballet West presented “Night of Shining Stars,” which featured dancers from around the globe in a one-night event that electrified the crowd.

The Frederick Q. Lawson Ballet West Academy received “Best School Award” at the competition, and many Ballet West Academy students placed at the competition, which propels them into the final round in New York City later this month. Also noteworthy, Ballet West First Soloist, Christopher Sellars, was awarded Best Choreographer and 1st Place in Ensemble for Aggrandizement, a piece he staged on Academy Students.

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Adrian Fry

adam’s thoughts on next season

meldrum’s legacy

featured story

14 new and renewed donors

Welcome to Our Newest Supporters

season sponsors

staff Josh Jones Writer & Editor

Alex Moya Art Direction and Graphic Design

Sara M. K. Neal Associate Director of Marketing

Under the vision and direction of CEO and Artistic Director, Adam Sklute, and Peter LeBreton Merz as Director, the Academy has grown precipitously in both enrollment and prestige in recent years. Including the Summer Intensive, about 1,000 student attend the Academy at one of its four locations, and the student body represents every state in the country, and five foreign countries.

Along with YAGP, Ballet West hosted an encore production of “Night of Shining Stars” which featured striking performances from Principal Dancers Beckanne Sisk and Chase O’Connell in a pas de deux from Swan Lake; and Emily Adams with newly-announced Principal Adrian Fry in a pas de deux from George Balanchine’s Chaconne. The Company was also delighted to present Megan Fairchild, Utahnative and Academy alumni, who performed with fellow New York City Ballet Principal, Gonzalo Garcia, in a pas de deux from George Balanchine’s Stars and Stripes.

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Adrian Fry has come a long way from his first performance troupe, the Heartland Hoedowners, in Nebraska. He’s won awards, performed in Cuba, toured Europe, and just last month, was invited to join the ranks of Principal Dancers at Ballet West for the 17–18 Season. The ride hasn’t always been smooth, but he’ll be the first to tell you that he’s never considered another path.

“I’m not sure where I’d be without dance.” by josh jones

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first soloist adrian fry and soloist alexander macfarlan | photo by rosalie o’connor

Principled

featured story

l

ike many kids, Adrian Fry was mesmerized watching The Nutcracker. Unlike many 5-year olds, though, it changed the course of the rest of his life.

“My parents took me, and I loved the music and the dance. The kid who played Fritz had red hair, and I guess I identified with him,” he remembers like it was yesterday. Afterward, his parents bought him a cassette tape with Tchaikovsky’s Swan Lake on one side and The Nutcracker on the other. He listened to it until it wore out.

A few months after seeing The Nutcracker, he told his parents he was entering the Westridge Elementary School’s Talent Show. Adrian laughs, “They were really surprised. I was so shy.

I’m sure they wondered if I’d even do it.” He kept the secret of what he’d be performing from his family until the night of the show.

On stage stood a six-year old Adrian Fry in Nike Aqua Socks, doing a selfchoreographed dance to the Russian variation of The Nutcracker. Soon after, his parents asked if he wanted to enroll in a dance school.

“And that was it. I have wanted to dance—and have danced—ever since.”

principal artist katherine lawrence and first soloist adrian fry | photo by luke isley

The conversation eased their expectations of college followed by a traditional career, and they agreed to send Adrian to Pacific Northwest Ballet School for a Summer Intensive at age 16. “It was like I had found my people! Back home, there were few men in my ballet classes, and here I was with thirty kids my age, challenging and encouraging each other.

It was very hard to leave.” The following summer he spent at School of American Ballet, the Mecca of American dance schools, and then at 18, he went back to PNB and stayed for a year.

Adrian was born to two pastor parents in the cornfield, football-loving At 19, Adrian toured the country auditioning with four companies, suburbs of Omaha, Nebraska in the late 80’s. Painfully shy, independent and was offered jobs at all of them, including The Joffrey in Chicago. and artistic, he was a bit like a Lego in a Lincoln Log set. “I didn’t fit in Then Joffrey Associate Artistic Director, Adam Sklute, offered Adrian an as a kid. I was teased, bullied, I didn’t feel very safe.” What safety he did apprenticeship. “I could see Adrian had tons of potential,” recalls nowfind was in the dance studio. “It was a place where I could work really Ballet West CEO and Artistic Director, Sklute. “At a young age, he was hard and I didn’t have to talk. Early very talented, but with a maturity “Early on, I realized that dance involved a lot of beyond his years and he seemed on, I realized that dance involved a lot of areas I was interested in: areas I was interested in: music, athletics, design. very grounded.” music, athletics, design. It is an art It is an art form that is all-encompassing. It is a However, Adrian had also been form that is all-encompassing. It is a place where order can come offered a job in the corps at place where order can come from chaos.” from chaos.”

Oregon Ballet Theatre. “I loved the Northwest, and I had friends Adrian outgrew his dance studio and started taking weekly classes at there,” he said. “Looking back now, I know that I made the right choice.

Ballet Omaha. It quickly snowballed until he was a full-time student at I did Principal roles my first year, including Balanchine’s Apollo. It was a 13. But, as he entered his junior and senior year in high school, he started good beginning to my career.” After four years, his church announced to have doubts about this path as his future. “I think it was cultural. they would be opening a new location, Missio Dei Community in Salt Certainly, my parents didn’t think it was a career path.” But a teacher Lake City. “There was something deep within that called to me.” And, the saw potential, and even the kernel of brilliance in Adrian, and asked to idea of being with a larger company, and with an AGMA contract, was speak with the family. “She opened my parent’s eyes to the options and also appealing. “I auditioned over Easter weekend. Adam remembered opportunities in the dance world and explained that if I wanted to do me, and I felt it went really well.” (continues on next page) this, it was an all-or-nothing proposition.”

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featured story

the frys A week before Valentine’s Day 2015, Adrian Fry proposed to Jordan Richardson after a Swan Lake performance. The two had served as representatives between the dancer’s union, AGMA, and Ballet West management during the filming of Breaking Pointe. “It was very stressful to be in that role that year. But, the reward was getting to know Jordan.”

Two days later, back in Portland, he got a phone call that was as short as it was surprising: “Adrian, I have a job for you, but I need to know if you want it by the end of the day.” Adrian paused and looked out the Capitol Theatre windows, “Every dancer feels devastation, sometimes many times… And so, it feels good to remember the joy of that moment.”

In 2010, he drove to Utah and has ridden a wave of success since then. He’s won awards for his choreography; received Salt Lake City’s

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Arty Award for Best Dancer in the State; he’s been jetted around the world performing in exotic locales. “The thing about Adrian is his stylistic versatility. His humility. His tireless working for perfection. He has this very elegant and unique movement quality which sets him apart. He is a very special artist,” says Sklute. “He’s also dependable and level-headed as he is talented.”

Adrian Fry was right; he was supposed to be here, in Salt Lake, with Ballet West. The lanky boy from Nebraska has risen—no, rocketed—through the ranks. And while methodical and contemplative, no one calls him shy these days. Once picked on, Adrian is now praised for his exceptional footwork, purity of line, and attention to detail. Now he is Ballet West’s newest Principal Artist.

Last month, before a performance of The Sleeping Beauty, a bouquet of flowers was delivered to Adrian Fry’s dressing room. As usual, he’d arrived early. It was quiet in the bowels of the Capitol Theatre. Inside the bouquet was an envelope with his contract for the 17–18 Season, and his invitation of promotion to Principal.

“No matter what happened, we had decided that we would celebrate,” said Adrian. He ran down to the women’s dressing room and told Jordan, and they hugged and celebrated. It was a significant date, as well: Valentine’s Day.

first soloist adrian fry | photo by joshua whitehead

The feeling was short lived. Later that day Adam told him they were looking for more of an entry-level dancer, but said he’d keep Adrian in mind in the future. “I was very disappointed,” Adrian recalls. “On many levels, I felt like I was supposed to be in Salt Lake.”

The two pirouetted into marriage in a sparkler-filled ceremony outside a hip coffee house in Salt Lake’s Warehouse District during their summer break in 2015. The following year, they purchased a house and have been remodeling it together. “I’m just an apprentice to Jordan’s genius,” said Adrian, who confesses that she’s taught him how to use the power drill.

Between a hectic schedule, they love to entertain and cook. “Someday, I could see us owning a little bakery or café, something simple.”

Dancing with

Death

Eighty-five years after Kurt Jooss’ groundbreaking debut of The Green Table, the narrative is just as relevant, and the drama is just as searing as the day it was produced.

W first soloist adrian fry | photo by beau pearson // photos from timeline: free domain courtesy of the united styates , germany and england governments

itnessing his country being torn apart by nationalism, populism, and anti-Semitism, Kurt Jooss choreographed a 30-minute ballet in 1932, The Green Table subtitled “A Dance of Death in Eight Scenes.” Jooss and his collaborator, Jewish composer Fritz Cohen, had an affinity for art that addressed moral issues, and they abhorred plotless dances. With fascism on the rise in Germany, they worked together to create a ballet with a strong anti-war statement. To this day, it remains one of the most powerful ballets in the compendium of dance.

of Death himself. The originality of the piece won him first prize and marked an important step in his career. On the very same day as the competition, 12,000 Nazis paraded in Munich, Germany, marching for upcoming elections.

Shortly after Adolf Hitler was elected Chancellor on January 30, 1933, the Nazis came to Jooss and asked him to dismiss his Jewish company members. He refused, and was forced to flee Germany with Cohen and other members of his Company. They took refuge in the Netherlands before escaping to England.

After the war, Jooss returned to Germany and continued teaching and doing choreography, but The Green Table remains his perennial work. The New Yorker recently called the piece, “the world’s most famous antiwar ballet.” And The New York Times still calls it an “indisputable masterpiece.”

The Green Table opens with diplomats in grotesque masks, arguing. When negotiations fail, guns are pulled and shots fired. The next six scenes portray the horrors of war, with the character of Death consuming everything the stage presents: from patriotic soldiers wanting to serve, to their weeping mothers, as well as fleeing refugees. The piece ends as it began, with the “Gentlemen in Black” around the green table, indifferent to the ravages of war. The ballet uses classical ballet and a technique Jooss called “Essentialism,” which tries to capture the essence of each movement or pose.

Along with The Green Table, Ballet West’s spring triple bill, Journeys and Reflections, will present George Balanchine’s ethereal Chaconne and Utah-native Garrett Smith’s electrifying Façades. They are three compelling works that explore the range of humanity. Performances run from April 7–15 at the Capitol Theatre.

On July 3, 1932, Jooss presented The Green Table at a Choreographic Festival in Paris. He danced the role

january 12, 1901 Kurt Jooss born in Germany

january 30, 1933 Hitler is appointed Chancellor

july 3, 1932 The Green Table is first staged in Paris

1949 Jooss returns to Germany to teach and choreograph

1933 The Nazis ask Jooss to dismiss Jews from his Company. He refuses, flees to the Netherlands, and then to England

march 9, 1967 The Green Table is staged in the U.S. for the first time by the Joffrey Ballet, New York City

1979 Jooss dies from injuries sustained in an automobile accident. The Joffrey Ballet stages an impromptu performance of The Green Table

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backstage pass

Intimate & Immense

in His Own Words Over the next two seasons, CEO and Artistic Director Adam Sklute celebrates his 10 years at Ballet West with exciting revivals and world premieres; dramatic classics and contemporary works; and the much-anticipated unveiling of new sets and costumes for Willam Christensen’s beloved Nutcracker. Ballet West’s 54th Season will provide audiences with an unparalleled variety of works that highlight the Company’s astonishing versatility. Here, Sklute explains how he selected each piece for the coming season.

“Over my 10 years with Ballet West, my goal has been to build a Company that was adept at all styles of ballet and dance,” said Sklute.

“I wanted to create the most versatile ballet Company in the world. During these next two years, I am excited to present programming that highlights our dancers’ strength, technical purity, glamor, and their amazing range and dramatic abilities.”

Carmina Burana “Our resident choreographer, Nicolo Fonte, has an amazing gift for taking well-known pieces of music and illuminating them with his exciting and unexpected vision. From Bolero to The Rite of Spring, he has thrilled audiences with his unique and dynamic approach. Pairing Carmina Burana with George Balanchine’s elegant, windswept Serenade is to me, the perfect way to open my 10th anniversary season.”

backstage pass

The Nutcracker “We, as Utahns, should be very proud to have the first and longest running American production of The Nutcracker.

I am honored to bring you all new sets and costumes for Mr. C’s wonderful ballet.

My goal is to create new fascination for his evergreen classic while maintaining the integrity of his choreography and Tchaikovsky’s great score.”

The Shakespeare Suite “This Program is really a ‘Director’s Choice.’

The three works I’m presenting are unexpected favorites that are theatrically and artistically brilliant in unique ways.

The little gem, Return to a Strange Land was one of my most favorite ballets to dance; Summerspace is a supreme collaboration of art, music, and dance; and The Shakespeare Suite delighted me from the moment I first saw it performed in England.”

Cinderella “Before I came to Ballet West, I was part of a team that first brought this quintessentially British classic to America. In 2013, Ballet West became the second company in the United States to perform this brilliant and magical fairy tale ballet. I feel a closeness to this glorious Cinderella and love bringing you its joy, humor, and elegance.”

National Choreographic Festival “ This festival was born from our wildly successful Innovations series. It is a program designed to present and promote the creation of new works for the ballet stage. It is about taking chances and seeing what other companies around the country are doing as well. I am thrilled to focus this Festival on the work of women who have given so much to our art form, but who are underrepresented in ballet leadership roles.”

photo of adam sklute by kelli bramble. artists of ballet west photos by beau pearson

Aladdin “The Family Series is designed to present a complete story ballet with narration and music in just one hour. I am tremendously proud to have launched this program at Ballet West, as I know it has introduced countless children and families to the joys of our art form.”

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Sponsor Clara

Party Dress

Tutu

Nightdress

Ballet West will premiere a brand new physical production of Willam Christensen’s beloved classic, The Nutcracker, during the winter of 2017 thanks to a very generous gift from the George S. and Dolores Doré Eccles Foundation.

Connect your family to this much loved classic for many years to come by sewing your name into a costume.

BalletWest.org/NutcrackerCampaign | 801·869·6919

giving levels:

$6,667/annually*

for three years ($20,000 total) Name in a Clara Costume Sponsorship of a Nutcracker performance, 2017

Year-long sponsorship of a Ballet West Artist Lead Name under Clara’s Legacy on the Nutcracker proscenium Lead Name on Clara Legacy’s plaque, hung in the Jessie Quinney Eccles Ballet Centre Limited Edition Prints of all (3) Clara Costumes, signed by David Heuvel

*All campaign benefits as promoted

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$1,667/annually* for three years ($5,000 total)

The Nutcracker performance, 2017 • (4) Complimentary VIP tickets in Orchestra I • Backstage tour prior to performance Name listed under Clara’s Legacy on the Nutcracker proscenium Name listed on Clara Legacy’s plaque, hung in the Jessie Quinney Eccles Ballet Centre Limited Edition Prints of all (3) Clara Costumes, signed by David Heuvel

$333/annually*

for three years ($1,000 total ) Name listed under Clara’s Legacy on the Nutcracker proscenium Name listed on Clara Legacy’s plaque, hung in the Jessie Quinney Eccles Ballet Centre A Limited Edition Print of a selected Clara Costume, signed by David Heuvel

community

Champion of the Arts

P

eter Meldrum has received awards and plaques that could line many hallways. He’s had the ear of Presidents, built an empire, been a part of landmark Supreme Court cases, and was even named one of the most visionary scientists of our time.

But none of the acclaim adds up to ego or braggadocio, even though one could concede the accumulated accolades warrant a bit of bravado. Somehow, Pete, as his friends call him, has remained calm, humble and earthbound. Even though his hobbies—from climbing mountains to supporting dance— take him skyward.

In 2015, Meldrum retired from the Utah-based billion-dollar company he co-founded, Myriad Genetics, Inc. In his 24 years as CEO, the company was focused on the most cutting-edge research and manufacturing in the areas of personalized and predictive medicine. Myriad’s discovery of the breast cancer gene, BRCA1, was universally acclaimed as a monumental achievement. One reporter said, “There is no more exciting story in medical science.”

Cathie and Peter Meldrum.

powers of Utah wildflowers. And they both love art, having served on several boards, including the University of Utah’s College of Fine Arts Advisory Council, Pioneer Theatre Company, and Ballet West. Quoting Nelson Mandela, Peter said, “Education is the most powerful weapon you can use to change the world… and we believe art can be one of the most powerful bullets in that arsenal.”

As Ballet West Board President, Peter led the search for a new Artistic Director in 2007, while also guiding the Company during a financial tsunami. “Beginning with Mr. C, “ Education is the most powerful weapon Ballet West has had an excellent Under Adam Sklute, it you can use to change the world… and reputation. is recognized as one of the leading we believe art can be one of the most ballet companies in the country,” said Peter. “In fact, it is more powerful bullets in that arsenal.” recognized today than ever before… we have dancers on the cover of international magazines, articles For many titans, that would be the end of in The New York Times, and we’re touring the the story. Greatness, after all, needs just one country—and we just returned late last year triumph to solidify a man’s legacy. For Peter, from Cuba!” however, greatness doesn’t begin or end with Myriad. He’s a renaissance man, a cliché he’d The Meldrum Foundation has been key to probably shrug-off, but when the shoe fits… that success. Not long after Sklute began his tenure, he proposed the Innovation Series to Since retirement, Peter and his wife Cathie Peter, knowing he and Cathie enjoyed new have gone backcountry hiking in Alaska, works. Without hesitation, they gave seed cruised from Budapest to Istanbul, safaried— money to help launch the platform. Nearly via camel—through Egypt, and on any given 10 years later, Adam went back to Peter with sunny day, Peter is hiking and studying plants two ideas for the next iteration of Innovations: for a book he’s writing on the medicinal “Works from Within” which will give Company

artists an opportunity to create new works and stage them around the state; and the “Ballet West National Choreographic Festival,” that will bring new works to the new Eccles Theater from top ballet companies around the country.

The Foundation has once again generously supported Adam’s vision. “We enjoy Balanchine, Stanton Welch, Twyla Tharp, but we love diversity, and I’ve always thought it was important for Company dancers to have an outlet to create new works,” said Peter. “I believe the National Choreographic Festival could someday be as big as Sundance Film Festival—for dance, that’s how much we believe in it.”

“Peter has been an invaluable mentor. He welcomed me into this community,” said Sklute. “He’s just as passionate about the Company as I am. When you talk to him, you can’t help but share the joy and enthusiasm he has for this Company.”

When asked why he supports Ballet West as amply as he does, he defers to history, “Going back to the earliest Utah history, we’ve valued the arts. Our community recognizes the importance of the arts, and I’m happy to do whatever I can to continue that legacy.”

—Josh Jones

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Ballet West National Choreographic Festival “I think it could do for dance what Sundance has done for film in Utah,” said Ballet West CEO and Artistic Director, Adam Sklute, to a reporter recently, explaining his vision for the National Choreographic Festival. It’s an audacious vision, but then again, so was Robert Redford’s when he started Sundance 38 years ago.

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n may, over two weekends, and with two completely different programs, the Ballet West National Choreographic Festival will celebrate new works that will challenge and advance the art form.

distinguished former Resident Choreographer, Val Caniparoli.

Further adding to the anticipation of this unprecedented event, the Festival will be the first dance program ever mounted in the new George S. and Dolores Doré Eccles Theater.

Along with the renowned guest companies, Ballet West will present its own World Premieres by dynamic Resident Choreographer Nicolo Fonte and the

“The Ballet West National Choreographic Festival is a new initiative born out of our Innovations series,” says Sklute. “It is designed to give our Utah audiences the broadest scope of

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fresh new choreography that is out in the world today. I am excited and honored that our friends from around the country will be joining us to showcase their wonderful companies and choreography, and excited that our Company dancers will be exposed to such innovative work, and still get a chance to create.

It’s also a thrill honor for Ballet West to bring the first dance series to the new Eccles Theater.”

Sklute has split the four companies and the Caniparoli and Fonte premieres over two weekends. first weekend, May 19–20 Pennsylvania Ballet. Bringing the accidental, a contemporary ballet choreographed by Trey McIntyre in 2014 that allows the dancers to play off each other, using the weight of their partners as obstacles to overcome with grace.

Sarasota Ballet. Presenting gifted choreographer Ricardo Graziano’s ethereal and haunting In a State of Weightlessness, which premiered at Jacob’s Pillow Dance Festival in August, 2015.

Ballet West. Presenting a World Premiere by world renowned choreographer, Val Caniparoli, whose untitled new work (currently in creation) will be powerful, athletic, and hypnotic, inspired by Lou Harrison’s “Concerto for Pipa and String Orchestra.”

second weekend, May 26–27 Oregon Ballet Theatre. Presenting Terra, a new creation from esteemed choreographer Helen Pickett, set to an original score by American composer Jeff Beal of House of Cards fame. Pickett has a flair for drama, and this latest production takes inspiration from indigenous dances of the world, contemporary ballet, and Joseph Campbell’s work on myth and metaphor.

Pacific Northwest Ballet. Staging the exciting, internationally-recognized choreographer Annabelle Lopez Ochoa’s Before After, a pas de deux created in 2002 for the Dutch National Ballet about a relationship that is coming to an end.

Ballet West. Premiering Resident Choreographer Nicolo Fonte’s fourth World Premiere for Ballet West. The seventh of his works the Company has mounted since 2012, it will showcase Fonte’s unique brand of musicality, physicality, and fascination that Ballet West audiences have come to adore through pieces such as Bolero, Almost Tango, and The Rite of Spring.

Left: Ballet West Principal Artists Emily adams and Christopher Ruud, photo by Kelli Bramble. Top: Artists Angelica Generosa and Raphael from Pacific Northwest Ballet, photo by Angela Sterling. Bottom: Artist from Pennsylvania Ballet, photo by Iziliaev.

Ballet West. Staging Oliver Oguma’s Tremor, a powerful work inspired by the human body set to a luscious score by Philip Glass.

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Donors

Each issue of the Front Row will feature a listing of current Heritage Club and Founder’s Circle patrons, corporate sponsors, foundation and government supporters, and new members ($350+ level) who have joined since our last publication. For a full listing of our generous donors, please visit BalletWest.org/donor-acknowledgments.

founder’s circle

Archivist and Director

Gideon and Jennifer Malherbe

Annie Binger

Ballet West thanks our Founder Circle donors, each of whom has given more than $500,000 to the Company throughout its history, either though collective annual giving or one-time gifts.

DiFiore Family

Thomas and Mary McCarthey

Kristel B. Carter

Alan and Jeanne Hall Foundation

Peter and Catherine Meldrum

Rebecca Marriott Champion

Ron and Shelley Hansen

Rayna Mintz

Amalia Cochran

Carole Wood and Darrell Hensleigh

Carol Carter and George Nitse

William and Joan Coles

Barbara Barrington Jones

Patterson Family Memorial Foundation

William and Melissa Connelly

B. W. Bastian Foundation

Janet Q. Lawson Foundation

Ray Pickup

Charles and Susan Critchlow

Barbara Barrington Jones

Sheryl and Bruce Lefavi

Madeleine and Harvey Plonsker

Mary Gootjes and John Davis

Beano Solomon

Vilija Avizonis and Greg McComas

Jason and Anne Marie Portnoy

Thomas and Lisa Dunlap

Emma Eccles Jones Foundation

Dan P. Miller

Lee Quinney

John Eckert

Frederick Q. Lawson Foundation

John and Andrea Miller

Adam Sklute and Christoper Renstrom

Sissy Eichwald

George S. and Dolores Doré Eccles Foundation

Anthony and Jessica Mirabile

Helle and Jon Le Rette

Karen L. Freed

Janet Q. Lawson Foundation

Erin and Bryan Riggsbee

Cammy Fuller

Choreographer and Ballet Mistress

Ellen and Chris Rossi

Patti Eylar and Charlie Gardner

Bradley Allen

Jerry and Linda Rowley

Dee Gauss

Scott and Lisa Altman

Todd Smith

Ann and Rick Gold

Margaret Anderson

George H. Speciale

David and Sandylee Griswold

Bonnie Jean Beesley

Sue and Jack Stahl

Sandy Haughey

Kathleen and Andy Blank

Stanford and Dixie Stoddard

Wyatt and Samantha Hepworth

The Brown Family Foundation

Jennifer Strachan

Cindy and Howard Hochhauser

Shari and David Quinney

Carol Browning, Céline Browning, and Rete and Rikki Browning

Cindy and Blake Strong

Connie Holbrook

Val A. Browning Foundation

Alexis Carr

Bill and Stacey Sweet-Tabar

Mark and Wendi Holland

Rick and Chris Veit

Julie Hopkins

Roy Vincent

Larry and Tina Howard

Brad and Linda Walton

Robert and Dixie Huefner

Mike and Debra Washburn

David and Linda Irvine

Mark Weisbender

Gordon Irving

Jacquelyn Wentz

David P. Heuvel and Johann Jacobs

Marelynn and Edward Zipser

Peter Dejonge and Susan Johnson

Anonymous

Marilyn and Chester Johnson

John and Marcia Price Family Foundation Marriner S. Eccles Foundation Peggy Bergmann Rocky Mountain Power S.J. and Jessie E. Quinney Foundation The Huntsman Foundation Meldrum Foundation

Carol Christ heritage club

Cecile and Harold Christiansen

Mr. C & Mrs. Wallace

Jim and Barbara Clark

Peggy Bergmann

Pascale De Rozario and Jonathan Crossett

Judy Brady and Drew W. Browning John and Kristi Cumming Paul and Cheryl Huntsman Barbara Levy Kipper Richard and Lois Peterson Brian and Janae Powell John and Marcia Price Family Foundation Shari and David Quinney Keith and Nancy Rattie Theodore Schmidt Liz and Jonathan Slager Angela Martindale and Michael Snow Beano Solomon Krista and Jim Sorenson Barbara L. Tanner Sue and Walker Wallace Julia S. Watkins

Spencer F. and Cleone P. Eccles Family Foundation Sue Ellis Dr. Pamela Parkinson and the Scoby Family The Rickman Family Deborah B. and Edward Felt John and Joan Firmage Willis McCree and John Fromer Donna Gordon John and Ilauna Gurr Stephanie and Tim Harpst Jennifer S. Horne Scott Huntsman Tina Jensen Conrad and Anne Jenson Ms. Katharine W. Lamb Cynthia Lampropoulos David and Naja Lockwood

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G. Frank and Pamela Joklik Ballet Master

Howard A. and Lou Ann B. Jorgensen

John and Marilyn Alleman

Shelley Kendrick

Stephen Anderson

Carol and Guy Kroesche

Jeffrey Bronson Anderson

Katherine Probert Labrum

Bene Arnold

Katharine Lauer

Ginny Bostrom and Ralph Ashton

Tony and Roxanne Christensen Lazzara

Petras and Liuda Avizonis

David E. and Helane B. Leta

Carol Baer

Marjorie and Thomas Mclaughlin

Govert Bassett

Laura Scott and Rodney Mena

Frances and Jerome Battle

David Keith Garside and Audrey Miner

Clisto and Suzanne Beaty

Stephen Moga

Gary Beers

Jennifer Moldre

Alene E. Bentley

Sheri P. and Ted Morgan

Mallory Berge

Leslie Murdock

Sharon and Michael Bertelsen

Scott and JoAnn Narus

Oren and Liz Nelson

Gamaliel Martinez

S.J. And Jessie E. Quinney Foundation

Mcdonough, P.C.

Joanne Parrish

Jack and Carla Pickett

Simmons Family Foundation

Katherine & Ezekiel Dumke Foundation

Linda S. Pembroke

Casey Preece

Wells Fargo

KB2N

Andrea Peterson

Karen Shores

KPCW

Diana and Joel Peterson

Paul and Carol Sonntag

Dr. Jeremy Wimmer With Elite Chiropractic Center

Jeanie Pollack

Kevin and Alice Steiner

Anonymous

KUTV

Jeff Van Niel and Nancy Rapoport

Elizabeth and Christopher Tracy

Suzanne and David Razor

Christine Weinheimer

Amy Wadsworth and David Richardson

Lawrence Wiedmann

Gary and Joann Rieben

James Wilson

Karen Horne and Michael Rowley Mark and Linda Scholl Robert and Nancy Schumacker Katherine Scott Claudia and David Seiter Ben and Lael Selznick Teresa Silcox John Sklute James R. Kruse and Mary Jo Smith Cassandra Suite-Smith Nancy and Robert Sparrer Jennifer Speers Diana Major Spencer Maarten Terry Aharon Shulimson and Julie Terry Rachele McCarthey and Brock VandeKamp Susan Warshaw Cynthia Washington Bill and Betty Weldon Mary Bird and Lance Wood Scott Rosenbush and Cindy Zimmerman Anonymous new and renewed members Ronald and Kathy Aoki Capri Bailey Corey Carroll Richard Clegg Jennifer English Kenneth and Kate Handley John Harrington Susan H. Hipp James Johnson Michael and Margaret A. King Katherine Liddle Marilyn Lott

foundations, corporate, and government support $25,000–99,999+ Ancestry Questar Corporation George S. And Dolores Doré Eccles Foundation James Lee Sorenson Family Foundation Janet Q. Lawson Foundation Marriner S. Eccles Foundation Meldrum Foundation Nuvestack Salt Lake Regional Medical Center Sorenson Legacy Foundation The Huntsman Foundation The Shubert Foundation, Inc. Utah Audio Utah State Legislature

$5,000–9,999 America First Credit Union Bambara Restaurant Deluxe Corporation Foundation Discovery Gateway Frederick Q. Lawson Foundation The Front Climbing Club Goldman Sachs Henry W. & Leslie M. Eskuche Charitable Foundation Joanne L. Shrontz Family Foundation Media One Mountain America Credit Union Myriad Genetics, Inc. Partnering For Performance Promontory Foundation R. Harold Burton Foundation

KUER Merrick Bank Nebeker Family Foundation Nicholas & Company Inc. Ogden’s Own Distillery Parr Brown Gee & Loveless Residence Inn Rocky Mountain Power The Rose Shop Savoury Kitchen Semnani Family Foundation Snow Christensen & Martineau Tanner LLC T-Mobile Usa, Inc University Of Utah Utah Digital Services Utah Media Group Visit Salt Lake

The Church Of Jesus Christ Of Latter-Day Saints Foundation U.S. Bank Union Pacific Foundation Unlimited Lifestyle Inc

Utah Toyota Dealers

William H. & Mattie Wattis Harris Foundation

$10,000–24,999

Workers Compensation Fund

B. W. Bastian Foundation

Zions Bank

Bank of American Fork Beaver Creek Foundation C. Comstock Clayton Foundation

$1,000–4,999 Ballet West Friends

Eleve Dancewear

Blue Lemon Restaurant & Bistro

Florence J. Gillmor Foundation

Caitland Photography

JP Morgan Chase Bank

Cannella’s Restaurant And Lounge

Lawrence T. & Janet T. Dee Foundation

Century Link

National Endowment For The Arts

Chevron

O.C. Tanner

City Weekly

Orient Overseas Container Line

Holiday Inn Express

Reagan Outdoor Advertising

Holland & Hart

Richard K. & Shirley Hemingway Foundation

Industrial Supply Company

Rocky Mountain Power Foundation

soloist katlyn addison and first soloist adrian fry | photo by beau pearson

J. Wong’s Bistro Jones, Waldo, Holbrook &

front row | 15

52 west 200 south salt lake city, utah 84101

Upcoming Performances � Events: The Little Mermaid: Meet the Characters

mar

30 1

to apr

Journeys & Reflections apr

7–15

Beer and Ballet

thu apr

tickets 801·869·6900 | donations 801·869·6963 16 | front row

6

Mr. C’s Dinner

fri apr

21

National Choreographic Festival

may

19–27