Cincinnati Ballet - Cinderella 2022

CINDERELLA FEBR UARY 17-27, 20 22 SPRI N GE R AUDITORIUM MUS I C HA L L

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TA B L E O F CO N T E N T S Cincinnati Ballet

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LETTERS FROM LEADERSHIP SEASON SPONSORS PRODUCTION SPONSORS

CINDERELLA CINCINNATI BALLET LEADERSHIP SYNOPSIS CREATIVE TEAM ARTISTIC LISTING PRINCIPAL DANCERS

31 THE COMPANY 38 THE STORYTELLING GENIUS OF SERGEI PROKOFIEV 40 43 45 47 48 55 56

AN ICONIC ARCHITECTURAL WONDER BOARD OF TRUSTEES CINCINNATI SYMPHONY ORCHESTRA CINCINNATI BALLET STAFF DONOR HONOR ROLL EXPLORE CINCINNATI BALLET FOR YOUR INFORMATION

COVER PHOTO: PHOTOGRAPHY BY AARON M. CONWAY FEATURING NIKITA BORIS PHOTOGRAPHY BY PETER MUELLER WITH ABIGAIL MORWOOD AND JAMES GILMER

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LETTERS FROM LEADERSHIP Cincinnati Ballet

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DEAR LOVERS OF WONDER AND MAGIC,

hope you are enjoying the 2021–2022 Season as much as I am. I must admit, I am a bit biased, as we are producing several of my choreographic works—King Arthur’s Camelot, The Nutcracker, Boléro, and now Cinderella! Of course, we all know the premise of this rags-to-riches story—a humble yet plucky heroine who finds her true place in the world! While there are obstacles along the way, in the end, her dreams do come true. When I choreographed Cinderella, I was drawn to the archetypal elements of the centuries-old story—a pumpkin that magically transforms into a carriage, tiny mice who act as friends and confessors for our heroine, the villainous, but humorous stepsisters, and the benevolent fairy godmother. The storytelling resonates with so many of us because we recognize these characters and elements in our own lives.

It is hard for me not to draw parallels between this beloved story and my time at Cincinnati Ballet.

Twenty five years ago, I arrived in the Queen City and took on the role as artistic director of the Company.

It was a big step for me, and like most new beginnings, I was equal parts excited and terrified! I wanted to build on the incredible accomplishments of my predecessors, but also infuse the Company with new life and vision. There were bumps along the way, along with some amazing donors and supporters—our own fairy godmothers—whose generosity helped sustain this world-class organization through lean times, as well as helped fund my full-length ballets, including the wonderful fairy tale you are about to enjoy! Cincinnati has proved to be my own personal glass slipper—absolutely the perfect fit! I know I may be taking this metaphor too far, but perhaps now, the story has come full circle as I assume the role of a modern-day fairy godmother, bestowing well wishes and good fortune on my beloved Cincinnati Ballet and the generations of artists to come.

Dreams really do come true!

Your humble, yet plucky, Artistic Director,

VICTORIA MORGAN The Sue and Bill Friedlander Artistic Director

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Thanks to the City of Cincinnati and Hamilton County for their support.

LETTERS FROM LEADERSHIP Cincinnati Ballet

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DEAR FRIEND OF CINCINNATI BALLET,

hank you for joining us for our production of Cinderella. It is so wonderful to share live dance with audiences again this season! This marks a culmination of Victoria Morgan’s full-length ballets celebrating her 25th anniversary. We honor our remarkable artistic director and celebrate her tremendous career with all of you. Please take a moment and leave your memories on our “Celebrate Victoria” table cards in the lobby.

We’re also so pleased to see the incredible community response to our new home in Walnut Hills—the Cincinnati Ballet Margaret and Michael Valentine Center for Dance. It has been so wonderful to see so many dance lovers getting acquainted with our new facility. In addition to elevating the training of our world-class Company dancers and Otto M. Budig Academy, the spaciousness of the Center for Dance has allowed our organization to greatly expand our educational and community offerings.

CB Moves has also grown to include classes for new participants with the launch of two specialized programs. Cincinnati Ballet is now the first U.S. ballet company with a studio equipped with an overhead track and harness system that allows participants with mobility issues to move across the floor.

The ceiling-mounted track safely holds up the student, giving them the freedom to experience a range of motion they may have never felt before. This amazing class launched just last month. Last fall we also launched CB Moves for Parkinson’s—twice-weekly classes to improve flexibility, balance, and quality of life for people with Parkinson’s. This program was created in partnership with Dancing with Parkinson’s Cincinnati. Our expert faculty use movement and music to stimulate both the body and mind, providing a supportive forum for fitness, expression, and community for participants of all ages. Dancers are welcome to enjoy class on their own or to invite a companion to participate with them. Anyone living with Parkinson’s Disease and their caregivers are welcome to drop in for class; financial aid is also available.

If you have not yet had a chance, please also join us for an upcoming production of our new Community Performance Series. Last fall, we presented Heroes and Villains and we will soon be staging Aesop’s Fables. Professional Training Division students perform for elementary school children, as well as for community audiences with performances in the Sheakley Family Premier Studio. They are the perfect introduction to dance and storytelling through movement.

These are just a few of the exciting happenings at the new Center for Dance. We will continue to share news of new classes and programs as they come online. We hope to see you soon.

Sincerely,

SCOTT ALTMAN President and CEO

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A PROUD SPONSOR OF CINCINNATI MUSICAL ARTS

2021–2022 SEASON SPONSORS Cincinnati Ballet

VICTORIA MORGAN’S 25TH ANNIVERSARY SEASON PRESENTED BY

SEASON FUNDERS

OFFICIAL SPORTS MEDICINE PROVIDER

LIVE MUSIC SPONSOR

SUSTAINABILITY SPONSOR

ADDITIONAL SEASON SUPPORT

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PRODUCTION SPONSOR Cincinnati Ballet

PHOTOGRAPHY BY PETER MUELLER WITH MAIZYALET VELÁZQUEZ

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The Austin E. Knowlton Foundation is a proud season partner of Cincinnati Ballet

CINDERELLA Victoria Morgan MUSIC

Sergei Prokofiev* performed by Cincinnati Symphony Orchestra MUSIC DIRECTOR

Carmon DeLeone

Cincinnati Ballet

CHOREOGRAPHY

SCENIC AND COSTUME DESIGN

Peter Farmer LIGHTING DESIGN

Clifton Taylor ADDITIONAL COSTUME DESIGN

Diana Vandergriff Adams PUPPET DESIGN

Eric Van Wyk CARRIAGE DESIGN

Scenic Solutions REPETITEURS

Johanna Bernstein Wilt, Cervilio Miguel Amador, Dale Shields YOUNG PERFORMERS COACH

Suzette Boyer Webb

Cincinnati Ballet’s first performance of Cinderella, choreographed by Ben Stevenson, was in 1989 at Music Hall. Victoria Morgan’s version had its world premiere on May 12, 2000, at The Aronoff Center for the Arts in Cincinnati, Ohio.

The first production of Cinderella using Prokofiev’s well-known score was created for the Bolshoi Ballet in 1946 with choreography by Rostislave Zaharov. It was then choreographed for the Kirov

by Konstantin Sergeyev in 1946. Frederick Ashton’s famous version of the ballet was premiered in 1948 by the Sadler’s Wells Ballet at the Royal Opera House in London. *By arrangement with G. Schirmer, Inc. publisher and copyright owner.

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2021-2022 SEASON

513.621.5282 CBALLET.ORG

FAMILY SERIES

SNOW WHITE

APRIL 7-10 PROCTER & GAMBLE HALL | ARONOFF CENTER

BOLD MOVES FESTIVAL MAY 12-22 PROCTER & GAMBLE HALL | ARONOFF CENTER

Isabelle Morgan; Photography: Aaron M. Conway

Luca De-Poli, Jhaelin McQuay; Photography: Aaron M. Conway VICTORIA MORGAN’S 25TH ANNIVERSARY SEASON PRESENTED BY

2021-2022 SEASON SPONSORS MARGARET AND MICHAEL VALENTINE

C I N C I N N AT I BA L L E T L E A D E R S H I P The 2021–2022 Season marks Victoria Morgan’s 25th Season as Cincinnati Ballet’s Artistic Director. Morgan took on the role of executive leader in 2008, serving as both the Artistic Director and CEO. Under her leadership, after years of growing deficits, the company stabilized its finances, built a healthy and sizeable endowment fund, created an operating reserve, and presented several million-dollar capital projects. During this time, the Company also expanded the Otto M. Budig Academy, as well as education and community engagement programming.

In 2017, with the arrival of Scott Altman as President and CEO, Morgan transitioned to full-time Artistic Director, giving her the opportunity to focus exclusively on artistic excellence. Morgan’s artistic contributions to Cincinnati Ballet are myriad.

During her tenure, she has choreographed numerous one-act and full-length ballets, including world premieres of King Arthur’s Camelot, the new Nutcracker, and her revised choreography for Cinderella. With her deep roots in the Cincinnati communi-

ty, Morgan was instrumental in fund-raising efforts to secure support for the new 57,000-square-foot Cincinnati Ballet Margaret and Michael Valentine Center for Dance in Walnut Hills. While construction was underway for the new Dance Center, 2020 challenged Morgan’s artistic leadership in unprecedented ways. She responded to the global pandemic in a creative and science-based way, working closely with the Company’s artistic and administrative teams to safely present one of the nation’s first ballet performances to an in-person audience following the shutdown. Ballet in the Park was staged at the Procter & Gamble Pavilion in September 2020 and was lauded by The National Endowment for the Arts for its innovation.

Prior to joining Cincinnati Ballet, Morgan was resident choreographer for the San Francisco Opera and a principal dancer for San Francisco Ballet and Ballet West. She has and continues to serve on numerous boards including Dance USA, Dance Magazine, the NEA evaluation panel, and was a judge for several International Ballet Competitions. Morgan graduated Magna Cum Laude with an M.F.A. from University of Utah and was honored as a YWCA Career Woman of Achievement in 2009.

Cincinnati Ballet

VICTORIA MORGAN

THE SUE AND BILL FRIEDLANDER ARTISTIC DIRECTOR

SCOTT ALTMAN

PRESIDENT AND CEO

Scott Altman joined Cincinnati Ballet as President & CEO in August 2016. Under his visionary leadership, Cincinnati Ballet has reached many noteworthy milestones, more than tripling asset growth to over $75 million, implementation of its first $11 million operating budget, a dynamic new logo and brand identity, record-breaking ticket sales, the launch of a new Family Series, as well as expanded Academy and community programs. To accommodate this incredible growth, Cincinnati Ballet launched a $31 million capital campaign to construct a new, larger, state-of-the-art ballet center; the 57,000–squarefoot Cincinnati Ballet Margaret and Michael Valentine Center for Dance celebrated its grand opening in September 2021. During his tenure, Altman has been honored for three consecutive years by Cincinnati Magazine in its Cincinnati 300 as one of the city’s top 300 executives, and currently serves as Trustee on the Board of DanceUSA and as its Executive Managers Council Chair, Trustee on the Board of Ohio Citizens for the Arts, and member of the Dean’s Advisory Council PHOTOGRAPHY BY HIROMI PLATT

for Cincinnati Conservatory of Music. Altman has been a guest speaker for the National Endowment for the Arts (NEA), Americans for the Arts, and the Osher Lifelong Learning Institute. Altman brings with him nearly three decades of experience in nonprofit administration and performing arts.

Prior to his roles in administration, Altman enjoyed a 20-year career as a professional opera singer and performed 40 opera roles internationally. He has held leadership positions as General Director at both Arizona Opera and Opera New Jersey, and prior to coming to Cincinnati Ballet he was Executive Director of Ballet West. During his tenure, Ballet West experienced phenomenal expansion, including growth in ticket sales, a vastly expanded touring schedule, robust donor development, and the construction of a new building. He is an alumnus of the Manhattan School of Music as well as State University College at Purchase and taught for three years at Princeton University. Altman earned a certificate from Stanford University’s Executive Program for Nonprofit Leaders, was a Utah Business 2016 CEO of the Year Honoree, and is a three-time recipient of the New Jersey State Council on the Arts Citation of Excellence Award.

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VICTORIA MORGAN WOMEN’S CHOREOGRAPHER AND ARTIST FUND

The fund has been established in honor of Artistic Director Victoria Morgan’s 25th Anniversary Season and her career achievements as a champion of women choreographers and artists.

This fund will enable Cincinnati Ballet to annually draw financial support for a featured female choreographer or artist.

Photography: Peter Mueller

To d o n a t e o r f o r m o r e information, scan the QR code.

C I N C I N N AT I BA L L E T L E A D E R S H I P

Carmon DeLeone, Music Director of Cincinnati Ballet for over 50 years and Conductor Laureate of The Illinois Philharmonic Orchestra and The Middleton Symphony, has served as Conductor and Host of the Family Concert Series at New York’s Carnegie Hall and has conducted orchestras in Germany, England, Luxembourg, Canada, and Puerto Rico. Under his leadership, The Illinois Philharmonic was twice named “Illinois Orchestra of the Year.” He has composed many original scores for the ballet. His bestknown work, Peter Pan, is frequently performed nationally and overseas. As Assistant, and later Resident Conductor of the Cincinnati Symphony Orchestra, DeLeone served on its staff with Music

Directors Max Rudolf, Thomas Schippers, Walter Susskind, and Erich Kunzel. He was also selected by Maestro Erich Leinsdorf to participate in an intensive master conducting seminar at The Lincoln Center. He possesses a wide range of musical interests; he is versed in both the classics and jazz playing the French horn or leading his own “Studio Big Band” from the drum set. Maestro DeLeone made his New York conducting debut with the Alvin Ailey American Dance Theater at City Center, and his Carnegie Hall debut with the Orchestra of St. Luke’s. DeLeone is a recipient of the Post-Corbett Award and most recently was awarded the esteemed MacDowell Medal by the Cincinnati MacDowell Society. His very popular weekly radio show, Sunday Morning Music Hall, can be heard on WDJO-FM 99.5 & 107.9 and AM 1480.

Cincinnati Ballet

CARMON DELEONE

MUSIC DIRECTOR

DALE SHIELDS

REHEARSAL DIRECTOR

Dale Shields trained at the University of North Carolina School of the Arts and Butler University before joining Indianapolis Ballet Theatre, where she rose to principal dancer under Artistic Director George Verdak. Shields performed principal roles in productions including Giselle, The Sleeping Beauty, Swan Lake, The Nutcracker, Romeo & Juliet, A Midsummer Night’s Dream, Coppelia, Night Shadow, The Moor’s Pavane, and many original works. She served as Principal Bal-

let Mistress for Ballet Internationale, assisting with the original choreography of full-length ballets by Artistic Director Eldar Aliev and worked alongside Irina Kolpakova in staging many well-known classics. Accepting Artistic Director John McFall’s invitation to join Atlanta Ballet as Ballet Mistress gave her the opportunity to assist in mounting numerous full-length productions. She assisted on works by inspiring national and international choreographers including Alexander Ekman, Helen Pickett, Twyla Tharp, Liam Scarlett, David Bentley, Annabelle Lopez Ochoa, and Amy Seiwert, among others. She is now in her third season with Cincinnati Ballet.

CERVILIO MIGUEL AMADOR

REHEARSAL DIRECTOR

A skilled artist, entrepreneur, and change agent for the world of dance, Cervilio Miguel Amador received his education and training from the Vocational Ballet School in Camagüey, Cuba, and the National Ballet School of Cuba. He danced with the National Ballet of Cuba as a corps de ballet dancer and then as a corifeo (demi-soloist) before joining Cincinnati Ballet in 2004 as a Soloist. He was promoted to Principal Dancer in 2006 becoming one of the youngest Principals in

the history of the company. During his professional career he has performed as a guest artist in galas all over the world as well as a guest teacher for numerous schools. He has represented Cincinnati Ballet dancers as a Union delegate for over 10 years and after retiring from dance, he became the Rehearsal Director for Cincinnati Ballet. He is currently the Rehearsal Director for Cincinnati Ballet and Co-Artistic Director/Founder of Moving Arts.

Amador is also a member of the Cincinnati Ballet Diversity, Equity, Inclusion, and Accessibility Task Force leading sustainable change for dancers now and future artists.

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C I N C I N N AT I BA L L E T L E A D E R S H I P Cincinnati Ballet

SUZETTE BOYER WEBB

DIRECTOR OF SECOND COMPANY

Suzette Boyer Webb joined Cincinnati Ballet in 1979. As a Principal Dancer, under the direction of David McClain, Frederic Franklin, and Ivan Nagy, she danced classical and contemporary roles in works by choreographers Frederic Franklin, Ivan Nagy, George Balanchine, Ruth Page, Peter Anastos, John Butler, Sir Kenneth McMillian, Ben Stevenson, James Truitte, Lester Horton, and Vincente Nebrada. Upon retirement from Cincinnati Ballet, Webb served on the Dance Division faculty at the University of Cincinnati College-Conservatory of Music. There, she was awarded The Outstanding Adjunct Teacher of the Year award.

As the director of the Cincinnati Ballet’s Second Company – CB2 and Young Performers Ballet Master, Webb has been instrumental in providing technical and artistic learning opportunities to CB2 and Academy dancers in various Cincinnati Ballet productions, including the highly successful Cincinnati Ballet Family Series. Webb has choreographed numerous works for the Cincinnati Ballet Second Company. She has staged many ballets, including children’s roles for Victoria Morgan’s The Nutcracker, in Cincinnati; Anchorage, Alaska; at the Kennedy Center for the Arts in Washington, D.C.; and at the Detroit Opera House.

Webb has worked nationally as guest teacher, adjudicator, and panelist.

CELEBRATING VICTORIA MORGAN’S 25TH ANNIVERSARY SEASON

E L E G A N Z A PAINT THE DANCE FLOOR PRESENTED BY

Join us for CLUB B | ELEGANZA on April 23, 2022, at the Margaret and Michael Valentine Center for Dance For more information contact Alexandria Wright at awright@cballet.org

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Club B_Cinderella Ad_Final.indd 1

1/26/22 11:51 AM

ACADEMY AND EDUCATION PROGRAMS Cincinnati Ballet’s Otto M. Budig Academy serves the greater Cincinnati area through world-class dance education programs and unparalleled performance opportunities. Whether students aspire to dance as a profession or pursue it as a personal passion, we believe dance training allows them to unleash potential that proves impactful in all aspects of their lives. Led by nationally recognized faculty, our guiding principles are to teach, challenge, and inspire the whole student to achieve their highest goals in a nurturing and positive environment.

CHILDREN’S AND YOUTH DANCE PROGRAMS Ages 2 – 17 Enrollment based on age with beginning and progressing levels Designed to inspire a lifelong love of dance, the Academy’s Children’s and Community Divisions offer entry-level and advancing classes in creative dance, ballet, and a wide array of dance styles.

PRE-PROFESSIONAL TRAINING Ages 8 – 18 Enrollment based on experience with an accelerating curriculum Our highly regarded ballet training, coupled with well-rounded versatility in other dance styles, elevates the potential of aspiring young dancers who have found their passion in dance.

PROFESSIONAL TRAINING DIVISION Ages 16 and Up Enrollment by invitation For students on the cusp of careers in dance, the Professional Training Division provides dancers with a full-day immersive training program and opportunities to perform alongside Cincinnati Ballet’s professional Company.

ADAPTIVE DANCE PROGRAMS Ages 4 – Young Adult Placement determined by student support resources Cincinnati Ballet’s CB Moves program, developed in partnership with Cincinnati Children’s Department of Physical Therapy, fosters a love of dance and creative expression for students with specific needs.

For more information or to register connect with us at: Email: cbacademy@cballet.org | Phone: 513.562.1111 | Website: cballet.org/academy Address: 1801 Gilbert Avenue, Cincinnati, Ohio

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SYNOPSIS Cincinnati Ballet 22

ACT I In the kitchen of Cinderella’s house, Cinderella’s stepsisters are embroidering a silk scarf while their mother dotingly looks on and spins wool with the father. The two sisters, being of bad and competitive temperament, begin to quarrel over the scarf. They are so agitated that they only way their mother can resolve the fight is by tearing the scarf in half. When the sisters and mother leave, insisting that Cinderella sweep the floor (again!), her father tries to step in, but Cinderella insists that the task of sweeping belongs to her.

When her father leaves, she is left alone with her thoughts. She has a brief, playful fantasy with the mice of the house, who are her only real friends.

Her lonely thoughts induce memories of her mother. She pulls a painting of her mother from its hiding place and is overcome with longing to be with her again. Cinderella’s father finds her weeping, and they comfort each other.

Suddenly, in a huff, the sisters rush in to accuse Father of playing favorites with Cinderella.

The fury is momentarily halted when an invitation to a very grand ball arrives. The Prince of the land is expected to choose a wife. Panic sets in as the stepmother and sisters try to imagine

what they should wear.

Unexpectedly, the atmosphere changes, as a mysterious darkness fills the room, and a beggar woman appears from nowhere asking for food.

The sisters and stepmother are appalled, but Cinderella is sympathetic and offers the beggar a loaf of bread. Just as mysteriously as the beggar woman appeared, she disappears.

The mood changes instantly when the Wardrobe Master, Jeweler, and Dance Master arrive to prepare the sisters and stepmother for the grand ball. There is much frolicking and excitement as the sisters and mother depart for the imperial event.

Left alone again in her tattered clothes, Cinderella becomes sad as she realizes that she will never be able to attend a beautiful ball like the one her sisters are going to. Wishing also to be at the ball, Cinderella gets carried away imagining her unattainable dreams. In a cloud of mystery, the beggar woman again appears. As Cinderella turns to find another loaf of bread, the beggar woman is transformed into a beautiful Fairy Godmother. She takes Cinderella to a magical land where shining fairies representing each of the seasons bring Cinderella special gifts to pre-

PHOTOGRAPHY BY PETER MUELLER

SYNOPSIS pare her for the ball. Before she leaves for the Prince’s castle the Fairy Godmother warns her that she must return at exactly 12 o’clock, for at midnight she will turn back into her original state. Cinderella, now dressed in a stunning gown and sparkling glass slippers, is radiant. The pumpkin, a gift from the Autumn Fairy, magically becomes a spectacular carriage, and Cinderella is whisked away to the ball of her dreams.

ACT II The curtain opens on the ball at the Prince’s castle, set in an elegant room filled with splendidly dressed courtiers dancing in a stately manner. The Stepmother and her daughters arrive and try pathetically to imitate the courtiers, attracting considerable attention. Two of the Prince’s friends find themselves unlucky enough to be dancing with them.

The Prince appears, greets his guests and takes a seat on his throne. As the ball continues, there are strains of new, enchanting music, Magical fairies enter with a lovely girl that the Prince cannot take his eyes off of. All the men in the court are wondering who she is. No one, not even her family recognizes her. The Prince and Cinderella dance for each other and the court. In gratitude for her beauty, the Prince offers her fresh oranges, a delicacy in that time.

The sisters, in their usual state of jealousy, see the oranges and demand some for themselves.

In a resulting confusion, Cinderella is escorted away, and the Prince suddenly realizes she has disappeared. When they finally find each other, they are alone and share a private moment to stare into each other’s eyes. When the court reenters, the festivities continue. Right at the height of the celebration, before Cinderella has had time to contemplate that such an evening could ever end, the clock strikes 12. As predicted by the Fairy Godmother, great confusion ensues. The elves emerge from the clock, and the entire court is swept into bewilderment, just as the Fairy Godmother warned. Terrified, Cinderella flees the castle. She loses one glass slipper as she dashes out. The Prince discovers it and is comforted by the hope that if he finds the womPHOTOGRAPHY BY PETER MUELLER FEATURING JANESSA TOUCHET

an whose foot fits the glass slipper, he will find his true love.

We see Cinderella, now in rags, dash out. By the time the prince’s friends, her sisters, and stepmother leave the ballroom, Cinderella is back at home thinking about the Prince. Could the evening have been real, she wonders? Her contemplative thoughts are interrupted by the noisy entrance of her stepsisters reliving memories from last night’s ball: how popular they were and how the Prince gave them oranges. As usual, they get into a bickering fight. They stop short when attendants enter to tell them that the Prince is on his way, looking for the girl whose foot will fit the glass slipper. When the Prince arrives, both sisters and even the mother try to force the delicate slipper onto their enormous feet. As Cinderella is assisting her siblings, her glass slipper falls from the pocket of her rags. All is quiet as the Prince realizes that she is indeed the girl from the ball.

The sisters can hardly believe their eyes. Cinderella tenderly accepts the Prince’s hand and bids her father, and even her sisters and stepmother farewell to go with the Prince. Their union is a cause for great celebration, and the Fairy Godmother and all her special fairies appear to escort Cinderella and the Prince to the land where they will live happily ever after.

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PROGRAMS FOR SCHOOLS IN-SCHOOL RESIDENCIES Cincinnati Ballet is delighted to provide elementary schools in the greater Cincinnati area with FREE residency experiences sure to inspire your students to move and to develop an appreciation for the art of dance.

Focus: Second Grade Available: September - December The CincyDance! program starts in the classroom using a combination of physical education curriculum and dance training to activate a student’s desire to express themselves through movement. Following the residency, students are invited to audition for scholarships to continue their training at Cincinnati Ballet.

STORY CHOREOGRAPHY PROJECT Focus: Fifth and Sixth Grade Available: January - April

Introduce your students to the power of storytelling through movement with the Story Choreography Project. Students connect to the language arts curriculum through a collaborative work of art highlighting their personal stories and their connections to each other and the community.

PERFORMANCES FOR SCHOOLS Cincinnati Ballet makes the beauty of live performance available to students across the greater Cincinnati area through in-school touring productions and student matinees for all grade levels.

TOURING COMMUNITY PERFORMANCES Bring Cincinnati Ballet directly to your school or community center! Each production is designed with a specific age group in mind and creates an experience that welcomes new audiences to dance through accessible storytelling, relatable themes, fun choreography, and interactive content.

STUDENT MATINEES Cincinnati Ballet’s student matinees connect students to live dance at the Aronoff Center, Music Hall, and the Valentine Center for Dance.

These special performances are offered at an accessible price and time, making for an extraordinary student experience and a unique connection to the region’s largest professional ballet company.

TO LEARN MORE Email: education@cballet.org Call: 513.562.1124 Visit: cballet.org

C R E AT I V E T E A M

Peter Farmer designed for most of the major ballet companies in the world, including the Royal Ballet, London Festival Ballet, London Contemporary Dance Theatre, Houston Ballet, London City Ballet, Sadler’s Wells Royal Ballet, the Royal Danish Ballet, American Ballet Theatre, the Rome and Cologne Opera Houses, Stuttgart Ballet, the Royal Winnipeg Ballet, New London Ballet, Ballet Rambert, Scottish Ballet, Northern Ballet Theatre, the Dutch National Ballet, the Washington Ballet, and Chicago City Ballet.

His work includes designs for The Sleeping Beauty in Munich; Anna Karenina and The Three Musketeers for Australia; Giselle for Texas and

Rio de Janeiro; Swan Lake for the Royal Winnipeg Ballet and Hong Kong; The Great Gatsby for Pittsburgh; The Nutcracker for Cincinnati and Oregon; Les Sylphides for Rio de Janeiro; Anna Karenina for the ballet companies in Santiago, Chile, and Norway; La Traviata for London City Ballet; Cinderella for Cincinnati; Giselle for the Star Dancers in Tokyo; Coppelia for Portugal; Inoue Ballet and The Nutcracker for Pittsburgh; Kenneth MacMillan’s Winter Dreams, for the Royal Ballet; and Manon for the Australian, Vienna, Houston, and Kirov ballets. Also, Peter Darrell’s Tales of Hoffmann, Swan Lake, and The Nutcracker for Hong Kong; Les Sylphides, Coppelia, and Ashton’s Birthday Offering for Birmingham RB; Madam Butterfly for Australia; and Swan Lake and a new version of The Nutcracker for the English National Ballet.

Cincinnati Ballet

PETER FARMER (1936–2017)

SCENIC AND COSTUME DESIGN

CLIFTON TAYLOR

LIGHTING DESIGN

Clifton Taylor has created designs for Broadway as well as opera, theater, and dance companies around the world. He has also designed the lighting for the acclaimed production of Alice (in Wonderland) at the Cincinnati Ballet. Additionally, his designs for dance have been commissioned for the repertories of the Royal Ballet (London), the Hong Kong Ballet, Rambert (London), Mikhailovsky

(Russia), ABT, San Francisco, and Boston and Washington Ballets. He frequently works abroad and has designed recently in Italy, China, Hong Kong, Indonesia, the UK, Chile, and Singapore.

He has been named a “Knight of Illumination” in the UK for his work in dance lighting. His book, Color & Light has quickly become a standard text for lighting programs all over the world. Taylor is currently on the faculty of the University of North Carolina School of the Arts. For more information, please visit www.designcurve.com

ERIC VAN WYK

PUPPET CO-DESIGNER AND BUILDER

Eric J. Van Wyk received his MFA in Scenic Design from the University of Maryland, College Park, his BA in Fine Arts from Dordt College and studied puppetry with Sandglass Theatre. His puppetry and scenic designs have been featured at Open Eye Figure Theatre, Children’s Theatre

Co., Imagination Stage, The National Theatre in Washington, D.C., The White House, The Hong Kong Ballet, and The Washington Ballet.

His company WonderStruck Theatre cocreated the new work of Mop Dog, has received two Jim Henson Foundation grants including one for The Elephant Speaks Jazz world premiere. His designs for The Big Friendly Giant received a Helen Hayes Award, and he thanks his family for their inspiration and enjoying objects in motion.

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Cincinnati Ballet

ARTISTIC LISTING Cincinnati Ballet

Victoria Morgan

THE SUE AND BILL FRIEDLANDER ARTISTIC DIRECTOR

ARTISTIC STAFF Carmon DeLeone

Dale Shields

MUSIC DIRECTOR

REHEARSAL DIRECTOR

Suzette Boyer Webb

Cervilio Miguel Amador

DIRECTOR OF SECOND COMPANY

REHEARSAL DIRECTOR

THE COMPANY PRINCIPALS Melissa Gelfin De-Poli

Sirui Liu

Rafael Quenedit

FIRST SOLOISTS Minori Sakita

Maizyalet Velázquez

SOLOISTS David Morse

Chandler Proctor

Marcus Romeo

Joshua Stayton

CORPS DE BALLET Daniel Baldwin Taylor Carrasco Gabrielle Collins Jacqueline Damico Amador Luca De-Poli

Abbey Gonzalez Kay Matthew Griffin Samantha Griffin Christina LaForgia Morse Michael Mengden

Jace Pauly Samantha Riester Bella Ureta Daniel Wagner

NEW DANCER Nikita Boris

APPRENTICES Catherine Lasak

Jhaelin McQuay

SECOND COMPANY: CB2 Nicolas Bierwagen Erin Blair Megan Carnuche Anderson Da Silva

Sam Epstein Hailey Flanagan Julia Gundzik Thompson McNeilly

Isabelle Morgan Taylor Nichols Daniel Panameño Anthony Rhee-Reynoso

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P R I N C I PA L D A N C E R S Cincinnati Ballet

MELISSA GELFIN DE-POLI

PRINCIPAL DANCER | PHILADELPHIA, PA | JOINED CINCINNATI BALLET IN 2014

Melissa Gelfin De-Poli began her ballet training with Lisa Collins Vidnovic at Metropolitan Ballet Academy and continued with Barbara Sandonato and Andrea Long-Naidu at Barbara Sandonato School of Ballet. She joined the Jacqueline Kennedy Onassis School at American Ballet Theatre in 2009, under the direction of Franco De Vita and Raymond Lukens, and was awarded a National Training Scholarship with ABT. Prior to dancing with Cincinnati Ballet, Gelfin De-Poli danced for Orlando Ballet II and Orlando Ballet Company from 2011 to 2014 and was a finalist in the 2014 Jackson International Ballet Competition. Gelfin DePoli joined Cincinnati Ballet as a New Dancer for the 2014–2015 Season and was promoted to Corps De Ballet in February of 2015. She was promoted to Senior Soloist in 2017 and Principal Dancer in 2018. As a dancer with Cincinnati Ballet, Gelfin De-Poli’s repertoire includes classical and contemporary works by Septime Webre, Yuri Possikov, Victoria Morgan, Val Caniparoli, Jerome Robbins, George Balanchine, Nicolo Fonte, Annabelle Lopez Ochoa, Adam Hougland, and Ma Cong. She has danced Principal roles in Septime Webre’s ALICE (in Wonderland) and The Wizard of Oz, Victoria Morgan’s The Nutcracker, King Arthur’s Camelot, and Romeo & Juliet, Kirk Peterson’s Coppélia and Swan Lake, George Balanchine’s Rubies and Serenade, Devon Carney’s The Sleeping Beauty, and originated roles in Penny Saunders’s Nannerl, Myles Thatcher’s Anamoly, Andrea Schermoly’s Swivet, and several works by Jennifer Archibald.

Gelfin De-Poli debuted as a choreographer in a solo work for the inaugural 2018 Female Choreographic Initiative Festival hosted by Houston Ballet. She has since debuted two world premieres for Cincinnati Ballet’s 2019 and 2020 The Kaplan New Works Series with her works Clockwise and Ain’t I a Woman respectively. During the summer months, Gelfin De-Poli performs and tours with Moving Arts Company.

SIRUI LIU

PRINCIPAL DANCER | SHANGHAI, CHINA | JOINED CINCINNATI BALLET IN 2011

Sirui Liu trained at Shanghai Dance School affiliated to Shanghai Theater Academy from 2000 to 2007 and went on to the Shanghai Dance College of Shanghai Theater Academy for four years.

The desire to expand her dance horizons upon graduation led Liu to Cincinnati Ballet, for which she left her school and family in China. Liu won a gold medal competing in senior group of ballet of the Ninth Taolibei National Dance Competition in China in 2009 and the gold medal of senior group of Beijing International Ballet Invitational in China in 2010. Liu was invited to perform in Night of Ballet Gala in Ulaanbaatar Mongolia in June 2016.

Sirui competed in 2014’s USA International Ballet Competition, progressing to the third and final round.

Liu was named one of the Top 25 Dancers to Watch in 2017 by Dance Magazine. She has danced several Pas de Deux including Black Swan, Don Quixote, Esmeralda, Diana and Acteon, Le Corsaire, Paquita, Coppelia. She has also performed Principal roles such as Odette and Odile in Swan Lake, Sugar Plum Fairy and Snow Queen in The Nutcracker, Lilac Fairy in The Sleeping Beauty, Waltz Girl in Balanchine’s Serenade, Tall Girl in Balanchine’s Rubies, The Chosen One in Rite of Spring, Pas couple in Minus 16, amongst other ballets. Liu has also worked with internationally acclaimed choreographers such as Val Caniparoli, Yuri Possokhov, Kirk Peterson, Trey Mcintyre, Alejandro Cerrudo, Ohad Naharin, Annabelle Lope Ochoa, Nicolo Fonte, Garrett Smith, Justin Peck, Septime Webre, Jennifer Archibald, Ma Cong, Travis Wall, and more. Liu is the co-owner of Improvedance and Active Royale. She was named a Cincinnati Ballet Soloist in 2015 and promoted to Principal Dancer in 2017.

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P R I N C I PA L D A N C E R S

Rafael Quenedit began his training in 2006 in Cuba at Escuela Elemental de Ballet Alejo Carpentier where he trained for five years. He then spent eight years training with the National Ballet School of Cuba. He graduated in 2014 and joined the National Ballet of Cuba as a Corps de ballet dancer. Quenedit was quickly cast in Soloist and Principal roles, before being named Principal dancer at the prestigious international company. Principal roles with the National Ballet of Cuba include Swan Lake, Don Quixote, Giselle, La Fille Mal Gardée, The Nutcracker, Romeo & Juliet, Carmen, La Bayadere, Cinderella, and Theme & Variations. He made his Cincinnati Ballet debut during the 2020–2021 Season in Bold Moves Plus. He has also worked with internationally-renowned choreographers including Alicia Alonso, Alexei Ratmansky, Annabelle Lopez Ochoa, Giuliano Peparini, and Alberto Mendez, among others. He has performed lead roles in the United States, Italy, Spain, France, Canada, Mexico, and several others. Competition awards include the bronze medal at the International Ballet competition in Havana, Cuba, Junior division; gold medal at the International Ballet competition in Cape Town, South Africa, Junior division; and gold medal at the XX International Ballet competition in Havana, Cuba. He was also awarded best Artistic Performance, Senior division; and winner at Amici World Dance competition in Italy.

PHOTOGRAPHY BY HIROMI PLATT

Cincinnati Ballet

RAFAEL QUENEDIT

PRINCIPAL DANCER | HAVANA, CUBA | JOINED CINCINNATI BALLET IN 2021

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best

RESTAU

Wednesday, March 16 | 6 pm Delta Hotels by Marriott, Sharonville CincinnatiMagazine.com/BestRestaurantsEvent

RANTS Join us as we celebrate our diverse local restaurant scene, featuring taste-tempting samples from establishments that are longtime favorites, masters of reinvention, or future classics.

BE EMPOWERED BE CONNECTED • BE INSPIRED BE ENERGIZED • BE BOLD Cincinnati Ballet’s Étoile brings together women throughout Cincinnati to connect, network, celebrate, and support each other through exclusive events and interactions with today’s outstanding female choreographers, dancers, designers, and community leaders.

ÉTOILE AFFILIATES Deborah Brant Renee Combs Lisa Damico Kristin Fishbaugh Kay Geiger Caprice Gilpin Arielle M. Goldberg Linda Greenberg

Kathryn Harsh* Becky Hogya Daphne Jurgensen* Renee W. Kreeger Betsy LaMacchia Jill McGruder Mindy McLaughlin Victoria Morgan

Jenny Mottier Cari E. Moy Valerie Newell Kathy O’Brien Maribeth S. Rahe Lori Rappold Beth Rezelj Diane M. Rumpke*

Rosemary Schlachter Renee Schuler Lauren Hannan Shafer Susan Shelton Susan Tew The Velvet Cricket On-line Auctions* Robyn Wenzke

ÉTOILE ASSOCIATES Tanya Cornejo Judy Dalambakis* Jennifer Damiano

Kelly M. Dehan Melinda Gardner* Lynn Langmeyer

Karen F. Maier Marilyn Porcino Martha Ragland

Lisa M. Sampson* Tamara Weik, ASID

ÉTOILE MEMBERS Kris Attema Beth Barney Lauren Beckert* Carla Booth Sarah Brown Mary Kay Calonge Erin H. Carpenter Andrea D. Costa Connie Bergstein Dow Sarah Frank Fogarty

Jodi M. Geiser Camille Healy Jennifer Herzog Theresa Hooker Tonya Hurst* Marcy Kanter Heather Krombholz Susan Krott Deborah Livingston*

Laura R. Lucas Alexa Naramore Joselyn Michelle Pfeil Julia Poston Tracey Puthoff Yvonne Reissig Elyse Morgan Roth Judith Roth Keke Sansalone

Audrey Shelton Valarie Sheppard Jen Stein Susie Tweddell Faith C. Whittaker Kathy Wilkinson Ronna Willis Jennifer Knight Zelkind Michelle Ziegler Alexia Zigoris

Want to find out more about Étoile?

Contact ILONA PIASKOWY at ipiaskowy@cballet.org for information. *A Special Thank You to Our Étoile Committee Members

All memberships support female chorography at Cincinnati Ballet.

2021 - 2022 ÉTOILE SPONSORS PRESENTING SPONSOR

Maizyalet Velázquez • Photography: Aaron M. Conway

T H E C O M PA N Y Cincinnati Ballet

CORPS DE BALLET

DANIEL BALDWIN

TAYLOR CARRASCO

GABRIELLE COLLINS

JACQUELINE DAMICO AMADOR

LUCA DE-POLI

ABBEY GONZALEZ KAY

MATTHEW GRIFFIN

SAMANTHA GRIFFIN

CHRISTINA LAFORGIA MORSE

SOUTH CAROLINA | 2017

PENNSYLVANIA | 2008

FLORIDA | 2017

NEW MEXICO | 2015

FLORIDA | 2014

NORTH CAROLINA | 2015

CONNECTICUT | 2020

FLORIDA | 2017

SOUTH CAROLINA | 2014

MICHAEL MENGDEN TEXAS | 2016

PHOTOGRAPHY BY HIROMI PLATT

JACE PAULY

WASHINGTON | 2020

SAMANTHA RIESTER INDIANA | 2015

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Help Build on the Dream 1801 Gilbert Avenue. It's the address of the new Cincinnati Ballet Margaret and Michael Valentine Center for Dance. This world-class facility is a reality thanks to the support of our generous donors. It's not too late to join this special group of supporters with a gift to the 1801 campaign. Be a part of our future!

Photography: Feinknopf

Scan the QR Code to make a gift towards our new Ballet Center.

YOUR NAME HERE

Donations of $1,801 or more will be recognized with a name engraving on our Community Terrace and Performance Plaza.

T H E C O M PA N Y Cincinnati Ballet

PRINCIPALS

MELISSA GELFIN DE-POLI

SIRUI LIU

RAFAEL QUENEDIT

CHINA | 2011

PENNSYLVANIA | 2014

CUBA | 2021

FIRST SOLOISTS

MINORI SAKITA

MAIZYALET VELÁZQUEZ PUERTO RICO | 2007

MARYLAND | 2019

SOLOISTS

DAVID MORSE

CHANDLER PROCTOR

NORTH CAROLINA | 2016

NORTH CAROLINA | 2021

JOSHUA STAYTON

MARCUS ROMEO

OHIO | 2019

PHOTOGRAPHY BY HIROMI PLATT

PENNSYLVANIA | 2017

35

T H E C O M PA N Y Cincinnati Ballet

CORPS DE BALLET

DANIEL WAGNER

BELLA URETA

CALIFORNIA | 2020

WASHINGTON | 2017

NEW DANCER

NIKITA BORIS

NEW JERSEY | 2020

APPRENTICES

CATHERINE LASAK ILLINOIS | 2018

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JHAELIN MCQUAY CALIFORNIA | 2019

T H E C O M PA N Y Cincinnati Ballet

CB2

NICOLAS BIERWAGEN

ERIN BLAIR

WASHINGTON | 2021

CALIFORNIA | 2021

SAM EPSTEIN

HAILEY FLANAGAN

NEW YORK | 2021

ISABELLE MORGAN KENTUCKY | 2019

GEORGIA | 2021

TAYLOR NICHOLS MICHIGAN | 2019

MEGAN CARNUCHE ANDERSON DA SILVA PENNSYLVANIA | 2021

FLORIDA | 2021

JULIA GUNDZIK

THOMPSON MCNEILLY

OHIO | 2021

DANIEL PANAMEÑO FLORIDA | 2021

NEW YORK | 2021

ANTHONY RHEE-REYNOSO CALIFORNIA | 2020

PROFESSIONAL TRAINING DIVISION

TRAINEE CATHLEEN BRESLIN, MICHAEL DUNCAN, KAYLA FRENCH, EDWARD KIDD, NATALIE MARSHALL, RAMSAY MILLER, SIOBHAN NICKELL, TREVOR PINTERPARSONS, SCOTT REED, LAUREN VOGEL, AVERY WARD PTD LUCY ARNOLD, HANNAH BLAIR, AVA BRADFORD, JENNA DAUGHERTY, ABIGAIL EINTERZ, AMBER HARPER, MADELYN HARPOLE, NATALIE HIGLE, ANNA KINGHORN, SAMANTHA LANDRUM, ANNIKA OLSEN, SIERRA SEVERT, CLAIRE STURGEON, SALOMÉ TREGRE

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Cincinnati Ballet

T H E S TO RY T E L L I N G G E N I U S O F

S E R G E I P R O KO F I E V

The magical score of Cinderella

“The Prokofiev score really is one of the most stunning, beautiful scores in all of ballet repertoire…”

ARTISTIC DIRECTOR VICTORIA MORGAN

set of challenges: “What I wished to express above all in the music of Cinderella was the poetic love of Cinderella and the Prince, the birth and flowering of that love, the obstacles in its path, and finally the dream fulfilled. The fairytale offered a number of fascinating problems for me as a composer—the atmosphere of magic surrounding the Fairy Godmother…the swift change of scene as the Prince journeys far and wide in search of Cinderella; the poetry of nature personified by the four fairies symbolizing the four seasons.”

C

inderella, the Prince, the Stepsisters, the Fairy Godmother. These are, of course, some of the familiar characters in the ballet Cinderella. But there is another main character in the production that is just as important to telling the iconic story. It is also a character you never see on stage—the musical score. Russian composer Sergei Prokofiev began writing the music for his ballet Cinderella in 1940 and completed what is arguably one of the greatest orchestral scores of the 20th century five years later. Prokofiev himself said composing music for the famous fairy tale came with a unique

38

IF THE SCORE FITS…

“The music in Cinderella is beautiful, witty, and to be honest, often unexpected,” says Cincinnati Ballet Artistic Director Victoria Morgan. “The Prokofiev score really is one of the most stunning, beautiful scores in all of ballet repertoire, and there is nothing like a score that tells the story. The music defines the narrative, and the movement goes along for the ride.” Morgan encourages audiences to listen closely to the score, as they will hear a lot of musical themes specific to different characters, themes that will be recognizable to the audience as they are immersed in the story. Cinderella has

these themes, often known as leitmotifs, as do the Prince and the Fairy Godmother. The humble, good-hearted girl literally sweeps through much of Act I and dances with her broom, imagining the Prince. Morgan intentionally highlights Cinderella’s girlishness with quick, deliberate movements that pair perfectly with Prokofiev’s bright orchestration, a definite thematic contrast to the broad balletic sweep that heralds the Fairy Godmother’s presence on stage. “The brilliance of Prokofiev is these characters are ‘felt’ in the music,” Morgan adds.

“Part of the reason Prokofiev is such a master storyteller is the accessibility of the music. Some of it really gets stuck in your head,” says Cincinnati Ballet Music Director Carmon DeLeone. “Prokofiev also links these leitmotifs to emotions. There is a flowing, romantic melody that you hear at the beginning and the conclusion of the ballet that communicates an outpouring of love and affection. Prokofiev wrote it in C Major; a very important key in the ballet music of Prokofiev as the key is grounded and warm each time you hear it, it conveys a gen-

example, when the clock strikes midnight, come to life because the music captures the drama of the emotional moment. “Prokofiev is so clever and so brilliant,” Morgan says. “He will give you a five-count phrase and then a seven-count phrase and then a five and then a nine, so it’s unpredictable, yet to me in some ways so much more natural because we don’t express emotion in a consistent meter. For example, when you first lay eyes on someone you are attracted to, as Cinderella and the Prince do in the bal“Cinderella is filled with quirky, let, there even slightly cheeky melodies, is this which play with our expectations.” swelling ARTISTIC DIRECTOR VICTORIA MORGAN of warmth and emotion, and it doesn’t have a count.

Or, for tle and pleasant emotion.” This theme is introduced at the begin- example, a character in the ballet ning of the ballet. Representing sees something that causes them the love between Cinderella and to feel frustrated, those moments the Prince, it functions as musi- are percussive and sharp, which cal foreshadowing. At the end of makes a kind of unexpected the ballet, as Cinderella dances sense from an emotional perwith the Prince, the theme re- spective.” Morgan adds that the turns. Prokofiev creates a feeling music in and of itself is so exof depth and soaring expansive- pressive, it creates an incredible ness in the orchestration. Pivot- breadth of artistic possibilities. al moments in the narrative, for “You get to go places you haven’t

been before because of that freedom of not being tied to certain meter or regimen.”

BALLET WITH A TWIST

“Not all classical ballet is Swan Lake and Giselle,” Morgan says.

“Cinderella is filled with quirky, even slightly cheeky melodies, which play with our expectations.” In Cinderella, Prokofiev shows off a serious sense of humor. “Prokofiev loves to give us little musical curve balls in the form of unexpected notes and sudden harmonic twists. More than once he departs into a completely unrelated key,” DeLeone notes. Cinderella’s foils—the Stepsisters—are the perfect characters to demonstrate this humorous musical dissonance.

“When you think of Russian composers, you might not think of the word ‘mischievous,’ ” Morgan explains. “But when the stepsisters are on stage, the music really texturizes the absurdity of their antics. It’s such fun!”

And who wouldn’t want to have fun at the theater? For Morgan’s 25th Anniversary Season, there is no better way to celebrate than with a story of true love with a melodious score, proving musical dreams really do come true.

39

AN I CO NIC AR CH ITEC TURAL WONDER A Look Inside the Margaret and Michael Valentine Center for Dance

I

t’s impossible to miss.

Perched alongside I-71 in Walnut Hills, the new Cincinnati Ballet Margaret and Michael Valentine Center for Dance is an architectural jewel in the crown of the Queen City. With its gleaming exterior, it’s already become a Cincinnati icon. You may have glimpsed dancers in rehearsal from the floor-to-ceiling windows of the Sheakley Family Premier Studio as you drove in or out of the city. The Center for Dance is the community’s destination for dance, whether it’s an adult dance fitness class, a child’s first ballet class, or a community performance. We can’t wait to welcome you to

40

the Center. Designed by GBBN Architects and built

by Messer Construction Co., the 57,000-squarefoot space houses nine studios built specifically for the unique needs of dancers with wide-open spaces with no impediments, 26 foot ceilings, and sprung floors. The architects took great care to create a space that tells a story about dance. If you look closely, the wallpaper featured on the first floor includes the names of every production performed by Cincinnati Ballet. Lights on the ceiling are framed with five slats, representing the five positions of the feet in ballet. Here’s a closer look inside our incredible new home.

PHOTOGRAPHY BY FEINKNOPF / BY (MIDDLE RIGHT) AARON M. CONWAY

Cincinnati Ballet

CLOCKWISE FROM LEFT: The Cincinnati Ballet Michael and Margaret Valentine Center for Dance; the Karen F. Maier and Delane Starliper Display Case; Otto M. Budig Academy Professional Training Division Students in the Lynn and Brian Good Studio; Marcus Romeo, Maizyalet Velázquez, Rafael Quenedit, Sirui Liu, Bella Ureta, Jace Pauly in the Sheakley Family Premier Studio; the Fran and Wayne Carlisle Studio from below; Sam Epstein in the Sheakely Family Premier Studio.

41

SATURDAY 6:30PM CET SUNDAY 8:30PM CET ARTS Join Barbara Kellar as she showcases artists and cultural leaders from the Greater Cincinnati community.

Em mmyy Award Win nner www.CETconnect.org

Regional - In Re nterrview ew/D /Discu cussio i n Program m

BOARD OF TRUSTEES

T. Quinn

Joel Stone

Kristin Fishbaugh

Sarah Frank-Fogarty

CHAIR

VICE CHAIR

TREASURER

SECRETARY

Sergio Arreola Debbie Brant Fran Carlisle Smokey Clay David Cook Andrea Costa Judy Dalambakis Jennifer Damiano Jerry Ewers

Paul Frodge Jodi Geiser Rico Grant Linda Greenberg Bruce Halpryn Ken Heldman Cynthia E. Henderson Lydia Jacobs-Horton Bruce Jeffery

Daphne Jurgensen Peter Laffoon Mark McAndrew Megan McCarthy-Wolf Jack Miner Katy Moeggenberg Emerson Moser Alex Muñoz Toilynn O’Neal

Alexandra Ollinger, CFP Jim Papakirk Alandes Powell Marty Ragland Jennifer Stein Faith Whittaker Jennifer Knight Zelkind

Cincinnati Ballet

2021–2022 GOVERNING BOARD

SUSTAINING TRUSTEES Michael Bailes Bernie Calonge Sheila Cohen Connie Bergstein Dow Sandra A. Eisele, MD, MBA Kathryn Harsh Dr. Edmond Hooker Beth Levy

Leon Loewenstein Madelynn Matlock Larry McGruder Skip Merten Cathy Nwankwo Marilyn Osborn Joselyn Pfeil Julie Richardson

Kitty Rosenthal Morleen Rouse Diane Rumpke Keke Sansalone Tom Schiff Beth Snyder Christina Sprecher Brett Stover

Mary Talbott Heather Theders Pamela F. Thompson, CFA Serena Tsuang Kelly Vanasse M. Catherine Vernon Gary West Barbara Weyand

TRUSTEES EMERITUS Kelly Brown Laura Brunner Trish Bryan Otto M. Budig, Jr. Nancy Clagett William Cordes

Lynn Good Lorrence Kellar Charles MacDonnell Richardson McKinney Tom Neyer Carol Duane Olson

Paul Ose Melody Sawyer Richardson Michael Rozow James Sammarco Kathleen Selker

Rhonda Sheakley Russell Shelton Shelly Sherman Julie Shifman Linda Smith Ronna Willis

HONORARY TRUSTEES Craig F. Maier

Rhoda Mayerson+

FOUNDATION BOARD

Scott Altman Michael Bailes Debbie Brant

Otto M. Budig, Jr.

Pamela F. Thompson, CFA

PRESIDENT

TREASURER

Kelly Brown Joe Carolin* Joseph Dehner

*Ex Officio

Madelynn Matlock Robert Pitcairn T. Quinn

Rhonda Sheakley Jennifer Stein Joel Stone

+ In Memoriam

43

Cincinnati Ballet

Today is the day to inspire, delight and amaze.

PNC is honored to celebrate Victoria Morgan’s 25th anniversary season with the Cincinnati Ballet. Victoria serves as an inspiration to us all and her creative passion leaves an indelible impression throughout the arts and our community.

©2021 The PNC Financial Services Group, Inc. All rights reserved. PNC Bank, National Association. Member FDIC CON PDF 0618-0106

C I N C I N N AT I SYMPHONY ORCHESTRA

SECOND VIOLINS Gabriel Pegis PRINCIPAL, AL LEVINSON CHAIR Yang Liu* HAROLD B. & BETTY JUSTICE CHAIR Scott Mozlin** HENRY MEYER CHAIR Kun Dong Cheryl Benedict Evin Blomberg§ Rachel Charbel IDA RINGLING NORTH CHAIR Elizabeth Furuta† Chika Kinderman Hyesun Park Paul Patterson CHARLES GAUSMANN CHAIR++ Stacey Woolley BRENDA & RALPH TAYLOR CHAIR++ VIOLAS Christian Colberg PRINCIPAL, LOUISE D. & LOUIS NIPPERT CHAIR Paul Frankenfeld* GRACE M. ALLEN CHAIR Julian Wilkison** Rebecca Barnes§

Christopher Fischer Stephen Fryxell MELINDA & IRWIN SIMON CHAIR Caterina Longhi Denisse Rodriguez-Rivera Joanne Wojtowicz CELLOS Ilya Finkelshteyn PRINCIPAL, IRENE &JOHN J. EMERY CHAIR Daniel Culnan* ONA HIXSON DATER CHAIR Norman Johns** KARL & ROBERTA SCHLACHTER FAMILY CHAIR Matthew Lad§ MARVIN KOLODZIK CHAIR Susan Marshall-Petersen LAURA KIMBLE MCLELLAN CHAIR++ Hiro Matsuo Theodore Nelson PETER G. COURLASNICHOLAS TSIMARAS CHAIR++ Alan Rafferty RUTH F. ROSEVEAR CHAIR BASSES Owen Lee PRINCIPAL, MARY ALICE HEEKIN BURKE CHAIR++ James Lambert* THOMAS VANDEN EYNDEN CHAIR Matthew Zory, Jr.**+ TRISH & RICK BRYAN CHAIR Boris Astafiev§ Ronald Bozicevich DONALD & MARGARET ROBINSON CHAIR Rick Vizachero HARP Gillian Benet Sella PRINCIPAL, CYNTHIA & FRANK STEWART CHAIR FLUTES Randolph Bowman PRINCIPAL, CHARLES FREDERIC GOSS CHAIR Henrik Heide*† Haley Bangs JANE & DAVID ELLIS CHAIR PICCOLO [OPEN] PATRICIA GROSS LINNEMANN CHAIR OBOES Dwight Parry PRINCIPAL, JOSEPHINE I. & DAVID J. JOSEPH, JR. CHAIR Lon Bussell* STEPHEN P. MCKEAN CHAIR Emily Beare

§ Begins the alphabetical listing of players who participate in a system of rotated seating within the string section. * Associate Principal ** Assistant Principal

ENGLISH HORN Christopher Philpotts PRINCIPAL, ALBERTA & DR. MAURICE MARSH CHAIR++ CLARINETS Christopher Pell PRINCIPAL, EMMA MARGARET & IRVING D. GOLDMAN CHAIR Joseph Morris* ASSOCIATE PRINCIPAL AND EB CLARINET, ROBERT E. & FAY BOEH CHAIR++ Ixi Chen VICKY & RICK REY OLDS CHAIR IN HONOR OF WILLIAM A. FRIEDLANDER BASS CLARINET Ronald Aufmann BASSOONS Christopher Sales PRINCIPAL, EMALEE SCHAVEL CHAIR++ Martin Garcia* Hugh Michie CONTRABASSOON Jennifer Monroe FRENCH HORNS Elizabeth Freimuth PRINCIPAL, MARY M. & CHARLES F. YEISER CHAIR [OPEN]* ELLEN A. & RICHARD C. BERGHAMER CHAIR Molly Norcross** ACTING ASSOCIATE PRINCIPAL, SWEENEY FAMILY CHAIR IN MEMORY OF DONALD C. SWEENEY Lisa Conway SUSANNE & PHILIP O. GEIER, JR. CHAIR Duane Dugge MARY & JOSEPH S. STERN, JR. CHAIR Charles Bell TRUMPETS Robert Sullivan PRINCIPAL, RAWSON CHAIR Douglas Lindsay* JACKIE & ROY SWEENEY FAMILY CHAIR Steven Pride OTTO M. BUDIG FAMILY FOUNDATION CHAIR++ Christopher Kiradjieff

BASS TROMBONE Peter Norton TUBA Christopher Olka PRINCIPAL, ASHLEY & BARBARA FORD CHAIR TIMPANI Patrick Schleker PRINCIPAL, MATTHEW & PEG WOODSIDE CHAIR Michael Culligan ACTING ASSOCIATE PRINCIPAL [OPEN]* MORLEEN & JACK ROUSE CHAIR

Cincinnati Ballet

FIRST VIOLINS Stefani Matsuo CONCERTMASTER, ANNA SINTON TAFT CHAIR Charles Morey ACTING ASSOCIATE CONCERTMASTER, TOM & DEE STEGMAN CHAIR Philip Marten FIRST ASSISTANT CONCERTMASTER, JAMES M. EWELL CHAIR++ Eric Bates SECOND ASSISTANT CONCERTMASTER, SERGE SHABABIAN CHAIR Kathryn Woolley NICHOLAS TSIMARAS–PETER G. COURLAS CHAIR++ Anna Reider DIANNE & J. DAVID ROSENBERG CHAIR Mauricio Aguiar§ Minyoung Baik James Braid MARC BOHLKE CHAIR GIVEN BY KATRIN & MANFRED BOHLKE Michelle Edgar Dugan Rebecca Kruger Fryxell Gerald Itzkoff JEAN TEN HAVE CHAIR Lois Reid Johnson ANNE G. & ROBERT W. DORSEY CHAIR++ Sylvia Mitchell JO ANN & PAUL WARD CHAIR Luo-Jia Wu

PERCUSSION David Fishlock PRINCIPAL, SUSAN S. & WILLIAM A. FRIEDLANDER CHAIR Michael Culligan* [OPEN]* MORLEEN & JACK ROUSE CHAIR Marc Wolfley+ KEYBOARDS Michael Chertock JAMES P. THORNTON CHAIR Julie Spangler+ JAMES P. THORNTON CHAIR CSO/CCM DIVERSITY FELLOWS~ Maalik Glover, violin Mwakudua waNgure, violin Tyler McKisson, viola Javier Otalora, viola Max Oppeltz-Carroz, cello Luis Parra, cello Samantha Powell, cello Luis Celis Avila, bass Amy Nickler, bass LIBRARIANS Christina Eaton ACTING PRINCIPAL LIBRARIAN, LOIS KLEIN JOLSON CHAIR Elizabeth Dunning ACTING ASSOCIATE PRINCIPAL LIBRARIAN Ellen Ogihara INTERIM ASSISTANT LIBRARIAN STAGE MANAGERS Brian P. Schott Phillip T. Sheridan Daniel Schultz Andrew Sheridan

TROMBONES Cristian Ganicenco PRINCIPAL, DOROTHY & JOHN HERMANIES CHAIR Joseph Rodriguez** SECOND/ASSISTANT PRINCIPAL TROMBONE

† One-year appointment ‡ Leave of absence + Cincinnati Pops rhythm section

++ CSO endowment only ~ Funded by the Andrew W. Mellon Foundation

45

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C I N C I N N AT I BA L L E T S TA F F Victoria Morgan THE SUE AND BILL FRIEDLANDER ARTISTIC DIRECTOR

ADMINISTRATION AND FINANCE Joe Carolin VICE PRESIDENT OF FINANCE AND CFO

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Missie Santomo CONTROLLER

Tom Parrish DIRECTOR OF INFORMATION TECHNOLOGY

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Stacey Rich, CPA STAFF ACCOUNTANT

Tyler Parker EXECUTIVE ASSISTANT TO THE PRESIDENT AND CEO

Ramsey Houston EXECUTIVE ASSISTANT TO THE ARTISTIC TEAM

ARTISTIC Carmon DeLeone MUSIC DIRECTOR

Cervilio Miguel Amador

Alexandria Wright DONOR RELATIONS MANAGER

MARKETING AND BRAND STRATEGY Nicole Doll VICE PRESIDENT OF MARKETING AND BRAND STRATEGY

Blair Ruscello MARKETING MANAGER

Nicholas Peltz SENIOR GRAPHIC DESIGNER AND CONTENT MANAGER

Katie Daly GRAPHIC DESIGNER

Dan Wood VIDEOGRAPHER

OTTO M. BUDIG ACADEMY AND EDUCATION Ginger Johnson VICE PRESIDENT OF ACADEMY AND EDUCATION

Sarah Hairston Berkley ACADEMY DIRECTOR

Carolyn Guido Clifford

REHEARSAL DIRECTOR

DIRECTOR OF EDUCATION

Dale Shields

Mike Krauss

REHEARSAL DIRECTOR

DIRECTOR OF ACADEMY OPERATIONS

Suzette Boyer Webb

Donna Grisez Julia Gundzik Sasha Hart Julius Jenkins Mary Kamp Christina LaForgia Morse Julie Locker Jenna Mays Jhaelin McQuay Mae Miller David Morse Patty Pille Emily Reinhart Samantha Riester Kate Stark Joshua Stayton Shauna Steele

Kate Brockmeier ASSOCIATE DIRECTOR OF PRODUCTION

Melinda Dobson PRODUCTION STAGE MANAGER

Dena D’Andrea COMPANY MANAGER

Carissa Gandenberger STAGE MANAGER

Noelle Wedig-Johnston WARDROBE SUPERVISOR

Andy DeWine SAFETY AND SECURITY SUPERVISOR

ACADEMY AND EDUCATION INSTRUCTORS

Mike Hickland

Rebekah Lorenz Iliana Rich Sierra Severt

Laura Hofmann

STUDENT EXPERIENCE REPRESENTATIVE

Cherl Beyersdoerfer

PATRON EXPERIENCE AND COMMUNITY ENGAGEMENT

MAINTENANCE AND CUSTODIAL SUPERVISOR FIRST WARDROBE ASSISTANT SECOND WARDROBE ASSISTANT

Dante Williams CUSTODIAN

Scott Berkley

Tom McLaughlin

MASTER CARPENTER

VICE PRESIDENT OF PATRON EXPERIENCE AND COMMUNITY ENGAGEMENT

Michael Meuché

Carolyn Guido Clifford

MASTER ELECTRICIAN

Kevin Barth PROPERTY MASTER

Emily Hetzer

DIRECTOR OF SECOND COMPANY

Zack Grubbs ACADEMY PRINCIPAL

DIRECTOR OF COMMUNITY ENGAGEMENT

Wilbur Lin

Maura Korn

Kate Brockmeier

REHEARSAL ACCOMPANIST/ ASSISTANT CONDUCTOR

STUDENT SERVICES MANAGER

ASSOCIATE DIRECTOR OF VOLUNTEER SERVICES

Isaac Selya

Kara Louis

Noelle Johnson

Horace Crawford Lawayne Shack

YOUTH PROGRAMS MANAGER

COMMUNITY ENGAGEMENT MANAGER

SAFETY AND SECURITY OFFICERS

Elizabeth Metz

Louanna Wyatt

Tal Kochav

ACADEMY REGISTRAR

PATRON EXPERIENCE MANAGER

Morgan Piper

ASSISTANT CONDUCTOR

Angelika Bonyhati-Kovacs Brian Cashwell BALLET ACCOMPANISTS

Wynn White

Ihaiah Miller

LEAD YOUNG PERFORMERS COORDINATOR

PRINCIPAL FACULTY, CONTEMPORARY AND CHOREOGRAPHY

Kelly Daley

Jennifer Rutherford

YOUNG PERFORMERS COORDINATOR

PRINCIPAL FACULTY, PROFESSIONAL TRAINING DIVISION COORDINATOR

Sam Epstein Abbey Gonzalez Kay Julia Gundzik YOUNG PERFORMERS REHEARSAL ASSISTANTS

PHILANTHROPY Sara Pomeroy VICE PRESIDENT OF PHILANTHROPY

Ilona Piaskowy INDIVIDUAL GIVING MANAGER

Caitlin Ackerman Donna Anderle Oliver Arana Ja’Nay Brown Rosa Compostella Jacqueline Damico Amador Emily Egner Isabele Elefson Kerry Enders Jeri Gatch Melissa Gelfin

Eline Bauwens Ja’Nay Brown Julianna Eidle Carolyn Gaddis Butch Hamm Rebekah Lorenz Jenna Mays Pam Taylor PATRON EXPERIENCE ASSOCIATES

PRODUCTION AND OPERATIONS DJ Haugen

Cincinnati Ballet

Scott Altman PRESIDENT AND CEO

ASSISTANT ELECTRICIAN

Jonathan Chevalier ASSISTANT CARPENTER

CCM LIGHTING INTERN CCM STAGE MANAGEMENT INTERN

Daniel Townsend WIG AND MAKE-UP EXECUTION

ATHLETIC TRAINERS Kelly Jo Rodrigo Carolyn Meder COURTESY OF MERCY HEALTH ORTHOPEDICS AND SPORTS MEDICINE

VICE PRESIDENT OF PRODUCTION AND OPERATIONS

Rachel Hinger DIRECTOR OF EVENTS AND FACILITIES

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DONOR HONOR ROLL Cincinnati Ballet

FOUNDER Deborah and Jody Brant Trish and Rick Bryan Paula I. Comisar Loretta Motz Cook and David Cook Helen Dupree Jerry Ewers and Brian L. Tiffany Sue and Bill Friedlander Lynn and Brian Good

Madeleine H. Gordon Linda and Gary Greenberg Bruce M. Halpryn and Chas W. Riebe Anne Heldman Anne R. Ilyinsky Barbara and Larry Kellar Doris M. and Charles B. Levinson Fund*

Donald Beck and Dr. Lawrence Eynon Susan Brenner and Steven Mombach Connie and Buzz Dow

Arna and Bobby Fisher Sarah Frank Fogarty and Timothy Fogarty Lauren Hannan Shafer Fred and Patti Heldman*

Betsy and John LaMacchia Karen F. Maier and Delane Starliper Halle and T. Quinn Martha and Nick Ragland Dianne and J. David Rosenberg* Kitty and Dick Rosenthal Keke and Tony Sansalone

Larry A. and Rhonda Sheakley Jen and John Stein Margaret and Michael Valentine Barbara M. Weyand William Weyand Nancy and David Wolf

DIRECTOR Peter Laffoon and John Fowler Madelynn and Raymond Matlock Lauren and Jimmy Miller

Moe and Jack Rouse Dianne Dunkelman and Peter Schwartz Tom and Jenny Williams

PRINCIPAL Anonymous Amy and Michael Bailes Sarah and Christopher Brown Brett and Alison Caller Fran and Wayne Carlisle Daniel Cifuentes Judy and Chris Dalambakis Jennifer and M. Vito Damiano Ms. Susan Domonkos Kristin and Chris Fishbaugh

Paul and Michelle Frodge Carole Giuliani Suzanne and Frank Hall Katy Moeggenberg and Joe Harmon Cynthia E. Henderson Daphne and Jason Jurgensen Anne and Craig F. Maier Debby and Jim Mason Christa and Mark McAndrew Jodi M. Geiser

Emerson and Mitzie Moser Sara and Alex Muñoz Barbara K. Myers Alexandra H. and Cole Ollinger Joselyn Michelle Pfeil Reick-Mitrisin Family Alice Schneider Julie and Steven Shifman Lisa and Joel Stone Susan and John Tew Kelly and Guy Vanasse

Gary and DeeDee West Faith C. Whittaker, Partner with Dinsmore and Shohl Christine and John Willig Ronna and Dr. James B. Willis Megan McCarthy and Steve Wolf Dr. Karen Zaugg, Ph.D. Jennifer Knight Zelkind

FUDIWLQJ PHPRUDEOH FXOLQDU\ HYHQWV DQG GHOLYHULQJ KHDOWKIXO IDPLO\ PHDOV GLUHFWO\ WR \RXU GRRU

ZZZ VWRUH HDWZHOORQOLQH FRP 48

DONOR HONOR ROLL Anonymous Amy Barhorst Chris Bergman and Stacey Devlin Elaine and David Billmire Amy Bixel Sue and Ben Blaney Susan and Robert Brant Renee Combs Jennifer and Robert Conklin Paula and William Cordes Lisa and Richard Damico Kelly M. Dehan and Richard J. Staudigel Noel Julnes-Dehner and Joe Dehner Martha and Stuart Dornette

Karen Petrosky and Brad Dunn Joyce Elkus Kay and Jack Geiger Ralph P. Ginocchio Arielle M. Goldberg Bill and Christy Griesser Kathryn and Keith Harsh Mrs. Robert Hasl Kenneth Heldman and Felicia Zakem Margaret and Edmund Hess Becky Hogya Theresa and Eddie Hooker Marcy and Mark Kanter Michael and Renee Kreeger

Lynn and Daniel Langmeyer Joanie and Lou Lauch Mary Lutz In Honor of Michael Mackzum by Jace Stadler and Anthony Mackzum Larry and Jill McGruder Karen and William McKim Cari E. Moy Susan Murray Kathy O’Brien Joseph A. and Susan E. Pichler* Marilyn and Paul Porcino Lori Rappold Bradley and Amy Resch Beth Rezelj

Diane and William J. Rumpke, Jr. Lisa M. Sampson Rosemary and Mark Schlachter Lorraine and Jerry Schlagheck Susan and Russell Shelton Gayle and Bill Sherman Valerie L. Newell and Timothy Smith Dr. Michael and Mrs. Debbie Snyder Jace Stadler John U. Tan Katrina Trimble Robyn and David Wenzke David and Sarah Wise

Cincinnati Ballet

SOLOIST

CORPS Tanu M. Bhati Jacklyn Bryson Ashley and Bobbie Ford Barbara and Dr. Jack Hahn Maureen Heekin

Tanya Cornejo and Aaron Kellenberger Carole and Brad Kindem* Becky and Thomas Long The Sophia C. McAllister Fund of Vanguard Charitable

Stacey and Mark Miller Jack Miner Carol and Bob Olson John Pape Ellen Rieveschl Carole and Edwin Rigaud

Linda Siekmann Dee and Tom Stegman Susie Tweddell Louise and Jeremy Vaughan Tamara Weik Nick and Michelle Ziegler

FOLLOW US @CINCINNATIMAGAZINE

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DONOR HONOR ROLL Anonymous (3) Michael and Hazel Airhart Lois and Ken Allen Lisa Allgood Lisa and Scott Altman Mr. Robert Amott and Ms. Janice Flanagan Peter and Christie Armstrong Kris Attema Alyce Bailey-Thomas Carolyn Barham Dana Beck Lauren Beckert Charles and Bonnie Bensonhaver Marianna Bettman Dr. Robert and Jane Bohinski Carla Booth Neil Bortz Rick Boydston Edwin Brott Otto M. Budig Bernie and Mary Kay Calonge Lanthan and Louise Camblin Cynthia Chua Jay Colville and Marvin Collins

Thomas Cook Andrea Costa Aaron and Bobbi Crary Dr. Michael Curran and Dr. Manisha Patel Brian and Kelly Daley Margaret DeMichelis Maureen and John Doellman Shirley Duff Pamela and Robert Edmiston Greta Elenbaas Risa and Stephen Feagins Michele Finch Melissa Frederiksen Melinda Gardner Sharon Giddings Judith and Samuel Gilardi Mr. Clifford Goosmann and Ms. Andrea Wilson William J. Gracie and Daniel Fairbanks Molly L. Grogan Hansen Family Charitable Fund Valerie and Dr. Martin Haskell Rob and Genita Heidenreich

Mary and Howard Helms Jennifer Herzog Reinilde Heyrman Jane Hopson Ez and Lynn Housh Tonya Hurst Kathleen and Doug Jenkins Steven and Esther Johnson Brenda Jones Gayle and Donald Jones Moya M. Jones Linda and James Jurgensen Amy and David Kahn in Memory of Peggy Kahn Heidi Jark and Steven Kenat Katherine D. Kinsworthy Mary Ann and Jeff Knoop Anna Gudmundsdottir and Kristinn Kristinsson Heather and H. Lee Krombholz Susan Krott Carol L. Kruse Geoffrey Leder Patrick Lee

Molly Ann Photography

Cincinnati Ballet

THIRD POSITION Drs. Lynn and Lizbie Lin Frances and Craig Lindner Catherine Linnemann Deborah Livingston Phil and Laura Lucas David Martin Cynthia C. Mason Karen McLaughlin Raymond McNeil and Kathleen Compton Jeff and Lori Miller Victoria Morgan John and Lorna Mulhauser Benjamin and Katherine Ohlander Dr. Nan L. Oscherwitz Alice Palmer Kim Pollock and Wendy Turner Julia W. and Daniel Poston Maribeth and Martin Rahe Yvonne Reissig Brian Rhame Joan Ritchie Elyse M. Roth Judith Roth

Proudly Preferred

CURATED EVENTS AND ELEVATED DINING DESIGNED TO ENGAGE, ENLIGHTEN, AND INSPIRE, THE SUMMIT HOTEL PROMISES A TRANSFORMATIVE JOURNEY FROM EVERYDAY TO EXTRAORDINARY. WWW.THESUMMITHOTEL.COM

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T (513) 527-9900

DONOR HONOR ROLL Martha and Lee Schimberg Barbara Seiver Justin and Lisa Shafer Dee Shaffer Audrey Shelton Valarie Sheppard John And Ruth Sikorski

Chip and Susan Skidmore Jay and Joanne Smale Susan and David Smith Philip Smith J. Shane Starkey Cindy Starr Tom and Torey Torre Christopher and Nancy Virgulak

Ginger and David Warner Ron and Ginger Warner Avril and Galen Warren George Watkins Jo Ann Wieghaus George and Kathy Wilkinson Beverly Williams

Charlie Wright and Lora Zinoviev Glen Wright* Jennifer Young Marcy and Bob Ziek Alexia Zigoris

Cincinnati Ballet

THIRD POSITION

SECOND POSITION Anonymous Sarah Alkire Romola N. Allen Paul Anderson William Banks Bettye Beaumont Gregory Bell Amy Berger Bernard Berk Pam Biederman Dorothy Blatt Ruth Bley Phyllis Bossin and Robert Strauss James Brown and Judith Masset-Brown Dawn and Douglas Bruestle

Dr. Robin Cotton and Cynthia Fitton Nancy Crace Susan Cranley The Daily Family Barbara Doviak Sandra A. Eisele, MD, MBA Kari and David Ellis Daniel and Amy Ferguson Thomas Fey Janice Forte Nan Franks Mary and Christopher French Kenneth Frey Mary and James R. Gardner Scott Goodfellow

Adrian Griffin Jill Grisco James Gronefeld Daniel Gruber Guy Guckenberger Scott and Sue Harrington Donna Harris Deb Heidt Karlee Hilliard Robert Hodges and Anthony McIntire Florette Hoffheimer Bridget and Brian Hoffman Dr. Nelson D. Horseman Nancy Horwitz Amy Ruschulte Gordan Hullar and Doris Holzheimer

Laura Hurley Susan Jackson Jody Yetzer and Alexander Kayne Kathryn Kipp Amanda Kluener Heather and Pete Kopf Tammy and Joe Kremer Mary and John Kuempel Janet Schultz and Russell Lascelles Anne Lawrence Rick and Christine Lefever Linnea Lose Timothy Luebbert and Joy O’Dell Amy Magenheim Leslie Mcintosh

June 11–September 4, 2022 TICKETS COMING SOON:

taftmuseum.org/Exhibitions EXHIBITION SPONSORS The H.B., E.W., and F.R. Luther Charitable Foundation, Fifth Third Bank and Narley L. Haley, Co-Trustees The John A. Schroth Family Charitable Trust The Sutphin Family Foundation The Frank J. Kloenne and Jacqueline Dawson Kloenne Foundation, Fifth Third Bank and Narley L. Haley, Co-Trustees

SEASON FUNDERS OPER ATING SUPPORT

ADMISSION SPONSOR

Presented by Exhibits Development Group, USA, in cooperation with Cosprop Ltd., London, England. Image: Silk Evening Dress and Turban, Pride and Prejudice, 1995, Simon Langton, director. Worn by Anna Chancellor as Miss Caroline Bingley.

Dinah Collin, costume designer

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DONOR HONOR ROLL Cincinnati Ballet

SECOND POSITION Candice and David McKeen Diane Meyer John B. Miller Kerry Miller Michael Miller Steven I. Monder Mark and Susan Moskowitz Beth A. Palm Bronwyn Park

Barbara and Jeff Persons Pamela Reilly RUGiving2?* Burton Roehr Stephen Rogers Alexandra Santomo Janet Sarran Gretchen Serota Keven E. Shell and Sandra L. Wittman-Shell

Elizabeth A. Snyder Linda and Nicholas Spadaccini Paul H. Spitz James Stapleton and Elizabeth Shaughnessy Karen Stewart Elizabeth Stone Gretlyn Thomas James and Susan Troutt

Susan and Randy Wade Murphy Chad and Betsy Warwick Thomas and Carol Wick Robert and Judy Wilson Andrew Wise and Elizabeth Barone Wise Jeff and Tonya Yetter Col. Joseph E. Zeis Jr.

*Funds held at the Greater Cincinnati Foundation Thank you to the donors whose gifts we received by December 14, 2021. The above donor pages represent the information available at the time of print. If you find that you are listed incorrectly or we did not recognize you appropriately, we apologize and want to include you. Please contact our Donor Relations Manager, Alexandria Wright, at awright@cballet.org or 513.873.5812.

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BUSINESS CIRCLE Cincinnati Ballet

$100,000 +

$50,000–$74,999

$25,000–$49,999

$10,000–$24,999

$5,000–$9,999

$2,500–$4,999 HUNTINGTON BANK

$1,500–$2,499 HIXSON ARCHITECTURE ENGINEERING INTERIORS

$1,000–$1,499 ESOTERIC BREWING

$100–$249 DIANA’S DANCEWEAR

Thank you to our Business Circle, Foundation, Government, and Institutional donors who supported us through cash and in-kind contributions received by December 13, 2021. The above donor pages represent the information available at the time of print. If you find that you are listed incorrectly or we did not recognize you appropriately, we apologize and want to include you. Please contact our Donor Relations Manager, Alexandria Wright, at awright@cballet.org or (513) 873-5812.

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F O U N DAT I O N , G OV E R N M E N T, AND INSTITUTIONAL DONORS Cincinnati Ballet

$100,000 +

$50,000–$99,999

Hearst Foundation

The Kaplan Foundation

$15,000–$49,999

Peter T. Joseph Foundation

Wohlgemuth Herschede Foundation Linnemann Family Foundation

$5,000–$14,999

Building Healthy Lives Foundation Crosset Family Foundation

Joni Herschede Fund of The Greater Cincinnati Fdtn

Mueller Family Foundation

Duke Energy Foundation

The Warrington Foundation

Oliver Family Foundation

$1,000–$4,999 Charles Scott Riley III Foundation

The Senger Family Foundation

$500–$999 Lewis & Marjorie Daniel Foundation

ARTSWAVE PARTNERS Cincinnati Ballet acknowledges the following Partner Companies, Foundations, and their employees who generously participate in the Annual ArtsWave Community Campaign at the $100,000+ level. Your support helps make our community vibrant and connects people across the region through the arts. Thank you!

P&G Fifth Third Bank and the Fifth Third Foundation GE Aviation Cincinnati Bell Western & Southern Financial Group Cincinnati Children’s Hospital Medical Center

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The Cincinnati Insurance Companies City of Cincinnati Enquirer Media Great American Insurance Group Ohio National Financial Services U.S. Bank

The H.B., E.W. and F.R. Luther Charitable Foundation, Fifth Third Bank and Narley L. Haley, Co-Trustees Macy’s Cincinnati Business Courier The Kroger Co. PNC

The E.W. Scripps Company and Scripps Howard Foundation Duke Energy HORAN Cincinnati Reds

E X P LO R E C I N C I N N AT I BA L L E T

Cincinnati Ballet is pleased to offer Meet the Artists, a pre-performance discussion series connecting audiences to select dancers, choreographers, and members of the creative team who bring our performances to life. Admission to Meet the Artists is included in your ticket to the current production.

Cincinnati Ballet

MEET THE ARTISTS

ENGAGEMENT ACTIVITIES Throughout the year Cincinnati Ballet offers dynamic and interactive experiences to deepen your love of the art form. These programs are designed for everyone and include studio rehearsals, workshops, community and educational performances, pre-and post-performance discussions, and more.

BALLET AND BEER Ballet & Beer is an event series providing an insider’s view into Cincinnati Ballet while enjoying drinks, light bites, and socializing. This season we will host these happy hour–style events at the new Margaret and Michael Valentine Center for Dance in Walnut Hills. These events are free to attend, but due to space limitations for the rehearsals, advanced reservations are encouraged. Events include a cash bar.

COMMUNITY PERFORMANCE SERIES Cincinnati Ballet is excited to open the Margaret and Michael Valentine Center for Dance to the community for an inviting introduction to ballet and dance performance. These performances are designed to welcome new audience to dance through accessible storytelling, relatable themes, fun choreography, and community partnerships. Join us at the new Center for Dance on select Sunday afternoons with your family and friends for these hour-long performances.

ÉTOILE EMPOWERED, CONNECTED, INSPIRED, ENERGIZED, BOLD!

Cincinnati Ballet’s Étoile group continues to bring together remarkable women from throughout the region to connect and celebrate through exclusive events supporting female leadership in ballet. This season every production features work by female choreographers.

For more information, please contact Ilona Piaskowy at ipiaskowy@cballet.org

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F O R YO U R I N F O R M AT I O N AT MUSIC HALL MASKS ARE REQUIRED at all times (except when actively consuming food/beverage in designated areas), even when seated for the performance, regardless of vaccination or testing status until further notice.

FOOD AND BEVERAGES are available at various lobby locations throughout Music Hall. All consessions and drinks sold at Music Hall should be consumed in designated areas throughout the hall. Due to our mask requirement, only bottled water can be taken into Springer Auditorium.

RESTROOMS can be found on every level of Music Hall. Companion care restrooms can be found in these locations: • Western & Southern Lobby • North side of the Orchestra level of Springer Auditorium • South side of the Balcony level of Springer Auditorium • West side of the Ballroom

GUEST SERVICES is in the northeast corner of the Lindner Grand Foyer. Services include assistive listening devices, coat check, courtesy phone, taxi service, and lost and found.

IF YOU LOSE AN ITEM while attending an event at Music Hall, check with the Guest Services attendant before leaving. If they are unable to locate the item, call the Administrative Office at (513) 744-3344 during business hours, 9 am–5 pm, Monday–Friday.

YOUR PARTICIPATION IN OUR RECYCLING effort is appreciated! Recycling containers are located near every concession stand. If you don’t want to keep your program you may simply leave it on your seat or hand it to an usher when you leave.

PLEASE NOTE THE FOYER AT MUSIC HALL opens 60 minutes prior to curtain—admission to the auditorium (and late seating) may vary, depending on the policies and requirements of the production.

Ushers will be available to assist with any seating questions.

LATE SEATING is at the discretion of the house manager. Due to the demands of the production, late seating might occur as late as intermission or may be accommodated in the Gallery. Should you need to leave the auditorium during the perfor-

mance, re-admittance and seating will also be at the discretion of the house manager.

PHOTOGRAPHY AND VIDEO of Cincinnati Ballet performances is strictly prohibited.

SMOKING IS STRICTLY PROHIBITED at Music Hall.

TO SCHEDULE A TOUR OF MUSIC HALL, contact the Administrative Office at (513) 7443344. Tours last approximately one hour, and guides are available through the Friends of Music Hall for a nominal charge.

ACCESSIBILITY All event spaces in Music Hall are fully accessible, and many services are available for guests with mobility challenges. Our patron experience team and staff strive to provide everyone with a quality experience when they visit, and accommodations are available for persons with specific needs. All guests are encouraged to contact us for additional information.

ASSISTIVE LISTENING DEVICES designed to enhance sound are available at Guest Services.

WHEELCHAIRS are available upon request for guests needing assistance from the curb or lobby to their seats. Access Ambassadors are available at the southeast entrance on Elm Street. All levels of the theater have elevator service and offer wheelchair accommodations.

FIRST AID services are available in the North Concourse on the Orchestra Level. For assistance, speak with a Music Hall staff member.

SPECIAL SEATING is available for guests unable to transfer out of their wheelchairs or with other special seating needs. When possible, contact our Patron Experience Office in advance. On the day of a performance, we will make every effort to meet the needs of the guests.

SERVICE ANIMALS are always welcome at Music Hall.

For more information about Cincinnati Ballet please visit our website www.cballet.org, call (513) 621-5282, or visit us at 1801 Gilbert Avenue, Cincinnati, OH 45202.

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#1

ADVISOR IN OHIO AS RANKED BY BARRON’S*

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