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The Festival

Legacies & new inventions

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WORLD VIEW

International favorites converge on the stage

TAKING IT TO THE STREET

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contents 6

WELCOME LETTER

CELEBRATE THE BEAT

BODY LANGUAGE

LOOKING FORWARD, LOOKING BACK

Bringing dance into local schools

ARGENTINE VIRTUOSO

Artist-in-Residence Herman Cornejo showcases his wide range at the 2014 Festival

BRIDGING THE GAP

Dance TV: a conversation between forms

NEW FACES

First-time performers at the Vail International Dance Festival

JEWEL TONES

Balanchine masterwork Jewels is a feat of art, drama and beauty

20 SCENE

Support. Connect. Experience. Network. Enjoy.

VAIL DANCE

59 62

BalletX and advancing dance’s vocabulary

The Martha Graham Dance Company preserves its founder's legacy, while making the work seem new

ALWAYS RESTLESS

After three decades with NYC Ballet, Wendy Whelan boldly moves into a new world of modern dance

PENNSYLVANIA BALLET

Where classical meets contemporary

JOOKIN — A SLIPPIN’, TOE-TIPPIN’, GLIDIN’ STREET STYLE

64 VENUES, BOX OFFICE & PARKING

VAIL INTERNATIONAL DANCE FESTIVAL OFFICIAL PROGRAM 25

Opening Night

Pennsylvania Ballet

UpClose: Jewels

28 International Evenings of Dance I & II 30

NOW: Premieres

Dance for $20.14

Wendy Whelan: Restless Creature

Martha Graham Dance Company

Ballroom Spectacular

Dance TV

Underwriters and Donors

Community Events

Festival Artists

48 Thank You

WELCOME TO THE VAIL VALLEY FOUNDATION’S

2014 Vail International Dance Festival!

e look forward to sharing the season with you. Each year, the Festival builds on a cumulative roster of artists, creating an everexpanding “Team Vail." Leading our team in 2014 is Argentine ballet superstar Herman Cornejo as Artist-in-Residence, who will appear in performances throughout the Festival. Pennsylvania Ballet and BalletX will serve as Companies-in-Residence, while Wendy Whelan brings her acclaimed project Restless Creature back to Vail where it began two years ago. Returning Festival artists include New York City Ballet's Tiler Peck and Robert Fairchild, Pacific Northwest Ballet's Carla Körbes, tango artists Gabriel Missé and Analía Centurión, and the Memphis Jookin sensation Lil Buck. As in years past, this season promises to bring debuts and collaborations found only in Vail. Repertory highlights for 2014 will include Pennsylvania Ballet in George Balanchine’s Rubies with guest stars Tiler Peck and Herman Cornejo making their debuts in the principal roles; the International Evenings of Dance will again create unique pairings from an international array of artists. In addition to the dancers above, we welcome the classical Indian dancer Shantala Shivalingappa who is new to the Festival this year, as are The Royal Ballet stars Lauren Cuthbertson and Matthew Golding, the Detroit “Jit” dance ambassador Haleem “Stringz” Rasul, Chicago "Footwork" pioneer King Charles, and Italian ballerina Alessandra Ferri. We welcome back the legendary Martha Graham Dance Company, whose performance will include the premiere of a new arrangement of the 1940 masterwork Letter to the World — inspired by the poetry of Emily Dickinson, and featuring guest artists Tiler Peck, Herman Cornejo, and Robert Fairchild alongside the dancers of the Graham Company. The creation of new works will continue to be a focus throughout the Festival, and on this year’s NOW: Premieres performance we will have five of those world premieres, with new choreography by Brian Brooks, Matthew Neenan, Lil Buck, Fang-Yi Sheu and Shantala Shivalingappa. For us, “Festival” means celebration — a celebration that aims to welcome all to enjoy, partake, and to build a special community through dance. Dance on the stage, in the schools, and on the streets. Dance that is not only beautiful, but also teaches children how to learn. Dance that thrills us with virtuosity and captivates both our hearts and minds. Dance that is thought-provoking, while at the same time inspiring. Beyond our performance lineup, we hope you will participate in one of the many interactive Dancing in the Streets off-stage events, and encourage you to learn more about our Celebrate the Beat education program, which teaches valuable learning skills yearround in Eagle County Schools through music and dance. It is our mission to bring the arts to life, offstage and in the classroom. We thank you for your support and hope you will enjoy the 2014 Festival, which once again reaffirms our commitment to sharing the many aspects of dance and to making Vail a place where the arts uniquely flourish.

CEIL FOLZ PRESIDENT Vail Valley Foundation

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DAMIAN WOETZEL ARTISTIC DIRECTOR Vail International Dance Festival

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CONTRIBUTORS

Erin Baiano Shauna Farnell Marina Harss Kimberly Nicoletti Dominique Taylor DESIGN TEAM SUPERVISOR

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Darin Bliss Ashley Detmering Malisa Samsel CIRCULATION MANAGER

CONTINUING THE CONVERSATION IN 2015

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OFFSTAGE

CELEBRATE THE BEAT PERFORMS AT THE 2013 VAIL INTERNATIONAL DANCE FESTIVAL. photo by erin baiano.

CELEBRATE THE BEAT Celebrate the Beat teaches inspirational music and dance classes that help children discover their potential by motivating them to believe in themselves, value artistic expression, and develop a personal standard of excellence. CTB uses dance and music to teach children to "learn how to learn," and gives them a valuable life lesson: that energy, discipline, hard work, commitment, and joyful concentration can lead to success. For many children, CTB is a life-changing event; for all, it is an amazing experience they will never forget. Each summer, the Vail International Dance Festival hosts a "Pop Hop" summer camp. See nearly 100 children perform on stage at the Gerald R. Ford Amphitheater for the International Evenings of Dance program on Friday, August 1. CTB is directed by Tracy Straus, and is a proud associate of National Dance Institute.

“I enjoyed seeing the students in a different light, and how they responded to different teachers. I myself enjoyed dancing, too! It was fun to be part of a high-energy, productive process.” — MANDY MARINO, VAIL MOUNTAIN SCHOOL MUSIC TEACHER

VAIL DANCE

“A day of CTB is a day of happiness!! I felt so alive when I danced.” — DARIANA, 4TH GRD, RED SANDSTONE ELEMENTARY SCHOOL

Over 4,000 STUDENTS have participated in CTB in Eagle County since the program launched during the SUMMER OF 2007.

15,000 STUDENTS students have participated in CTB THROUGHOUT COLORADO AND MEXICO since 2004. 650 STUDENTS participated in the Eagle County CTB program during the 2013-2014 SCHOOL YEAR. “Students were taught to take chances, and to be confident— VERY valuable lessons. They also learned to persevere! Practicing over and over helped them see the value of not giving up.” - ANNE BOWER, 4TH GRD, MEADOW MOUNTAIN ELEMENTARY SCHOOL

*The title "POP HOP" is inspired by the vibrant, dancing imagery of the late artist Keith Haring, whose Foundation has generously supported CTB and the Festival since 2007.

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OFFSTAGE

Argentine Virtuoso ARTIST-IN-RESIDENCE HERMAN CORNEJO SHOWCASES HIS WIDE RANGE AT THE 2014 FESTIVAL By Susan Reiter

From the start of his career — as a member of ABT Studio Company, the junior troupe of American Ballet Theatre — Herman Cornejo has delivered distinctively memorable performances. His exemplary technical skills — a precise, effortless attack, brilliant turning and jumping skills — have been matched by a deep commitment to the stylistic demands of every role. He brings a blazing, deeply focused intensity to everything he dances. His innate personal charm on stage — an eager verve tempered, as the years have progressed, with thoughtful intensity and persuasive dramatic characterization — always captivates audiences. Yet the performances of this Argentine virtuoso, who has danced with ABT since 1999, are modest — never showy. He keeps the focus on the choreographer's intention, and on his specific character's situation. “It was really clear right away he is a remarkably special talent,” says ABT artistic director Kevin McKenzie. “He has a broad robustness, and a soul that sings right through it."

HERMAN CORNEJO AND MISA KURANAGA REHEARSE THE PAS DE DEUX FROM GISELLE AT THE 2010 FESTIVAL.

VAIL DANCE

HERMAN CORNEJO PERFORMS DIANA AND ACTEON AT THE 2011 FESTIVAL.

As the 2014 festival's Artist-in-Residence, Cornejo will have ample opportunities to extend his range. On opening night, he and New York City Ballet (NYCB) principal Tiler Peck will both make debuts in the lead roles of George Balanchine's Rubies with Pennsylvania Ballet. As part of the International Evenings, he'll dance in Jerome Robbins' rarely seen Suite of Chopin Dances, alongside another NYCB principal, Robert Fairchild. All three of these artists will explore new territory when they appear in the Martha Graham Dance Company's premiere of At Summer's Full, a new arrangement of the 1940 Graham classic, Letter to the World. “Vail holds a special place in my heart for many reasons,” says Cornejo, who is making his fifth appearance at the festival, citing “the fantastic energy of all the people working for the festival, the incredible audience, and the diversity of the selected artists. I feel blessed to be able to meet new partners and to work in so many roles by different choreographers. It is a true honor.” Cornejo, now 33, joined ABT as a teenager, and audiences have had the pleasure of watching him mature impressively as an artist. In Romeo and Juliet, he has long been the ideal Mercutio — full of appealing bravado and invigorating defiance of propriety. Yet more recently, he has also made the role of Romeo — the dreamer and lover, caught up in emotions he can barely comprehend — very much his own. Major choreographers have created roles around his distinctive talents, challenging his amazing technical prowess while illustrating new facets of his stage persona. Twyla Tharp recognized Cornejo's gifts during his first year with ABT, creating a role for him in her Brahms-Haydn Variations. photos by erin baiano.

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Eight years later, she fashioned a leading role for him in Rabbit and Rogue, in which she highlighted his speed, timing and feisty, go-for-broke energy. Alexei Ratmansky, one of today's leading ballet choreographers, has created three contrasting roles for Cornejo. In Symphony #9, set to Shostakovich, he captured Cornejo's brilliance in a role that sends him slicing and blazing through a large ensemble, becoming the demonic center of a turbulent finale.

SPIRIT | 8”x16” | acrylic/oil/resin on clayboard | ©Carrie Fell 2013

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HERMAN CORNEJO WITH FESTIVAL DIRECTOR DAMIAN WOETZEL ON STAGE DURING THE UPCLOSE: FOOTWORK PERFORMANCE AT THE 2013 FESTIVAL.

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Cornejo's achievements did not always come easily. He is not a tall dancer, so many in the ballet world would make assumptions about which roles suited him. It took a while, but in time he graduated from exciting, showier roles to the more heroic roles that often require considerable partnering skills. “Partnering is something that you really need to do a lot to get it right,” he says. “Partnering is very different, because it’s not about you; it’s about your partner. So it doesn’t matter how you train, how you dance or move; you need to move according to your partner. So every time a partner changes, you change with her.”

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VAIL DANCE

Growing up in Buenos Aires, Cornejo found his way into ballet through a timehonored tradition — following his sister into class. At the age of six, his parents brought him to a local sports club to find an athletic activity to pursue. “From all the sports they had, I chose ice skating — just because I felt that I needed to move in a certain way, with the music,” he recalls. Two years later, he saw what his sister Erica (now a principal with Boston Ballet) was doing in her ballet class, and skating was soon left behind. “Just from watching my sister in the studio, I felt, 'this is what I want to do.'” He made his way to ABT through the company that his countryman Julio Bocca — already an established star with ABT — had started, Ballet Argentino. Bocca spotted the young dancer, then a student at the Instituto Superior de Arte at Teatro Colón, and invited him to join the troupe when he was just fourteen. “We did 200 shows a year, all over the world. I was amazed by the opportunity to be onstage at such a young age, and to see Julio every day onstage. I learned so much from him in that way,” Cornejo says. Before long, he achieved his dream of following Bocca into ABT, where he spent barely a year in the corps de ballet, becoming a soloist in 2000 and a principal three years later. As his repertory expanded, the depth of his talent, as well as his versatility, have been given full play. He found an ideal role in the character of Puck in Frederick Ashton's The Dream — an airborne mischievous sprite — that he dances with poetic perfection. He also proved eloquently heart-rending in the much more grounded, somber final section of Paul Taylor's Black Tuesday. Recently, Cornejo moved into new territory, appearing opposite his former ABT colleague the great Italian ballerina Alessandra Ferri, in Chéri, a moodily romantic dance-theater work by Martha Clarke, inspired by a Colette novel. At Vail they will reunite for the International Evenings, performing a duet from Angelin Preljocaj's Le Parc. As Artist-in-Residence, Cornejo will certainly be keeping busy, also appearing on the UpClose: Jewels program, Now: Premieres, and Dance for $20.14. Fortunate Festival audiences will be able to see this remarkable dancer explore exciting new challenges.

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OFFSTAGE

Bridging the Gap Dance TV: A conversation between forms By Kimberly Nicoletti

LIL BUCK

ALEX WONG

What happens when street dance meets classical dance? Du-Shaunt Stegall, aka Fik-Shun, winner of Season 10’s So You Think You Can Dance, wants to expand that conversation by infusing traditional dance with the influences of street dancing. “I grew up in the street world of dance, but I want to talk to the other dance (world),” he says. “I feel like it’s separated, and it shouldn’t be. Dance is dance.” Fik-Shun doesn’t count measures; he listens to backbeats most people don’t recognize — until he accentuates them with his body. He moves spontaneously to the music, sometimes even surprising himself. “You’re just living in the music and the moment,” he says. “The music tells you what you should do.” Performing on the Las Vegas Strip quickly informed his showmanship; he had to learn how to compel people to stop, watch — and pay. He believes all of these aspects could positively impact 14

VAIL DANCE

ANNA TREBUNSKAYA

traditional dance forms. “When it comes to improv … (classically trained dancers) can watch where the inspiration comes from, from street dancers — just to see that they can do more to the music than they think they can if they just let the music take them,” he says. Alex Wong, a former principal soloist of the Miami City Ballet and an all-star of So You Think You Can Dance, agrees — up to a point. “Dance influences dance, and sometimes you get great fusions where dance styles borrow from other styles to create something wonderful, simply just ‘dance,’” Wong says. “However, when you classify things into styles of dance such as ‘ballet,’ ‘hip-hop’ and ‘tap,’ if you fuse them together, well, then you really aren’t doing those styles anymore, now are you?” That’s not to say Wong doesn’t love fusing dance styles together. In fact, incorporating styles like hip-hop into his repertoire on So You Think You Can Dance “pushed me to new limits I never thought I could achieve,” he says. photos by erin baiano and cory jones.

Breaking out of the full-time ballet world has opened up new possibilities for Wong, from helping choreograph Olympic champions Meryl Davis and Charlie White's free dance to performing on Broadway, starring in Glee and commercials and now working on a Starz television series in New York City called Flesh and Bone. Charles “Lil Buck” Riley grew up on Memphis Jookin but has helped bridge the gap between street dance and traditional forms, partially by earning a scholarship with Memphis’ New Ballet Ensemble. His ballet training, combined with his characteristic Jookin style, led to more than 2.4 million hits on YouTube for his performance with cellist Yo-Yo Ma of Dying Swan. “I enjoy collaborating with different styles of dance,” Riley says. “So I help bridge the gap by being myself and being open to collaborate with people in the classical world. I hope to make a positive impact on the world and our future with a mass amount of inspiration. I hope to make a difference by helping keep the arts alive and vivid in this world by reaching the kids — helping get arts into education so kids have a clear vision of no matter what circumstances they are in, they can be a part of making a positive impact in this world, too.” These three dancers are living, moving proof that when seemingly opposing dance forms meet one another, great things happen. From traditional dance, Fik-Shun has learned to “pick up the breath of slower music and use the floor space given,” he says, whereas Wong employs ballet’s “idea of perfection that you can never really achieve” while drawing from newer styles of dance to realize commercial goals. And as for Riley, he thrives on the seemingly opposite nature of different dance styles. “The benefit is communication between two styles of dance that never really know a lot about each other,” he says. But perhaps the ones who most benefit from the conversation between the latest moves on the streets and traditional forms are the audiences. After all, we just sit back and enjoy the rousing effect.

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VAIL DANCE

OFFSTAGE

NEW FACES FIRST-TIME PERFORMERS AT THE VAIL INTERNATIONAL DANCE FESTIVAL By Kimberly Nicoletti

LAUREN CUTHBERTSON Lauren Cuthbertson’s parents enrolled her in ballet and gymnastics when she was three to “tame her spirited nature before starting at school.” By age 10, she realized she needed strong self-discipline to become a principal, and from then on she won several awards in ballet. By 2002, she was offered two contracts: one as a soloist with Birmingham Royal Ballet and another as a corps de ballet with The Royal Ballet. She chose the latter, in order to work her way up. A year later the company promoted her to soloist, and in 2008 she became principal. In 2007, she won the Women of the Future Award, in part for her passion for furthering contemporary ballet. “Making the ‘now’ exciting and relevant (is) what makes it feel like it’s modern and fresh, therefore pushing it forward,” she says. “All my outside interests, which include film, theater, fashion — and especially scent — contribute to inspiring and informing my dancing. Any of my interests outside ballet always comes back to my soul and therefore the stage … I love (dance’s) ability to mean everything and anything to you, those you work with and those who watch. I love the slightly possessed freedom I find whilst I am on stage which can't be interrupted.”

JOSEPH GORDON Joseph Gordon started ballet at age three after an audience member at a performance noticed his “natural sense of coordination” as he mimicked the dancers. She told his mother to enroll him in lessons. “I’ve been hooked ever since,” he says. As a recent addition to the New York City Ballet in 2012, Gordon’s approach to life — and dance — includes living in the moment, doing his best, letting go and having fun. “Dance is a way of life, perhaps one of the most constant things in my life,” he says. “I love dance not only because of the self-expression and freedom it brings, but also the challenge. The more difficult the ballet or role, the more I learn about myself … I am constantly learning.”

VAIL DANCE

KING CHARLES King Charles grew up on the South Side of Chicago, in the urban communities where music blasted everywhere — from trunks of cars fortified with 12-inch speakers to “family” barbecues populated by the entire neighborhood. “Street dance has been around me all my life,” he said. “The language in itself is amazing to me. I love the rawness about it, and the capabilities are endless.” King Charles is renowned worldwide as the forerunner of Chicago Footwork, the most popular street dance in Chicago. He has toured internationally teaching master classes, judging battles, choreographing music videos and performing on tours with Madonna. Unlike other styles of street dance, Chicago Footwork has evolved into a strictly “stand-up” dance style, lacking floor work. “The battles get pretty aggressive, since people might push on you,” he said. But the most prominent characteristic of Chicago Footwork involves the speeds dancers reach while doing footwork. The music, originally known as Juke Music, is about 150-170 beats per minute. “Nowadays, it’s a very complex style to learn, since we have 30 years of history, but very addictive once you get started. It’s a rush.”

SHANTALA SHIVALINGAPPA Shantala Shivalingappa blends Eastern and Western dance through her native Indian culture and her upbringing in Paris, France. She has devoted her life to sharing Kuchipudi, a traditional Indian dance, which includes stage rites, song, dance and revelation of a character and mood. She is known for the grace and sensitivity with which she imbues the dance. “(I strive for) clarity and focus of mind, a transparent and doubtless spirit, absolute openness of heart, and a strong, flexible, fluid, sensitive, agile body,” she says, adding that when she dances, she feels herself “being taken over by a higher and infinitely pure energy.” As she allows that energy to flow through her, she shares a unique connection with audiences, irrespective of their cultural backgrounds, perhaps due to what compels her to dance in the first place. “I am deeply inspired and motivated by nature, by music, by beauty and pure emotion in their myriad manifestations,” she says.

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OFFSTAGE

JEWEL TONES Balanchine masterwork Jewels is a feat of art, drama and beauty

By Marina Harss

Bolshoi, the Mariinsky, and the Paris Opéra. In the U.S., it has ne of the choreographer George Balanchine’s many virtues was a real flair for showmanship. been staged at Miami City Ballet, Boston Ballet and Pacific Northwest Ballet, just to name a few. Pennsylvania Ballet, He knew how to create an event, and also who will dance Rubies at Vail with guest artists Tiler Peck (of — no less important — that a popular work New York City Ballet) and Herman Cornejo (of American can, simultaneously, be a great work of Ballet Theatre) —both are making their debuts as the lead art. In 1967, when it was announced that Balanchine would couple — has performed it since 2013. Each troupe infuses create an evening-length ballet inspired by the glamour of it with its own style, gemstones, New York City and, more importantly, Ballet had just moved with the unique, and to a new, purpose-built inimitable perfume of theater at Lincoln Center. its own ballerinas. The company needed a hit But what is Jewels about, that would look suitably really? In a way, the title is imposing on its vast stage a feint. There are certainly and fill the theater’s many allusions to jewels in the seats. And it worked — choreography — prismatic people came in droves. formations, necklace-like Canny marketing garlands and diamond-like touted Jewels* as the “first rhombi of dancers. One three-act plotless ballet,” a could argue that the ballet summation of Balanchine’s captures certain qualities revolutionary approach, of each stone — the soft which allowed movement glow of emeralds, the and music to speak for fiery glint of rubies, the themselves, without the shimmer of diamonds. But need of a story or fairytale GEORGE BALANCHINE AND MIMI PAUL, VIOLETTE VERDY, there are deeper layers of characters. In press PATRICIA MCBRIDE AND SUZANNE FARRELL (IN FRONT), meaning at play. photographs, Balanchine CIRCA 1967. photo by edward pfizenmaier. Each ballet reveals a was shown peering down world of music and cultural allusions. The composers selected at expensive parures in the window of Van Cleef & Arpels, or by Balanchine for each panel of his triptych set the tone: for surrounded by the comely ballerinas who would lead each of the Emeralds, Gabriel Fauré’s diaphanous incidental music for ballet’s three sections. And what ballerinas they were — Violette Pelléas et Mélisande and Shylock; Stravinsky’s syncopated, spiky Verdy and Mimi Paul in Emeralds, Patricia McBride in Rubies, Capriccio for Piano and Orchestra for Rubies. And for Diamonds, Suzanne Farrell in Diamonds. Each a jewel in her own right. music by the greatest ballet composer of them all, Tchaikovsky, Jewels has continued to be immensely popular, and is in this case four movements from his Third Symphony. performed by companies around the world, including the 18

VAIL DANCE

MIKHAIL BARYSHNIKOV AND HEATHER WATTS REHEARSING RUBIES, CIRCA 1978.

ALEXANDRA ANSANELLI AND DAMIAN WOETZEL IN RUBIES, CIRCA 2002. photo by paul kolnik.

PIERRE ARPELS, BALLERINA SUZANNE FARRELL AND GEORGE BALANCHINE AT A COSTUME FITTING FOR DIAMONDS. CIRCA 1967. photo courtesy of van cleef & arpels.

Queens; “there was always a leader of the pack in those days, Each section is also an exploration of a particular style of always a chain of kids behind him.” ballet — romantic, modernist, classical — all of them dear After this mad romp, the melancholy grandeur of Diamonds to the choreographer. By delving into the music of Fauré, Balanchine evoked the Romanticism and mystery of France. As becomes all the more stirring. The ballet opens with a lilting, Verdy has said, “it is his homage to Impressionism, to Degas, to leisurely waltz and ends with a magnificent finale in which the stage is flooded with glistening lines of spinning, kicking, French art.” Rubies is Balanchine’s America (or more specificalparading dancers. (Lincoln Kirstein described this finale as “one ly, New York): brash and sophisticated, unconventional, even, of the prime examples of Balanchine’s applause machine.”) And at times, vulgar. None of which prepares us for the epic sweep in the middle, an extraordinary pas de deux. The ballerina is of Diamonds. Here, inevitably, we are reminded of Petipa’s an enigma: remote but gentle, majestic and yet vulnerable. The ballets, especially Swan Lake and Sleeping Beauty, both of which role was created for Suzanne Farrell, a dancer who possessed all are alluded to in the choreography. these qualities. She is pulled Jewels may have been between two poles: on the plotless, but it is not difficult one hand, the blind devotion to discern some underlyher noble cavalier, on the ing themes and situations. "Most of all, though, Jewels is a kind of map of other, an unseen force that Emeralds seems to take place calls out to her from beyond in an enchanted forest filled of Balanchine’s aesthetic geography: his the edges of the stage. with nymphs and the echoes Paris in Emeralds, his New York in Rubies, In Vail this summer, the of hunting horns. One balaudience will be treated to lerina dips her hands into an and his St. Petersburg in Diamonds." a full performance of Rubies invisible spring; another plays on the July 27th Opening a private game of hopscotch. Night program. Excerpts Two lovers walk, reverently, from all three sections of side by side. In the epilogue, which was added in 1976, a trio of men advances slowly toward Jewels will be on display as part of the UpClose: Jewels program on July 30th, when dancers from four companies an unknown destiny, like knights in a chivalric romance. — New York City Ballet, American Ballet Theatre, Pacific In dramatic contrast, Rubies appears to take place in an Northwest Ballet and Pennsylvania Ballet — will explore exciting setting that combines the sex appeal of an art-deco facets of this groundbreaking ballet. If one looks very closely, jazz club and the high spirits of the racetrack. Frisky cigarette one will begin to make out certain threads that run through girls in short skirts ply their wares; an Amazonian femme the three seemingly unrelated parts: an Orphic belief in the fatale towers over four men who circle around her like moths unattainability of women, but also a walking theme, treated drawn to a bright light. A young couple frolics and does the differently in each ballet. Most of all, though, Jewels is a tango. An impish young man –- originally, Edward Villella kind of map of Balanchine’s aesthetic geography: his Paris in — leads a group of charming hooligans on a race around the Emeralds, his New York in Rubies, and his St. Petersburg in stage. “It was like Balanchine had tapped into my memory,” Diamonds. Villella wrote in his memoir, referring to his childhood in *Choreography by George Balanchine © The George Balanchine Trust.

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SCENE

support • connect • experience • network • enjoy

LARKSPUR AFTER DANCE DINE WITH FESTIVAL ARTISTS Late Night (L) Bar Experience August 1, 4 & 8 | 9pm Parking Available for Reserved Guests To Make a Reservation: 970.754.8050

5 BE A PART OF THE 2014 SCENE OPENING NIGHT GALA CELEBRATION July 27 @ Larkspur Restaurant

CHAMPAGNE ON STAGE July 28 & August 1 @ Gerald R. Ford Amphitheater (Post-Performance) UPCLOSE: JEWELS VIDF Benefit & Performance July 30 @ VPAC (Pre-Performance Reception & Post-Performance Dinner)

DANCER BRUNCH August 3 @ Senenne & Marc Philippon Residence LUNCHEON HONORING LENI & PETER MAY August 5 @ La Tour Restaurant

VIDF HONORS WENDY WHELAN August 6 @ VPAC (Post-Performance Dinner Reception) To learn how you can be a part of the 2014 VIDF Scene, contact Connie Kincaid-Strahan at (970) 777.2015. 20

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1 Lisa and Bruce Goldman 2 Ernest Elsner, Tiler Peck and Pam Elsner 3 Colin Meiring and Doe Browning 4 Melissa and Mary Wolf 5 John and Marlene Boll, Peter May and Howard Berkowitz 6 2013 Champagne on Stage 7 Linda and Stephen Waterhouse 8 Robert Fairchild, Tiler Peck, Howard and Judy Berkowitz and Damian Woetzel 9 Leni and Peter May photos by wendy griffith and kent pettit.

A UNIQUE PERSPECTIVE IN ARCHITECTURAL DESIGN SOLUTIONS

k . h . w e b b a r c h i t e c t s . p c

www.khwebb.com VAIL COLORADO 970.477.2990

PROGRAM

JULY 27 - AUGUST 9, 2014 ARTISTIC DIRECTOR, DAMIAN WOETZEL

PERFORMANCE UNDERWRITTEN BY BETSY & GEORGE WIEGERS

SUNDAY, JULY 27 :: 7:30PM GERALD R. FORD AMPHITHEATER, VAIL

OPENING NIGHT A star-filled evening previewing artists and companies of the 2014 season. The performance closes with Pennsylvania Ballet performing George Balanchine’s Rubies,* with special guests Festival Artist-in-Residence Herman Cornejo and New York City Ballet Principal Dancer Tiler Peck making their debuts in the principal roles.

FE AT UR I N G P E R FOR MAN CES BY

LIL BUCK ANALIA CENTURIÓN & GABRIEL MISSÉ (International Tango Stars) HERMAN CORNEJO (American Ballet Theatre) CARLA KÖRBES (Pacific Northwest Ballet) LAUREN LOVETTE TILER PECK ROBERT FAIRCHILD & DANIEL ULBRICHT (New York City Ballet) BALLETX and

PENNSYLVANIA BALLET

HERMAN CORNEJO AND CARLA KÖRBES IN WITHIN YOU WITHOUT YOU. photo by erin baiano.

*Choreography by George Balanchine © The George Balanchine Trust.

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PERFORMANCE UNDERWRITTEN BY PAM & ERNEST ELSNER

MONDAY, JULY 28 :: 7:30PM GERALD R. FORD AMPHITHEATER, VAIL

PENNSYLVANIA BALLET Balanchine Celebration

One of the country’s premiere ballet companies, Pennsylvania Ballet presents an all-Balanchine* evening as part of its 50th anniversary season, featuring the Vail premiere of George Balanchine’s Stravinsky Violin Concerto, with New York City Ballet's Robert Fairchild performing as a guest artist.

E V E N I N G R E P E R TORY

STRAVINSKY VIOLIN CONCERTO (Vail Premiere) Music by Igor Stravinsky Choreography by George Balanchine SERENADE Music by Peter Ilyich Tchaikovsky Choreography by George Balanchine

ARTISTS OF PENNSYLVANIA BALLET IN GEORGE BALANCHINE’S SERENADE. photo by alexander iziliaev.

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*Choreography by George Balanchine © The George Balanchine Trust.

PERFORMANCE UNDERWRITTEN BY ANONYMOUS

UP C LOSE F EST I VAL FUN D RA I S E R & P ER F OR M AN CE

WEDNESDAY, JULY 30 :: 6:30PM VILAR PERFORMING ARTS CENTER, BEAVER CREEK

UPCLOSE: JEWELS

VIP TICKET ($295) * Premium UpClose seating for the performance * Pre-Performance Reception *Post-Performance Dinner with Festival Artists PREMIUM TICKET ($140) * UpClose seating for the performance * Pre-Performance Reception FE AT UR I N G P E R FO R M AN CES BY

Festival Benefit Performance

PENNSYLVANIA BALLET

Hosted by Festival Director Damian Woetzel, this benefit evening takes an UpClose look at the George Balanchine masterpiece Jewels,* his full-evening plotless ballet in three acts entitled Emeralds, Rubies and Diamonds with music by Fauré, Stravinsky and Tchaikovsky. Festival guest artists will join Pennsylvania Ballet for this unique UpClose rehearsal-style performance.

CARLA KÖRBES TILER PECK HERMAN CORNEJO (2014 Festival Artist-in-Residence)

PENNSYLVANIA BALLET IN GEORGE BALANCHINE’S RUBIES.

DAMIAN WOETZEL AND HERMAN CORNEJO ON STAGE FOR THE UPCLOSE PERFORMANCE AT THE 2013 FESTIVAL.

photos by erin baiano and alexander iziliaev.

*Choreography by George Balanchine © The George Balanchine Trust.

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AUGUST 1 PERFORMANCE UNDERWRITTEN BY MARJORIE & PHILIP ODEEN AUGUST 2 PERFORMANCE UNDERWRITTEN BY JILL & KEVIN PLANCHER

FRIDAY, AUGUST 1 :: 7:30PM & SATURDAY, AUGUST 2 :: 7:30PM GERALD R. FORD AMPHITHEATER, VAIL

INTERNATIONAL EVENINGS OF DANCE

Two unique International Evenings bring “…new partnerships and debuts that would please the hearts of fans thousands of miles away.” – THE NEW YORK TIMES

F E ATU RING LIVE MU SIC BY

MICHAEL BLOCK, SANDEEP DAS, CAMERON GRANT, JAMES HALL, KATHRYN HATMAKER, GRACE PARK, CRISTINA PATO, FRANK SHAW 28

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LIL BUCK AND TILER PECK IN BUDGET BULGAR. photo by erin baiano.

F E ATU RING PE RF OR MANCES BY BALLETX Underwritten by LaDonna & Gary Wicklund ISABELLA BOYLSTON American Ballet Theatre Underwritten by Arlene C. Cooper BRIAN BROOKS Brian Brooks Moving Company Underwritten by Susan & Jeffrey Stern LIL BUCK Freelance Artist Underwritten by Leni & Peter May ZACHARY CATAZARO New York City Ballet Underwritten by Debby Herz and Joanne Posner-Mayer ANALIA CENTURIÓN & GABRIEL MISSÉ International Tango Stars Underwritten by Martha & Terry Perl KING CHARLES Freelance Artist Underwritten by Lisa & Bruce Goldman JEFFREY CIRIO Boston Ballet Underwritten by Pixley & Ken Schiciano HERMAN CORNEJO American Ballet Theatre Underwritten by Donna & Donald Baumgartner LAUREN CUTHBERTSON The Royal Ballet Underwritten by Jane & Skip Netzorg ROBERT FAIRCHILD New York City Ballet Underwritten by Mary & Melissa Wolf ALESSANDRA FERRI Freelance Artist Underwritten by Vikki & Michael Price

CHASE FINLAY New York City Ballet Underwritten by Pat & Pete Frechette MATTHEW GOLDING The Royal Ballet Underwritten by Mary Sue & Michael Shannon JOSEPH GORDON New York City Ballet Underwritten by Jean & Tom McDonnell CRAIG HALL New York City Ballet Underwritten by Deborah & Charles Adelman CARLA KÖRBES Pacific Northwest Ballet Underwritten by Stacy & Don Mengedoth MISA KURANAGA Boston Ballet Underwritten by Nancy & Richard Lubin LAUREN LOVETTE New York City Ballet Underwritten by Carolyn & Gene Mercy RON "PRIME TYME" MYLES Freelance Artist Underwritten by Noel & Ben Kullavanijaya & Wendy Williams TILER PECK New York City Ballet Underwritten by Doe Browning HALEEM "STRINGZ" RASUL Freelance Artist Underwritten by Rella & Monroe Rifkin FANG-YI SHEU Fang-Yi Sheu & Artists Underwritten by Martha Head & John A. Feagin, M.D. SHANTALA SHIVALINGAPPA Freelance Artist Underwritten by Honey Kurtz BEATRIZ STIX-BRUNELL The Royal Ballet Underwritten by Friends of Beatriz

ROBERT FAIRCHILD IN GEORGE BALANCHINE’S APOLLO.* photo by erin baiano. *Choreography by George Balanchine © The George Balanchine Trust.

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PERFORMANCE UNDERWRITTEN BY VVF BOARD OF DIRECTORS

P E R FOR M I N G A R T I STS

C HOR EOGRAPH ER S

BALLETX

BRIAN BROOKS

ZACHARY CATAZARO

LIL BUCK

HERMAN CORNEJO

MATTHEW NEENAN

ROBERT FAIRCHILD

FANG-YI SHEU

CHASE FINLAY

SHANTALA SHIVALINGAPPA

MONDAY, AUGUST 4 :: 7:30PM GERALD R. FORD AMPHITHEATER, VAIL

NOW: PREMIERES Hosted by Damian Woetzel A magnificent cast of artists from ballet, modern and contemporary dance share the stage in this signature Festival performance, which features World Premieres commissioned by the Festival from acclaimed choreographers.

RON MYLES AND FANG-YI SHEU IN THE 2013 PREMIERE ANYWHERE ON THE ROAD. photo by erin baiano.

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JOSEPH GORDON CARLA KÖRBES LIL BUCK + NEW STYLES KREW TILER PECK FANG-YI SHEU SHANTALA SHIVALINGAPPA

FE AT UR I N G LI VE M U SI C BY

MICHAEL BLOCK CLAIRE CHASE CAMERON GRANT KATHRYN HATMAKER GRACE PARK AND FRANK SHAW.

“A World of Premieres, from Jookin' to Jetes.” – THE NEW YORK TIMES

PERFORMANCE UNDERWRITTEN BY TOWN OF VAIL

TUESDAY, AUGUST 5 :: 7:30PM GERALD R. FORD AMPHITHEATER, VAIL

DANCE FOR $20.14 With specially priced tickets for every seat in the house, Dance for $20.14 features ballet and Memphis Jookin artists, along with the powerhouse contemporary dance company BalletX.

FE AT UR I N G P E R FOR M AN CES BY

BALLETX LIL BUCK + NEW STYLES KREW TILER PECK HERMAN CORNEJO ROBERT FAIRCHILD

BALLETX IN DELICATE BALANCE. photo by alexander iziliaev.

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PERFORMANCE UNDERWRITTEN BY LINDA & STEPHEN WATERHOUSE AND JOAN WHITTENBERG

WEDNESDAY, AUGUST 6 :: 6:30PM VILAR PERFORMING ARTS CENTER, BEAVER CREEK

WENDY WHELAN: RESTLESS CREATURE The Vail premiere of a collection of works created specially for celebrated ballerina Wendy Whelan. The project began at the Festival in 2012 with the Vail commissioned pairing of Whelan and Brian Brooks in a new duet for NOW: Premieres, which then led to Whelan commissioning three more dynamic choreographers to join her in creating this acclaimed full-evening performance.

V I D F HON OR S W E N DY WH ELAN

WEDNESDAY, AUGUST 6 MAY GALLERY | VILAR PERFORMING ARTS CENTER

Following the Restless Creature performance, VIDF will host a dinner reception honoring Ms. Whelan. A limited number of tickets are available for this event.

Joining Whelan in this unique collaborative program are Kyle Abraham (The Serpent and the Smoke); Joshua Beamish (Waltz Epoca); Brian Brooks (First Fall) and Alejandro Cerrudo (Ego Et Tu).

“Everything about her is riveting, interesting, unusual, intelligent.” – THE NEW YORK TIMES

WENDY WHELAN.

VAIL DANCE

photo by nisian hughes.

PERFORMANCE UNDERWRITTEN BY PRISCILLA BREWSTER

THURSDAY, AUGUST 7 :: 7:30PM GERALD R. FORD AMPHITHEATER, VAIL

MARTHA GRAHAM DANCE COMPANY In its only 2014 Festival appearance, Martha Graham Dance Company presents a performance featuring masterpieces by its founder Martha Graham, one of the 20th century's most influential artistic voices, plus the World Premiere of At Summer's Full â&#x20AC;&#x201C; a new arrangement of the 1940 Graham classic Letter to the World.

E V E N I N G REPER TORY

DIVERSION OF ANGELS Music by Norman Dello Joio Choreography by Martha Graham ERRAND INTO THE MAZE Music by Gian Carlo Menotti Choreography by Martha Graham Directed by Luca Veggetti with Miki Orihara AT SUMMER'S FULL (WORLD PREMIERE) Music by Hunter Johnson Choreography by Martha Graham (excerpts from Letter to the World 1940) Arranged by Janet Eilber ECHO Music by Julien Tarride Choreography by Andonis Foniadakis NYCB PRINCIPAL DANCERS Tiler Peck and Robert Fairchild and FESTIVAL ARTIST-IN-RESIDENCE Herman Cornejo appear as special guests for this performance.

MIKI ORIHARA FROM MARTHA GRAHAM DANCE COMPANY IN ERRAND INTO THE MAZE. photo by john deane.

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PERFORMANCE UNDERWRITTEN BY MARLENE & JOHN BOLL AND JOANNE & JACK CROSBY

FRIDAY, AUGUST 8 :: 7:30PM GERALD R. FORD AMPHITHEATER, VAIL

BALLROOM SPECTACULAR A unique made-for-Vail showcase with ballroom champions from around the world performing a thrilling variety of dances, from the waltz to the rumba, cha-cha, merengue, samba and foxtrot. F E ATUR ING PERF O RM AN CES BY

LIANA CHURILOVA & EMMANUEL PIERRE-ANTOINE ANNA TREBUNSKAYA & GLEB SAVCHENKO ALINA BASYUK & MARAT GIMAEV MARIA NIKOLISHINA & NIKOLAI VORONOVICH

LIANA CHURILOVA & EMMANUEL PIERRE-ANTOINE. photo by erin baiano.

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PERFORMANCE UNDERWRITTEN BY MARCY & GERALD SPECTOR

SATURDAY, AUGUST 9 :: 7:30PM GERALD R. FORD AMPHITHEATER, VAIL

DANCE TV

The Festival closer brings the thrill of dance on the small screen to life, with spectacular artists from the hit shows Dancing with the Stars, So You Think You Can Dance and more.

F EAT U R I N G P E R FOR M A N C E S BY

LIL BUCK Superbowl XLVI YouTube Viral Megastar

ANNA TREBUNSKAYA & GLEB SAVCHENKO Dancing with the Stars

MIX’D ELEMENTS Season 7 America’s Best Dance Crew

ALEX WONG All Star So You Think You Can Dance

TILER PECK & ROBERT FAIRCHILD Live from Lincoln Center Dancing with the Stars

FIK-SHUN Season 10 Winner So You Think You Can Dance

SASHA MALLORY Season 8 So You Think You Can Dance photos by erin baiano, kareem black and brian jamie.

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UN D ERWR I T E R S & DONORS

Presenters Circle

The Vail Valley Foundation extends its sincere gratitude to our Presenters Circle donors, whose exemplary generosity has enabled the 2014 Vail International Dance Festival to achieve an extraordinary level of excellence.

JUDY & HOWARD BERKOWITZ Judy and Howard Berkowitz have been supporters of the Vail Valley Foundation since its inception. Their love for the art of dance and generous support have enabled the Vail International Dance Festival to grow into the critically acclaimed Festival it is today. They are long-time members of the Friends of Vail program, and Judy serves on the Foundation’s Board of Directors and is Chairperson of the Dance Festival committee. In New York, Judy serves on the Board of Rockefeller University, The New-York Historical Society, and chairs The Center for Educational InnovationPublic Education Association. Howard is the Chairman of The Washington Institute for Near East Policy, is former Chairman of the Anti-Defamation League, and is a Board member of the New York City Ballet. Locally, he serves on the Board of the Steadman-Philippon Research Institute.

SUSAN & JEFFREY CAMPBELL Susan and Jeff Campbell started coming to the Vail Valley from Dallas when their children were first learning to ski. They continued coming to the Vail Valley as they moved to London and then San Francisco, and most recently to the West Village in New York City. Two of their three children are now attending college in Colorado, and their Beaver Creek home has become the center of family life. They are avid dance lovers, longtime supporters of the Vail International Dance Festival and the Vilar Performing Arts Center, and current supporters of the 2015 Alpine World Ski Championships. All of the Campbell family and their friends are avid skiers, mountain bikers, and outdoor enthusiasts.

OSCAR TANG FAMILY The Tang Family has supported the Vail Valley Foundation at a leadership level since its inception. In particular, Oscar was a founding supporter of the Vail International Dance Festival and has continued his support for 26 years. Dividing his time between Vail and New York, Oscar has long served on the Board and Executive Committee of the Vail Valley Foundation, and concurrently on the boards of the Metropolitan Museum and the New York Philharmonic. Agnes is an archaeologist and academic who has taught at Brown and Stanford and served as an advisor to the UNESCO and the United States Cultural Property Advisory Committee; she is the host of two documentary series on Discovery and History networks as well as a previous program on PBS. The Tangs are dedicated to supporting the arts, culture, and education. They are members of the Foundation’s Cornerstone Friends Program and also support the Foundation’s education initiatives. 36

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UNDERWRITERS & DONORS

2014 VIDF DONORS VAIL VALLEY FOUNDATION BOARD OF DIRECTORS Andy Arnold Judy Berkowitz Marlene Boll Bjorn Erik Borgen Jenn Bruno Steve Coyer Jack Crosby Andy Daly Ron Davis Bill Esrey Johannes Faessler Tim Finchem Ceil Folz Harry Frampton Pete Frechette Steve Friedman John Garnsey Margie Gart Bob Gary Donna Giordano Sheika Gramshammer Martha Head Michael Herman Al Hubbard Bill Hybl Chris Jarnot Rob Katz Kent Logan Peter May Brian Nolan Robert Patton Michael Price Eric Resnick Douglas Rippeto Dick Rothkopf Ken Schanzer Mike Shannon Stanley Shuman Rod Slifer Ann Smead Oscar Tang Fred Tresca Stewart Turley Steve Virostek Betsy Wiegers DIRECTORS EMERITI Adam Aron James Berry Craddock Pepi Gramshammer Steve Haber Elaine Kelton SEASON PRESENTERS Judy & Howard Berkowitz Susan & Jeff Campbell Oscar Tang Family

UNDERWRITERS’ CIRCLE Anonymous Donna & Donald Baumgartner For nearly 20 years, Donald and Donna have enjoyed their mountain home in the Lake Creek Valley. They have been enthusiastic supporters of the arts in their hometown of Milwaukee, Wisconsin, and have shared that passion locally through their support of the Vail International Dance Festival. As true lovers of the art of dance, they rarely miss a performance during the twoweek Festival. Priscilla Brewster Doe Browning Originally from Kentucky, Doe moved to Vail fulltime 16 years ago. She has always been an enthusiastic supporter and ambassador of all that Vail has to offer. She currently serves on the 2015 World Alpine Ski Championships Festivities Committee, and actively supports the Vail Performing Arts Academy, Bravo! Vail, Roundup River Ranch, Betty Ford Alpine Garden, and Colorado Mountain College. Pam & Ernie Elsner Marjorie & Philip Odeen Marge and Phil have had a home in Vail for nearly 40 years. When not in Vail they live in McLean, Virginia and North Palm Beach, Florida. They have supported the Dance Festival for several years and both have been active in numerous cultural and charitable activities in the communities where they live. Jill & Kevin Plancher Jill and Kevin Plancher first enjoyed the Dance Festival in 1993 when Kevin was a fellow with the Steadman Clinic in Vail. They have attended and supported the festival each and every year since! Jill and Kevin live in Greenwich, Connecticut and have three children. Kevin has a private practice in Orthopedics in New York City and Greenwich and Jill is a family lawyer with Connecticut Legal Services. They are thrilled to support the International Evenings this year. Linda & Stephen Waterhouse Steve & Linda Waterhouse are proud to support Damian Woetzel and the VIDF. They believe that only in Vail can one see the finest dancers and choreography in the world, in one venue, over a 10-day period. For Steve and Linda, this Festival is an education for the eye and an

opportunity to experience the joy of dance-- a beautiful "summer camp" for everyone! Betsy & George Wiegers Ardent supporters of the arts in New York City and Denver, the Wiegers are also extraordinarily generous in the Vail Valley and contribute to many charities in our mountain community. Both the Vail International Dance Festival and Bravo! Vail have benefited from Betsy and George’s philanthropy. Betsy serves on the Board of Directors of the Vail Valley Foundation, and is on the VIDF Committee. Mary & Melissa Wolf During the summer of 1993, Mary and her daughter, Melissa, were seated behind President and Mrs. Ford at a dance performance. During intermission, President Ford graciously inquired about Mary’s pregnancy (Christopher is now almost 21) and introduced himself to Melissa. The rest is history. Mary and her family have joyously supported the Dance Festival ever since that evening. DIAMOND DRESS CIRCLE Marlene & John Boll Arlene C. Cooper Joanne & Jack Crosby Barb & Rob DeLuca/ Currents Fine Jewelry Pat & Pete Frechette* Martha Head & John A. Feagin, M.D.* Honey Kurtz Nancy & Richard Lubin Leni & Peter May* Jean & Tom McDonnell Stacy & Don Mengedoth* Carolyn & Gene Mercy Jane & Gordon Netzorg Sherri & Robert L. Patton, Jr.* Martha & Terry Perl Vikki & Michael Price* Jerome Robbins Foundation Mary Sue & Michael Shannon* Marcy & Gerald Spector* Dhuanne & Douglas Tansill Wendy Williams and Noel & Ben Kullavanaja *Denotes Cornerstone Diamond Dress Circle PLATINUM CIRCLE Deborah & Charles Adelman Virginia Browning Ann Smead & Michael Byram Eloise & John Paul DeJoria/ John Paul Mitchell Systems

Lisa & Bruce Goldman Elaine & Arthur Kelton Senenne & Marc Philippon Rella & Monroe Rifkin Pixley & Ken Schiciano Shannon & George Slessman Susan & Jeffrey Stern Genie & Robert Stine Martin Waldbaum Joan Whittenberg LaDonna & Gary Wicklund GOLD DRESS CIRCLE Bonnie Audrihopoulas Dierdre & Ronald Baker Wendy & Warren Blumenthal Barbara & Christopher Brody Diane & Jeff Brundage Clara Willoughby Cargile Lois & Stephen Eisen Susan & Harry Frampton Patricia Harmon & Geoffrey Fallon Arlene Harris & Martin Cooper Blachford-Cooper Foundation Debby Herz Ronne & Donald Hess Lorraine & Harley Higbie Kathy & William Hybl Bonnie Lee & Lawrence Kivel Judy & Alan Kosloff Phil Livingston Ferrell & William McClean Helen McIntyre Paul Mesard Marvin Naiman and Margery Goldman Family Foundation Karen Nold & Robert Croteau Stephanie & George Ogden Joanne Posner-Mayer Nancy & Donald Remey Maria Luisa Santos Deana & Gerald Stempler Ellen & James Wiss National Philanthropic Trust SILVER DRESS CIRCLE Martin Atkin & Reid Balthaser Carey Bertsch Rebecca & Howard Braverman Roxana & Peter Brunell Margaret & Clayton Chessman Renee & Jeff Epstein Julie & William Esrey Micki & Larry Fletcher Joan Francis Friends of the Dance Miriam & Morris Futernick Margie & Tom Gart Linda & Richard Greene

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UNDERWRITERS & DONORS

Montine Hansl Gretchen & Charles Lobitz Marjorie Marks Marion & Terrence Martin Peter Mueller Karen Nagel Deborah Nunez Ronnie & William Potter Amanda Precourt Michael Ritchie Stacey Sapp Elaine & Steven Schwartzreich Sydney & Stanley Shuman Catherine & Mark Slavonia Phoebe Smedley Marla Steele Carol & Hans Storr Trista & Ryan Sutter Judith Taylor Linda & Stewart Turley Tina & David Wilson Barbara & J.R. Woodhull Jania & Dean Ziff VAIL VALLEY MEMBER Anonymous (2) William Adler Sheila & James Amend Ellen Arnovitz Mary Beth & Phil Canfield Tiffany Burnette & Donald Casturo Ella Foshay & Michael Rothfeld Norma & Morton Funger Stephanie & John Hanson Margot & Stephen Holland Jill & Loyal Huddleston June & Peter Kalkus Christian Keesee Lisa & William Maury Linda & Dennis Meir Sandy & Fred Pack Kathi Renman & Jim Picard Susan & Arnold Scharf Nancy & John Snyder Pat & Larry Stewart Mark Taylor Vail Resorts, Inc. Ritzy Recalls Rosalind Reed & Howard Walker John Wesler Margaret & Glen Wood COMMUNITY MEMBER Anonymous (2) Grace & Rick Alessi Catherine & Truman Anderson Carol Atha Edwina Carrington Carson-Brierly Dance Library Community First Foundation

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Maureen & David Cross Robin Deighan Eagle Valley Community Fund Carolyn & Don Etter Carolyn Ford Jim Francis Gap, Inc. Daniel Hagler Cathy Heller Susan & Rich Jones Alyne & Abbey Kaplan Donna Kearns Julie & Mike Kirk Lisa Leach Rebecca Lewis Marion & Terence Martin Elsa & Jack McTavish Linda & Dennis Mei Liz & Luc Meyer Pam & Michael Mycoskie Ann & Ronald Riley Barbara & Howard Rothenberg Carole Schragen Diane Smith Ann & Michael Stone Patricia & Edward Wahtera Alyn Park & Jay Wissot SUPPORTING MEMBER Anonymous Mary Adams Brenda & Joe Adeeb Rochelle & Arthur Adler Nancy & John Austin Beth Barbre Michael Barish Barbara Barrow Elizabeth Benish Kristen Best Kathleen & Jack Blair Wendy Boutin Linda Boyne Diana Bradley Dave Broman Kathleen & Brian Brown Barbara & Gary Bryson Judy & Arthur Canter Heather Carney Julie Carr Elizabeth & Jason Chambers Molly & Perry Churchill Clint Clouse Patricia Coffey Karyn Contino Teresa Cortado Mary Davis Nancy & Craig Denton Debra Devereaux Marlene & Joseph Dichiacchio Rochelle & Tom Eick Carole & Peter Feistmann

David Folkes Holly & Ben Gill Alvin & Ellie Goldman Carol & Ronald Goldman Suzanne Greene Jill & John Harrison Sharon Haverstock Gloria Heyer Summer Holm A. Jackson Holt Matthew Horween Meredith & Roger Hutson Myra & Frank Isenhart Leslie Isom Annabelle Jenkins Malin Johnsdotter Alberta & Reese Johnson Elizabeth & Robert Kidd Charlene Koegel Katherine & Derek Konopka Susan & Anthony Krausen Lara Krawchuk Ivy & Frederick Kushner Mary Lamb Lucas Shelly Larson Irene & Gasper Lazzara Cynthia LeBreton Helena & Peter Leslie Susan & Jon Lounsbury Carol Maher Karen Marisak Anne & Franklin Massari Kim Matthews Nancy & Michael McKeever Linda McKinney Joanne & Walter Mendes Dominic Meylor Leslie & Charles Mishner Ruth & Brad Mollman Judith Moran John Murphy Yoshiki Obayashi Judy OBrien Susan Stearns & Frank O'Loughlin Cynthia Patterson Nancy Peterson Wendy Powell Barbara Reed Hope Reese Janet Pyle & Paul Repetto Nancy Reynolds Suzie & Frank Robinson Kenneth Robinson Lynn Rose/Rose & Rose Realty Sue & Mike Rushmore Nancy Pennica & Wayne Ruting Susan Salomon Susan Schneider Judy Margolis & Joede Schoeberlein

Christopher Schonwalder Troy Selden Barbara Selzer Carol & Stanley Shapiro Rosalie Shields Mary Clare & Daniel Silva Martha Skinner Linda & Timothy Stancliffe Madeline & Les Stern Judith & Robert Stiber Connie Kincaid & Greg Strahan Joanie Tanous Amy van den Dijssel Lois & John Van Deusen Victor Vensas Hanna Warren Molly Webster Gail Weinnig Barbara & Stanley Weinstein Bella Whelan Jill Wilson Carol & Robert Zamora CONTRIBUTING MEMBER Donna Abbruzzese Dorelle Ackermann Anonymous Deborah Webster & Stephen Blanchard Susan & Mark Dean Susan & Ron Gruber Jan Harkins Barbara Jean Jay Katzman Maureen Lehman Michael Mabugat Elspeth MacHattie Kay Maune Linda & Gary Moore Alan Morris Marsha & Michael Portelance Lynn Swanson Lucile & Harry Trueblood VAIL INTERNATIONAL DANCE FESTIVAL COMMITTEE Judy Berkowitz, Chairperson Priscilla Brewster Susan Campbell Allie Coppeak Jack Crosby Lisa Goldman Sheika Gramshammer Pat Peeples Senenne Philippon Jill Plancher Stacey Sapp Oscar Tang Linda Waterhouse Betsy Wiegers Joan Whittenberg

UNDERWRITERS & DONORS

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VAIL DANCE

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VAIL DANCE

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FOR INFORMATION ON HOW TO BECOME A DONOR, PLEASE CALL 970.777.2015

FREE COMMUNITY EVENTS

8150 URBAN DANCE CHALLENGE

Bud Light Hot Summer Nights of Dance TUES. JULY 15 | 6:30PM GERALD R. FORD AMPHITHEATER, VAIL See Colorado’s top hip-hop crews battle live on stage for cash prizes, 8150 bragging rights and the chance to perform at Dance TV on August 9.

NATIONAL DANCE DAY SAT. JULY 26 | 4:30PM SOLARIS PLAZA, VAIL Learn the Vail Valley Shuffle, the official dance of the 2015 FIS Alpine World Ski Championships.

DANCING IN THE STREETS & VILLAGE VIGNETTES

Free interactive dancing events SUN. JULY 27 | 11AM Photos & Autographs with Festival Artists Vail Farmers’ Market TUES. JULY 29 | 4:30PM BalletX Solaris Plaza, Vail

SUN. AUG. 3 | 4-6PM Milonga Sonnenalp Resort of Vail

THURS. JULY 31 | 4:30PM Barre to Barre Class Solaris Plaza, Vail

2014 MASTER CLASS SERIES

SUN. AUG. 3 | 11AM Tango with Gabriel Missé & Analia Centurión Vail Farmers’ Market

photos by erin baiano.

The 2014 Master Class Series includes classes offered in a variety of genres from Ballet to Hip-Hop and Jookin to Tango, all taught by Vail International Dance Festival artists or other dance professionals. For complete details on the Master Class Series, visit vaildance.org or call 970.777.2015.

VAIL DANCE

FESTIVAL

artists

Company, Mora Godoy, LaVentana, Casa de Cena and Piazzolla Tango. KING CHARLES

FESTIVAL ARTIST-IN-RESIDENCE HERMAN CORNEJO

American Ballet Theatre Trained at Instituto Superior de Arte at Teatro Colón in Buenos Aires, Argentina. Promoted to Principal with Julio Bocca’s company Ballet Argentino in 1999. Joined American Ballet Theatre in 1999, promoted to Soloist in 2000 and Principal in 2003. In 2014, Cornejo received the Benois de la Danse Prize. ARTISTS ISABELLA BOYLSTON

American Ballet Theatre Trained at the Academy of Colorado Ballet in Denver, CO. Became an apprentice with American Ballet Theatre in 2006 and joined the Company as a member of the corps de ballet in 2007. Promoted to Soloist in 2011. ZACHARY CATAZARO

New York City Ballet Trained at the School of Canton Ballet in Canton, OH, and the School of American Ballet. Became an apprentice with New York City Ballet in 2007 and joined the Company as a member of the corps de ballet in 2008. Promoted to Soloist in 2014. ANALIA CENTURIÓN

Professional Argentine Tango dancer since 1995. Directed the Fusion Tango company, 2002-2006. Past cast member of Juan Carlos Copes and 42

VAIL DANCE

At 27 years old, King is considered the forerunner of the Chicago Footwork scene. He is touring the world teaching masterclasses, winning battles, choreographing music videos and has performed on tours with the Queen Of Pop, Madonna. LIANA CHURILOVA & EMMANUEL PIERRE-ANTOINE

Won first place at the prestigious La Classique de Quebec in Canada, the Florida Superstars DanceSport Championships, the Philadelphia Dance Festival and several Arthur Murray Dance-ORama competitions in Las Vegas, New Orleans and Miami. In 1999, Emmanuel was honored as Haiti’s dance representative to the International Dance Organization. His success has also garnered him appearances on PBS's America's Ballroom Challenge and ABC's Dancing with the Stars. JEFFREY CIRIO

Boston Ballet Trained at the Central Pennsylvania Youth Ballet in Carlisle, PA. Joined Boston Ballet in 2009, promoted to Second Soloist in 2010, Soloist in 2011 and Principal in 2012. LAUREN CUTHBERTSON

The Royal Ballet Trained at The Royal Ballet School. Recipient of the Young British Dancer of the Year award. Joined The Royal Ballet in 2002, promoted to Soloist in 2003, First Soloist in 2006 and Principal in 2008.

ROBERT FAIRCHILD

New York City Ballet Trained at the Ballet West Conservatory in Salt Lake City, UT. Entered the School of American Ballet in 2003 and joined New York City Ballet in 2005. Promoted to Soloist in 2007 and Principal in 2009. ALESSANDRA FERRI

Trained at Teatro alla Scala and The Royal Ballet School and danced at the Royal Ballet before joining American Ballet Theatre as a Principal Dancer. She has won numerous awards including the Sir Lawrence Olivier Award, Dance Magazine Award and the Benois de la Danse Prize. FIK-SHUN

Du-Shaunt “Fik-Shun” Stegall is a hip-hop dancer who joined the Top 20 dancers of Season 10’s So You Think You Can Dance, where he was named America’s Favorite Dancer. Fik-Shun teaches master classes across the nation. CHASE FINLAY

New York City Ballet Trained at Ballet Academy East in New York, NY. Entered the School of American Ballet in 2007 and became an apprentice with New York City Ballet in 2008. Promoted to Soloist in 2011 and Principal in 2013. MATTHEW GOLDING

The Royal Ballet Trained with the Royal Winnipeg Ballet and the Universal Ballet Academy. Danced with American Ballet Theatre. A Principal at The Royal Ballet and Guest Artist with Het National Ballet. Matthew won the Youth America Grand Prix and Zwan Prize of the Netherlands.

FESTIVAL artists JOSEPH GORDON

New York City Ballet Trained at the Phoenix Dance Academy and the School of American Ballet in New York. Member of New York City Ballet corps de ballet since 2012. CRAIG HALL

New York City Ballet Trained at Stairway of the Stars in Maywood, IL, and the Chicago Academy of the Arts and Ruth Page Dance Foundation in Chicago, IL. Entered the School of American Ballet in 1997 and became an apprentice with New York City Ballet in 1999. Promoted to Soloist in 2007. CARLA KÖRBES

Pacific Northwest Ballet Originally from Porto Alegre, Brazil, she joined Pacific Northwest Ballet as a Soloist in 2005 and was promoted to Principal in 2006. Ms. Körbes was formerly a Soloist with New York City Ballet. MISA KURANAGA

Boston Ballet Trained at the Jinushi Kaoru Ballet School in Osaka, Japan, and the School of American Ballet. Former member of San Francisco Ballet. Joined Boston Ballet in 2003, promoted to Second Soloist in 2005, Soloist in 2007 and Principal in 2009. LAUREN LOVETTE

New York City Ballet Trained at the Cary Ballet Conservatory in Cary, NC, and the School of American Ballet. Became an apprentice with New York City Ballet in 2009 and joined the Company as a member of the corps de ballet in 2010. Promoted to Soloist in 2013.

SASHA MALLORY

Trained at the Royal Academy of Dance. Sasha was runner up on Season 8 of So You Think You Can Dance and has appeared on Glee. Has performed with many recording artists including Rihanna and toured with Madonna and American Idol’s Adam Lambert. GABRIEL MISSÉ

Trained with Antonio Todaro and Pepita Avellaneda in Buenos Aires, Argentina. Missé was featured in the Gianni Versace publicity campaign “Tango” and participated in the world-wide tours of Una Noche de Tango, with Miguel Angel Zotto’s company Tango x 2. RON MYLES

Ron “Prime Tyme” Myles was born in Memphis, TN, and specializes in Jookin, a Memphis-based freestyle dance. Appeared in the 2011 film Footloose, and starred in several commercials including a Diet Pepsi segment alongside Sofia Vergara, and a spot for Adidas Originals. MATTHEW NEENAN

Trained at the Boston Ballet School, LaGuardia High School of Performing Arts and the School of American Ballet. His works have been featured and performed by the Pennsylvania Ballet, The Washington Ballet, Colorado Ballet and Ballet Memphis, among many others.

on Broadway in Susan Stroman’s The Music Man, and will star in Stroman’s upcoming new show The Little Dancer in fall of 2014. HALEEM “STRINGZ” RASUL

The ambassador of the Detroit “Jit” dance style, Stringz established Hardcore Detroit® in 2001. Since then he has instructed dance workshops internationally, judged and participated in dance tournaments and organized dance-related events. CHARLES “LIL BUCK” RILEY

Leader of the dance style known as Jookin, which originated in Memphis, TN. Riley gained mass acclaim for his YouTube collaboration with Yo-Yo Ma in The Swan directed by Damian Woetzel. Has also appeared with Madonna in her 2012 Super Bowl XLVI Halftime Show and on her 2012 MDNA Tour and made a guest appearance on The Colbert Report in 2013. GLEB SAVCHENKO

Is the National Australian Professional Latin American Champion and the Asian Professional, Hong Kong, Japanese, Singaporean and England Champion. Has been featured on the TV show Dancing With The Stars and has choreographed for the TV series So You Think You Can Dance.

TILER PECK

New York City Ballet Trained at the Westside School of Ballet in Santa Monica, CA. Entered the School of American Ballet in 2003 and joined New York City Ballet in 2005. Promoted to Soloist in 2006 and Principal in 2009. Performed VAIL DANCE

FESTIVAL artists FANG-YI SHEU

Trained at the Taipei National University of the Arts in Taiwan. Joined the Martha Graham Dance Company in 1995. Promoted to Principal in 1998. Founder, Fang-Yi Sheu & Artists. SHANTALA SHIVALINGAPPA

Trained in Kuchipudi by Master Vempati Chinna Satyam. She has performed at notable festivals and halls across North America and Europe including the legendary Tanztheater Wuppertal. Shantala received the Bessie Award for Outstanding Performance in 2013. BEATRIZ STIX-BRUNELL

The Royal Ballet Trained at the School of American Ballet and the Paris Opera Ballet School. Performed with Morphoses/The Wheeldon Company before joining The Royal Ballet in 2010, where she was promoted to soloist in 2012. KEVIORR TAYLOR

Performed on America’s Got Talent, NBA playoffs Halftime Show and is one of the only dancers in the world to be shown on ESPN. ANNA TREBUNSKAYA

Anna Trebunskaya has been featured on ten seasons of ABC’s Dancing with the Stars, finishing second in two separate seasons. DANIEL ULBRICHT

New York City Ballet Trained at the Judith Lee Johnson Studio of Dance and Les Jeunes Danseurs in St. Petersburg, FL.

VAIL DANCE

Entered the School of American Ballet in 1999 and became an apprentice with the New York City Ballet in 2001. Promoted to Soloist in 2005 and Principal in 2007. ALEX WONG

Danced with American Ballet Theatre and Miami City Ballet. Finalist on So You Think You Can Dance Season 7. Alex won the ACCA Award for Broadway 2011-2012 season. Is currently shooting the new Starz network TV series Flesh & Bone. PENNSYLVANIA BALLET AMY ALDRIDGE

Principal Trained at School of Richmond Ballet, the School of American Ballet and Boston Ballet School. Promoted to Principal Dancer in 2001. Amy has performed as guest artist with New York City Ballet and also appeared with BalletX. LAUREN FADELEY

Principal Trained at Orlando Ballet School and School of Performing Arts. Previously danced for New York City Ballet. Performed in the Academy Award ™-winning film Black Swan. Lauren has performed as principal guest artist with Carolina Ballet, BalletX and The Joyce Theater. IAN HUSSEY

Principal Trained at The Rock School for Dance Education and Central Pennsylvania Youth Ballet. Has created leading roles in ballets including Annabelle Lopez Ochao’s Requiem for a Rose, Jorma Elo’s Pulcinella, and Matthew Neenan’s Pampeana #2.

JERMEL JOHNSON

Principal Trained at Baltimore School for the Arts and the School of American Ballet. Received critical acclaim for his performances at City Center in Manhattan and in the world premiere of Neenan’s Pampeana No. 2. LILLIAN DI PIAZZA

Soloist Trained with Maryland Youth Ballet and the School of American Ballet. Was the 2007 National Foundation for the Advancement of the Arts Winner in Dance. Lillian has also danced principal roles in several ballets including George Balanchine's Ballo della Regina and The Nutcracker. JAMES IHDE

Soloist Trained at Dance Institute of the University of Akron. Received rave reviews for his feature role in Lar Lubovitch’s Waiting for the Sunrise. Has danced feature roles in several ballets including John Cranko’s Romeo and Juliet (Paris). EVELYN KOCAK

Soloist Trained at the School of American Ballet. Has appeared on the live television broadcast of The Kennedy Center Honors and at the Edinburgh International Festival. Danced with the Staatsballett Berlin for four seasons.

FESTIVAL artists

CORPS DE BALLET SAMANTHA BARCZAK EDWARD BARNES LAURA BOWMAN DANIEL COOPER MARRIA COSENTINO CARALIN CURCIO HOLLY LYNN FUSCO KELSEY HELLEBUYCK AMY HOLIHAN ALEXANDRA HUGHES RACHEL JAMBOIS RACHEL MAHER ELIZABETH MATEER LORIN MATHIS ALEXANDER PETERS JONATHAN STILES ELIZABETH WALLACE AMI YOGEV

ZACHARY KAPELUCK

Trained at Southwest Ballet, Pittsburgh Ballet Theater, The Juilliard School, and Hubbard Street Dance Chicago’s Summer Intensive. Previously danced with Mary Miller Dance. BalletX member since 2013. JAIME LENNON

Trained at The Dance Center, the School of American Ballet. Former principal dancer with The Brandywine Ballet. BalletX member since 2010. DANIEL MAYO

BALLET X WILLIAM CANNON

Trained at BalletMet Dance Academy. Previously danced with BalletMet, Hubbard Street 2 and Complexions Contemporary Ballet. BalletX member since 2011. COLBY DAMON

Trained at the Richmond Ballet, Boston Ballet and Virginia School of the Arts. Previously danced with Sacramento Ballet, Metropolitan Opera Ballet, Mark Morris Dance Group, Thang Dao Dance Company. BalletX member since 2008. CHLOE FELESINA

Trained at Deane Dance Center and the San Francisco Conservatory of Dance. Previously danced with The Foundry, Sacramento Ballet. BalletX member since 2010. FRANCESCA FORCELLA

Trained at Dance Stop Education Center. Previously danced with Washington Ballet Studio Company and Los Angeles’ American Contemporary Ballet. This is Francesca’s first season with BalletX.

Trained at The Juilliard School. Previously danced with Atlanta Ballet and RUBBERBANDance Group. Film: Bravo!FACT. BalletX member since 2014. CAILI QUAN

Trained at Ballet Academy East. Previously danced with First State Ballet Theatre. BalletX member since 2013. RICHARD VILLAVERDE

Trained at University of the Arts and La Biennale in Venice. BalletX member since 2013. ANDREA YORITA

Trained at Academy of Dance. Received the Solo Seal Award and was a finalist in the Genee International Ballet Competition. RESTLESS CREATURE WENDY WHELAN

Trained at Louisville Ballet Academy, and has been a ballerina at New York City Ballet for almost 30 years. Created Restless Creature in 2013, and has performed as a Guest

Artist with The Royal Ballet and Kirov Ballet. Whelan is an Artistic Associate at New York City Center. Her many awards include Dance Magazine Award, The Jerome Robbins Award and a Bessie Award. KYLE ABRAHAM

Choreographer Trained at Civic Light Opera. Created Abraham. In.Motion. Has received numerous awards including a Bessie Award and Princess Grace Award. In 2011, OUT Magazine labeled Kyle as the “best and brightest creative talent to emerge in New York City in the age of Obama." JOSHUA BEAMISH

Choreographer The Artistic Director of MOVE: the company. His works have toured the globe. Collaborated with School of American Ballet and New York Choreographic Institute. TV/Film: ABC’s Life As We Know It, New Line’s Code Name: The Cleaner to name a few. BRIAN BROOKS

Choreographer Awarded 2013 Guggenheim Fellowship and Joyce Theater’s Artist Residency. For three consecutive years he’s been commissioned by the Vail International Dance Festival to create new works. His dance group, the Brian Brooks Moving Company, has toured the U.S., South Korea and Germany. ALEJANDRO CERRUDO

Choreographer Trained at Real Conservatorio Profesional de Danza de Madrid. In 2008, named Hubbard Street Choreographic Fellow and was the company’s first Resident Choreographer in 2009. Has collaborated with Chicago Symphony Orchestra and Nederlands Dans Theater. VAIL DANCE

FESTIVAL artists

MARTHA GRAHAM DANCE COMPANY TADEJ BRDNIK

Principal In addition to performing leading roles, Brdnik teaches internationally, is a former director of Teens@Graham and Education Director for the Downtown Dance Festival. Is a recipient of the Benetton Dance and Eugene Loring awards. MGDC member since 1996. PEIJU CHIEN-POTT

Principal Previously danced with Taipei Royal Ballet, Taipei Crossover Dance Company, Buglisi Dance Theatre, Korhan Basaran Artists, Nimbus Dance Works, and Morphoses. MGDC member since 2012. MARIYA DASHKINA MADDUX

Soloist Dances lead roles. Trained in Ukraine. Continued her studies at Thomas Armour Youth Ballet and attended New World School of the Arts, where she graduated summa cum laude. MGDC member since 2007. NATASHA DIAMOND-WALKER

Dancer Performed lead roles in Appalachian Spring, Diversion of Angels and Cave of the Heart. Previously danced with Francesca Harper Project, 360 Dance Theater, Buglisi Dance Theater, and Alvin Ailey American Dance Theater. MGDC member since 2011.

ABDIEL JACOBSEN

LUCY POSTELL

Dancer Performed major roles. Is a Professional Competitive Ballroom and Latin dancer/instructor, and a guest artist with the Cecilia Marta Dance Company. MGDC member since 2011.

Enrolled in the Martha Graham School of Contemporary Dance as a scholarship student in 2011 and was chosen to be a member of Graham 2. MGDC member since 2012.

LLOYD KNIGHT

Soloist Dances many lead roles. He premiered Martha Graham’s work in Russia. Earlier dance credits include the Tony Award® winner Blast, Cleo Parker Robinson Dance Ensemble, and Hannah Kahn Contemporary Dance. MGDC member since 2009.

Soloist Performs starring roles, including Appalachian Spring, Embattled Garden, and Errand into the Maze. Dance Magazine named him one of the “Top 25 Dancers to Watch” in 2010. MGDC member since 2005. CHARLOTTE LANDREAU

Dancer Currently dances the Princess in Cave of the Heart among other roles. Trained at the Maurice Béjart School. Danced with Graham 2. Received the Pearl Lang Award. MGDC member since 2013. LLOYD MAYOR

Dancer Performs lead roles. Trained at Rambert School of Ballet and Contemporary Dance in London. Member of Graham 2. Received the Clive Barnes Award. MDGC member since 2012. LAUREN NEWMAN

Dancer Toured Italy in its special project Cercando Picasso. Trained with Jacksonville Ballet Theater and Douglas Anderson School of the Arts. In 2007, she joined Graham 2. MGDC member since 2008. LORENZO PAGANO

Dancer Danced at Impulstanz Tanz Wochen and Doris Humphrey Foundation. Received scholarships to the School at Jacob’s Pillow and Martha Graham School. Was a member of Graham 2. MGDC member since 2012. 46

VAIL DANCE

BEN SCHULTZ

BLAKELEY WHITE-MCGUIRE

Principal Performs the major roles of Graham’s iconic repertory. Has also danced new choreographic works by Martha Clarke, Lar Lubovitch, Richard Move, Robert Wilson and SITI/Company. MGDC member since 2002. XIAOCHUAN XIE

Soloist Trained at Nanjing Secondary School. Danced for Qianxian Art Theater. Performed for former President Jiang Zemin and President Hu Jintao. Won first prize in the National Dance Competition in China. MGDC member since 2010. YING XIN

Dancer Performs lead roles. Received China Dance Lotus Award. Ying was a faculty member at Mianyang Arts College and guest teacher at Beijng Dance Academy. Was a member of Graham 2. MGDC member since 2011.

FESTIVAL artists JAMES HALL

MUSICIANS MICHAEL BLOCK

Cellist A pioneering style cellist, singer, composer, and Associate Professor at the Berklee College of Music. Hailed by Yo-Yo Ma as the “ideal musician of the 21st Century," Mike is a member of the Silk Road Ensemble. CLAIRE CHASE

Flutist First Prize Winner of the 2008 Concert Artists Guild International Competition, and recipient of a MacArthur Fellowship, Clair has given critically acclaimed solo recitals at Carnegie Hall and major venues around the globe, and is the co-founder of the International Contemporary Ensemble (ICE). SANDEEP DAS

Tabla Drummer Grammy-nominated Sandeep Das has recorded music on over 30 labels. Founded HUM (Harmony and University through Music) an ensemble of world-class artists who promote global understanding through musical performances and education, and he is a member of the Silk Road Ensemble. He is a three-time AllIndia drumming champion. CAMERON GRANT

Piano Joined the New York City Ballet in 1984, became a Solo Pianist there 2 years later, and was appointed pianist of the NYCB Orchestra in 1998. Has performed all the major piano ballets of the company as well as virtually all the piano concerti of the repertory.

Flutist Professor of Flute at University of Northern Colorado, is an international soloist, chamber, orchestral musician and teacher. Performs live on radio, television and in concert halls on four continents and frequently travels the globe, performing and giving master classes. KATE HATMAKER

Violinist A violinist with the San Diego Symphony since 2006. Is the co-founder and Artistic Director of Art of Élan. Has performed at the Bravo! Vail Festival, the Breckenridge Music Festival and the Strings Music Festival. GRACE PARK

Violinist As a soloist, Grace has been the featured artist at The Kennedy Center, Walt Disney Hall, Carnegie Hall, The Grace Rainey Auditorium, The Rudolfinum and Glinka Hall. Has performed the world premieres of emerging composers Samuel Carl Adams and Andy Akiho. CRISTINA PATO

Galician bagpipe Internationally acclaimed as a gaita (Galician bagpipe) master and a classical pianist, Ms. Pato enjoys an active professional career devoted to both Galician popular and classical music. Has collaborated with world music, jazz, classical and experimental artists (including the Chicago Symphony, Yo-Yo Ma, The Chieftains and the Royal Pipe Band) and has given more than 500 concerts with her own band. Is a member of Yo-Yo Ma’s Silk Road Ensemble.

FRANK SHAW

Violinist Co-founder of A Far Cry, Boston-based Chamber Orchestra-in-Residence at the Isabella Stewart Garner Museum and New England Conservatory. Has performed at Musikverein in Vienna, Boston Symphony Hall, Jordan Hall, Ravinia Festival and Chautauqua Institution. PETER VAVRA

Pianist Began his career in Vail in 1983 playing piano for the Westin Hotel, now known as the Vail Cascade Hotel. Played for ballet classes for Colorado Mountain College. Was the principal class pianist for the Vail International Dance Festival in its early years and is still at it today. FESTIVAL DIRECTOR DAMIAN WOETZEL

Damian Woetzel, former Principal Dancer with New York City Ballet, is the Artistic Director of the Vail International Dance Festival. Woetzel also serves as the founding Director of the Jerome Robbins Foundation's New Essential Works (NEW) Program and as the Director of the Aspen Institute Arts Program. Outside these roles, his recent projects as a Director have included “Lil Buck @ Le Poisson Rouge,” the tribute to ballerina Natalia Makarova for the 2012 Kennedy Center Honors, and culminating events for the Silk Road Connect Program in collaboration with Yo-Yo Ma with whom he works on education projects nationally. In November of 2009, President Obama appointed Woetzel to the President’s Committee on the Arts and Humanities.

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VAIL DANCE

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VIDF AMBASSADORS: Rocky Walder (Coordinator) Colby Wilson (Coordinator) Grace Anderson Chapin Benway Alicia Chavez Sydney Dietz Hannah Geisman Calley Gottbehuet Allie Gruber Rachel Keith Serena Kozusko Alec Mauro Clementine Perkins Katherine Sayre Sophia Walder

Tony Kieraldo, Musical Director photo by erin baiano.

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Proudly we welcome back The Dance Company... with a special acknowledgment to Lil Buck...

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RICHARD VILLAVERDE. photo by alexander iziliaev.

Body Language BALLETX — ADVANCING DANCE’S VOCABULARY To stretch classical ballet beyond its traditional boundaries takes not only vision and collaborative conversation, but also finely tuned bodies that can bring new and exciting kinesthesia to life. Since 2005, BalletX has advanced the vocabulary of classical ballet by presenting more than 45 world premieres choreographed by internationally renowned artists. The Philadelphia-based company firmly roots itself in classical ballet technique, beginning each morning class with 10 dancers in ballet shoes, and then untying — both literally and figuratively — constraints of classical ballet as dancers strip down to bare feet, while still maintaining the integrity of ballet’s rigorous discipline. It’s not easy finding dancers to meet the demands of BalletX. “It takes a unique and special dancer that strives to do (classical ballet, contemporary ballet, modern, jazz and even hip-hop),” says Christine Cox, co-Artistic Director and Executive Director of BalletX. “We really challenge the body to move in new and different ways.” Throughout the innovative and bold choreography, the dancers’ classical 50

VAIL DANCE

By Kimberly Nicoletti

ballet training brings clarity to each movement — a sense of refinement not always found in contemporary dance companies. The small group of dancers also forms a “close-knit family” says co-Artistic Director Matthew Neenan. “They are used to doing new work; that hunger is always there,” Neenan says. “I can really be myself, and that support increases the value of the work. I feel I can do my most human work (with) them.” Cox and Neenan have never lost sight of the essence of ballet, not only as a foundational technique, but also as an artistic expression, in which to evolve into the 21st century. “Ballet is such a unique art form,” Cox says, “and, I feel dance is an incredible way to experience life and art.” BalletX is shaping the future of dance through imagination, athleticism, grace and the elicitation of emotion. “Everything about ballet is evolving,” Neenan says. “People are continually making it seem fresh.” These days, he and Cox are focusing on more full-length works, which allow choreographers to “complete” their ideas, rather than show a 20-minute snippet of it. “(We’re) bringing out dancers in an honest way — it could be the melancholic

COLBY DAMON AND CAILI QUAN. photo by alexander iziliaev.

ZACHARY KAPELUCK AND ANDREA YORITA. photo by alexander iziliaev.

side of them or the sanguine or fun side,” Neenan says. In addition to its world premiere by Neenan this year in Vail, the company will perform selections from its repertoire, such as a piece by choreographer Joshua L. Peugh called Slump which will be performed on the Dance for $20.14 performance on August 5th. “Now, we are asking choreographers to investigate what the future of ballet looks like even more,” Cox says. “We’re a company for choreographers to make their dream ballets.” As Cox and Neenan work with the choreographers, they literally move through a kinesthetic conversation about the future of ballet. They explore how pointe shoes empower or inform pieces,

she says. “I’ve been finding the pointe shoe very interesting,” Neenan says, “and I think there are new ways to explore pointe.” Ultimately, BalletX employs ballet’s technical foundation to layer diverse, challenging movements and forms into dance, which allows the dancers to understand every facet of the movement. This, in turn, equips dancers to express the range of human experiences, through choreography, to audiences. “When you’re sitting in your seat at a BalletX performance, you quickly realize you’re going on an amazing journey — you may cry, you may laugh — it’s all unexpected,” Cox says. “We’re really about creating experiences you never thought possible.”

vail valley galler y guide summe r 2014

“Art washes away from the soul the dust of everyday life.” – Pablo Picasso

– 1 ART 2011

–

pick up your copy of art, the vail valley gallery guide VAIL DANCE

LOOKING FORWARD, LOOKING BACK

The Martha Graham Dance Company preserves its founderâ&#x20AC;&#x2122;s legacy, while making the work seem new BY SUSAN REITER

MARTHA GRAHAM IN LETTER TO THE WORLD. CIRCA 1940. photo by barbara morgan.

hen a dance company has more than eight decades of history on which to draw, it is constantly engaged in a dialogue between the past and the present. The enormous legacy of Martha Graham (1894-1991), arguably the most innovative and influential figure in American modern dance, is the calling card of the Martha Graham Dance Company, which has the singular mission of preserving her choreography as well as keeping it vital in the 21st century.

For its second visit to the Vail International Dance Festival, the company brings a program that exemplifies the way Artistic Director Janet Eilber navigates a delicate balance between looking back and moving forward. Graham left an extensive repertory of works, in which she applied her forceful, breathpropelled movement technique and exceptional theatrical insight to explore psychological states, interpret literary and mythological characters, and speak to the political and social currents of her times. These dances continue to challenge and enlighten performers and audiences today, as was exemplified by the program of three vintage Graham works the company performed in 2012. But in the more than two decades since its founder's death, the company has had to identify what type of new repertory can accompany, and complement, Graham's intensely dramatic and penetrating works. For this second Vail appearance, a very recent work, Echo by Andonis Foniadakis, will share the program with two Graham masterworks from the 1940s — arguably the choreographer's most fertile and creative decade. Completing the Vail program is the premiere of a new work that represents an innovative new take on a pivotal, rarely seen work Graham created in 1940, soon after she first brought male dancers into her formerly all-female troupe. Letter to the World drew on the poems of Emily Dickinson, filling the stage

HERMAN CORNEJO REHEARSING FOR AT SUMMER'S FULL WITH MAURIZIO NARDI.

with a large cast of characters and numerous scenes inspired by her poetry. Yet Graham was not attempting a portrayal of the poet's actual life, but rather an invitation into the world of Dickinson's imagination. Through innovative theatrical means, she evoked the poet's internal life – the vivid inner world that kept her at a distance from the vibrant New England life surrounding her. Agnes DeMille, in her insightful book about Graham, described Letter's approach to Dickinson as “a biopsy of her emotional adventures.” Graham anchored the piece in a dual depiction of the poet – she herself, at the height of her performing powers, was the central figure, joined by a counterpart who spoke relevant lines of Dickinson's verse. These dual aspects of Dickinson confronted and supported one another. The primary male role, identified as The Lover, was originated by Erick Hawkins – a beautifully proportioned, ballet-trained dancer who was the first man to join Graham's company, and her future husband. A large and lengthy work, Letter was one that Graham tinkered with continually — and one to which she kept returning. In 1988, at the age of 94, she oversaw a major revival. That was the last time the work was performed. VAIL DANCE

A quarter-century later, Eilber has reconceived it, combining sections of Graham's choreography into a more intimate, 20-minute work. For this premiere, titled At Summer's Full, Artist-in-Residence Herman Cornejo and New York City Ballet Principal Dancers Tiler Peck and Robert Fairchild will join the Graham Company members.

XIAOCHUAN XIE IN MARTHA GRAHAM’S DIVERSION OF ANGELS. photo by hibbard nash photography.

practice skirt and soft slippers. She and Fairchild were learning a duet performed in 1940 by Graham and Hawkins. They intently observed and followed the Graham dancers' movements, pausing to clarify musical timing (Hunter Johnson's original score) or confirm details from a filmed 1973 Letter revival. Both plunged fearlessly into the more grounded moves, appearing quite at ease with such non-balletic instructions as “go into a parallel hinge.” They quickly mastered a passage in which Fairchild held Peck horizontally, at chest height, and whirled her in forceful circles. In his separate rehearsal, Cornejo applied his exceptional technique and focus to an intense, heroic solo set to a section of the score that throbs with rhythmic urgency -- finding his way into Graham's dynamic, forceful movement phrases that combined such unfamiliar elements as sideways tilts and foot stomps that suggest a kinship with Flamenco. The two other Graham works the company will perform are both classics, set to eloquent commissioned scores that are achievements in their own rights. For Errand into the Maze (1947), Graham drew on the myth of Ariadne, the Cretan princess who confronted the Minotaur. But she brilliantly transformed that into a woman's metaphorical encounter with her deepest inner fears. The role Graham herself performed is one of her most empowered and vivid heroines, and has continued to challenge generations of the troupe's leading female dancers. Created one year later, Diversion of Angels is the rare Graham work from the 1940s in which she did not appear. One of her most lyrical dances, it presents three contrasting couples who evoke very different phases of romantic love.

“EVERYBODY ONSTAGE WAS REPRESENTING HER. YOU WERE INSIDE HER BRAIN; IT WAS ALL VARIOUS ASPECTS OF ONE WOMAN. AND THAT WAS PART OF WHAT MARTHA WAS DOING THAT WAS COMING OUT OF

Eilber observes, “There are THE THEATER MORE THAN IT WAS OUT OF THE DANCE WORLD.” many aspects of Letter that are ground-breaking: the It promises to resonate well with the focus on male-female dyfact that there were not just two people onstage representing namics that Eilber is bringing to the new arrangement of Letter Dickinson, but everybody onstage was representing her. You to the World. And Echo, in which Foniadakis — a contemporary were inside her brain; it was all various aspects of one woman. Greek choreographer — examines the myth of Narcissus and And that was part of what Martha was doing that was coming Echo, is an apt counterpart to Graham's longtime fascination out of the theater more than it was out of the dance world. with Greek mythology “There's so much in it that relates to other Graham works in many works. “He's that came later. There are many beautiful sections for the chosen a Greek myth to chorus, which almost always appears in couples. And there make a contemporary are some wonderful solos and duets, exploring male-female statement – just as Marrelationships. So for At Summer's Full, I'm selecting solos that tha did, back in the day,” resonate with each other, and seem to evoke a dramatic arc Eilber says. — not necessarily the arc Martha intended in her complete With such juxtaposiwork. They'll be seen next to each other, rather than sprinkled tions, the Graham Comthroughout the whole dance.” pany program revivifies In early March, before the Graham Company left for a residenthe past while also cy to assemble the full new work, the three guest artists could be found in a Manhattan dance studio, working closely with Graham presenting choreography of the moment — and Principals Blakeley White-McGuire and Maurizio Nardi to learn allows each to reverbertheir roles. Peck, who the day before had been performing in a ate with the other. tutu and toe shoes with New York City Ballet, wore a full-length 54

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YING XIN IN MARTHA GRAHAM’S DIVERSION OF ANGELS.

photo by hibbard nash photography.

WENDY WHELAN PERFORMS FANDANGO, A WORLD PREMIERE CHOREOGRAPHED BY ALEXEI RATMANSKY AT THE 2010 FESTIVAL.

WENDY WHELAN AND BRIAN BROOKS IN THE WORLD PREMIERE OF FALL FALLS AT THE 2012 FESTIVAL.

WENDY WHELAN AND CRAIG HALL IN CHRISTOPHER WHEELDON'S LITURGY AT THE 2012 FESTIVAL.

Always Restless AFTER THREE DECADES WITH NYC BALLET, WENDY WHELAN BOLDLY MOVES INTO A NEW WORLD OF MODERN DANCE BY SHAUNA FARNELL

rom afar, watching Wendy Whelan swoop into her local coffee shop on Manhattan’s Upper West Side, it’s not difficult to guess that she’s a dancer. Lithe, quick and with bamboo-like posture, from a distance she looks every bit like a ballerina. But from her attitude you’d never know she’s one of New York City’s most famous and beloved performers. Especially when she greets you — a virtual stranger from Vail meeting her for an interview — with a warm hug and apologies for changing the meeting location. She sashays into the café, orders a creamy frappe sits down and smiles, laughing easily. You’d never guess the woman was 47 years old, or has just recovered from major surgery. It is both of these things — last year’s hip surgery, and the fact that Whelan is about to move onto the next phase of her career after retiring from New York City Ballet after a jaw56

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dropping 30 years — that give the storied performer a new appreciation for life. The surgery came right after the premiere of Restless Creature last August. After years of experiencing pain and discomfort in her right hip, Whelan returned to Vail, where she has been a bright part of the dance festival for 20 years, for the operation repairing a torn labrum in her right hip. It wasn’t until Steadman Clinic’s Dr. Marc Philippon embarked on the surgery that he discovered the real extent of the damage, telling Whelan she was very, very close to needing an entire hip replacement. “The doctor told me if I had danced a month longer, that would have been it,” Whelan says. The ballerina realized upon signing up for surgery that it was a risky move that might result in the end of her professional dancing career. But after debuting Restless Creature at the 2013

Jacob's Pillow Dance Festival, literally in a mental fog because she had to be on such a heavy dose of painkillers, there was really no alternative. “This is the only way to have done it — to break and mend again,” she says. “There were times in the injury when I honestly didn’t know if I would truly get back again. There’s no guarantee. Going through this process I realize I don’t know how it will end up. I’m just along for the ride.” Following two months on crutches and extensive rehabilitation, Whelan is back on the ride. She is dancing again, on stage in the city for her last few months with the New York City Ballet. Dr. Philippon and his family made a special trip to see her per-

“I WANTED TO LEARN SOMETHING NEW. I WANTED TO FEEL LIKE THE BEGINNER AGAIN.” form. Her final day with the ballet company is set for Oct. 18. “On Oct. 19, it’s going to be a whole new world to me. Everything I do from then on is going to be new,” Whelan says. Restless Creature constitutes her first bridge into that new world. “What it did is it made me feel young again,” she says of the performance, in which she appears in collaborations with choreographers and dancers Alejandro Cerrudo, Kyle Abraham, Brian Brooks and Joshua Beamish. “When you’re the ballerina of the company, the one that’s been there the longest … I realized I probably wouldn’t learn another new ballet there. I wanted to learn something new. I wanted to feel like the beginner again.” Mission accomplished. In order to strip down and clear her muscle memory to learn the highly eclectic and diverse styles of each of the four Restless Creature duets, Whelan claims she was “really into being awkward.” “There were times I was absolutely positive I’d bitten off more than I could chew,” she says. You’d never know this by watching the performance. Whelan describes it as unfolding on an arc, beginning with Ego et Tu, her duet with Cerrudo – who, throughout rehearsals, constantly pushed Whelan to reach higher and bend lower. “Everything he said to me had an ‘er’ in it,” she says, laughing. The duet with Beamish, Waltz Epoca, involves fascinatingly abrupt, calculated asymmetry to the Waltz Epoca soundtrack. Then comes The Serpent and the Smoke collaboration with Abraham, whom Whelan describes as “the antithesis” of her. “He’s so street, so funky. He’s so … black. And I’m as white as white can be,” she says. The program wraps up with First Fall, a hypnotic duet with Brian Brooks, which was premiered in Vail in 2012. Initially titled Fall Falls, that Brooks/Whelan duet was commissioned by the Vail Festival and was the first of the Restless Creature collaborations to be created. Restless Creature will continue touring into next year, providing a more solid springboard for Whelan during her transition, although she already has another project in the works, teaming up with English dancer Edward Watson (also a photos by erin baiano and kyle froman.

Vail Festival alumnus) of The Royal Ballet. Their collaboration will premiere in London next July. “Ed is a beautiful artist with a huge amount of integrity,” Whelan says. “I was initially taken with him in Vail. He seemed like someone I’d want to share an evening with and try new things. We’re in the process of finding choreographers but it will be just the two of us performing.” Although Whelan is taking steroid injections for recently discovered inflammation associated with her old hip injury, she says her body is feeling good and she is ready to dive back into Restless Creature this summer. And then step into her next chapter. “I’m in heaven now compared to what I was going through last year. The flexibility I have now was not there last year,” she says, adding that Restless Creature has bolstered her confidence physically and emotionally for her big transition. “It really rejuvenated me and gave me a lot of energy and a lot of excitement for moving on. I know now I can survive outside and that I work well with other people. I proved that to myself. With that strength I can do anything.” Restless Creature makes its Vail premiere Aug. 6th at Beaver Creek’s Vilar Performing Arts Center, and is followed by a special dinner reception honoring Whelan at the May Gallery.

WENDY WHELAN WARMS UP BACKSTAGE AT THE 2008 FESTIVAL.

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Pennsylvania Ballet: WHERE CLASSICAL MEETS CONTEMPORARY BY KIMBERLY NICOLETTI

PENNSYLVANIA BALLET PRINCIPAL DANCERS LAUREN FADELEY AND JERMEL JOHNSON IN STRAVINSKY VIOLIN CONCERTO.* photo by alexander iziliaev.

ennsylvania Ballet is gracefully poised between two worlds: it roots itself in the illustrious work of pioneer and choreographer George Balanchine, while extending the branches of contemporary ballet into diverse repertoire that aims to engage modern audiences. The Philadelphia-based ballet company celebrates its 50th anniversary this year as Artistic Director Roy Kaiser continually strives for excellence in every season, and every performance, he presents. In 1963, Balanchine invited one of his protégés, Barbara Weisberger, to open the Pennsylvania Ballet in Philadelphia. Trained in Imperial Russia, Balanchine emigrated from Europe to the United States in 1933 to co-found with Lincoln Kirstein the School of American Ballet in New York, and after creating a series of short-lived companies, he and Kirstein launched the New York City Ballet in 1948. As the son of a

composer, Balanchine received extensive musical training, which deeply informed his skills as a choreographer, making it possible for him to communicate with composers such as Igor Stravinsky and reduce orchestral scores on the piano to better translate music into dance. “We’ll never see a choreographer like him,” Kaiser says. “He was brilliant at creating a pure reflection of the music. He was a musician as much as a choreographer, and that shows, and that makes the ballets make sense to dancers kinesthetically and makes the ballets very aesthetically pleasing to audiences.” Though all of the company’s dancers steep themselves in Balanchine style, they each bring “different elements to the table with a lot of different movement qualities … (resulting in) wellrounded dancers,” says Principal Dancer Lauren Fadeley, who is in her seventh season with Pennsylvania Ballet. And, despite any individual variances, they work together as a close-knit community. VAIL DANCE

ARTISTS OF PENNSYLVANIA BALLET IN GEORGE BALANCHINE’S STRAVINSKY VIOLIN CONCERTO. photo by alexander iziliaev.

“I LOOK FOR DANCERS THAT HAVE SOUL … AND THEN I FEED THAT BY GIVING THEM A GREAT REPERTOIRE OF DANCE.”

“We all want the company to be the best it can be, and we all work together to get there,” Fadeley says. The dancers not only encourage each other inside the studio and on stage, but they also spend time bonding beyond the mirrored walls. “There are a lot of dancers who are my friends, but watching them dance, I still get star-struck,” says Principal Dancer Jermel Johnson, who has been with the company for 11 years. Blending tradition with innovation, Balanchine’s 425 works offer a diverse body from which the Pennsylvania Ballet chooses annually. “Works by the master, Mr. Balanchine, have always been a cornerstone of this company. They make great dancers for a couple of reasons,” Kaiser says. “They demand technical speed and quickness of articulation, but at the same time they’re also incredibly musical … they challenge dancers to rise to a new level.” Fadeley experiences, firsthand, how Balanchine’s choreography brings out the best in dancers. “It gives you a freedom of movement, but it’s very technical,” Fadeley says. “The tempo’s always right on the edge of being a little too fast, and it’s always using up all of the space … you take risks with the choreography, making it as big as you can.” Though Balanchine choreographed his ballets in the last century, he fused modern concepts with traditional ideals of classical ballet. His neoclassicical style still blends exquisitely with contemporary ballet. 60

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Every season, the Pennsylvania Ballet showcases at least one or two of Balanchine’s ballets, and also presents the Balanchine version of the eternal holiday favorite The Nutcracker. Then, Kaiser commissions new works for the company, often working with choreographer and co-founder of BalletX Matthew Neenan, and bringing in such internationally renowned choreographers as William Forsythe. “The contemporary work strengthens the classical ballet and Balanchine technique, and vice versa,” Johnson says. “It (allows for) more variety of style.” This summer in Vail, Pennsylvania Ballet’s 36 dancers will highlight Balanchine’s varied works from Stravinsky Violin Concerto and the legendary Serenade, to the Rubies section of Jewels. “You get a very broad look at Mr. Balanchine’s work,” Kaiser says. Since its national debut in 1968 at City Center in New York, Pennsylvania Ballet has been one of America’s foremost ballet companies, known for its passionate artistry and technical virtuosity. During the 1970s, it became the official company of the Brooklyn Academy of Music, and in the late 1980s, it joined with Milwaukee Ballet and became the first in the nation to provide year-round employment to its dancers. To this day, it’s the vivacious dancers that bring to life Balanchine’s — and a host of other modern choreographers’ — artistry. “I try to identify dancers that all have something special to offer beyond technique,” Kaiser says. “I look for dancers that have soul … and then I feed that by giving them a great repertoire of dance.”

And, within the choreography, the performers strive to find those “small moments” to draw audiences even deeper into their artistic expression. “We’re just a very diverse group of dancers that love to have fun on stage,” Johnson says. “We excel when we have the opportunity to engage the audience.” Kaiser performed with Pennsylvania Ballet from 1979 to 1992, rising from corps de ballet to Principal to Associate Artistic Director, until the Trustees of Pennsylvania Ballet selected him as its first home-grown Artistic Director in 1994. Kaiser recently announced his intention to retire after 20 years of leading the Pennsylvania Ballet. Kaiser has stretched the company’s repertoire to include edgy and innovative pieces while still remaining true to its Balanchine base. Pennsylvania Ballet has presented classical dancers in white tutus, as well as boldly colored, spandex-encased duos twisting and floating through space with the airiness of a mobile. “I have tried to push the company further,” he says, “and create different ways for the audience to experience the work. I honor the tradition and history of the company and the art form (of Balanchine), which influences (my) decisions.” As with any ballet company, it naturally evolves as dancers come and go; a dance career is a short one, and turnover brings with it new influences, which Kaiser embraces and believes are healthy. “A company is always evolving,” he says. “You change or you die. You have to keep pushing forward.” Kaiser’s attitude mirrors Balanchine’s in that Balanchine never stopped pursuing perfection, even after each great accomplishment. At dance connoisseur Lincoln Kirstein’s urging, Balanchine set out to establish American ballet companies that rivaled — and even surpassed — European companies. His reaction to Romantic anti-classicism, the prevailing style in Russia and Europe when he was a dancer, spawned a body of work that emphasized dance over plot, an approach that not only endures, but also continues to touch hearts and souls worldwide to this day. And so Pennsylvania Ballet follows elegantly, yet boldly, in Balanchine’s footsteps, while striving to advance the vision and vitality of contemporary ballet.

SUMMER IN VAIL ON THE ELWAY’S PATIO

O P E N N I G H T LY 1 74 E A S T G O R E C R E E K D R I N T H E L O D G E AT VA I L 9 7 0 . 7 5 4 . 7 8 1 8 • E LWAYS .C O M

OF THE

Supporting dance in the Vail Valley since 1984 PO Box 212 | Vail, CO 81658 | 646 249 5189 VAIL DANCE

JOOKIN — a slippin’, toe-tippin’, glidin’ street style By Kimberly Nicoletti

LIL BUCK IN THE WORLD PREMIERE OF THE MUSIC’S COMING THROUGH ME AT THE 2011 FESTIVAL.

LIL BUCK PERFORMS GANGSTA WALK AT THE 2013 FESTIVAL.

“We listened to underground rap, and it made us bounce in a certain way,” said Charles “Lil Buck” Riley, describing how Jookin began. But “bounce” is a bit deceiving when describing Jookin. The Memphis-born dance, which evolved out of the earlier form “gangsta walking” in the 1980s, has more glide and slide than its jerky-gaited, shoulder-bouncing predecessor. Jookin’s ball-of-the-foot and toe-based footwork carries a smooth elegance not always found in other forms of street dance — especially when Lil Buck takes the floor. “Jookin is a good fusion between old school and new school,” he said. “It has more glides and slides and spinning on the toes. It gets crazy.” The bounce comes out a bit more subtly than old-school 62

VAIL DANCE

RON MYLES REHEARSES AT THE 2012 FESTIVAL.

gangsta walking or other street forms; it’s about “hitting and jumping from one beat to another and playing with them,” he said, adding that Jookin often includes acting out certain lyrics in the songs and letting the music dictate the freestyle movement. “It’s just like when James Brown used to say one word over and over again, and it just hits you and you just feel it,” Lil Buck said. “I have so much soul. I don’t hold anything back. I just have so much emotion that comes out in dance. I feel it so much that other people connect with me. They have to feel it because I’m just so into it!” photos by erin baiano.

VENUES, BOX OFFICE & PARKING BOX OFFICE

GERALD R. FORD AMPHITHEATER

GERALD R. FORD AMPHITHEATER:

530 South Frontage Road, Vail VILAR PERFORMING ARTS CENTER:

68 Avondale Lane, Beaver Creek PHONE:

970.845.TIXS (8497) or 888.920.ARTS (2797) For online ticket purchases, visit vaildance.org HOURS OF OPERATION:

Daily; 11am to 5pm

VENUES Gerald R. Ford Amphitheater Owned and operated by the Vail Valley Foundation, the Gerald R. Ford Amphitheater in Vail is an award-winning outdoor performance venue featuring pavilion seating for 1,260 guests under the segmented roof and an additional 1,300 on the grassy lawn that surrounds the back and sides of the facility. New in 2014, visitors to the Amphitheater will enjoy “The Lobby” entrance and social gathering point, featuring a mini-stage for pre-show performances, a new concession station and new restrooms. The Lobby will open 90 minutes prior to each performance, and the gates to the Ford Amphitheater will open one hour prior to the start of each show. Lawn seating is available on a first-come first-served basis, and picnics with non-alcoholic, commercially-sealed beverages and legless chairs are permitted. Full concessions are available inside the venue as well as in the new Lobby. Vilar Performing Arts Center Owned and operated by the Vail Valley Foundation, the Vilar Performing Arts Center is a 530-seat state-of-the-art facility located in the heart of Beaver Creek. The theatre’s intimate and inviting performance space was designed to exacting specifications to create perfect acoustics and unobstructed views from every seat. Please arrive early for performances. Lobby doors open one hour prior to showtime. Late arrivals will be seated at the back of the house and only at the discretion of the House Manager. 64

VAIL DANCE

VILAR PERFORMING ARTS CENTER

DIRECTIONS & PARKING Gerald R. Ford Amphitheater Take exit 176 off I-70. Head south toward the ski mountain, into the main Vail roundabout. Exit the roundabout heading east on South Frontage Road. The Vail Parking structure will be a short distance on the right, where summer parking is free. Alternatively, continue to the Ford Park parking lot, where limited paid parking is available and attendants will collect cash or credit cards ($10), starting at 3pm. Limited paid parking is available at Gold Peak Children’s Ski School Lot and the Soccer Field parking lot (located on the South Side of Vail Valley Drive), both of which cost $10 and are available starting at 3pm. Free parking is also available at Manor Vail Resort, if you are dining at The Fitz Lounge or Lord Gore restaurants. Call 970.476.5000 to make your reservations. From the parking areas: From the top level of the Vail Village parking structure one can

take a two-minute ride on the complimentary Town of Vail Special Event Bus, which runs frequently to Ford Park on performance nights. In addition, the Vail Special Events Bus will run service from Lionshead Village parking structure. Alternatively, the Gerald R. Ford Amphitheater is a ten-minute walk to the east from the Vail Village parking structure. From the northeast top-level structure, exit to the east. Walk northeast toward the paved walkway into the park on the right. Follow that path straight down to the Amphitheater. Golf carts run regularly between the top of the path and the venue prior to and following concerts. Alternatively, take the Gore Creek Trail directly to the venue. Vilar Performing Arts Center Limited free parking is available at the Villa Montane or Village Hall parking structures in Beaver Creek Resort. Additional free parking is located at the East and West lots at the entrance to Beaver Creek, with free shuttle service to the covered bridge bus stop. photos by brian maloney and lindsay thomas.

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